The Americanization of Emily (1964) Arthur Hiller

“The first dead American on Omaha Beach will be a sailor!”

Six years before “Catch-22″ and “M.A.S.H” were released in theaters, “The Americanization of Emily” appeared almost out of nowhere. Vietnam was still low on the boiling plate of the American conscience, however this film does hold the distinction of being the first anti-war film of the Vietnam era. Sweet Julie Andrews had only a few months earlier burst on to the screen in the Disney film, “Mary Poppins” and would five months after the release of “Emily” be forever anointed in the public’s mind as Miss Goody Two Shoes, with more sugar than a Cuban cane field. Yet in between these two films, slipping under the public’s radar, Andrews appeared in this dark biting anti-war satire.

James Garner is Lt. Commander Charlie Madison whose official position is acting as an aide for Admiral William Jessup (Melvyn Douglas). What Madison’s unofficial position is, and most important, is being a “dog robber,” an aide who will obtain whatever the Admiral wants, legally…or not so legally, and Charlie’s the best.  Charlie’s bartering arsenal includes a large supply of Hershey bars, stockings, bourbon and clothes to get what he needs. Stationed in England just prior to the D-Day invasion, Charlie can “buy” anything his commanding officer desires including steaks, wine and women.  Everyone knows good ‘ol Charlie and likes him. If Charlie needs a favor, a box or two of Hershey’s chocolates or maybe a couple of pairs of nylons will help secure it. Remember, this is England, heavily rationed during the War. Continue reading

Middle of the Night (1959) Delbert Mann

Middle of the Night is a story of a May/December romance. Written by Paddy Chayefsky and directed by Delbert Mann. Mann directed three films written by Cheyefsky, Marty, his first film which won Best Picture of the Year and Best Director awards, followed by The Bachelor Party and Middle of the Night. Later on Cheyefsky would write the screenplays for Network and The Hospital. He also adapted the William Bradford Huie novel, The Americanization of Emily for the screen.  Middle of the Night began as a TV episode on the anthology series “The Philco Television Playhouse”, starring E.G. Marshall and Eva Marie Saint. In 1956, Cheyefsky turned it into a play and it opened on Broadway with Edward G. Robinson as the older man and Gena Rowlands as the young woman. In 1959, the  movie version was released with Fredric March and Kim Novak in the roles.

Jerry (Fredric March), a 56 year old lonely widower, is a successful businessman in the garment district in New York and 24 year old Betty (Kim Novak) is working there as a receptionist and part-time model. Betty is newly divorced and uncertain about her future. The story centers on their romance and eventual decision to marry, the ups and downs in any relationship and specifically about one with a wide age difference. One of the more uncomfortable scenes is when Jerry meets Betty’s mother who it turns out is approximately the same age as he is. Later there is an even more painful confrontation with his family, which includes his daughter, a year younger than Betty, and his single over protective nagging sister. Everyone seems to have an opinion though the one thing everyone is in agreement on is that they are against the marriage. If all that is not enough there are the couples  own insecurities, Jerry’s jealousy when she talks to younger men or will she leave him in a few years? Betty anxieties are over her newly divorced husband, a musician who wants her back, and then there is her father fixation. In the end, despite all the objections from family and their own uncertainties they realize they love each other and maybe just maybe, they have a chance.

Fredric March is excellent as Jerry who at 56 feels that life has passed him by. Family and friends tell him that he should relax in his old age and take it easy. Jerry feels like everyone is ready to put him out to pasture until he starts dating Betty who makes him feel alive again. He tells everyone he’ll have enough time to take it easy when he’s dead! (Jerry would liked Warren Zevon’s song, I’ll Sleep When I’m Dead). You absolutely believe March in this role, the struggles and fears that he is facing at this particular junction in his life. Kim Novak also does a fine job as the young and insecure Betty whose father dumped his family when she was young. Conflicted about the breakup of her marriage she finds comfort and security with Jerry. She brings a nice vulnerability to Betty that makes her real. Throughout her career Novak has been underrated as an actress. She holds her own here with a magnificent cast that includes Lee Grant, Martin Balsam, Albert Dekker and Glenda Farrell. There are also some nice location scenes of New York’s garment district and other areas circa the late 1950’s.

One aspect that I found interesting is how old the actors look considering the age they are portraying. Fredric March who was 62 at the time portrays a man who is 56. Albert Dekker’s character was 59 ( he was 54 in real life), however both men look closer to being in their late 60’s maybe even in their 70’s. Compared to some of today’s actors equivalent in age like Dennis Quaid (55) or Jeff Bridges (59) or Harrison Ford (66) they looked much older than the ages they are portraying. Lifestyle? Healthier living? Whatever it is, people do look a lot young today than their counterparts of forty or fifty years ago.

Delbert Mann began his career during the Golden Age of Television drama. When people discussed directors from the Golden Age of Television who came to film in the late 50’s and early 60’s the names usually consist of John Frankenheimer, Sidney Lumet and Arthur Penn. Delbert Mann is rarely mentioned yet his filmography in those early years is pretty impressive. His debut film was Marty, which as previously mentioned won a few Oscars. That was followed by The Bachelor Party in 1957, Desire Under the Elms, Separate Tables, Middle of the Night and Dark at the Top of the Stairs. All of these were adaptations of stage plays except for Marty and The Bachelor Party. In the 1960’s Mann had success with two Doris Day comedies, That Touch of Mink and Lover Come Back. He made a few more films including Mister Buddwing and The Pink Jungle before going back to television in the 1970’s and 1980’s. While no auteur, Mann was a solid actor’s director and always told a good story.

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