Wednesday, November 15 8:00 p.m. (ET)/5:00 p.m. (PT) THE HOODLUM SAINT (1946) * Requested by Joseph Gourdji of New York William Powell was one of the top box office draws of the 1930's. The suave sophistication, debonair charm, and cynical humor that Powell projected made him a top favorite of the movie-going public for two decades in films such as The Great Ziegfeld (1936) and My Man Godfrey (1936). Audiences especially adored Powell when he co-starred with Myrna Loy as Nick and Nora Charles in the Thin Man series. But by the late 1930's, illness marred Powell's career, and in the next decade the urbane sophistication that Powell exemplified so well was no longer in fashion. Audiences now seemed to prefer their heroes a little darker, a bit more cynical and much shadier, as evidenced by the new anti-heroes that were popping up in film noirs such as Murder, My Sweet (1944) and Out of the Past (1947). Still, those audiences had a hard time buying Powell as anything other than a classy, impeccably dressed gentleman. As a consequence, The Hoodlum Saint (1946), directed by Norman Taurog from a script by Frank Wead, was not popular with moviegoers of its era. Audiences were expecting Nick Charles instead of the out-and-out huckster that Powell portrayed. Powell did have plenty of experience playing oily characters early on in his career. He often appeared in silent pictures as a smooth, cunning villain. In fact, Powell made his film debut playing a henchman in cahoots with the nefarious Dr. Moriarty in Sherlock Holmes (1922) featuring silent screen idol John Barrymore. But after his turn in the Philo Vance and Nick Charles films, the audience's preference for Powell's screen persona was set in stone. The screenwriter of The Hoodlum Saint, Frank "Spig" Wead, was considered a national hero. Having become a decorated flying ace in WWI, Wead later became a good friend, collaborator and inspiration to director John Ford, writing scripts for Ford's Air Mail (1932) and They Were Expendable (1945), as well as numerous other screenplays. He turned to the craft of writing after an accident crippled him for life. After the 1946 release of The Hoodlum Saint, Wead completed two more films before he passed away in 1947. Ford released a biographical film ten years later based on Wead's life called The Wings of Eagles, starring John Wayne as the Naval flying hero. Director: Norman Taurog Producer: Cliff Reid Screenplay: James Hill, Frank Wead Cinematography: Ray June Editor: Ferris Webster Art Direction: Cedric Gibbons, Harry McAfee Music: Nathaniel Shilkret Cast: William Powell (Terry Ellerton O'Neill), Esther Williams (Kay Lorrison), Angela Lansbury (Dusty Millard), James Gleason (Snarp), Lewis Stone (Father Nolan). BW-93m. By Scott McGee 10:00 p.m. (ET)/7:00 p.m. (PT) CARBINE WILLIAMS (1952) * Requested by Judy Owens of Texas Generally regarded as one of Hollywood's most amiable and lovable actors, James Stewart began to choose more unconventional roles after he returned from service in World War II. In direct opposition to the characters he played in Mr. Smith Goes to Washington (1939) and The Philadelphia Story (1940), Stewart actively sought parts that were the opposite of the carefree idealists he portrayed in pre-war films. Starting with It's a Wonderful Life (1946), Stewart's screen persona matured and grew increasingly dark, so much so that it was not too much of a stretch to call him an anti-hero in Alfred Hitchcock pictures like Rope (1948) and Rear Window (1954). It was also partly due to directors Anthony Mann and John Ford that Stewart was able to redirect his film career in the fifties. No longer the sweet-natured young hero, Stewart was more likely in the post-war years to play cynical, morally corrupt protagonists in westerns such as The Naked Spur (1953), The Man From Laramie (1955), and Two Rode Together (1961). Stewart's initial foray into darker material was in the Anthony Mann-directed western Winchester '73 (1950), followed shortly by Carbine Williams in 1952. In addition to giving Stewart's screen image a harder edge, the studio deal that put Stewart into the role in the first place proved to be far more important for his career. When Stewart was lobbying with Universal Pictures to play the lead role in their upcoming Harvey (1950), Universal agreed as long as he signed on to do another picture under the Universal logo. That second picture turned out to be Winchester '73. But Universal was experiencing some financial troubles at the time and they were unable to pay Stewart's asking price of $200,000 for either film. Therefore, Lew Wasserman, Stewart's agent, negotiated a deal whereby the mega-star would be a partner in the making of Winchester '73, taking no salary but splitting the profits. This deal proved to be enormously profitable for Stewart and it allowed him greater creative control for future pictures. Thus, when he went to MGM to star in the life story of David Marshall Williams, it was not too difficult to accept him as an embittered prisoner, nor was it too much of a financial risk for Stewart or MGM. But more than just a portrayal of a convicted killer, Carbine Williams was the inspiring true story of Williams' efforts to invent the M1 rifle, a successor to the Winchester rifle and the weapon that revolutionized modern warfare. More than 8 million carbines were used by American troops in World War II, thanks to the tenacity and inventiveness of "Carbine" Williams. Director: Richard Thorpe Producer: Armand Deutsch Screenplay: Art Cohn Cinematography: William Mellor Editor: Newell P. Kimlin Art Direction: Cedric Gibbons, Eddie Imazu Music: Conrad Salinger Cast: James Stewart (Marsh Williams), Jean Hagen (Maggie Williams), Wendell Corey (Capt. H.T. Peoples), Carl Benton Reid (Claude Williams), Paul Stewart ('Dutch' Kruger). BW-94m. Close captioning. By Scott McGee 12:00 a.m. (ET)/9:00 p.m. (PT) SAN QUENTIN (1937) * Requested by Terrence Adams of Oklahoma Having practically pioneered the gangster film in the early Thirties with the likes of Little Caesar (1930) and Public Enemy (1931), the brothers Warner quickly came under fire after the newly enforced 1933 censorship code put a halter on some of the more questionable subject matter in movies. However, it was Mae West's 1932 sex comedy I'm No Angel, made at Paramount, and not the violent hoodlum that ultimately made the moral-minded (i.e. election coming up) politicos throw up their hands in disgust. In a shrewd move worthy of their screenland mob counterparts, Warners simply had Cagney and Robinson play law enforcers instead of lawbreakers, thus vindicating the cinematic Tommygun rat-tat-tat of urban bloodletting. Public Enemy joined the ranks of the Nation's G-Men (1935) while Little Caesar surfaced as an undercover investigator in Bullets or Ballots (1936), both to the hearty approval of critics and audiences. Yet, it was the emergence of contract player Pat O'Brien, who, running the gamut from neighborhood cop to parish priest in a rapid succession of films, almost single-handedly personified the studio's dedication to the reform movement. By the end of the thirties, with the Depression finally starting to wind down, focus turned to the now over populated penal institutions, crammed with victims of the breadline, who, having turned to lawlessness to survive, often found themselves sharing their quarters with the less notable members of Murder, Inc. This "odd coupling" of social injustice compounded by horrific tales of guard brutality, made great headline copy - always a staple for Warners source material. In 1937 alone the studio had three prison pictures in release: Alcatraz Island, Blackwell's Island and, most prominently, San Quentin. True, a few skeptic scribes questioned the coincidence factor of the plot - honest prison yard chief O'Brien is faced with the dilemma of having the rebellious brother (Humphrey Bogart) of his girl friend (Ann Sheridan) confined to his institution - but with its fast-paced Lloyd Bacon direction, crackling dialogue and rogue's gallery supporting cast (Barton MacLane, Joe Sawyer, Marc Lawrence, Frank Faylen), there wasn't a squealer in the house. Director: Lloyd Bacon Producer: Sam Bischoff (uncredited), Hal B. Wallis (uncredited) Screenplay: Peter Milne, Humphrey Cobb (from a story by John Bright and Robert Tasker) Cinematography: Sidney Hickox Editor: William Holmes Art Direction: Esdras Hartley Cast: Pat O'Brien (Captain Steve Jameson), Humphrey Bogart (Joe 'Red' Kennedy), Ann Sheridan (May Kennedy), Barton MacLane (Lt. Druggin), Joe Sawyer (Carl 'Sailor Boy' Hanson). BW-71m. By Mel Neuhaus 1:30 a.m. (ET)/10:30 p.m. (PT) LOVE ON A BET (1936) * Requested by John Oleskiewicz of California Love on a Bet, one of RKO's offerings for American theaters in 1936, was a definitive product of its era. Produced and released during the height of the Great Depression, this romantic comedy helped its audience face the challenge of being poor, and to take delight in the simple pleasures of life. The plot involves Gene Raymond betting his rich uncle that he can start in New York with nothing but his underwear and wind up in Los Angeles, ten days later, wearing a new suit of clothes, $100 in his pocket, and engaged to a pretty girl. In particular, Love on a Bet addressed the problem of homelessness, and the plight of millions of Americans who found themselves without a job, a bank account, or a home. For many, the street substituted as both a bed and a home. Love on a Bet took this basic premise and weaved an escapist fantasy around it. My Man Godfrey(1936), Meet John Doe (1941) and Sullivan's Travels(1942) are a few of the more famous titles that have also dealt humorously, but respectably, with the "forgotten men" who populated American streets. The star in Love on a Bet was blonde, blue-eyed, early-talkie leading man Gene Raymond, who had been on the New York stage from near-infancy, making his Broadway bow at age 12. Though never a major star, Raymond developed a following in a variety of good film roles. His best screen assignments include important roles in If I Had a Million (1932), Zoo in Budapest (1933), Flying Down to Rio (1933) and Alfred Hitchcock's only screwball comedy, Mr. and Mrs. Smith (1941). In 1948, Raymond scored a quadruple feat by producing, directing, co-writing and starring in Million Dollar Weekend. In real life, Raymond was married to singing star Jeanette MacDonald from 1937 until her death in 1965. Despite the many film credits between them, they only acted together in one film, Smilin' Through in 1941. Director: Leigh Jason Producer: Lee S. Marcus Screenplay: Kenneth Earl (story), Philip G. Epstein, P.J. Wolfson Cinematography: Robert De Grasse Editor: Desmond Marquette Art Direction: Albert Herman, Van Nest Polglase Music: Alberto Colombo Cast: Gene Raymond (Michael MacCreigh), Wendy Barrie (Paula Gilbert), Helen Broderick (Aunt Charlotte), William Collier Sr. (Uncle Carlton), Spencer Charters (Innkeeper). BW-77m. By Scott McGee