Screening of “Hands Across the Table” at the Daystar Center May 12

Hands Across the Table (1935)
Where: Daystar Center, 1550 S. State Street
When: May 12, 2018
Time: 6:45 p.m.
Hosted by Stephen Reginald

Hands Across the Table (1935) is a classic screwball comedy starring Carole Lombard and Fred MacMurray in their first movie together (The two starred together in a total of four films).

Lombard is Regi Allen, a gold-digging manicurist and MacMurray is Theodore “Ted” Drew III, a handsome playboy engaged to Vivian Snowden (Astrid Allwyn), a rich New York City debutante.

Directed with a steady hand by Mitchell Leisen, Hands Across the Table did wonders for the careers of both Lombard and MacMurray. Lombard was already a top star, but her performance in this film was a huge hit with both critics and the public. MacMurray appeared in seven movies in 1935, but his performance in Hands Across the Table elevated his status to that of a popular and sought after leading man.

This movie was so popular that Lombard and MacMurray went on to star in three other films. The film also features a top-notch supporting cast, including Ruth Donnelly, Marie Prevost, and Ralph Bellamy.

Have some Joe and Enjoy the Show!

You can bring food and beverages into the auditorium; we even have small tables set up next to some of the seats. General Admission: $5 Students and Senior Citizens: $3.

Join the Chicago Film club; join the discussion

Twice a month we screen classic films and have a brief discussion afterward. For more information, including how to join (it’s free), click here. The Venue 1550 is easily accessible by the CTA. Please visit Transit Chicago for more information on transportation options.

Stephen Reginald is a freelance writer and editor. He has worked at various positions within the publishing industry for over 25 years. Most recently he was executive editor for McGraw-Hill’s The Learning Group Division. A long-time amateur student of film, Reginald hosts “Chicago Film Club,” a monthly movie event held in the South Loop, for the past two years. Reginald has also taught several adult education film classes at Facets Film School, Chicago.

Chicago Film Club spring and summer film schedule set

The Chicago Film Club is getting underway with a collection of great classic movie melodramas and classic comedies.

The series kicks off with Daisy Kenyon (1947) featuring the dream cast of Joan Crawford, Dana Andrews, and Henry Fonda. Based on the Elizabeth Janeway best-selling novel, the movie features a love triangle between the three stars, with Crawford at the top of the triangle. Will she choose the rich, married New York City lawyer (Andrews) or the World War II veteran (Fonda)? Directed by the legendary Otto Preminger, Daisy Kenyon stands out as one of the best melodramas of the 1940s.

Joan Crawford and Dana Andrews in Daisy Kenyon

Backstory: Preminger admired Crawford’s hard work in bringing her character to life. He also loved working with Andrews and Fonda, two actors the director said were incapable of overacting (Preminger worked with Andrews more than any other male actor). He also appreciated that all three stars arrived on time and knew their lines.

All movies below will be presented at The Daystar Center, 1550 S. State Street. We will be meeting in room 102. For more information on the Chicago Film Club, click here. It’s free to join and it’s a lot of fun. Just read our reviews!

Here’s the complete schedule.

Daisy Kenyon—April 14 6:45 p.m.
Hands Across the Table—May 12 6:45 p.m.
A Letter to Three Wives—May 29 6:30 p.m.
It Started with Eve—June 9 6:45 p.m.
East Side, West Side—June 19 6:30 p.m

Hands Across the Table

A Letter to Three Wives

It Started with Eve

East Side, West Side

Ernst Lubitsch, "To Be or Not To Be," and Lombard's last impression

Coming to America

Director Ernst Lubitsch left his native Germany in 1922 at the invitation of silent-screen legend Mary Pickford. He directed Pickford in two popular films, Rosita (1923) and The Marriage Circle (1924). Right from the start, his American films had a quality, polish, and sophistication that seemed fresh and new. Audiences loved the "Lubitsch touch" and his career in Hollywood prospered. When talking pictures took hold, Lubitsch adapted immediately without missing a beat.

Hollywood fights back

In 1935, Lubitsch's German citizenship was erased by the Nazis. Like many Europeans living in America, Lubitsch was horrified by the rise of Adolf Hitler and his ever-increasing stranglehold on his home continent. During the late 1930s the war in Europe was heating up and Lubitsch thought the time was right for a satire about Hitler and the Nazis. After all, The Great Dictator (1940), written and directed by Charles Chaplin was a huge hit. Surely Lubitsch with his talent for comedy would be able to be equally successful with To Be or Not To Be (1942).

Show me the money

At this point in his career, Lubitsch was working independently, without the backing of a major studio. As an independent, he had to obtain funding to make To Be or Not To Be, as well as work out a distribution agreement. From the beginning, the movie was meant to be a star vehicle for Jack Benny. Benny was a superstar on the radio, but his movie career never matched his radio success. To help secure financing, Benny actively courted Lombard to star opposite him. Lubitsch, anxious to work with Lombard didn't think the part was large enough to interest her. Surprisingly, Lombard loved the script. The fact that she would be part of an ensemble cast rather than being the "star" didn't seem to matter. Additionally, Lombard thought that with the rumors of a World War on everyone's mind, a satire like To Be or Not To Be would help in the fight against the Axis powers.

Together again: Lubitsch and Lombard

With Lombard onboard, the financing was guaranteed and production started in October 1941. From all accounts, the filming was a pleasant experience for Lombard and all of the cast. Benny loved working with Lombard and she helped him get past his anxiety about working with a director of Lubitsch's stature. Once again, Lubitsch allowed Lombard to act as uncredited producer, just like he did during the filming of Hands Across the Table, when he was in charge of production at Paramount six years earlier.

Remember Pearl Harbor
During the filming of To Be or Not To Be, Pearl Harbor was attacked and the United States entered World War II. The mood of the country was somber with American casualties mounting on a daily basis. Americans feared invasion from Japan, especially those on the west coast, which included Hollywood. Ever the patriot, Lombard wrote President Roosevelt to ask what she and her husband, Clark Gable, could do? His response: keep making movies to keep people's spirits up.

War bond tour

Not one to sit by the sidelines, Lombard went on a war bond rally on January 12, including a huge drive in her native state, Indiana. The goal was to sell $500,000 worth of bonds, but Lombard's enthusiasm and star power brought that total above $2 million! After a hectic bond-selling schedule (so hectic in fact that a January 14, 1942 stop in Chicago generated an article in the Chicago Tribune entitled "A Whirlwind! It Was Carole on Chicago Visit"), Lombard wanted to fly back to California, instead of taking the train as originally planned. She was anxious to see her husband and didn't want to waste the time on the train. Traveling with her mother, Elizabeth Peters and MGM press agent Otto Winkler, Lombard tried to convince her traveling companions that flying home was their best option. Peters and Winkler were against flying, but Lombard prevailed.

California bound
After a brief refueling stop in Las Vegas, the DC-3 plane that Lombard and 21 others occupied, took off for the west coast on January 16. They never made it home. The plane, flying too low, slammed into a mountain not far from the Las Vegas airport. Everyone on board was killed instantly.

Farewell to the screwball girl

On January 21 at 4 p.m., funeral services were held for Lombard and her mother at the Hilltop Church of the Recessional in Forest Lawn cemetery, Glendale, CA. According to Lombard's wishes, her funeral was simple with mostly family and friends in attendance. As reported in the January 22 edition of the Chicago Tribune, those present included "...Mr.and Mrs. Spencer Tracy, Jack Benny, Mr. and Mrs. Ernst Lubitsch, ... the William Powells, Louis B. Mayer, ...and the Fred MacMurrays."

To Be or Not To Be released

Lombard's last movie was met with generally good reviews, but audiences weren't flocking to see it. It's hard to know why, since today, To Be or Not To Be is considered a classic. More than sixty years after its release, the American Film Institute in it's list of the one hundred funniest films of all time, ranked it at forty-nine. Some people thought the black humor was too much for wartime audiences. New York Times critic, Bosley Crowther wrote in his March 7, 1942 review, "To say it is callous and macabre is understating the case." Other period reviews were positive: "It's an acting triumph for Lombard, who delivers an effortless and highly effective performance..." (Variety).

Lasting legacy
It's sad that a talent like Carole Lombard was taken from us at the height of her career. The plans to make another movie with Lubitsch, Preston Sturges, and Billy Wilder would never be realized. But fortunately for us, she left a body of work that still brings us joy, laughter, and tears.

"A loud cheer for the screwball girl!"

What a difference a year makes: Lombard and "Hands Across the Table."

If 1934 was a breakthrough year for Carole Lombard with her star-making role in Twentieth Century, then her work in 1935 proved the previous year's performance was no fluke.

Shall we dance...again?

The year started with a sequel of sorts: Rumba, reunited Lombard with George Raft, her costar in Bolero. Although not well remembered today, Rumba was a commercial success and this time, Lombard received equal billing with Raft. If 1935 started well, it would end even better.

The Lubitsch touch
Ernst Lubitsch, recently installed as production manager at Paramount, found himself working with Lombard on a property called Hands Across the Table. The story about a cynical manicurist, was based on "Bracelets," a story by Vina Delmar, who would go on to win an Oscar nomination, two years later, for writing the screenplay for The Awful Truth.

A shaky start
The production didn't start off smoothly, however. Lubitsch was unsure of director Mitchell Leisen's ability to handle comedy material. Additionally, Lubitsch and Leisen were concerned with their inexperienced leading man, Fred MacMurray. Signed to a standard seven-year contract in 1934, MacMurray had already appeared in five films in 1935 before production on Hands Across the Table had begun. The last film he made was Alice Adams, a star vehicle for Katherine Hepburn, directed by George Stevens. MacMurray's performance in that film received good notices, but there was some concern that he did not have the depth needed for his performance opposite Lombard. In Leisen's retelling, Lombard pitched in as almost the codirector. According to MacMurray's account, "I owe so much of that performance and my subsequent career to her [Lombard] .... She worked with me on every scene."

A new film team is born
The work paid off and the chemistry between Lombard and MacMurray was strong enough that they eventually starred in three additional films, all of which were critical and commercial successes at the time. In 1937, they starred in two films together, The Princess Comes Across, and Swing High, Swing Low, which was Paramounts biggest grossing film that year. It is interesting to note that the pairings of Hepburn and Cary Grant which are much more heralded today, were not nearly as commercially successful as the pairings of Lombard and MacMurray.

Natural beauty

When Hands Across the Table was released, the critics loved it. Many compared it to It Happened One Night released the year before. Some critics commented that Lombard, by eliminating the heavy makeup that she typically used, revealed a natural beauty that previously had not been seen by the movie-going public. Apparently, Lombard took note of these critiques and her future films reflect a more natural look.

With the success of Hands Across the Table, Lombard proved she was no one-hit wonder and that she could carry a film on her own. Her career would be in high gear from hereon in.