GOLDEN YEARS: when dreams diverge

Photo caption: Stefan Kurt and Esther Gemsch in GOLDEN YEARS. Courtesy of Music Box Films.

The Swiss dramedy Golden Years begins as Peter (Stefan Kurt) turns 65 and retires. His wife Alice (Esther Gemsch) has been eagerly awaiting this day, which she sees as an opportunity for travel and to rekindle intimacy with Peter. In contrast, Peter doesn’t seem to have been thinking about it at all, but he begins to be consumed with his physical health and suddenly transforms himself into a mountain biking, vegan workout king. Alice wants to downsize, but he wants to stay in their house. Travel doesn’t interest Peter, but he feels trapped into joining Alice on a Mediterranean cruise that their adult children have gifted them.

Esther’s best friend unexpectedly dies, and Peter impulsively invites her heartbroken husband to join them on the cruise, which appalls Esther, who wants Peter to herself on the cruise. Esther has read her late friend’s hidden cache of letters and has stumbled on an explosive secret. Esther’s annoyance from Peter’s inattention simmers until it boils over into she staggers Peter by embarking on her own adventure.

Esther Gemsch, Ueli Jaggi and Stefan Kurt in GOLDEN YEARS. Courtesy of Music Box Films.

At this point, Golden Years departs from a comedy of manners into an exploration of dual self-discoveries. Indeed, there are Men-are-from-Mars moments when Peter is a clueless dunderhead about Esther’s expectations. But Peter’s needs have evolved, too, and Esther has also mistakenly assumed that he will want to do want she wants to do.

We all know couples who drift totally apart after decades of marriage, and there must be some couples who age with identical interests. Many couple have different, but complementary aspirations, or can build a new life together around some core commonality. The question that Alice and Peter face is, where are they on this continuum?

Will Alice and Peter compromise? Will they be able to accommodate each others’ needs? Will they live separate lives? Is there a Win Win?

Screenwriter Petra Volpe (The Divine Order) probes these questions in a consistently funny and engaging movie with a minimum of senior citizen tropes or cheap geezer cheap jokes. (It is very funny, though, when Peter’s Gen X co-worker brightly tells him that his old office will become a server room.)

Esther Gemsch in GOLDEN YEARS. Courtesy of Music Box Films.

Director Barbara Kulcsar keeps the story sprightly paced and maintains just the right balance between comedy and the more serious issues. Alice is the primary focus of the story, and the performance of actress Esther Gemsch is especially strong.

Golden Years can now be streamed from Amazon, Vudu and YouTube.

Movies to See Right Now

Photo caption: Katy O’Brien and Kristen Stewart in LOVE LIES BLEEDING. Courtesy of A24.

This week on The Movie Gourmet – a new review of the highly original neo-noir Love Lies Bleeding. Plus Wrapping up (the in-person) Cinequest and Cinequest movies go online today; if you can, stream The Invisibles and/or Pain and Peace.

REMEMBRANCE

M. Emmet Walsh in BLOOD SIMPLE

M. Emmet Walsh was one of cinema’s most stories, prolific (233 screen credits) and welcome character actors. Walsh was unforgettable as the murderous private detective Loren Visser in Blood Simple, a scary (and funny) concoction of amorality, sleaze and tenacity. He also elevated Midnight Cowboy, Little Big Man, What’s Up Doc?, Serpico, Blade Runner, Ordinary People, Slap Shot, Straight Time, Reds, Cavalry and Knives Out. There was only one T in Emmet, and the M stood for Michael.

CURRENT MOVIES

WATCH AT HOME

Walter Matthau in CHARLEY VARRICK

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

LOVE LIES BLEEDING: obsessions and impulses collide

Photo caption: Katy O’Brian and Kristen Stewart in LOVE LIES BLEEDING. Courtesy of A24.

Love Lies Bleeding is a title that legendary film noir director Sam Fuller would have loved, and this highly original neo-noir is a knockout. Kristen Stewart plays Lou, the reluctant manager of a downscale fitness gym in a hardscrabble New Mexico town that is flat, arid and devoid of culture. Love Lies Bleeding may be set in and shot in New Mexico, but this town is not anybody’s Land of Enchantment.

Lou is wallowing through the drudgery of her job, when she eyes Jackie (Katy O’Brian), an aspiring bodybuilder who has just drifted into town. This moment evokes the one in which John Garfield first sees Lana Turner in The Postman Always Rings Twice. The two plunge into a passionate affair, and Jackie, who has snagged a job on her first day in town but is still homeless, moves in with Lou.

But soon, the two find out that Jackie has already become entangled with two folks who are important in Lou’s life – and not in a good way. There’s an impetuous homicide and a “perfect crime” cover-up. Unfortunately, an inconvenient witness, a steroid binge, and more impulsiveness threaten to unravel their lives. Love Lies Bleeding hurtles down an alley filled with robust sex, sudden violence and witty observation.

I will not spoil the ending except to say that, just as I was thinking, “this could go one of three ways”, it went in a totally unexpected direction. And, as I was thinking that writer-director Rose Glass was pivoting completely away from noir conventions, she ends the film with one of the most noirish lightings of a cigarette ever. This is only Glass’s second feature, co-written with Weronika Tofiska. Glass’ 2019 debut feature, St. Maud, earned some buzz.

Like many noirs, this is a tale of obsessions, and it’s a character-driven one, contrasting Lou and Jackie. Lous is measured and intentional, and we learn that her prioritization of loyalty has kept her in this place. Loyalty, and pretty much everything else, is situational for Jackie, whose unfocused wanderlust is another symptom of her captivity to her impulses. Lou is obsessed with Jackie. Jackie is obsessed with reinventing her life, through bodybuilding, through sex, through the next shiny thing.

Kristen Stewart is just so watchable, as she was when I first saw the 17-year-old Stewart in as Tracy in 2007’s Into the Wild. Stewart then bit her lower lip through the Twilight franchise, and, now about to turn 34, is at the top of her game. Stewart is fearless in her choice of scripts and likes to bet on interesting directors. She’s just perfect as Lou in Love Lies Bleeding.

This is the first time I’ve seen Katy O’Brian, and there’s just no getting around that she doesn’t look like most other movie actresses. She’s a martial arts instructor who doesn’t rely on her physicality alone, but uses it to great advantage. O’Brian captures Jackie’s supreme confidence (except when her family rejection bubbles to the surface, and how she is capable of one of the epic steroidal rages. She’s already amassed 27 IMDb credits, including a recurring role on The Mandalorian.

If you’re casting a villain with steely and contained determination, who better than four-time Oscar nominee Ed Harris? Harris comes through as expected, and Glass wittily puts him in a bald-on-top stringy wig that evokes Riff Raff in The Rocky Horror Picture Show. She also gives the character a disgusting interest in bugs.

The rest of the cast is very good, too, including Dave Franco, Jena Malone and Anna Barishnikov, who must be pretty intelligent to play such a profoundly dumb character with such intricacy.

Their obsessions drive Lou and Jackie together in Love Lies Bleeding, and it’s a volatile mix with a wowzer ending.

Cinequest movies go on-line today

Photo caption: Tim Blake Nelson in THE INVISIBLES. Courtesy of Cinequest.

Cinequest’s live, in-person film festival ended this week, but you now you can stream some of the program through Cinequest’s virtual platform, Cinejoy from March 21-31.

The offerings include the two Must See films in my Best of Cinequest:

I also recommend

There’s also a special virtual event for The Invisibles  on March 23 and one for the fine comedy Hailey Rose on March 30.

Screening tickets are available at Cinejoy. Here’s the trailer for Pain and Peace (world premiere at Cinequest):

Wrapping Up Cinequest

EDEN, world premiere at Cinequest. Courtesy of Cinequest.

The live and in-person Cinequest winds up today. Here are the films in the program that I hadn’t posted about yet:

  • Dead Man’s Switch: In this atmospheric Spanish film, a woman’s husband disappears into thin air, and she goes searching for him. Exceptional black and white cinematography accentuates the crescendo of dread we feel for her as she strides alone down dark streets, into uncaring bureaucracies and into the bowels of the subway (she is a subway driver). Will she find out what has happened to him – and will it be even worse for her if she finds out? Not sure that the payoff is worth the 107 minutes of unrelenting gloom. World premiere.
  • Fanti: A young woman is obsessed with building her social media presence and feels entitled to a movie acting career; she hasn’t actually done anything to prepare for any career other than being famous for being famous – despite having a mother who has actually worked as a screen actor. When she catches a break and starts climbing into the world of an ingenue, it seems that someone is stalking her on-line. The strength of Fanti is the insider peek into the Vietnamese movie industry. Its weakness is that it’s hard to care about the main character. Winner of Best First Feature Film at the 2023 Vietnam Film Festival. US premiere at Cinequest.
  • Three Brothers: The best two things about this Argentine drama are that it brings us to an unfamiliar place – the rugged mountains of Patagonia – and photographs it exquisitely, The titular thirty-something brothers have inherited a saw mill on a large tract of land, and they face the global warming consequences of wildfires and flooding. But Three Brothers is really about their unresolved childhood issues and the challenges each faces to his sense of manhood (and one’s challenge to his anatomical manhood). None of them can communicate with the others about feelings, and they all have a fairly bestial view of women (except their sainted mother). There’s a spectacular flood scene at the climax, but, by then, the audience is tired of these unpleasant and unrelatable guys.
  • Eden: This documentary introduces us to a couple who has worked tirelessly for forty years to build a failed winery into a renowned producer of fine wines (Mount Eden Vineyards in Saratoga). It’s time for them to retire, but one adult kid may not have the aptitude to take over and the other may not have the interest. It’s a visually beautiful and dreamy film, romantic about winemaking. I personally thought it was 20-30 minutes too long for the content, and too reverential about the family. World premiere.

Selected films from the program move to Cinequest’s virtual platform, Cinejoy from March 21-31.

Movies to See Right Now

Photo caption: Sandra Muller voicing Justine Triet’s Oscar-winning screenplay in ANATOMY OF A FALL. Courtesy of NEON.

This week on The Movie Gourmet – my Cinequest coverage has been continuing, and it’s all linked at my CINEQUEST 2024 page. ICYMI, here’s The Movie Gourmet’s 2024 Oscar Dinner.

CURRENT MOVIES

  • Anatomy of a Fall: family history, with life or death stakes. Amazon, AppleTV, Vudu, YouTube.
  • American Fiction: this can’t be happening.  Amazon, AppleTV, Vudu, YouTube,
  • The Taste of Things: two passions: culinary and romantic. In arthouse theaters.
  • Golden Years: when dreams diverge. In arthouse theaters.
  • Killers of the Flower Moon: an epic tale of epic betrayal. AppleTV (subscription), Amazon.
  • The Holdovers: three souls must evolve beyond their losses. Amazon.
  • Poor Things: brazen, dazzling, feminist and very funny. Amazon, AppleTV, Vudu, YouTube.
  • Dream Scenario: but it can’t be my fault, can it? Amazon, AppleTV, Vudu, YouTube.
  • The Zone of Interest: next door to the unthinkable. Amazon, AppleTV, Vudu, YouTube.
  • Maestro: not what she bargained for. Netflix.

WATCH AT HOME

Sly Stone in SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED)

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

ON TV

Richard Conte, Brian Donleavy and Cornel Wilde in THE BIG COMBO.

On March 18, Turner Classic Movies presents the classic film noir The Big Combo for its ruthless villain, his henchmen, plenty of dramatic shadows and some sly naughtiness by the filmmakers. In his most flamboyant performance, Richard Conte plays mob boss Mr. Brown. Cornel Wilde (also the film’s producer) plays Lieutenant Diamond, a cop with two obsessions, to bring down the crime lord and to take his woman, Susan (Wilde’s real-life wife Jean Wallace). Mr. Brown is supremely confident, with good reason, and so arrogant that he only addresses Diamond, standing two feet away, through Brown’s own lackey. Brown and his henchmen ((Lee Van Cleef and Earl Holliman)) are also cruelly ruthless, carrying out the usual beatings and murders, and also torture by hearing aid and by boozeboarding.

Director Joseph Lewis and his collaborators did successfully slip some things past the censors.  Conte’s Mr. Brown reminds Susan of how he pleases her.  And the henchmen are a couple, as Holliman confirmed decades later to Eddie Muller.

Lewis and the great cinematographer John Alton delivered one of the most iconic final shots in noir.

Jean Wallace in THE BIG COMBO.

The Movie Gourmet’s 2024 Oscar Dinner

And here us the 2024 edition of The Movie Gourmet’s annual Oscar Dinner (explained yesterday). Here is this year’s complete menu:

Whiskey

  • Killers of the Flower Moon: Whiskey just keeps showing up, from King (Robert De Niro) greeting Ernest (Leonardo DiCaprio) with a glass to Mollie (Lily Gladstone) bringing out the good stuff to entertain Ernest.
  • The Holdovers: In The Holdovers, Paul is a bourbonaholic, who usually drinks Jim Beam, and he buys a pint in the Boston liquor store. (I’m a fan of The Holdovers, but not Jim Beam).
  • Past Lives: The film is bookended a scene in a New York City bar with the three main characters; Arthut (John Maguro) is drinking an Old Fashioned.
  • Oppenheimer: The flask keeps showing up – and in the 1940s US, it’s gotta contain whiskey.

Pasta:

  • Anatomy of a Fall: Defense attorney Vincent fixes spaghetti when first visiting Sandra (Sandra Huller) after her husband falls to his death. It’s a simple, light colored pasta like cacio a pepe or alla Gricia, and that’s what I’ll be preparing.
  • Past Lives: Given the choice of any cuisine available in New York City, Hae Sung requests pasta, so Nora and Arthur take him to an Italian restaurant where there have pasta with a red sauce.
  • American Fiction: Monk (Jeffrey Wright) and Coraline (Erika Alexander) are preparing a pasta dinner at her place, when their relationship takes a turn.

To go salad in a deli clamshell from American Fiction: Monk is at a hotel conference center to serve on a panel judging books for a literary prize. At the lunch break, he grabs a clamshell salad instead of a wrapped sandwich, which just perfectly fits the character.

Toast and milk from Barbie: Barbie (Margot Robbie) holds a piece of toast and a cup of milk (but doesn’t actually CONSUME them because she’s made of plastic, after all).

Chinese takeout from Maestro: Lenny (Bradley Cooper) and Felicia (Carey Mulligan) enjoy this Manhattan staple in their Upper West Side apartment with their artsy, intellectual friends.

Pasteis de nata from Poor Things: Belle (Emma Stone) gets addicted to these delectable Portuguese egg custards as she matures into having really good taste. The best pasteis de nata in the Western Hemisphere are from Adega in San Jose, but we had to make our own poor substitute.

German pastry from Zone of Interest: This is from the scene when Hedwig (Sandra Huller) is impressing her mother with the lifestyle perks of Hedwig’s marriage to the big boss.

THE INVISIBLES: choosing to live again

Tim Blake Nelson and Gretchen Mol in THE INVISIBLES. Courtesy of Cinequest.

In the engrossing dramatic parable The Invisibles, Charlie (Tim Blake Nelson) has become so disengaged from his job and his marriage that he becomes invisible – at first metaphorically and then literally – to those around him. Charlie is finding this disturbing enough, but then he happens on an entire community of invisible people like him in a parallel dimension. Can they return to the world of the visible? And do they want to?

The invisibles hang out together in a decrepit bowling alley, led by Carl the affable bartender (Bruce Greenwood). Charlie learns that the invisibles have each experienced a loss, a disappointment or a betrayal so devastating that they have each given up on life in some way. But there’s no more emotional pain in the invisible world, and the bowling alley is a hub of merrymaking.

Charlie and his wife Hannah (Gretchen Mol) have suffered a grievous loss; Hannah has been working hard to recover, but the grief has paralyzed Charlie into a toxic mire of denial, avoidance and apathy.

As Charlie finds himself torn between his love for his wife and the comfort of the invisible world, The Invisibles explores the how people react to the pain of loss and the painful process of getting beyond it. The ingenious metaphor of the parallel universes is the creation of writer-director Andrew Currie. He wrote and directed Fido, one of my Zombie Movies for People Who Don’t Like Zombie Movies.

Tim Blake Nelson is an acting treasure, and he’s at the top of his game here. Mol and Greenwood are excellent, too, as is Nathan Alexis as one of the invisibles.

Cinequest hosted the world premiere of The Invisibles today and will present a second screening tomorrow, March 11. The Invisibles is highlighted as one of two Must See films in my Best of Cinequest.

Tim Blake Nelson and Gretchen Mol in THE INVISIBLES. Courtesy of Cinequest.

The Movie Gourmet’s 2024 Oscar Dinner – the menu

The Movie Gourmet’s culinary tribute to 127 HOURS and WINTER’S BONE

Every year, The Wife and I watch the Oscars while enjoying a meal inspired by the Best Picture nominees. For example, we had sushi for Lost in Translation, cowboy campfire beans for Brokeback Mountain and Grandma Ethel’s Brisket for A Serious Man – you get the idea. Here’s the 2023 Oscar Dinner, complete with the everything bagel from Everything Everywhere All at Once, the Fruit Loops from Top Gun: Maverick and the Nutella from Triangle of Sadness.

The high point has been the Severed Hands Ice Sculpture in 2011 for 127 Hours and Winter’s Bone (photo above). The Wife built on that earlier work with another ice sculpture in 2023 – the severed fingers from The Banshees of Inisherin.

This year, we resisted the temptation to build the meal round the ham and fluffy potatoes anchoring the Christmas dinner in The Holdovers prepared by Mary (Da’vine Joy Randolph) for Paul (Paul Giamatti) and Angus (Dominic Sessa), possibly followed by the impromptu cherries jubilee in the parking lot. And there are lots of food scenes in American Fiction (omelets and brunch and barbecue). In Past Lives, we seeHae Sung (Teo Yoo) consumes gallons of soju with his buddies, army rations and breakfast noodles, and Nora (Greta Lee) has a craving for chicken wings.

But this year has been singular in that so many of the nominated movies had scenes featuring whiskey and pasta. It has just been a one-dish-from-each-movie kind of year. So we are putting the whiskey and the pasta front and center. I usually drink Bulleit Rye, but on Oscar night, I’ll be pouring Maker’s Mark, not for any movie-related reason, but because it was the favorite of in tribute to my former roommate, Kam Kuwata, who has passed.

Here is this year’s complete menu:

Whiskey

  • Killers of the Flower Moon: Whiskey just keeps showing up, from King (Robert De Niro) greeting Ernest (Leonardo DiCaprio) with a glass to Mollie (Lily Gladstone) bringing out the good stuff to entertain Ernest.
  • The Holdovers: In The Holdovers, Paul is a bourbonaholic, who usually drinks Jim Beam, and he buys a pint in the Boston liquor store. (I’m a fan of The Holdovers, but not Jim Beam).
  • Past Lives: The film is bookended a scene in a New York City bar with the three main characters; Arthut (John Maguro) is drinking an Old Fashioned.
  • Oppenheimer: The flask keeps showing up – and in the 1940s US, it’s gotta contain whiskey.

Pasta:

  • Anatomy of a Fall: Defense attorney Vincent fixes spaghetti when first visiting Sandra (Sandra Huller) after her husband falls to his death. It’s a simple, light colored pasta like cacio a pepe or alla Gricia, and that’s what I’ll be preparing.
  • Past Lives: Given the choice of any cuisine available in New York City, Hae Sung requests pasta, so Nora and Arthur take him to an Italian restaurant where there have pasta with a red sauce.
  • American Fiction: Monk (Jeffrey Wright) and Coraline (Erika Alexander) are preparing a pasta dinner at her place, when their relationship takes a turn.

To go salad in a deli clamshell from American Fiction: Monk is at a hotel conference center to serve on a panel judging books for a literary prize. At the lunch break, he grabs a clamshell salad instead of a wrapped sandwich, which just perfectly fits the character.

Toast and milk from Barbie: Barbie (Margot Robbie) holds a piece of toast and a cup of milk (but doesn’t actually CONSUME them because she’s made of plastic, after all).

Chinese takeout from Maestro: Lenny (Bradley Cooper) and Felicia (Carey Mulligan) enjoy this Manhattan staple in their Upper West Side apartment with their artsy, intellectual friends.

Pasteis de nata from Poor Things: Belle (Emma Stone) gets addicted to these delectable Portuguese egg custards as she matures into having really good taste. The best pasteis de nata in the Western Hemisphere are from Adega in San Jose, but we had to make our own poor substitute.

German pastry from Zone of Interest: This is from the scene when Hedwig (Sandra Huller) is impressing her mother with the lifestyle perks of Hedwig’s marriage to the big boss.

I’ll post a photo tomorrow, on Oscar night.

Movies to See Right Now

Photo caption: Aylin Tezel and Chris Fulton in FALLING INTO PLACE, US premiere at Cinequest. Courtesy of Cinequest.

This week on The Movie Gourmet – Cinequest is underway, and it’s my 14th year covering Silicon Valley’s own major film festival. My Best of Cinequest recommends films from the Thriller, Romance, Comedy, International, Art Film and Documentary categories, along with two Must Sees. All of my coverage is linked on my Cinequest 2024 page – so far, four features and reviews or capsules of ten films.

The WIfe and I are also preparing our renowned Oscar Dinner – more on that tomorrow.

Speaking of the Oscars, I’ll be especially interested in

  • How many Oscars that Oppenheimer racks up. I’m guessing AT LEAST seven: Best Picture, director Christopher Nolan, cinematographer Hoyte Van Hoytema, editor Jennifer Lame, composer Ludwig Göransson and actors Cillian Murphy and Robert Downey Jr.
  • How much recognition Anatomy of a Fall gets, despite not being a Hollywood movie. I’m rooting for Justine Triet’s original screenplay and Sandra Huller’s performance (but it would be OK if Lily Gladstone wins Best Actress instead).
  • I’ll also be rooting for America Ferrara’s performance and Greta Gerwig’s adapted screenplay for Barbie.

Also note that, with Poor Things, American Fiction and The Zone of Interest going to VOD, you can now stream any and all of the major Oscar-nominated films.

CURRENT MOVIES

  • Anatomy of a Fall: family history, with life or death stakes. Amazon, AppleTV, Vudu, YouTube.
  • American Fiction: this can’t be happening. In theaters and Amazon, AppleTV, Vudu, YouTube,
  • The Taste of Things: two passions: culinary and romantic. In arthouse theaters.
  • Golden Years: when dreams diverge. In arthouse theaters.
  • Killers of the Flower Moon: an epic tale of epic betrayal. AppleTV (subscription), Amazon.
  • The Holdovers: three souls must evolve beyond their losses. In theaters, Amazon.
  • Poor Things: brazen, dazzling, feminist and very funny. In theaters, Amazon, AppleTV, Vudu, YouTube.
  • Dream Scenario: but it can’t be my fault, can it? Amazon, AppleTV, Vudu, YouTube.
  • Drift: escaping the horrors, but not yet the trauma. In arthouse theaters.
  • The Boys in the Boat: underdogs soar. In theaters and streaming.
  • The Zone of Interest: next door to the unthinkable. Amazon, AppleTV, Vudu, YouTube.
  • Rustin: greatness, overlooked. Netflix.
  • Maestro: not what she bargained for. Netflix.

WATCH AT HOME

Idella Johnson, Sivan Noam Shimon and Hannah Pepper in Marion Hill’s film MA BELLE, MY BEAUTY. Courtesy of SFFILM.

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

ON TV

Warren William with Loretta Young in EMPLOYEES ENTRANCE

On March 12, Turner Classic Movies airs Employees Entrance, starring Warren William, whose movies from the early 30s remain fresh today. Although he is not well-known today, William was “King of the Pre-Code”, starring in 25 movies between 1931 and 1934, many with the sexual frankness and moral ambiguity that was to be erased by the Production Code. If you want to understand Pre-Code cinema, watch Employees Entrance, and imagine the future movie censor, the supercilious Joe Breen, with his head exploding.

In the 1933 Employees Entrance, William plays a department store manager who is viciously ruthless with his competitors and suppliers.  He abuses his own employees and is indifferent to the resultant suicide attempts.  He uses his position to have sex with a young employee (Loretta Young), even after she marries someone else.  And he keeps a floozy on the payroll to distract another executive (his putative supervisor) from meddling in the business.  And for all 75 minutes of Employees Entrance, William’s joyously despicable character is richly enjoying himself.  If you’re looking for the triumph of Good over Evil, this isn’t your movie.

With his striking features (including a prominent and noble nose) and his deep and cultured voice, William was a natural for the newfangled talkies.  William excelled in the Pre-Code movies because he could play deliciously shameless scoundrels who would use their wit and position to exploit everyone else, especially for sex, power and money.  His characters are fun to watch because they take such delight in their own depravity.  His leading ladies included the likes of Bette Davis, Barbara Stanwyck, Loretta Young, Ann Dvorak and Claudette Colbert. But in 1934, the new Production Code meant that movies could no longer allow his characters to have sex and otherwise behave badly and get away with it.

One of my favorite movies is 1932’s hilarious political comedy The Dark Horse, in which William plays an equally ruthless and amoral campaign manager.  He is such a scoundrel that he must first get sprung from jail to teach his dimwitted candidate to answer every question with “Yes…and, then again, no.”  He describes his own candidate (the gleefully dim Guy Kibbee) thus:  “He’s the dumbest human being I ever saw. Every time he opens his mouth he subtracts from the sum total of human knowledge.” 

Ever the sexually predatory cad on the screen, the real-life William led a quiet life and was married to the same woman for twenty-five years until his death.