Voice in the Mirror
Cast & Crew
Upon returning to the apartment he and his wife Ellen lived in ten years earlier, Jim Burton recalls their circumstances at that time: The couple hopes to escape Jim's past two years of chronic alcoholism, which began after the death of their young daughter. Jim, who has been unable to hold down work as a commercial artist, resists Ellen's advice to take his sketches to his former employer Hornsby, and instead drinks all night. He awakens in the police "drunk tank," where a fellow detainee, musician Harry Graham, offers to share his insights into how he used "spiritual guidance" to stop drinking for twenty months in a row. Caring only about another drink, Jim refuses the invitation, but pockets the card bearing the name of Harry's nightclub. Outside, Ellen is waiting to bring Jim to the office of Dr. Leon Karnes, who insists that he stay for a physical. After Leon discovers early signs of nerve damage, he warns that Jim must quit drinking or he will lose his mind. Although Ellen immediately makes an appointment at the hospital neuropsychiatric clinic, Jim convinces her first to give him one last chance to quit drinking. The next day, Jim accepts a job with Hornsby but by the afternoon is desperate for a drink. He asks a fellow employee for a sip from his bourbon bottle, and after the other man reveals that the bottle is a gag gift, Jim steals the bottle and pawns it. He drinks all night, at one point impressing a little girl with his cartoon graffiti, but he stumbles away from her, remembering his beloved daughter. Jim awakens in his own bed, to the news that Ellen and Leon are awaiting him at the hospital. He races there to beg Ellen not to commit him, and although the doctors remind him that alcoholism is an incurable disease, he bolts away, revolted by the ward patients suffering from dementia. Later, when he finally convinces someone to buy him a drink, his hands shake too much to hold the glass. That night in a church shelter, Jim is unable to sleep and discovers Harry's card in his pocket. Despairing, he wanders into the chapel and asks the janitor to help him pray, and together they recite The Lord's Prayer. In the morning, Jim searches for Harry, but cannot locate the musician and finally sits at a bar next to alcoholic Bill Tobin. Jim and Bill order drinks but then, while they discuss the misery of their illness, Jim is inspired to refuse his drink. He returns home, where Ellen is relieved to see him until she realizes that he has brought Bill to stay with them. She reluctantly allows Bill to pass out on the couch, especially after Jim reveals that Bill's companionship and understanding of alcoholism have given Jim the strength to stop drinking. She pulls away, however, when he tries to kiss her. Just then, Bill suffers a seizure, and Leon is called to tend to him. Leon speaks harshly to Jim about the healing properties of "spiritualism and talking to other drunks," but secretly hopes to challenge Jim into staying sober for six months. The next day, Jim buys back the gag bottle and brings it to Hornsby as an apology. Hornsby reprimands him in front of the other employees, prompting kind-hearted artist Liz to arrange a job for Jim painting murals for department store windows. At home, Bill, a former teacher, tutors the neighborhood children in return for a room in the basement of Jim's building. There, Bill introduces Jim to his young friend, Paul Cunningham, in the hopes that Paul will join Jim in his sobriety attempt. Over the next few days, Bill continues to drink but Paul seems to respond to Jim's sponsorship. One night, Ellen finds Jim working and apologizes for pulling away from him, and in response he kisses her passionately. Just then, Paul approaches them drunkenly, sorely disappointing Jim. Over the next days, Jim attempts to spread the word of his sobriety program around town, and although no one appears to listen, one day Paul approaches him and asks for another chance. Jim is encouraged, and soon gathers a small group of men and women at his apartment to exchange stories and support. Four weeks later, they meet to celebrate Paul's first month of sobriety, and while the group awaits Paul's arrival, Ellen comes home from work and is upset to find them in her living room. When one man stumbles into the kitchen slurring his words, Ellen runs into the bedroom to cry. Jim follows and urges her not to humiliate the group, who are barely managing to sustain their confidence. Just then, Paul's mother arrives and berates Jim for pushing Paul too hard, revealing that the boy has just tried to commit suicide. In response, Jim's group dissipates, causing Jim to despair until Bill reveals that he has secretly gone without a drink for weeks. Thrilled, Jim invites Leon over and introduces Bill as "the hope for drunken humanity." Later, Bill prepares to visit his daughter, whom he has not seen in years, but on the way to the train station becomes overwhelmed by Jim's faith in him and drinks until he is arrested. Ellen criticizes Jim, prompting him to declare that she preferred it when she had to take care of him. As he hunts through the apartment for money to buy a drink, Harry appears and, having heard about Jim's group, begs him to help him get through the night without a drink. When Jim throws him out, a desperate Ellen pulls out a gun, stating that if he cannot "be a man" she would rather he was dead. Jim easily takes the gun away and listens as she begs him to help Harry through just one night, after which he can help Jim through just one day. With new motivation, Jim finds Harry on the street. In the present, Ellen leads Jim into the meeting celebrating his tenth year of sobriety. To his surprise, Bill, Paul, Harry and Leon are there to honor him. Jim refuses to take credit for the success of his program, instead reciting, "God grant me the serenity to accept the things I cannot change, the courage to change things I can and the wisdom to know the difference."
John P. Austin
Leslie I. Carey
Ray De Camp
Russell A. Gausman
Richard H. Riedel
The Voice in the Mirror
Although not well known today, director Harry Keller had a long and successful career in motion pictures. He entered the business as an editor in 1936, and went on to direct numerous movies (the majority of them Westerns) and TV shows. He also served as producer on several projects and later returned to editing late in his career, receiving credit for his work on such comedies as Stir Crazy (1980), Stripes (1981), and others released just a few years before his death in 1987. He is perhaps best remembered as the director Universal called in to reshoot some scenes from Orson Welles' Touch of Evil (1958).
Voice in the Mirror was shot by legendary cinematographer William "Billy" Daniels, whose 150+ pictures between 1922 and 1970 ran the gamut from the great silent Von Stroheim dramas to ensemble cast classics Grand Hotel (1932) and Dinner at Eight (1933) to his Oscar®-winning black-and-white work on the documentary-like film noir The Naked City (1948). He also shot Westerns and action epics, big budget MGM musicals and such high-profile melodramas as Some Came Running (1958) and Valley of the Dolls (1967). But he is probably best known as Garbo's favorite photographer, the man who is credited with virtually "creating" her screen face. The two worked together on 20 pictures, including most of the star's biggest hits.
Making an early appearance in only his second year in motion pictures, Troy Donahue would shortly become a teen idol for a brief period in the late 50s and early 60s. The cast also boasts a number of screen veterans, including Mae Clarke, the woman who took the grapefruit in the face from James Cagney in The Public Enemy (1931) and married Colin Clive's mad doctor in Frankenstein (1931), and Ann Doran, who by some counts appeared in around 500 pictures and 1000 TV episodes between the silent era and the late 1980s. Also featured in a small bit as a raving psychiatric patient is character actor Harry Dean Stanton, later known for his work in Alien (1979), Paris, Texas (1984) and most recently the HBO TV series Big Love.
In case you were wondering, that's Julie London's smoky voice singing the title tune behind the opening credits. She and her husband, Bobby Troupe, wrote the song, but the film score was composed by multiple award-winner Henry Mancini.
Director: Harry Keller
Producer: Gordon Kay
Screenplay: Larry Marcus
Cinematography: William Daniels
Editing: George Gittens
Art Direction: Alexander Golitzen, Richard H. Riedel
Original Music: Henry Mancini
Cast: Richard Egan (Jim Burton), Julie London (Ellen Burton), Walter Matthau (Dr. Leon Karnes), Troy Donahue (Paul Cunningham), Arthur O'Connell (William Tobin).
by Rob Nixon
The Voice in the Mirror
TCM Remembers - Pauline Kael/Troy Donahue
Pauline Kael, who died September 3rd at the age of 82, was one of the handful of film critics who made a noticable impact on the way we view movies. Her mix of personal feelings with more abstract aesthetics inspired numerous other critics (sometimes called "Paulettes") and in a few cases even made big hits of movies like Bonnie and Clyde (1967). She claimed to never see a movie more than once or to change her mind about it later. Several collections of her work are available, most with mildly risque titles like I Lost It at the Movies, Kiss Kiss Bang Bang and Going Steady.
Kael was born June 19, 1919 in Petaluma, California but moved with her family to San Francisco during her teens. There she majored in philosophy at University of California at Berkeley though she didn't graduate (the school later gave her an honorary degree). That's when she started to develop a serious interest in movies. In addition to the usual writer's assortment of jobs (seamstress, cook, retail clerk) she started writing about film in 1953; her first review was of Charlie Chaplin's Limelight which she disliked. She wrote for several small publications and did a radio show on the groundbreaking network KPFA before finally landing a job at the high-profile McCall's only to be fired shortly after she panned The Sound of Music (1965) (which she called The Sound of Money). During this period she was also managing and programming Berkeley Cinema Guild Theatres (one of the country's earliest repertoire cinemas despite being basically small rooms above a laundry), and was briefly married to avant-garde filmmaker James Broughton.
The turning point came in 1965 when I Lost It at the Movies not only attracted major critical attention but became a strong seller in book stores. Two years later legendary editor William Shawn hired Kael as film critic for The New Yorker, completing her jump into the limelight. Kael never shied away from controversy as two other events proved. In the early Sixties she engaged in an infamous and surprisingly bitter debate with critic Andrew Sarris among others about the merits of auteurism, the French-born philosophy that believes the director is the chief creative person behind any film. Kael's anti-intellectual streak came forward but since auteurism wasn't meant to be a genuinely rigorous theory (such attempts came later in the 70s) this was a sort of Brer Rabbit vs. tar baby fight that Kael could never win. The other notorious controversy occured in 1971 with her essay "Raising Kane" which was intended to show that screenwriter Herman Mankiewicz deserved as much if not more credit for Citizen Kane (1941) than Orson Welles. While Mankiewicz's contribution had clearly been underappreciated, most of Kael's conclusions and even some of her factual basis have been disproven though she never bothered to revise the essay.
In 1979, Kael made a detour to Hollywood by the urging of Warren Beatty. She was meant to be an "executive consultant" at Paramount but actually making movies is quite a different matter than writing about them so Kael lasted only five months. She went back to The New Yorker, eventually retiring in 1991 partly as a result of Parkinson's Syndrome. She still kept up with movies though, loving such smaller films as Vanya on 42nd Street and actors like Jim Carrey (who "has practically kept movies alive the past few years" she said in 1998).
By Lang Thompson
Troy Donahue 1936-2001
Troy Donahue died September 2nd at the age of 65. He was a fixture in movies during the 1950s, playing an assortment of heartthrobs and borderline tough guys. Donahue was actually Merle Johnson Jr, born in New York City on Jan 27, 1936. He went to Columbia University and started acting in small theatrical roles which eventually led to film appearances, the earliest ones uncredited. His first was Man Afraid (1957) but Donahue also made brief TV appearances at the time on shows like Wagon Train. He signed with Warner Brothers in 1959 and immediately jumped to stardom in films like A Summer Place and Imitation of Life (both 1959). He was busy in a variety of films during this periods - notably Parrish (1961) and Rome Adventure (1962) - but also starred in the TV series Surfside 6 (1960) and Hawaiian Eye (1962 and predating Hawaii Five-O by several years). Donahue's career declined as the Sixties became more turbulent but he still made notable appearances in The Godfather Part II (1974), playing a character with Donahue's own real name, and Monte Hellman's Cockfighter (1974). Most of Donahue's later films were direct-to-video efforts like Nudity Required and Omega Cop but trash aesthete John Waters, a huge fan, used him for Cry-Baby (1990).
By Lang Thompson
TCM REMEMBERS CARROLL O'CONNOR 1924-2001
Carroll O'Connor - who died June 21st at the age of 76 - will be best remembered for portraying Archie Bunker on TV's All in the Family but his career actually was much more extensive. Born in New York on August 2nd, 1924, O'Connor served in the merchant marine during World War II before attending the University of Montana where he worked on the school newspaper. Before graduating, he followed his brother to another college in Ireland (he would later get a Masters in speech from Montana). It was in Ireland that O'Connor started acting in several local productions. He returned to the U.S. for his Broadway debut in 1958 and shortly after started to appear on numerous TV shows like The Untouchables and Naked City. His first film was Parrish (1961) though he eventually acted in over a dozen films during the Sixties including Cleopatra (1963), Marlowe (1969), Hawaii (1966) and Point Blank (1967). O'Connor even auditioned for the part of the Skipper in the TV series, Gilligan's Island, but it was his role as Archie Bunker in a 1971 sitcom that made him a star. All in the Family was an American version of the British sitcom Till Death Do Us Part that met some initial resistance (ABC rejected the first two pilots) but quickly captivated American audiences and became the country's top-rated TV show. Archie became such an icon that his chair is now preserved in the Smithsonian. The series lasted until 1979 and brought O'Connor four Emmys, even leading to a four-year spinoff Archie Bunker's Place starring O'Connor. (It also produced one of TV's oddest spinoffs in1994's 704 Hauser about a multi-racial family living in Archie Bunker's old house. It had no cast members from the earlier series and only lasted six episodes.) In 1988, O'Connor took the role of a Southern sheriff in a TV series based on the movie In the Heat of the Night and found himself in another hit, this one lasting until 1995. He also occasionally played Helen Hunt's father on Mad About You. By all accounts, O'Connor was nothing like Archie Bunker; in fact, O'Connor was an active anti-drug crusader, partly the result of his son's drug-related suicide.
By Lang Thompson
TCM REMEMBERS JACK LEMMON 1925-2001
Whether playing a cross-dressing jazz bassist or a bickering roommate, Lemmon has kept his fans in stitches for fifty years. But beneath that comedian's facade, the actor had a very serious side, which occasionally surfaced in such films as Days of Wine and Roses (1962) or Costa-Gavras' political thriller Missing (1982). Lemmon was truly a one-of-a-kind actor and his track record for acclaimed performances is truly remarkable: 8 Oscar nominations (he won Best Supporting Actor for Mister Roberts (1955) and Best Actor for Save the Tiger (1973), a Life Achievement Award from the American Film Institute, 8 British Academy Award nominations, 4 Emmy Award nominations, numerous Golden Globe nominations, a two-time Best Actor winner at the Cannes Film Festival, the list goes on and on.
Lemmon entered the world in a completely novel fashion; he was born prematurely in an elevator in Boston in 1925. The son of a doughnut manufacturer, Lemmon later attended Harvard University but was bitten by the acting bug and left the prestigious college for Broadway. Between theatrical gigs, he played piano accompaniment to silent films shown at the Knickerbocker Music Hall in New York. Later, Lemmon claimed that he learned more about comic technique by watching these Chaplin, Keaton and Harold Lloyd two-reelers than acting school could have ever taught him.
From Broadway and early TV appearances to Hollywood, Lemmon moved West to make his screen debut in It Should Happen to You (1954), opposite Judy Holliday in a variation of her 'dumb blonde' persona that had won her an Oscar for Born Yesterday (1952). In It Should Happen to You, Holliday plays a struggling actress who soon wins fast fame as the product of promotion. Lemmon plays her levelheaded boyfriend but finds himself on the sidelines when the suave and sophisticated Peter Lawford appears on the scene. It Should Happen to You, directed by George Cukor, was a popular success and Lemmon and Holliday were quickly teamed again in Phffft! (1954), another lightweight romantic comedy. A year later, Lemmon hit the major leagues when he supported Hollywood heavyweights Henry Fonda, James Cagney and William Powell in Mister Roberts (1955). As Ensign Pulver, a deckhand who avoids work whenever possible, Lemmon won a Best Supporting Actor Oscar®.
Onscreen, Lemmon's characters often found that they were the wrong men for their jobs. In Cowboy (1958), Lemmon plays a city slicker venturing out on the wild frontier. His romantic visions of the West are soon changed by the hard-living, hard-drinking reality. Cowboy is based on the autobiography of Frank Harris, and, like the author, Lemmon found himself adapting to the rough and tumble lifestyle on the trail.
Lemmon brought a new comic persona to Hollywood films. He combined elements of screwball and slapstick comedy with his own self-deprecating humor to create satiric portraits of the contemporary American male. The sometimes cynical comic sense of director Billy Wilder provided Lemmon with the perfect complement. Together they made seven films, but it was their first, Some Like It Hot (1959), that captured the sheer comic genius of their collaborations together.
From sexual antics to social critique, Lemmon and Wilder sharpened their comic knives on the hypocrisies they saw in American culture. The Apartment (1960) focused on a working stiff who lends his home to his supervisors for their extramarital affairs. Problems arise when Lemmon falls for his boss's paramour - it gets even more complicated when she tries to kill herself in his pad! Though The Apartment was a comic success, with each passing year the film's serious side seems even more dark and derisive. Illicit love and the corruption of big business might not seem to be the stuff of hit comedies, but Wilder and Lemmon found humor in the most unlikeliest of places. Director and comic star went on to make five more films: Irma la Douce (1963), The Fortune Cookie (1966), Avanti! (1972), The Front Page (1974) and Buddy Buddy (1981).
Billy Wilder and Lemmon's lifelong comic foil Walter Matthau (nine collaborations with Lemmon in 32 years, including their most popular film, The Odd Couple, 1968) brought some of the comedian's finest funny moments to the screen. But there was a serious side too. Lemmon waived his salary to act in Save the Tiger (1973), the 'great American tragedy' of a businessman at the end of his rope. Lemmon won his second Academy Award for the film. In Missing (1982), directed by the uncompromising Costa-Gavras, Lemmon played a patriotic father searching for his kidnapped son in Latin America. The closer he gets to his goal, the clearer it becomes that a government conspiracy is behind his son's disappearance. Missing was inspired by a true story - the production was condemned by the Reagan administration and awarded the Golden Palm at the Cannes film festival.
Very few actors today can match Lemmon's range on the screen. He has acted in everything from lightweight sex farces (How to Murder Your Wife, 1965) to musicals (My Sister Eileen, 1955) to social dramas (Days of Wine and Roses, 1962) to political thrillers (The China Syndrome, 1979). Turner Classic Movies cherishes the memory of this remarkable talent.
By Cino Niles & Jeff Stafford
ANTHONY QUINN, 1915-2001
Not many actors can boast that they've inspired a Bob Dylan song but Anthony Quinn - who passed away June 3rd at the age of 86 - was one of the select few. But that's just one of many incidents in a life that can only be described as colorful. If a novelist had invented a character like Quinn, she would be accused of unbelievable invention. But in Quinn's case, it's all true.
Quinn was born April 21, 1915 in Mexico. His parents were involved in Pancho Villa's revolutionary struggle and must have made a striking couple since the father was half Irish and mother Mexican Indian. The couple were married on a train of rebel soldiers. After Quinn's birth, the family soon moved to East Los Angeles (after a quick Texas detour) where Quinn grew up in the shadow of Hollywood. (A branch of the Los Angeles County Public Library now occupies the site of Quinn's childhood home; in 1981 it was renamed in his honor.) At the age of 11 he won a sculpture award and shortly after began studying architecture under Frank Lloyd Wright. It was Wright in fact who suggested the possibility of acting to Quinn and even paid for an operation to cure a speech impediment. Along the way, Quinn also dabbled in professional boxing (he quit after his 17th match, the first he lost) and street-corner preaching. He continued to sculpt and paint for the rest of his life while also becoming a noted art collector.
Quinn's acting debut was in 1936 initially in a handful of barely noticable spots as an extra until he landed a speaking role in Cecil B. DeMille's The Plainsman, supposedly on the recommendation of the film's star, Gary Cooper. One unanticipated result was that Quinn married DeMille's daughter the following year; they appeared together in Phil Karlson's Black Gold (1947) and had five children. Quinn also appeared on stage in 1936 playing opposite Mae West. Quinn continued in film parts that gathered acclaim: Crazy Horse in They Died With Their Boots On (1941), a gambler in The Ox-Bow Incident (1943), a soldier in Guadalcanal Diary (1943).
But it was the 1950s when Quinn broke out. Viva Zapata!(1952) provided him a wonderful role which he used to win a Best Supporting Actor Academy Award. Oddly enough, in Viva Zapata! Quinn worked with Marlon Brando who he had replaced in the original Broadway production of A Streetcar Named Desire. (Director Elia Kazan tried to start a rivalry between the two actors but they were great admirers of each other.) Quinn again won Best Supporting Actor playing painter Paul Gauguin Lust for Life (1956) which at the time was the shortest on-screen time to win an acting Oscar. The following year came was a Best Actor nomination for George Cukor's Wild Is the Wind (1957). As he did throughout his career, Quinn rarely hesitated to take work whereever he found it, which resulted in dozens of potboilers like Seven Cities of Gold (1955) but also a few cult favorites like Budd Boetticher's The Magnificent Matador (1955). It was a trip to Italy that brought Quinn one of his most acclaimed roles: a simple-minded circus strongman in Federico Fellini's La Strada (1954). Quinn directed his only film in 1958, The Buccaneer, a commercial failure he later attributed to producer Cecil DeMille's interference. Towards the end of that decade he appeared in Nicholas Ray's The Savage Innocents (1959) as an Eskimo, inspiring Bob Dylan to write "Quinn the Eskimo" (a Top Ten hit for Manfred Mann in 1968). In 1965, his relationship with an Italian costumer created a minor scandal when it was revealed that the couple had two children. Quinn divorced DeMille's daughter and married the costumer.
He continued the same mix of classics and best-forgotten quickies throughout the 1960s and '70s. A key role in Lawrence of Arabia (1962) only confirmed his talents while he again earned a Best Actor nomination for the unforgettable lead role in Zorba the Greek (1964). The gritty crime drama Across 110th Street (1972) is one of the best American movies of its decade, enhanced by Quinn's turn as an embattled police captain. Quinn was a pope in The Shoes of the Fisherman (1968), an Islamic leader in The Message (1976), a thinly disguised Aristotle Onassis in The Greek Tycoon (1978) and an assortment of gangsters, con men, military leaders and what have you. The rest of his career might be summed up by the year 1991 when he gathered critical acclaim for his appearance in Spike Lee's Jungle Fever, was nominated for a Razzie as Worst Actor in Mobsters, co-starred with Bo Derek in Ghosts Can't Do It, worked beside John Candy and Macaulay Culkin in Chris Columbus' Only the Lonely and made a film so obscure it appears to have never appeared on video. Quinn married his third wife in 1997; they had one son. He had just completed the title role in Avenging Angelo (with Sylvester Stallone) at the time of his death.
By Lang Thompson
TCM Remembers - Pauline Kael/Troy Donahue
The working titles of this film were No Power on Earth, How Lonely the Night and This Day Alone. The film begins with the following written statement: "This is the true account of an overwhelming terror and one man's struggle to survive it. Real names cannot be used for reasons that will become obvious." A June 21, 1956 Daily Variety article reported that Larry Marcus wrote the original story for the picture and was hired to write the screenplay; his onscreen credit reads "Written by Larry Marcus." Although the film never mentions Alcoholics Anonymous, contemporary reviews noted the obvious allusions to the organization. According to a August 17, 1957 Daily Variety item, E. G. Marshall was offered a featured role. Modern sources add Harry Hines to the cast as "Charlie." Although a September 3, 1957 Hollywood Reporter news item adds Lyle Latell to the cast, his appearance in the final film has not been confirmed. On December 30, 1958, a "Rambling Reporter" item in Hollywood Reporter noted that Universal was re-issuing Voice in the Mirror "to position Richard Egan for an Oscar nomination," but Egan did not receive a nomination.
Released in United States Summer August 1958
Released in United States Summer August 1958