Tales of Manhattan (1942)

Director:

Julien Duvivier

Writers:

Henry Blankfort (writer)
Alan Campbell (writer)

Release Date:

24 September 1942 (USA)

Genre:

Comedy | Drama | Romance

Tagline:

An Experience You'll never forget !

Plot:

An actor, Paul Orman, is accidentally told that his new, custom made tail coat has been cursed and it will bring misfortune to all who wear it...

Plot Keywords:

Coat | Actor | Reunion | Reverend | Airplane

Cast

Charles Boyer	...	Paul Orman
Rita Hayworth	...	Ethel Halloway
Ginger Rogers	...	Diane
Henry Fonda	...	George
Charles Laughton	...	Charles Smith
Edward G. Robinson	...	Avery L. 'Larry' Browne
Paul Robeson	...	Luke
Ethel Waters	...	Esther
Eddie 'Rochester' Anderson	...	Rev. Lazarus
Thomas Mitchell	...	John Halloway
Eugene Pallette	...	Luther - Orman's butler
Cesar Romero	...	Harry Wilson
Gail Patrick	...	Ellen - Diane's friend
Roland Young	...	Edgar - Wilson's butler
Marion Martin	...	'Squirrel'

Also Known As:

Stars Over Manhattan (USA) (working title)

Runtime:

118 min | 127 min (restored version)

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Mirrophonic Recording)

Certification:

Finland:S | Sweden:15 | USA:Unrated

Company:

Twentieth Century-Fox Film Corporation

Trivia:

Amused by Charles Boyer's thick French accent, Rita Hayworth giggled her way through the filming of their love scenes together.

Quotes:

George: I know my own tailcoat!
Diane: Well, you didn't last night!

Movie Connections:

Featured in Jumpin' Jack Flash (1986)

Soundtrack:

Perpetual Motion (Perpetuum mobile, Op. 257)

Check The Pockets For Fine Entertainment

The movements of an accursed tail coat about the Big City, and the lives of those who use it, becomes part of the TALES OF MANHATTAN.

Fox Studios and director Julien Duvivier fashioned this most enjoyable film. The idea of the tail coat never becomes silly or gets in the way of the plot, which doles out equal amounts of irony, suspense, pathos & comedy. The all-star cast gives worthy performances which keeps the viewer's attention right to the very end.

SEQUENCE ONE An actor and his lover (Charles Boyer & Rita Hayworth) are confronted by her quietly sadistic husband (Thomas Mitchell). Eugene Palette plays Boyer's loyal valet. An unbilled Robert Greig appears as the corpulent creator of the elegant tail coat.

Most of the action in this sequence takes place at an estate outside of Manhattan.

SEQUENCE TWO A shy fellow (Henry Fonda) tries to help his friend (Cesar Romero) out of a jam with his suspicious fiancé (Ginger Rogers). Gail Patrick appears as Rogers' nosy gal pal; Roland Young plays Romero's protective valet.

A quite different tail coat is the center of the plot here, which can become a bit confusing.

SEQUENCE THREE A poor composer (Charles Laughton) finally has the opportunity to conduct his magnum opus at a concert. Radiant Elsa Lanchester appears as Laughton's adoring wife. Christian Rub plays a friendly cellist, while Victor Francen is very believable as the noble Bellini. An unbilled Dewey Robinson plays the bullying owner of a small café.

Laughton is magnificent, as is to be expected, giving another master class in how to turn a small part into something very special.

SEQUENCE FOUR

After being spiffed-up and accoutered in the tail coat, a skid row bum (Edward G. Robinson) makes a poignant appearance at the Waldorf-Astoria for his college's 25-year class reunion. James Gleason plays the kindly parson who runs a rescue mission; silent screen star Mae Marsh appears as his sweet-natured wife. Harry Davenport appears as a wise old professor; George Sanders snarls his way through his role as Robinson's old antagonist.

Robinson & Gleason do some impressive acting, making their characters come alive.

SEQUENCE FIVE

An eccentric professor (W.C. Fields) gives a temperance lecture to a gathering of high society swells, not knowing that the coconut milk has been liberally spiked. Phil Silvers shines in the brief role of the secondhand dealer who sells the tail coat to Fields. The monumental Margaret Dumont enlivens her scant appearance as the matron sponsoring Fields.

Before the film's initial release, there was consternation from some of the other major stars concerning Fields' large salary. The clamor grew to the point that Fox weaseled out by simply excising the sequence entirely. Rumor was allowed to grow that the removal was due to an inept performance from Fields. This is tragic, in that it was to be one of Fields' final appearances on film and he is hilarious, as is Phil Silvers (who has the distinction of being practically the only person in film history who ever managed to both outtalk & hoodwink Fields). After more than half a century, this sequence has finally been reunited with the rest of the film--the only problem, for anyone that cares, being a slight one of continuity, as it is not shown how the tail coat returns to the Santelli Bros. shop in time for the burglary that opens Sequence Six.

You have to be quick to read the painted sign on the Santelli Bros. window: WE TAKE AN ABSOLUTE LOSS ON EVERY TRANSACTION WE'RE ECCENTRIC

SEQUENCE SIX

In the film's most photographically stylish sequence, a shanty town full of impoverished farmers rejoice when the tail coat--and its pocket full of cash--literally falls out of the sky. J. Carrol Naish plays the airborne robber who loses the coat. Paul Robeson & Ethel Waters are the couple who find it. Eddie 'Rochester' Anderson is their gently conniving preacher; an almost unrecognizable Clarence Muse appears as a greedy old grandfather. Members of the wonderful Hall Johnson Choir lift their voices as the jubilant townsfolk.

Once again, the action in this sequence mostly occurs far from Manhattan. The short song at the very end is the only occasion Robeson and The Hall Johnson Choir ever sang together on film--and, unbelievably, Miss Waters isn't allowed to sing at all.

********************

Director Duvivier and stars Boyer, Robinson & Mitchell would travel to Universal Studios to make another sequential film, FLESH AND FANTASY, in 1943.