This was the fourth feature directed by Ida Lupino and produced by her husband Collier Young for their company The Filmakers. It has received far less attention than the first three and suffered more from a critical dismissal. I think there are two reasons for this. First, its subject matter is less sensational/socially conscious than the first three (which deal with unwanted pregnancy, polio and its effect on young lives and rape) and secondly it is adapted by Martha Wilkerson from a novel (or possibly a short story) by John R. Tunis. On the previous three pictures, Lupino and/or Young had been involved in the writing. My own feeling is that although the film has weaknesses it is overall a well-made film on a modest budget that has several good points and provides both an enjoyable entertainment and food for thought – partially provided by the original material by John R. Tunis.
The best way to describe this 77 minute picture is as a sports film and family melodrama hybrid. It tells the cautionary tale of a young female tennis star and her pushy mother played by Sally Forrest and Claire Trevor, the two stars in the cast. Forrest had played the lead in two of the earlier Lupino films, Not Wanted and Never Fear. Claire Trevor was just a few years older than Ida Lupino and had experienced something of a similar career. I remember her from Stagecoach (1939), Farewell My Lovely (1944) and Born to Kill (1946). She would have known Lupino at least through shared experiences of working with Bogart, Edward G. Robinson and other leading stars (e.g. on Key Largo (1948)).
Sally Forrest is Florence Farley, an 18 year-old high school graduate practising tennis shots against the wall when she is spotted by Gordon (Robert Clarke, also in Outrage). He has a temporary job at the local country/sports club and invites her to play tennis there. Florence is seriously talented and before long is a local junior champion and over the next couple of years becomes a contender for National Women’s Champion at Forest Hills and then at Wimbledon. Her rise to tennis stardom is orchestrated by her mother (Claire Trevor) in cahoots with the oily Fletcher Locke (Carleton G. Young), an Eastern tennis agent. Both Gordon and Florence’s father Will (Kenneth Patterson, again, also in Outrage) are left struggling in Florence’s wake.
It is when Florence and her mother opt to travel to Europe with backing by Locke through his contacts with hotel chains and other ‘sponsors’ that Gordon, who has proposed to Florence, refuses to follow her. Instead he rails against the sponsorship which threatens her ‘amateur’ status. I was a little surprised by this (and an earlier similar scene on a smaller scale). I remember how tennis, like athletics and rugby always had the important professional v. amateur divide, but I do wonder how American amateurs could afford to travel to London, Paris and Melbourne without some form of sponsorship – presumably through their official federation? The reason why this is a strong element in the film’s plot goes back to John R. Tunis who was a fierce critic of professional sports and the way they were covered by the media. He usually wrote what would now be termed ‘Young Adult’ fiction (his publishers actually pushed him into writing for younger readers) with a strong moral undertow. Many of his books were about baseball and American football but his novel American Girl (1930) and short story Champion’s Choice (1940) were about tennis. By all accounts Tunis was a highly regarded and very well-known writer as well as tennis commentator. It’s unfortunate that the film’s short running time doesn’t allow Tunis’ ideas to be developed in a more organic way. At the end of the film when Florence has ‘repented’ to some extent, she gives an interview about fair play and being a role model to a journalist who is rolling her eyes in disbelief at the fiercely moral line that is being taken.
The short running time is a feature of The Filmmakers’ films. This was mainly because of limited funding, though in the best films it means a lean and supple narrative. Hard, Fast and Beautiful is one of the films funded and distributed by RKO. According to various sources, Howard Hughes offered The Filmakers around $200,000 per picture but did not interfere in the productions. However, this film certainly shows all the signs of a rushed ending and the narrative almost seems to collapse in the final scenes as Florence performs a volte-face and her mother is left to try to understand what has happened. The quandary for Lupino and Young as The Filmmakers is neatly summed up by the marketing campaign devised by RKO exemplified by the poster above. The imagery and the tagline both oversell and distort what the film has to offer – but on the other hand, RKO muscled the film into cinemas and attracted audiences. However, the film ultimately failed because it actually bears little resemblance to the poster’s suggestions. Hughes organised grand openings for the film in various cities – but The Filmakers picked up the expenses bill and this wiped out their share of any profits. The Filmmakers’ films have also suffered from the label of ‘B picture’ attached to them by critics and general commentators. I suspect the tag comes mainly because of the short length and the relatively low-budget. But Hard, Fast and Beautiful is not a ‘B’ in conception or execution. Ida Lupino herself associated The Filmakers with the director-producers she named as ‘Independents’ including Stanley Kramer, Robert Rossen and Louis de Rochemont (see below). Using this term suggests a link between Ida Lupino and later ‘American Independents’ like John Sayles.
The film is photographed by Archie Stout who shot Lupino’s first three pictures but is best known for his work with John Ford and edited by William Ziegler (known for work with Hitchcock). The music is by RKO’s film noir master composer Roy Webb and the two art directors, Albert S. D’Agostino and Jack Okey were responsible for the sets on Out of the Past (1947) – in my view the best noir from the 1940s. This is a list of veteran talent that any ‘A’ film production would be lucky to attract. These were hard-bitten Hollywood pros, some of whom were happy to work with The Filmakers more than once because they admired Ida Lupino’s talent and desire to learn as a director.I think a lot of that industry knowledge is up there on the screen. The tennis matches, mostly filmed in California or at Forest Hills are very well put together. I’m no tennis expert, but Sally Forrest was convincing for me. There are many long shots of the courts with cuts to Forrest serving and returning and she certainly hits the ball ‘hard and fast’. Lupino was well-known for her use of location shooting and for her interest in both neo-realism (she met and admired Roberto Rossellini) and in the American form of ‘semi-documentary’ championed by Louis de Rochemont in which crime and ‘social problem’ pictures were shot on location. Lupino probably also followed the career of Mark Hellinger, the producer for whom she worked on They Drive By Night (1940), High Sierra (1941) and Moontide (1942). In the late 1940s he produced two New York-based films noirs with extensive location shooting, the Jules Dassin directed Brute Force (1947) and The Naked City (1948).
But it is the melodrama which intrigues in Hard, Fast and Beautiful and Lupino must have known instinctively how to direct Forrest and Trevor, having played similar roles herself. In the scene above the mise en scène conveys so clearly the family conflict. Hollywood showed us so many twin beds in married couples’ bedrooms, but I’ve never seen them back to back like this. The divide is very clear and almost doesn’t need dialogue. The film’s script draws on the mother-daughter relationship seen in films like Mildred Pierce (1945) though the roles are reversed to some extent. Mildred has a much stronger story but on the other hand, Ida Lupino and Collier Young present a more realist feel for the situations faced by their characters. Claire Trevor is also a match for Crawford as the mother. I can’t help feeling that if The Filmmakers had had a little more time and a little more money they would have made a fine melodrama.