The Last Time I Saw Paris (1954)

Film: The Last Time I Saw Paris (1954)

Stars: Elizabeth Taylor, Van Johnson, Walter Pidgeon, Donna Reed, Eva Gabor, Roger Moore

Director: Richard Brooks

Oscar History: No nominations

Snap Judgment Ranking: 2/5 stars

Each month, as part of our 2022 Saturdays with the Stars series, we highlight a different Classical Hollywood star who made their name in the early days of television.  This month, our focus is on Donna Reed: click here to learn more about Ms. Reed (and why I picked him), and click here for other Saturdays with the Stars articles.

We are going to conclude our month-long look at the career of Donna Reed with the twilight of her film career.  Reed would stop making theatrical movies by the mid-1950's, when she was essentially shooting bargain basement flicks for Columbia, and one could argue that today's movie The Last Time I Saw Paris was the last really high-budget movie she'd make, though the budget has less to do with her coming off of an Oscar win and more because she was starring opposite one of the biggest emerging stars of the era, Elizabeth Taylor.  Given that motion pictures were doing nothing for her, she decided to move to television, where her long history of big-screen projects and her Oscar win were enough to get her an eponymous TV series called The Donna Reed Show which would run for eight years on ABC.  Initially a flop (Reed was up against Milton Berle & the show was nearly cancelled in its first season), moving the series to Thursday nights earned the show a following, but it also accrued quite a bit of infamy.  We're going to talk about what happened to Reed's show, both during & after its run, in a second, but first I want to make sure we pay attention to the movie at-hand today, The Last Time I Saw Paris.

(Spoilers Ahead) The movie is told in retrospect, and it's got a lot of plot (based on a story by F. Scott Fitzgerald it also has a lot of booze & tragedy).  Essentially the gist of the movie is that we have Charles Willis (Johnson), a war correspondent who is accosted by a woman on the street that we learn is Helen (Taylor), a carefree younger sister of a woman who has also made Charles' acquaintance Marion (Reed).  Both sisters are obviously in love with Charles, but it's Helen that he prefers, her carefree spirit & more conventional attractiveness making her impossible to deny.  Charles & Marion are a terrible pairing, with the former an unsuccessful writer who is practical, the latter a free spirit who indulges in spending money she doesn't have.  Their lives are torn asunder when the barren oil fields that Charles got as a dowry from his equally cavalier father-in-law (Pidgeon) actually strike oil, making them momentarily rich.  The couple start to grow apart, with them both starting up affairs (with a young Eva Gabor & Roger Moore), hurting their relationship, and leading Charles to become an alcoholic.  One night, Helen tries to return in the rain to their house, but Charles, drunk, cannot get to the door, and so Helen goes to Marion's in the cold...and promptly dies from pneumonia.  Charles cannot forgive himself, and neither can Marion, who holds a grudge for him not choosing her initially, and for a while she keeps his daughter with Helen from her, but in the end they are reunited, trying to live their lives in the wake of Helen's death.

The movie should work but it doesn't.  There's a compelling story, and Taylor is fire here (she looks great).  But the story doesn't really know what to do with the main characters, who don't really have much chemistry with each other or with Gabor/Moore.  Honestly, I always struggle with Van Johnson when he's doing drama...my favorite role for him is the curmudgeon in Brigadoon, but I've never loved him in anything else.  Honestly, Donna Reed is really good here in a role that is vastly underwritten-her late-breaking adoration of Charles is only etched in her eyes, not in the script, and I spent most of the movie wanting to see things from her perspective.  After a month of Reed getting the fuzzy end of the lollipop, at least here she earns the star power she wasn't given in other movies we've profiled.

Reed, as I mentioned, moved to television after this.  The Donna Reed Show was the first major broadcast show in the United States to feature a mother as the most important character in a family sitcom, rather than the father or the children.  The show launched the singing careers of Shelley Fabares ("Johnny Angel") & Paul Petersen ("My Dad"), who played Reed's children.  The show, though, attracted criticism of feminists, who thought the show depicted Reed's character Donna Stone as a submissive housewife who wore ballgowns while washing windows; this would be mocked decades later in a Gilmore Girls episode where Rory would dress as Donna Reed on a date with her boyfriend Dean.  Reed did not take well to her character being criticized by the women's liberation movement of the 1970's, and engaged in public statements against women in film & TV of the era that we would now consider to be "slut shaming" referring to them as "kooky, amoral, & sick."  

Reed's politics were more complicated, though, than you'd think.  While she was a longtime Republican, which leans into much of what we associate with her today as being synonymous with her fictional Donna Stone character, I was surprised to find out in researching her this month that she went from endorsing Barry Goldwater in 1964 to supporting Eugene McCarthy in 1968, a shift driven entirely by her views on Vietnam, which she vehemently opposed.  Reed would rarely work after The Donna Reed Show (though she attempted a comeback in Dallas to replace Barbara bel Geddes that would ultimately result in Reed successfully suing CBS for breach-of-contract when bel Geddes changed her mind and returned to the show).  She died in 1986 at the age of 64 of pancreatic cancer.  Next month, for our last month focused on "Film-to-TV," we are going to talk about an actress who, unlike the eleven figures we profiled before this, was one of the biggest stars of the Classical Hollywood era, not needing to indulge in television as a way to cement her celebrity.  That she did anyway in the 1960's indicated just how important television had become, permanently linked to the Hollywood machinery.