Lively, entertaining reviews of, and essays on, old and newer films and everything relating to them, written by professional author William Schoell.

Thursday, October 11, 2018


Oskar Werner and Simone Signoret
SHIP OF FOOLS (1965). Produced and directed by Stanley Kramer. Based on the novel by Katherine Anne Porter. 

"There are over a million Jews in Germany. What are they going to do -- kill all of us?" -- Lowenthal. 

"I've met women like you. You're 46-years-old and still think you're a coquette." 

"I didn't even see a Jew until I was fifteen." -- Tenny. "Maybe you were too busy lynching Negroes to take time for the Jews." -- Mary. 

In 1933 an ocean liner sets sail from Mexico to Germany with a motley group of crew and passengers. Dr. Wilhelm Schumann (Oskar Werner) is the ship's doctor, a married man with a heart condition who develops a romantic relationship with La Condesa (Simone Signoret), a woman who faces prison in Cuba because she spoke out against the oppressive government. David (George Segal) is an American "starving artist" who loves his girlfriend Jenny (Elizabeth Ashley), but fears she is too "modern" for him even as she fears he can only settle for the traditional wife who has no life or career of her own. Karl Glocken (Michael Dunn) is a dwarf who is not invited to the Captain's Table, any more than Lowenthal (Heinz Ruhmann), who is Jewish, but the two sit together and become friends. Bill Tenny (Lee Marvin) is a washed-up baseball player, and Mary Treadwell (Vivien Leigh) an aging and desperately lonely divorcee, who eventually have a distinctly unpleasant encounter. 

Vivien Leigh
Ship of Fools is not on the level of Stanley Kramer's masterpiece Judgment at Nuremberg, because even though it deals with matters German and (in part) with anti-Semitism, it doesn't have as good nor as powerful a story line. There are also some odd casting choices in this. Jose Ferrer as a Nazi? Simone Signoret as a Spanish noblewoman? Nonetheless Signoret did win a Best Actress Oscar, and Werner won as Best Actor. Both give good performances, although their love story isn't entirely convincing because one can't see any real on-screen chemistry between them, although they play well together. Poor Vivien Leigh is given the utterly thankless role of yet another desperate and aging woman to follow Blanche Dubois of Streetcar and Mrs. Stone of The Roman Spring of Mrs. Stone -- Still attractive, she must have gotten awfully sick of it. Leigh was fifty-two at the time, playing forty-six, although she holds up better than Signoret, who was forty-four playing forty-two. The irony is that Mary Treadwell acts as if she's all washed up when down the hall La Condesa is getting action with the handsome ship's doctor! Leigh's performance is fine but her portrayal is dated.  

Lee Marvin and Michael Dunn
Michael Dunn, infamous as the evil Dr. Loveless on The Wild, Wild West TV program gives a notable performance, but although Lee Marvin has his moments, he seems to have wandered in from a different movie. Liz Ashley, in her pre-sex pot phase, is more than credible as Jenny, as is George Segal as her painter boyfriend. Charles Korvin is appealing as Captain Thiele. Jose Ferrer is completely miscast and not very good in the film, but there is fine work from two lesser-known actors: Alf Kjellin [Madame Bovary] is wonderful as Freytag, who is forced to leave the Captain's table because he is married to a Jewish woman, but suffers from great guilt because he abandoned her for his career; and Charles De Vries makes an impression as young Johann, whose elderly father is a miser. Werner Klemperer has some nice moments as a crew member who hopes to initiate a relationship with Mrs. Treadwell and is rather cruel to her when he is rejected. 

Ernest Gold's score is effective and Ernest Laszlo's cinematography deservedly won an Oscar. (The film also won as Best Picture, and the art direction also received a statue.) Abby Mann's screenplay, however, just doesn't delve deep enough into the characters, of which there are too many (the character of the ball player doesn't even belong in the movie). The film can't be said to be boring, as such, but it is never riveting the way the far superior Judgment at Nuremberg is. Still, it has memorable scenes, such as the sad one when Dunn observes that Lowenthal is a "fool", because he just isn't able to believe the dire and hopeless future for the Jews in Germany. 

Verdict: Despite many good moments, this should have been a much more absorbing and powerful picture. **3/4. 


Henri Serre and Oskar Werner
JULES AND JIM (aka Jules et Jim/1962). Director: Francois Truffaut. Based on a novel by Henri-Pierre Roche.

French Jim (Henri Serre) and German Jules (Oskar Werner) become the best of friends in Paris, and become a trio when they meet the free-spirited Catherine (Jeanne Moreau of The Yellow Rolls Royce). Eventually she marries Jules and all of them are separated by WW 1. After the war they are reunited, and Catherine transfers her affections to Jim, despite the fact that she and Jules have a young daughter. They live together in a kind of strictly heterosexual menage a trois, but Catherine's screwy personality is such that a lasting happiness with either man may be unlikely for her ...

Jeanne Moreau and Oskar Werner
The "New Wave" Jules and Jim was much admired when it was released and still certainly has plenty of fans among foreign film  enthusiasts. The generally fast-paced film is well-acted by the three leads, it boasts a fine score by Georges Delerue [The Conformist] and beautiful cinematography from Raoul Coutard. There is a free-love, supposedly European frankness to the film that certainly differentiates it from a Hollywood soap opera without necessarily improving upon it. In fact, one can imagine the same story being told by a major Hollywood director who could have given it much more impact, although the downside is that the production code might have insisted on the old moralistic "sin and suffer" approach. The trouble is that the characters of Jules and Jim never quite seem like real people, just sketches made with too-broad brush strokes; instead of seeming sophisticated, they just come off as childish. There's too much of the narrator telling us things about these people instead of letting the film show us. The light touch of the movie, with everyone seeming to accept the situation (without really doing so), is at odds with the utterly melodramatic, indeed somewhat farcical,  developments that wind up the picture. Still, it's just these bizarre touches that probably made the picture stand out when otherwise it might have been forgotten. Jules and Jim is too well-made to dismiss, but I can't quite disagree with those people who think it might have better been titled "Two Dopes and a Skank (who can't make up her mind)." A better Truffaut film is The Story of Adele H

Verdict: Like a fair-to-middling French Woody Allen movie, for better or worse. **1/2. 


Danton, Faylen, Adams, Calhoun
THE LOOTERS (1955). Director: Abner Biberman.

"I haven't had this much fun since I was kicked out of the Campfire Girls." -- Sheryl.

Jesse Hill (Rory Calhoun of That Hagen Girl), a loner and mountain climber who lives in the Rockies, gets a visit from a shady ex-army buddy, Peter Corder (Ray Danton of Code Name: Jaguar). When a commercial plane crashes in the mountains, the two decide to climb towards the wreckage, but with very different motives. Jesse wants to look for survivors, while Pete is more interested in salvaging what he can, which turns out to be a trunk full of loot. Pete's true nature is revealed pretty quickly, and he stakes his claim while threatening everyone else. Before long the two men start a tense descent back down the mountain along with three survivors, a former cheesecake model named Sheryl (Julie Adams), a captain named Leppich (Frank Faylen of The Mystery of the 13th Guest). and a wannabee big shot named Parkinson (Thomas Gomez). Who will get to keep the loot and who will survive?

Ray Danton as sneaky Pete
The Looters has a very good premise and could have been turned into a nail-biting and memorable suspense film. Instead it's a mediocre and often hokey time-waster that isn't good enough for the audience to ignore its many implausible aspects. Now, the plane crashed on top of a mountain, but it isn't in a nearly impassable area as the plane was in Three Secrets, so it seems to me that even if there were no survivors, arrangements would be made to get the victims' bodies back to their loved ones. But when the military, who is playing war games in the area, discovers that no one is at the plane, they start bombing the whole area -- say what? Admittedly, this adds some excitement to the climax, but it doesn't make much sense, as if the military's attitude would be "let's just blow up the bodies of the crash victims without even finding out what caused the crash!"

Of course one reason for this silliness is that it may fool viewers into not scratching their heads when one survivor expresses the hope that everyone will think he died in the crash. Another problem is that no one seems to act as if this was the scene of a tragedy, that there are several dead bodies (never shown) lying just out of view for much of the film's length. Then you have to wonder why Sheryl and Jesse would want to make out when neither has brushed their teeth for at least several days. Gomez makes his mark as the weaselly Parkinson, Danton is typically vivid, Adams is reasonably adept and sexy, giving the film no more than it deserves, and Calhoun is adequately stolid and heroic. But this is one flight you may not want to book. After meeting on this film, Adams and Danton were married. Abner Biberman was originally an actor, playing a great many Asian roles, before switching to directing.

Verdict: Another reason to avoid the Rockies. **. 


"Have you paid your taxes?" Walter Greaza
FEDERAL MEN (aka Treasury Agents in Action/1950 - 1955.

This long-running fifties crime drama, consisting of 190 half hour episodes, looked at various, supposedly true cases investigated by the Treasury Department, under whose jurisdiction came everything from tax evasion to counterfeiting to smuggling. Each story was introduced by Walter Greaza as the somewhat stern chief, who is out to get you if you dare to cheat on your taxes. (One can see him putting sweet little old ladies in prison for failing to report bingo money!) If this program sounds a little dull, be forewarned that some of the episodes, standard looks at standard crime cases, are just that. But the best episodes of the series (at least the ones I've seen) focus just as much if not more on the human drama as on the crimes involved, looking into the desperate lives of people who sometimes feel they have no other option but to break the law.

"Lonely People:" Frances Rafferty and Skip Homeier
One of the best episodes is "The Case of the Lonely People," in which a father and daughter team ensnare a crippled veteran (Skip Homeier of Stark Fear) in a scheme to cash stolen veteran's checks, a scheme that becomes complicated when the vet and the daughter fall in love. Homeier and Frances Rafferty [Money Madness] give outstanding and sensitive performances. Homeier was also terrific in "The Case of the Princely Pauper," playing a no-good guy from a once-wealthy family who smuggles in cheap rings and other goods, with his clients paying inflated prices when they think they're getting a bargain.

"Buried Treasure:" Byron Foulger
Another excellent episode is "The Case of the Buried Treasure," in which a once-shady man and his wife bury booty they don't wish to declare to the IRS only to find out when they dig it up years later that it's become riddled with mold. Still, they do their damnedest to get rid of it. Byron Foulger [The Black Raven] and Vivi Janis give notable performances in this. There were other memorable episodes as well. In "The Case of the Leather Bags" Joanne Davis nicely plays a washed up cruise singer who helps her boyfriend smuggle heroin. "The Case of the Man Outside" details how some prisoners are actually able to make counterfeit money while inside a penitentiary, and the fate of the head of the shop who only wants to keep his nose clean and get parole.

"Steady Hand:" Gloria Talbott

Gloria Talbott guest-starred in "The Case of the Steady Hand," playing a woman who has trouble accepting that her boyfriend is both a crook and a creep. Douglass Dumbrille plays a theatrical impresario who pretends his books all went up in smoke when the IRS comes a'calling in "The Case of the Slippery Eel." Paul Langton is a married hood and tax dodger who falls hard for a classy opera singer, only to learn she's of common stock herself in "The Case of the Perfect Gentleman." Charles Bronson plays an agent who is ordered to murder a man in "The Case of the Deadly Dilemma."

John Stephenson 
Several different actors portrayed Treasury, IRS and Customs agents over the years depending on the episode's target: Ross Martin, Harry Landers, Harry Lauter, and Richard Travis, among them. John Stephenson played Agent Grant in many episodes, although he did even more voice-over work for cartoons than he did live-action, everything from The FlintstonesThe Jetsons and Duck Dodgers to G. I. JoeX-Men, and Jonny Quest. As for star Walter Greaza, both before and after this series he was mostly cast as judges, cops and psychiatrists.

Verdict: Remember to pay your taxes! **3/4.


Steven Keats and Richard Boone
THE LAST DINOSAUR (1977). Directors: Alexander Grasshoff and Tsugunobu Kotani.

"A creature forty feet tall and weighing eight tons with the mind of a pea has just destroyed one of the greatest minds of the century."

 Masten Thrust Jr. (Richard Boone of I Bury the Living) is not only a famous hunter but one of the world's wealthiest men. He has developed a vehicle called the Polar Borer, that uses lasers to drill through the Polar Ice Cap, discovering a hidden world in a prehistoric valley below that is warmed by a volcano. Four men have already died at the teeth of a T-Rex, that appears to be the only one of its kind, although there are other dinosaurs in the valley. Returning to this land with the only survivor of the first expedition, Chuck (Steven Keats), Thrust also brings along Professor Kawamoto (Tetsu Nakamura of The Manster); an expert and silent seven foot tall tracker named Bunta (Luther Rackley); and a perky photographer named Francesca (Joan Van Ark). Although the original plan is only to study the tyrannosaurus, when it proves aggressive and even squashes the poor professor underfoot, Thrust determines to destroy the creature. But then the big beast snatches up the Polar Borer in its teeth and the whole group is stranded in the valley with time running out ...

The rubber T-Rex
The Last Dinosaur has a workable plot line, but it borrows very heavily from the film The Land Unknown, and the Polar Borer (which hardly looks large enough to hold so many people) reminds one of a similar machine in At the Earth's Core. Of course it's just another imitation of The Lost World minus diamonds and "fire gods." A bigger problem is the FX work, which features some crude but effective process shots and a rubber monster brought to life with "suitmation" -- a man in an dinosaur suit. The creature also lets out metallic wails that are borrowed from Godzilla. The shame is that the film does manage to work up some suspense -- as in Land Unknown there's a small window of opportunity to get out of the valley if they can survive the beast's attacks -- and this could have made a very exciting picture had Ray Harryhausen brought the creatures to life. A battle between the T-Rex and a triceratops does not compare favorably to a similar battle in Harryhausen's The Valley of Gwangi.

Bantu takes after T-Rex with a spear -- good luck with that!
The acting in the movie is professional, if uneven, with Richard Boone creating a colorful if contradictory character, and William Overgard's screenplay does do its best to bring some of the people in it to life. There's some decent art direction in the movie, but the score is pretty terrible. This was meant to be a theatrical film, but it was released to television in a somewhat edited version. The film makes much of the fact that the title refers to Boone as much as it does to the tyrannosaurus.

Verdict: Hardly the "last" dinosaur we've ever seen in film. **1/4. 


Richard Dix
THE POWER OF THE WHISTLER (1945). Director: Lew Landers.

Jean Lang (Janis Carter of Slightly French) spies a stranger (Richard Dix of Lovin' the Ladies) in a bar and decides to read his fortune from across the room with playing cards. When the cards say that he faces death within 48 hours, she  decides to see if she can help him, and discovers that he has lost his memory in an accident. Along with her sister, Francie (Jeff Donnell of The Fuller Brush Girl), Jean and the stranger, whom she calls George, hunt down every clue they can to his identity. But will smitten-but-stupid Jean eventually get an unpleasant surprise when she finds out who the man really is ... ? This is the third in the Columbia mystery series based on the radio show The Whistler, and, as usual, the unseen narrator pipes in now and then to push the story along and to, alas, minimize the suspense that's been built up in the first half of the film. Too much information is given away too early so that the final quarter just plods along on a predictable path. This is too bad, because the basic premise is fine, and there are many opportunities for tense sequences (especially one involving a poisoned birthday cake) that are just frittered away by routine direction and not enough taut music. Hitchcock might have done something with this. Dix is pretty good in the lead, the two ladies are fine, and Loren Tindall makes a pleasant impression as Francie's fiance, Charlie. Tala Birell plays a ballet dancer who was once involved with "George."

Verdict: This is one you will probably watch and quickly forget. **1/4. 


Bernie Kopell and Don Adams
GET SMART, AGAIN! (1989 telefilm). Director: Gary Nelson.

The comedy spy series Get Smart had already had one theatrical feature, The Nude Bomb, when nine years later this TV movie reunited most of the crew of the series. In this the spy group CONTROL has gone out of business, but their opposite number, KAOS, is still alive and kicking and is blackmailing the world with a deadly weather control device. Maxwell Smart (Don Adams) is called back to active duty, and eventually his wife, Agent 99 (Barbara Feldon) follows suit. Conrad Siegfried (Bernie Kopell) is still Smart's adversary, only he now reports to a mysterious new leader. Meanwhile, Agent 99 is preparing to publish her memoirs when she discovers enemy agents have gotten their hands on some of the pages. Get Smart, Again! may sometimes trade on old gags, but it is also guilty of inspired lunacy, such as when helicopters and the resultant winds are used for top security "Hover Cover."  Then there's the bit with the "Hall of Hush" where spoken words are transformed into literal letters until the room gets so crowded with them that no one can read what they're saying. And then there's that old "Cone of Silence," now placed in the Smarts' bedroom. Get Smart, Again! retains its hilarity for most of its length although it gets a little slack towards the end, but the cast, a top-notch group of very funny actors led by the wonderful Adams, is certainly game and able. Kenneth Mars especially scores as the head of the security agency, as does Dick Gautier, who is just terrific as Hymie the robot.

Verdict: If you liked the original series, you'll probably like this. ***. 

Thursday, October 4, 2018


Liz Montgomery as Lizzie
THE LEGEND OF LIZZIE BORDEN (1975 telefilm). Director: Paul Wendkos.

In Falls River, Massachusetts in 1892, Andrew Borden (Fritz Weaver) and his wife, Abby (Helen Craig) are found axed to death in their home. The chief suspect immediately becomes Andrew's daughter, Lizzie (Elizabeth Montgomery), who maintains her innocence both in court and to her sister, Emma (Katherine Helmond). With flashbacks showing the troubled life of the family, the movie shows us the investigation, the trial, and the outcome. The Lizzie Borden story remains one of the most fascinating unsolved mysteries and double murders in history, and this early look at the case, sticking mostly to the facts, makes for a compelling TV movie. It leaves out the fact that a cousin was staying in the house at the time of the murders but he was apparently out of the house during the actual gruesome event. The movie's explanation for how Lizzie did not get blood on her clothing is somewhat suspect, however. The biggest problem with the telefilm is the lead performance, with Montgomery often acting as if she were in rehearsal, and hardly giving what could be called a committed performance for much of the film's length. Helmond is more on the mark as her sister, as are Weaver and Craig, and Fionnula Flanagan as the maid, Bridget. Ed Flanders [The Exorcist III] makes an efficient prosecutor, and John Beal [The Vampire] is fine as a doctor who ministers to family friend, Lizzie. Helen Craig, who plays the unpleasant stepmother, is better in this than she was as the evil nurse in The Snake Pit. This is superior to the Lifetime movie Lizzie Borden Took an Ax, (although the fictionalized series that followed, The Lizzie Borden Chronicles, was quite entertaining).  Paul Wendkos also directed the excellent telefilm The Brotherhood of the Bell. NOTE: A new Lizzie Borden theatrical film, focusing on the character's lesbianism, has just been released, and it seems based (without crediting him) on Evan Hunter's novel, Lizzie, which also posited the theory that Lizzie and maid Bridget were lovers.

Verdict: Entertaining, but just misses being really special. **3/4. 


IN PIECES. Sally Field. Grand Central; 2018.

After appearing in the short-lived sitcom Gidget, and then toiling for three years on the hit series The Flying Nun -- a show she absolutely hated and denounced as "drivel" -- Sally Field thought she would never be taken seriously in Hollywood. But after appearing in several telefilms -- as well as another short-lived series, The Girl With Something Extra (she has little good to say about co-star John Davidson) -- she managed to win an Emmy for the multiple personality drama Sybil, and then went on to garner two Best Actress Oscars for Norma Rae and Places in the Heart. She also received accolades for playing Mary Lincoln in Lincoln, and won another Emmy for her role in the TV series Brothers and Sisters. But Field's private life wasn't so successful. In between two marriages to men she admitted she wasn't really in love with, she had a long-term relationship with Burt Reynolds, a control freak and (in my opinion) long-time asshole (he deemed Field the "love of his life," however; his first wife was Judy Carne). She had a  very problematic relationship with both her biological father and her mother, actress Margaret Field [The Man from Planet X], who divorced her husband to marry actor Jock Mahoney [Tarzan's Three Challenges]  and eventually developed a drinking problem. Field claims that Mahoney molested her continuously for several years when she was a minor, but he would only admit to her mother that it was one drunken incident. (After Lex Barker -- who was married to Lana Turner --  Mahoney is the second actor to play Tarzan who allegedly molested a step-daughter.) Trying to be a good mother to her three sons, and (in her eyes, at least) failing more often than not, she couldn't quite avoid the mistakes her own mother made. In Pieces is an extremely well-written memoir, full of honest reflection and in-depth ruminations on life, career, and loves, as well as the usual dose of movie star self-adsorption. Field doesn't spend as much time on her films as one might have hoped, but there's plenty of meat in here for people who want to know the inside life of a movie star and for aspiring actors who are hoping to follow in her footsteps.

Verdict: Thoroughly absorbing page-turner proves that Field can write as well as act. ***1/2.  


Kent Smith, Nan Martin, James Franciscus
THE MUGGER (1958). Producer/director: William Berke. Based on a novel by Ed McBain (Evan Hunter).

An unidentified man is running about the city stealing women's purses and leaving a slight slash on their cheeks. Lt. Pete Graham (Kent Smith of Nora Prentiss), a police psychiatrist, is assigned to the case. He is convinced that it is unlikely the "mugger" will move up to murder, but then a victim, Jeannie (Sandra Church), is found dead. But was she really a victim of this mugger, or did someone else kill her? Suspects in the case include Nicholas Grecco (George Maharis), who was infatuated with the murder victim; cab driver Eddie Baxter (James Franciscus), who was the brother-in-law of the victim; and Franklin Corey (Bert Thorn), who may be hiding a secret from his wife  Graham's fiancee is policewoman Claire Townsend (Nan Martin), who goes out undercover to try to catch the mugger. Dick O'Neill is a police sergeant and Renee Taylor plays a woman who is being followed -- by her husband.

James Franciscus and Kent Smith
The Mugger is a slick, low-budget, generally absorbing feature that in some ways resembles a television crime show. A very young James Franciscus [The Valley of Gwangi] has some good scenes as the cab driver; Smith is reasonably effective; Maharis [Journey to the Unknown] plays his character like a nerd to explain why Jeannie doesn't want to date him; and the other performers are all competent. The most chilling thing about the movie is after the killer is dispatched in a grisly fashion, and an old man who witnessed the death (and doesn't know the person was a murderer) waxes philosophical about the event without displaying a shred of compassion, although this may have to do with some insufficient emoting on the bit actor's part.

Verdict: Okay programmer with some interesting players. **1/2. 


Milland as Markham with Macdonald Carey on Suspicion
Markham 1959 television series.

"As a man of obvious breeding, Mr. Markham, I'm surprised you would ask such a crude question."

The character of private detective Roy Markham (Ray Milland of So Evil My Love) first appeared (in what was the pilot for the resulting series) on the anthology program Suspicion, in an hour-long story entitled "Eye for Eye."  In this a divorce lawyer (Macdonald Carey) takes a pro bono case to help get a battered wife (Kathleen Crowley) away from her husband (Andrew Duggan.) When the husband kidnaps the lawyer's wife, he wants to make an exchange, but his own wife is terrified to go near him. With the help of private eye Markham, the frightened lady is importuned to go along with the plan, and Markham eventually saves the day. Well-acted by all, with an especially noteworthy performance from Kathleen Crowley, this was an auspicious debut and the show was picked up by CBS (even though Suspicion was telecast on rival NBC). In the meantime Macdonald Carey got his own show, Lock Up, although he played a different character.

Markham only lasted one season in 1959, but it amassed 59 episodes (nowadays we're lucky if a series has twenty or even fewer episodes per season). For the first eight episodes Simon Scott played Markham's friend and colleague John Riggs. What distinguishes this private eye series, aside from the international flavor,  is the fact that Roy Markham is played by no less than Oscar-winner Ray Milland [Bulldog Drummond Escapes], who adds a certain class and distinction to the series. (Milland won for The Lost Weekend.) As well, Markham is what you might call an intellectual private eye, a much smarter and much more cultured specimen than, say, Mike Hammer.  I've seen about half of the episodes of the show, most of which were good, many excellent, and I wish all of the rest were available.

A designer's wife is involved in the murder of a blackmailer in "Vendetta in Venice," which features such players as Paula Raymond, Robert Lowery, and Allison Hayes. "Escorts a la Carte" has Markham in Rome where a friend has supposedly committed suicide, and which leads him to a sinister escort service that employs an escort played by Suzanne Lloyd. Gale Robbins plays a famous singer in The Bad Spell," who comes to Markham for help when someone keeps trying to blow her up and succeeds in killing her husband.  "The Searing Flame" is a weird story in which Markham searches for a young lady painter who has disappeared in Paris and nearly winds up burned to death in a provincial cabin. In "Three Steps to Murder" a series of inexplicable bombings of abandoned buildings leads to a genuine murder of a hoodlum. Of the episodes I've seen, arguably the best is "Strange Visitor," in which kidnappers bring an heiress (played by Louise Fletcher) to Markham's apartment where tragedy ensues. This is a taut and suspenseful episode with a touch of pathos. Another outstanding episode is "A Cry from the Penthouse," in which a slimy blackmailer (Jack Weston) locks Markham out on his balcony with its shatter-proof doors in freezing cold weather and nearly kills him in the process. Also notable are "The Last Bullet" wherein Nita Talbot is one of the suspects when a wealthy man's suicide turns out to be murder and a million dollars goes missing; "We Are All Suspect" with June Vincent excellent as a wife whose husband disappears when he simply goes out to walk the dog; and "The Long Search," a shipboard story of intrigue over a stolen ancient scroll, with Katherine Squire as one of the suspects.

Other episodes include "The Cruelest Thief," where dogs are used in a smuggling racket; "Round Trip to Mozambique," about a pretty moll with a young son; "The Human Factor," in which a client Markham can't stand is accused of assaulting a woman; "Sing a Song of Murder," in which a little boy witnesses a hit; and "The Young Conspirator," in which a paperboy tells Markham someone is trying to kill him. Locales for the stories included everyplace from Guatemala ("The Other Side of the Wall"); Hollywood ("Deadline Date" with Peggie Castle); Mexico ("The Bay of the Dead"); Istanbul ("No Flies on Friday" with Henry Daniell); and Paris ({Paris Encounter" with Colleen Gray). Guest stars on the show, along with those already mentioned, included Walter Woolf King ("Coercion"); Phillip Terry ("Incident in Bel Air"); Betty Lynn ("The Marble Face")' Sebastian Cabot ("Forty-Two on a Rope");' and Robert H Harris, who was wonderful as a former mob lawyer in "The Seamark" and as a jealous and murderous sculptor in "Image of Love."

Markham episodes were directed by such notable people as Mitchell Leisen [No Man of Her Own] and Robert Florey [The Beast with Five Fingers]. The show was sponsored by Schlitz, "the beer that made Milwaukee famous."

Verdict: Quite good private eye show with a degree of sophistication and some wonderful guest stars. ***. 


Ray Corrigan in costume as the white gorilla
THE WHITE GORILLA (1945).Director: Harry L. Fraser.

Steve Collins (Ray Corrigan of Captive Wild Woman), a guide in Africa, comes back alone from an expedition to tell others about his experiences in the jungle, including an encounter with an "outcast" and angry white gorilla (also played by Corrigan). Most of the film consists of flashbacks which were actually taken from the 1927 silent serial, Perils of the Jungle. The biggest giveaway is the hair style and look of the gal in the flashbacks as opposed to the more natural and much sexier look of Ruth (Lorraine Miller) in the "modern" segments. The scenes from the serial have to do with a cute little white boy, Kimpo (Bobby Nelson), who is somehow able to lord it over the natives (Tarzan as a child?) and who first appears hanging from a friendly elephant's trunk. Then there's a search for treasure in the Cave of the Cyclops, where the little boy's mother lives, pretending to be crazy so the natives -- who are called "Tiger Men" -- will leave her alone. The white gorilla seems not to have come from the serial, and there are two scenes where this outcast battles a mighty black gorilla for domination. There's a very exciting scene (from the serial) in which lions attack an outpost, as well as a sequence with a hippo supposedly going after a frightened gal -- judging from these sequences Perils of the Jungle seems like it must have been a lively and fast-paced cliffhanger.  The "cyclops" of the cave only turns out to be a giant statue. but the wildlife footage in this is excellent. Ray Corrigan proves to be a better actor in his ape suit than he does out of it. The opening credits for this read "starring Ray Corrigan and an All Star Cast" -- hardly.

Verdict: Interesting opportunity to see a silent serial with some ape nonsense thrown in for good measure. **. 


 Robert Downey Jr (Iron Man) and Benedict Cumberbatch (Dr. Strange) 
AVENGERS: INFINITY WAR (2018). Directors: Anthony and Joe Russo.

A dangerous cosmic entity known as Thanos (Josh Brolin, in a computer-generated performance) wants possession of several powerful rings so that he can remake the universe the way he wants to, and eliminate half of the population -- and although he is opposed by a great many heroes, including the Avengers and the Guardians of the Galaxy, he essentially succeeds (until the sequel, of course). Aside from a few dull stretches, Avengers: Infinity War is not boring and mercifully moves at a fast pace, although I can't imagine how people who are not "Marvel fans" and have not seen all of the Marvel movies might get into this. As others have noted, not a single character is ever actually introduced to the viewer. (Fortunately, being a long-time comics fan, I knew who most of these people were, or were supposed to be.) The movie is a noisy amalgamation of cute quips uttered by characters (ostensibly so they can keep up their courage), serious moments that are touching for twelve-year-olds, and lots of explosions and flying bodies. The film has been widely overpraised by people who, I suspect, read nothing but comic books and only see comic book movies, having no other frame of reference. As noted, I am a big super-hero fan, and know that comics are not always juvenile and mindless, but I don't confuse them with Shakespeare or Citizen Kane, either. That being said, AIW has some great art direction and striking cinematography, and action scenes that often seem more cluttered and busy than especially effective. The "human" drama in this -- if you can call it that -- has to do with the love story of the Vision and the Scarlet Witch, as well as the love-hate relationship between Thanos and his "daughter," Gamora (Zoe Saldana, giving a very good performance). One could add that Bruce Banner (Mark Ruffalo) has trouble turning into the CGI Hulk, although there seems little point to this (aside from Ruffalo perhaps wanting his actual face to be seen more in the movie). There are interesting things in the picture, but this notion that it is the "culmination" of every other Marvel super-hero movie is ridiculous. Personally, I have never found Thanos to be a very interesting villain, even in this, and have always thought he was just a pale imitation of Jack Kirby's Darkseid, who should be showing up in a DC Universe movie any year now. With the exception of X-Men: Apocalypse and Logan, I think Marvel's X-Men films are much better than the Avengers series.

Verdict: A lot of sound and fury signifying very little, but some fun for the inner geek. **1/4. 


Placido Domingo (foreground) with lovers
CYRANO DE BERGERAC. Opera composed by Franco Alfano.

NOTE: Great Old Movies will occasionally post a live or taped opera review if the story has also been adapted for film or has cinematic potential.

The famous story of homely lover and swordsman Cyrano De Bergerac has been told many times in films and on the stage, and this is an operatic version composed by Franco Alfano. Alfano is best remembered as the man who finished "Turandot" after the death of Giacomo Puccini, but he also composed several operas of his own, including the notable "Risurrezione" -- probably his masterpiece -- and the more than credible "Cyrano." This outstanding-on-every-level production from Valencia stars Placido Domingo, one of the premiere artistes of the 20th and 21st centuries, as Cyrano, who is unrequitedly in love with his cousin Roxanne (Sondra Radvanovsky), who only has eyes for the handsome young soldier Christian (Arturo Chacon Cruz). The story could be described as intensely, and even masochistically, romantic, in its tale of love denied and staggering self-sacrifice, but even today there are people who mistake mere sexual attraction for true l'amour. Roxanne realizes too late that true love has to be about much more than a handsome face. Alfano's score is more lyrical than melodious for the most part, but it does have passages of great emotion and beauty. This was produced at the striking opera house and arts center in Valencia, Spain in 2007.

Verdict: This opera -- and story -- deserves a first-class mounting and it gets it here. ***1/2. 

Thursday, September 27, 2018


Geraldine Page and Laurence Harvey
SUMMER AND SMOKE (1961). Directed by Peter Glenville.

"Ask for all -- and be prepared to get nothing." -- Alma.

In a small Southern town around the turn of the century, Alma Winemiller (Geraldine Page) has been in love with her next door neighbor, doctor's son John Buchanan Jr. (Laurence Harvey), since they were children. Alma would prefer a more spiritual romance with John, while the lusty and somewhat wild and free-wheeling John would prefer just the opposite. Alma's father (John McIntire) is the town preacher and her mother is mentally disturbed, having had a breakdown years before. John's father is incredibly stern, which perhaps leads his son to take up with the daughter (Rita Moreno) of the owner of the local gambling den. Alma eventually commits what John deems a betrayal, but the bond between them still exists, until both realize that the tables have turned ... This very odd "romance" is based on the 1948 play by Tennessee Williams (revised some years later as Eccentricities of a Nightingale); Page played the part in a 1950's revival. Page, who received an Oscar nomination, gives a very strong performance, although at times she seems overly theatrical. Harvey is good but not in her league.  Una Merkel [Destry Rides Again] also received an Oscar nomination for her notable performance as Alma's mother. Earl Holliman does some nice work as a traveling salesman that Alma encounters at the finale. Pamela Tiffin [The Fifth Cord] was "introduced" in this film as the daughter of a madame played zestfully by Lee Patrick [Caged]; Tiffin never developed into a major star.

Geraldine Page as Alma
I basically think Summer and Smoke is an absorbing and interesting picture with a good storyline, but it does have some problems. Page and Harvey were both in their thirties at the time, perhaps a little too old for their roles; Page was nearly forty, in fact. Younger actors -- assuming they were good actors -- might have added a certain degree of veracity. Considering the obsession that Alma has had for John over the years, I thought her reaction at a development at the end of the film is a bit too subdued. But the film has a good score by Elmer Bernstein (which even adds suspense to the proceedings). some lively and poignant sequences, moves quickly, and boasts an essentially fine performance by Page. Her scene when she finally declares her love for John is superb.

Verdict: Star-crossed, touching romance with some wonderful acting. ***. 


Sal Mineo
THE GENE KRUPA STORY (1959). Director: Don Weis.

Gene Krupa (Sal Mineo of Crime in the Streets) is fascinated by the syncopated rhythms that are taking the nation by storm and his dream is to be a drummer. His Polish-American and devout parents would rather he become a priest, but while he prepares for that role he comes to realize that it just isn't in him. Eventually moving to New York, Krupa becomes not only a famous drummer, but does solos that astound and excite the audience. Although Gene has a girlfriend named Ethel (Susan Kohner), he lets success go to his head, holds loud and fabulous parties, neglects Ethel (even on her birthday), and takes up with seductive singer Dorissa Dinell (Susan Oliver). In other words, he basically turns into an asshole.

Sall Mineo and Susan Kohner
Krupa gets his comeuppance, however, when reefers are -- according to him -- planted on him and he winds up arrested and jailed. This film has him winding up performing in Chinese restaurants and topless bars as he struggles to get back to the top, but I suspect much of that is fabricated for the movie, although the basic facts of Krupa's life are realistically presented.  Nevertheless, as a show biz bio, this pic leaves no cliche unturned.

Sal Mineo gves a terrific performance in this, and even resembles Krupa a bit (this is the rare case when the real person is as good-looking as the actor portraying him). He really seems to be playing the drums during those sequences when he's really letting loose on the percussion. Susan Kohner, always an excellent actress, also scores as the lovely, loving and disillusioned Ethel. (In real life she divorced Krupa, and then remarried him, living with him until her death.) James Darren [The Brothers Rico] is given the thankless role of Gene's friend, Eddie, but he's good, and gets to pleasantly sing "Let There Be Love" (Darren had some hit records back in the day). Susan Oliver [Looking for Love] saucily slinks around like a perpetually horny pothead and the real Anita O'Day delivers a fine version of "Memories of You" in a cameo. Red Nichols plays himself, but Tommy Dorsey, who had passed away three years earlier, is portrayed by Bobby Troup. Celia Lovksy (the former Mrs. Peter Lorre) portrays another of her patented suffering old European mothers.

Verdict: Entertaining biopic with a charismatic and excellent lead performance. ***. 


Percy Kilbride and Marjorie Main
MA AND PA KETTLE (aka The Further Adventures of Ma and Pa Kettle/1949). Director: Charles Lamont.

"I still wish you'd fix the roof of the hen house. Would you like to sit in the broiling sun and have to lay eggs besides?" -- Ma to Pa.

Lovable hillbillies Ma and Pa Kettle (Percy Kilbride and Marjorie Main), who first appeared in The Egg and I as supporting characters, are in danger of being thrown out of their messy and cluttered house along with their sixteen children. Fortunately, Pa wins a tobacco slogan contest and he and his brood become the proud possessors of a new ultra-modern home. All Pa really wanted was a new pouch for his tobacco, and he isn't crazy about all of the new-fangled inventions in his swanky domicile. Then the jealous termagant Birdie (Esther Dale) and her mother (Isabel O'Madigan) maintain that Pa stole the slogan from somebody else ...

The Kettle children minus Tom
It's amazing that Pa has so many children when he hardly seems to have the energy to get out of bed -- maybe that's his problem! Along with Kilbride and Main, we have Dale and O'Madigan, as well as Richard Long [House on Haunted Hill] as eldest son Tom Kettle (who's invented a new incubator) , as holdovers from The Egg and I, and there's also a guest appearance by Ida Moore, reprising her role as a rather dotty old lady. (One could argue that it's not in the best of taste to present a lonely old woman who talks to her late husband in front of people as if he were still alive and make a joke of it.) Still, Ma and Pa Kettle is an amusing enough picture with excellent performances. Meg Randall [Without Warning!] plays a pretty writer who becomes Tom's love interest. There were no less than six sequels to this film, making it a fairly successful movie series of the forties and fifties.

Verdict: The two leads are funny characters and actors, and Main is especially winsome. **3/4. 


Peter Lorre
DER VERLORENE/ aka The Lost One/1951. Director: Peter Lorre. 

NOTE: This is a report on the movie as opposed to a review. The only print I could find of this film was in German with no sub-titles, but I had a detailed synopsis of the film which told me what was going on. However, as there was no way I could judge the effectiveness of the dialogue, I will withhold a verdict until I see the film with an English soundtrack or sub-titles.

In the only film ever directed  by Lorre, he plays Dr. Karl Rothe, who was the former director of bacteriological research under the Nazi regime. Now he has changed his name and works as a well-liked doctor at a post-war German refugee camp. Into the camp comes Hosch (Karl John), who had been his assistant before the war, and now -- also under an assumed name -- becomes his assistant once again. Meeting Hosch brings back unpleasant memories to Rothe, such as when he murdered his own fiancee when it was revealed that she was a traitor. Now he can't control his urges to kill other women. some of whom escape and some of whom do not. Finally Rothe can no longer live with himself.

Der verlorene got a mixed reaction, with some feeling that it was an uncomfortable mixture of politics and thrills; other contemporary critics felt it was one of the best films to come out of Germany in years. The picture is undeniably gloomy, well-photographed by Vaclav Viche, and there's a very powerful (if perhaps too often overwrought) musical score by Willi Schmidt-Gentner. For much of its length Der verlorene reminds one of nothing so much as a "B" noir thriller, and there is some suspense in certain sequences. Two of the best scenes involve trains, one concerning a murder, and the striking final shot of a train bearing down on Rothe that seems right behind the actor.  As far as I can judge, the performances in the film  seem to be quite good. 


Joan Evans
ON THE LOOSE (1951). Director: Charles Lederer.

Jill Bradley (Joan Evans) is a small-town 16-year-old girl who has distracted parents (Lynn Bari and Melvyn Douglas) and a seemingly devoted boyfriend named Larry (Robert Arthur of Naked Youth). When Larry brings Jill to his house when his parents are gone, he passes out on the sofa and is found hungover the next morning. Larry is forced to break up with the "fast" Jill, who dates lots of guys to get over her heartbreak and winds up with a "reputation," nearly leading to tragedy. On the Loose is a time capsule of a movie, looking back at 1950's attitudes towards dating and premarital sex, as well as at timeless troubled marriages, and on that level is quite effective. Joan Evans [Roseanna McCoy] gives a very good performance as the confused and unhappy young woman, and the rest of the cast are also on target, with Melvyn Douglas [Hud] delivering some fine moments when he does his best to bond with his daughter in the second half of the film. Hugh O'Brian makes an impression as a kind-hearted doctor, and Tristram Coffin plays a judge, who shows up after some melodramatic developments in a bar. The ending is unrealistically happy but nevertheless touching.

Verdict: Teen angst well-played. ***. 


Ruth Dunning and Gwenda Wilson
DANGEROUS AFTERNOON (1961). Director: Charles Saunders.

Letty Frost (Ruth Dunning) runs the Primrose Lodge boarding house which is home to women who, like her, were once in trouble with the law. Letty was once a notorious jewel thief who escaped from prison some years before. She has a "niece," Freda (Joanna Dunham), who is about to marry her boyfriend, Jack (Howard Pays). Letty hopes that the couple will have a better life than she had and that they will never learn anything of her past, but all that is threatened by the release from prison of Jean Hinton, aka Jean Berry (Gwenda Wilson), who was left behind during the prison break and now wants revenge ... When Dangerous Afternoon first begins, showing us a little old lady shop lifter, Louisa (Nora Nicholson), you wonder if this will turn out to be a senior citizen version of The Belles of St. Trinian's, but despite a few amusing moments (mostly to do with Louisa's penchant for stealing) this picture is more grim than funny. If this had been made in America in say, the 30's, it might have been similar to The House on 56th Street with its theme of mother-sacrifice and men-who-lead-women-to-ruin. But this British film approaches the subject from a more oblique angle, and is quite unpredictable. Unfortunately, its very short running time (about an hour) minimizes the characters' development as well as their back stories. Still, this is well-acted by all.  Charles Saunders also directed Womaneater. Norman Percival's theme music is notable.

Verdict: Another unusual film that\s good enough that you wish it had been better. **1/2.


Mr. Moto (Peter Lorre) in disguise as an old guru
MR. MOTO TAKES A CHANCE (1938). Director: Norman Foster.

"If I was casting a horror picture I'd have him play the murderer." -- reference to Mr. Moto.

Mr. Moto (Peter Lorre) is on an archaeological dig in Cambodia, which is under French rule, when who should drop in by parachute but Victoria Mason (Rochell Hudson), who was flying around the world until her plane caught fire. Among the other supporting characters are filmmakers Marty (Robert Kent of Who's Guilty?) and Chick (Chick Chandler of Circumstantial Evidence), who hope to photograph some of the forbidden royal temples. Objecting to this is Bokor (George Regas), the High Priest, who is in a power struggle with the portly and deceptively amusing Rajah Ali (J. Edward Bromberg of The Mark of Zorro). Then one of the Rajah's wives is murdered by poison dart. Half of the time Moto disguises himself as an elderly guru  who gives orders to the High Priest while spies are plotting and trying to kill each other -- and Moto -- everywhere. If this sounds interesting, be warned that Mr. Moto Takes a Chance is essentially a plot-less stew with a thrown-together script that just gets duller as it goes along until a fairly exciting climax in the temple. Peter Lorre gives his customary good performance but one senses he was mighty bored with the material, along with the audience.

Verdict: Where's Charlie Chan when you need him? **. 

Thursday, September 20, 2018


Alistair Sim
THE BELLES OF ST TRINIAN'S (1954). Director: Frank Launder.

Millicent Fritton (Alistair Sim of The Millionairess), the clueless headmistress of the St. Trinian's School for Girls, is in a quandary. The school's bank account has only $400 but it is in debt for ten times that much. The students are incorrigible monsters who ignore their teachers when they aren't blowing each other up with bombs. The teachers are a weird lot consisting of inebriates and felons. Both the Ministry of Education and the police are investigating the school, although representatives from the Ministry never seem to return from their visits there. Policewoman Ruby Gates (Joyce Grenfell of Stage Fright)  is directed to infiltrate the school as a new professor, where she discovers that there is an active gin-making business among half the students while the other half are trying to manipulate a horse race -- by stealing a horse -- in order to make some cash (an idea that after some outrage appeals to Ms. Fritton). Someone else who wants to make money on the race is Millicent's brother, Clarence (also played by Sim) and his daughter, Jackie (Diana Day), a nearly middle-aged women who should have been out of school years before. Inspired by the cartoons of Ronald Searle, The Belles of St. Trinian's is a very clever and consistently amusing black comedy that gets high marks for utter originality. The casting of Alistair Sim as the headmistress is absolutely inspired, as Sims does a dead-on impression -- if you can even call if a mere "impression" -- of a dowager who will maintain her dignity no matter what vulgar or appalling shenanigans are going on all around her. There's also a terrific and fun score by Malcolm Arnold [Stolen Face], and a host of wonderful supporting performances. The soccer match is hilarious, and the ending is a pip! Followed by several sequels and an inferior remake.

Verdict: This picture is not a drag. ***1/2.

NOTE: This post is part of the Gender Bending the Rules Blogathon co-hosted by Angelman's Place and The Midnite Drive-In


Peter Lorre and Edward Arnold
CRIME AND PUNISHMENT (1935). Director: Josef von Sternberg.

"You said you'd show me some of your blundering police methods, and you certainly have!" -- Roderick to Inspector Porfiry.

Roderick (Peter Lorre) is a poor but talented writer on criminal psychology who is months behind in his rent. He is forced to bring some of his possessions to a pawnbroker, Leona (Mrs. Patrick Campbell), a loathsome old lady who insults her clients and offers them little money for their items. Roderick hatches a scheme to get the money he needs, but things go wrong almost from the start. Now Roderick has to deal not only with Inspector Porfiry (Edward Arnold of Lillian Russell), who admires Roderick but comes to suspect him, but with his own conscience. One could argue that the movie is a cinematic "cliff's notes" version of Dostoevsky's famous 1866 novel, but the story and its implications and ironic aspects remain powerful. Lorre gives a great performance, nearly matched by Arnold, and there is also fine work from Marian Marsh [Svengali] as Sonya, whom Roderick has fallen in love with; Tala Birell [The Frozen Ghost] as Roderick's sister, Antonya, who is willing to make any sacrifice for him; Campbell as the old lady and murder victim; Gene Lockhart as Antonya's much-older suitor; Douglass Dumbrille as another man who is in love with the sister; and especially Elisabeth Risdon as Roderick's mother, who gets at least one very strong scene when she finds out the truth about what her beloved son has done. One problem with the movie is that our modern-day knowledge of criminology might cause us to look less sympathetically at Roderick. Nowadays we might even see Dostoevsky's anti-hero as a borderline narcissist and even a sociopath -- his crimes are even worse in the book than they are in the film -- and his "conscience" could simply be worry over being caught, thereby proving him not to be quite as superior as he thought.

Mrs. Patrick Campbell originated the role of Eliza Doolittle in Shaw's Pygmailion on the stage.  She was perhaps most famous for her oft-quoted line: "It doesn't matter what you do in the bedroom as long as you don't do it in the street and frighten the horses." More of a theater person than a film personality, she had only six movie credits, of which Crime and Punishment was the last. She did not enjoy working with von Sternberg, possibly because  he (appropriately) made her look horrible on camera.

Verdict:  Some very raw and powerful acting in this. ***. 


Betty Hutton and Dana Andrews
SPRING REUNION (1957). Directed and co-written by Robert Pirosh.

A small town is the location of a 15 year reunion for the high school class of 1941. The most popular girl in school, Maggie Brewster (Betty Hutton) is unmarried and works in her father's real estate office. Maggie has been trying to sell off a house owned by old classmate Fred Davis (Dana Andrews) -- "most likely to succeed" -- when he comes back to town and changes his mind. A romance begins between the two even as Maggie's friend, Barna (Jean Hagen of Singin' in the Rain), who has a husband and children, finds herself attracted to married former football hero, Jack Frazer (Gordon Jones of The Green Hornet), who seems to exist on reflected glory. Spring Reunion is a pleasant surprise, a light romantic drama greatly bolstered by some excellent performances. Betty Hutton, who I can find overbearing in some of her comedies, is not only lovely and comparatively subdued in this, but gives one of the best and most poignant performances of her career. Andrews is similarly excellent, as are Hagen and Jones, and Laura La Plante [Show Boat] and Robert F. Simon are wonderful as Maggie's parents. Spring Reunion is full of interesting scenes, such as one when Maggie's father makes it clear to her mother that he doesn't like the idea of taking a vacation without his daughter along, that it won't be much fun, and the mother's expression speaks volumes. In another good sequence, Maggie and Fred try to figure out why their lives didn't quite turn out the way they'd intended. James Gleason (billed as "Jimmy") is fine as a lighthouse keeper, and Sara Berner is fun as an impressionist who performs at the reunion. Irene Ryan (Granny from The Beverly Hillbillies) plays a high school official who doesn't know what "Smirnoff" is yet loves the spiked punch, but she isn't given enough to do. Hutton sings "That Old Feeling" and nails it, and Chopin's "Nocturne in E Flat Major" is used as an evocative theme.

Spring Reunion does reflect the attitudes of the time it was made in. Many single women in the fifties probably did feel like "old maids" because they were unmarried in their thirties, but even today women -- and men -- still hope to find someone special to share their lives with. As for Spring Reunion, many of Hutton's fans were disappointed that she wasn't the overly zany Betty Hutton they remembered. Subsequently, this was her last film, although she starred in her own TV show and had other television credits. This was also the last film -- and last credit -- for silent movie star Laura La Plante.

Verdict: Nice romance with some unpredictable touches. ***. 


THE LOST ONE: A LIFE OF PETER LORRE. Stephen D. Youngkin. University Press of Kentucky; 2005.

It was to the eternal frustration of much-admired actor Peter Lorre that he was forever seen as some sort of "horror star," and never quite got the kind of roles that he wanted, and that would have lifted him into a more exalted category. Of course, nowadays most film enthusiasts who are familiar with Lorre's work in various genres have come to recognize his dramatic ability as his numerous fine performances certainly attest to. This lengthy, in-depth biography of the actor covers his life as a Jewish emigre from Austria to his move to the United States, details his coming to international attention thanks to his starring role in Fritz Lang's M, looks into his Hollywood career and the frustrations it engendered, and examines his private life, including his three marriages and serious, life-long drug addiction. Along the way he appeared in such notable films as the first version of Hitchcock's The Man Who Knew Too Much, Mad Love, Crime and Punishment and Casablanca, starred in a series of Mr. Moto movies, and directed his one and only picture, the controversial Der verlorene ("The Lost One"). In his later years he appeared in everything from 20,000 Leagues Under the Sea to Voyage to the Bottom of the Sea, along with a Jerry Lewis film, The Patsy, and Roger Corman's The Raven and Tales of Terror. The Lost One is a solid bio, although I wish it was perhaps a bit more entertaining; the passages devoted to Lorre's relationship with Bertolt Brecht eventually become tedious and there are other dry stretches. The details of Lorre's divorce from his first wife, Celia Lovsky, with whom he remained close, are never quite made sufficiently clear. Otherwise, this is a good book on an important film figure.

Verdict: Possibly not the last word on Lorre, but he certainly deserves this exhaustive look at his life and career. ***.