DOCTOR ZHIVAGO

DOCTOR ZHIVAGO (1965). Director: David Lean.

"What happens to a girl like that when a man like you has finished with her?"

It is the 61st anniversary of the release of this epic film by David Lean, based on the novel by Boris Pasternak.

At the beginning we learn that the two main protagonists, Yuri Zhivago (Omar Sharif), a doctor and poet, and Lara (Julie Christie), whose boyfriend is a revolutionary, have had a child. As the film progresses the two are married to other people, so you wonder for quite a while how the couple are ultimately going to get together. Their love story is set upon the background of WW 1 and the Russian revolution and all the chaos that ensued during and afterward.

As an epic, the film is quite effective with some memorable scenes: the dragoons charging on horseback and attacking the marching band of revolutionaries; an officer lecturing to tired, disgusted soldiers who falls into a barrel of water and then is shot dead in an instant; most of all the long, detailed journey that Yuri takes with his family to the country by railroad, dozens crowded into each car that buckle and sway as if any moment they'll fall to pieces.

Omar Sharif and Julie Christie

As a romantic drama, be forewarned that David Lean is no William Wyler, but perhaps the main problem is Maurice Jarre's muscial score. Jarre layers the soundtrack with attractive music (although Lara's theme wears out its welcome pretty quickly) but it doesn't embellish and compliment the emotions of the characters or what's going on on-screen like a score by, say, Max Steiner. Hence, despite all the grim and indeed heart-breaking stuff going on, you may never be especially moved by the proceedings.

The movie is over 3 hours long -- the DVD released on the 45th anniversary has the complete film, which is shown in letterbox format, thank goodness -- but it is never boring because Lean, whatever his deficiencies, keeps things moving, and the plot and characters are always interesting. Of course, like other long films, undoubtedly a lot of important stuff got left on the cutting room floor -- for instance, the scene wherein Yuri's wife and mistress finally meet is only referred to in dialogue [!] -- so the film at times seems a trifle disjointed. It helps to know Russian history to understand fully what's happening, and you may find yourself checking the novel out of the library to fill in some missing details.

Sharif in a contemplative moment

Omar Sharif may never have been considered a great actor, but he's effective enough in the title role, and has a particularly good scene when he looks in the mirror after a harrowing journey and realizes to his horror how much he's aged. Julie Christie is also good -- although neither performer compares to the greats of the golden age. The best acting comes from Ralph Richardson as Alexander, Yuri's father surrogate (and father-in-law); Rod Steiger as the ferocious Victor Komarovsky; and Tom Courtenay as Lara's husband. There is also fine work from Geraldine Chaplin as Yuri's wife; Rita Tushingham as his probable daughter; Alex Guinness as his half-brother; and Klaus Kinski as a mad man on the train. Omar Sharif's young son Tarek plays Yuri as a boy and does it well-- what a great face! Petya, Alexander's servant, is played by Jack MacGowran, who appeared in everything from The Giant Behemoth to The Exorcist. All in all, whatever its flaws, Doctor Zhivago is a very interesting picture. The hard work that went into the film is obvious.

Verdict: Worthwhile historical drama with frustrated romance at its heart. ***

BEDELIA

Margaret Lockwood

BEDELIA (1946). Director: Lance Comfort. 

Bedelia and Charlie Carrington (Margaret Lockwood of The Wicked Lady and Ian Hunter of The Girl from 10th Avenue) are on their honeymoon in Monte Carlo when they encounter the artist Ben Chaney (Barry K. Barnes) and they all become friends. Charlie hires Ben to do a portrait of Bedelia, which she objects to, complaining of headaches when she's forced to pose. Ben seems to have a too-intense interest in the pretty woman, and follows the couple to Charlie's home town where the artist is set up in a studio. Ben's mere presence makes Bedelia nervous, and suspicion of the man is also ignited in Ellen (Anne Crawford of They Were Sisters), Charlie's business partner. But is Bedelia keeping secrets herself? 

Ian Hunter with Lockwood

Bedelia is based on a novel by American writer Vera ("Laura") Casbury. The story originally took place in Connecticut but was moved to England for this British production, with the time period updated from shortly after the turn to the century to a contemporary period. Casbury felt that this compromised her theme of the changing gender roles of the time. Whatever the case, Bedelia is a well-acted and very suspenseful story with a darkly fascinating heroine and very interesting supporting characters. Others in the cast include Jill Esmond as Nurse Harris, called in when Charlie suffers food poisoning, Beatrice Varley of Hatter's Castle as the maid Mary, and Barbara Blair as the chatty party guest, Sylvia. Barnes and Lockwood also appeared together in The Girl in the News. 

Verdict: Intriguing British suspense flick. ***. 

THE REVOLT OF MAMIE STOVER

Jane Russell and Richard Egan

THE REVOLT OF MAMIE STOVER (1956). Director: Raoul Walsh. 

"When you talk about money you're slumming. When I talk about it, I'm just plain scared." -- Mamie. 

Mamie Stover, originally from a small town in Nebraska, is put on a steamer to Honolulu by the authorities in San Francisco and told never to return. Although Mamie has never been convicted of anything (or so she says), she apparently has some kind of unsavory and criminal history. On the ship she meets up with handsome author Jim Blair (Richard Egan of A Summer Place), who doesn't waste much time before making passes which are happily received by the initially distrustful Mamie. When the boat docks Mamie learns that her new swain apparently has a steady girl in Annalee (Joan Leslie), a much more respectable female. Not at all bashful in any sense of the word, Mamie asks if she can move in to Jim's beautiful Hilltop estate, but he says no, loaning her one hundred bucks instead. Mamie goes to work at a somewhat sleazy establishment run by Bertha (Agnes Moorehead), who employs the sadistic Adkins (Michael Pate of Curse of the Undead) to keep the girls in line --  with his fists if necessary. Despite whatever reservations he might have -- and in spite of Annalee -- Jim can't help dropping into the nightclub where Mamie has become a top headliner. But she has been told not to fraternize with men outside the club, a rule she gleefully breaks to be with Jim. Surprisingly well-paid at the club, Mamie is saving her money and intends to have her own hilltop estate someday. Then the attack on Pearl Harbor occurs, and Mamie hits on a way to enrich her coffers ... 

Russell with Agnes Moorehead

The entertaining Revolt of Mamie Stover is typical of movies in the fifties that feature decided "bad girls" but make certain not to delineate their alleged misdeeds with too much scrutiny. Scenes that made it clear that Mamie was a hooker were cut from the film. Born into comparative poverty, Mamie -- like the heroine of Bedelia -- is determined to rise from the gutter by any means she can, although one senses that Miss Stover is not really evil, just mercenary and a little desperate. The hard-edged Russell is perfect for the role of Mamie, and she gives a snappy performance. Although he has a couple of wooden moments, Egan is basically fine as Jim. Pate and Moorehead score, as expected, in the two major supporting roles, but Joan Leslie has the thankless part -- and very little screen time -- as Annalee. Richard Coogan of Vice Raid is given the opportunity to make an impression and does so as Captain Eldon Sumac, a married officer who tries his best to score with Mamie. Marilyn Monroe and Lana Turner were both considered for the role of Mamie -- the former would have brought more vulnerability to the role -- but passed on it. A good score by Hugo Friedhofer and top-notch cinematography from Leo Tover certainly help. Leon Lontoc, who plays Jim's servant and supposed friend, Aki, later wound up on Burke's Law in a similar role. Jean Willes, Margia Dean and Hugh Beaumont also appear in smaller parts. 

Verdict: If you take this flick with a grain of salt -- it's watered down and is sometimes quite improbable -- it is absorbing and fun. 

SUSPENDED ALIBI

Naomi Chance and Patrick Holt

SUSPENDED ALIBI (1957). Director: Alfred Shaughnessy. 

Editor Paul Pearson (Patrick Holt of The Unholy Four) has been playing around with a fashion writer, Diana (Naomi Chance of Wings of Danger), despite his having a loving wife, Lynn (Honor Blackman), and young son, Bobby (Toby Winterbottom). He is trying to call it off with Diana, and uses a buddy, Bill (Bryan Coleman) as a beard. Unfortunately Bill is stabbed to death and Paul becomes a suspect. He tells the police he spent most of his time away from home with Diana, but when questioned she refuses to give him an alibi. Just in case she might change her mind, the real killer pays a call on Diana ... and then Paul is really in trouble.  

Patrick Holt and Honor Blackman

In some ways Suspended Alibi plays like something made twenty years earlier. The characters are not developed very well, and there are no scenes where the impossibly understanding wife has a strong confrontation with her adulterous husband -- he seems to get a free pass. There is a little suspense at the end as the police rush to apprehend the killer, but otherwise the film is watchable but has little tension. Another murder scene in which someone gets thrown out of a window is laughably muffed. Others in the cast include Andrew Keir as a reporter-friend of Paul's; Valentine Dyall as Inspector Kayes; and Lloyd Lamble as the neighbor Waller. 

Verdict: Distinctly minor-league British mystery that could have been developed into something much more worthwhile. **1/4. 

I'LL CRY TOMORROW

I'LL CRY TOMORROW (1955). Director: Daniel Mann.

The more or less true story of singer Lillian Roth (Susan Hayward) and her battle with alcoholism. Although Hayward has a couple of self-conscious moments, basically she gives a very strong performance as this tormented woman who lost the first man (Ray Danton) she loved to illness and an early death, married a heavy-drinking gigolo and party boy (Don Taylor), then -- worst of all-- got hitched to a wife-beating thug played by Richard Conte [pictured]. Virginia Gregg and Veda Ann Borg show up in much smaller roles. Carole Ann Campbell is excellent as Roth as a young girl, but the movie is basically stolen by Jo Van Fleet, who is simply superb as Lillian's mother. Hayward sings her own numbers, and isn't bad, although one can't imagine she would have been as successful a singer as she was an actress. Reviews of the film have noted that the atmosphere is more of the fifties when it was made than the period during which most of the story takes place. There is a nice score by Alex North. 

Verdict: Watch Susan Suffer! ***.