VICTIM

"Are you sure you weren't feeling too fond of him?"

VICTIM (1961). Director: Basil Dearden.

"I'm not a life bell for you to cling to." -- Laura.

A young man named Jack (Peter McEnery of Tales That Witness Madness) is wanted by the police for embezzlement, but won't tell them what he needed the money for. Jack refuses to admit that he is being blackmailed for being homosexual -- which was still a criminal offense in those days. Although he has tried to get in touch with a friend, the well-known lawyer Melville Farr (Dirk Bogarde), Farr -- who is married to Laura (Sylvia Sims) -- refuses to talk to him. Laura learns of Jack's suicide and confronts her husband about him. Apparently she knew about a gay fling he had in the past and had hoped that he could change. Melville admits that he had sexual feelings for Jack but rejected him before anything could happen. He knows this may destroy his career and even his life, but decides to go after the blackmailers who, in essence, murdered Jack and are destroying others ... Victim was ahead of its time, and it remains a powerful and completely absorbing movie, with excellent performances from the entire cast. It is by no means a perfect movie, however, and one could not expect it to have nothing but 21st century attitudes when the film was made over fifty years ago. Still it's surprising how much sophisticated stuff managed to get into the picture. When Sgt. Bridie (John Cairney) suggests that Farr can't be homosexual because he has a wife, his superior, the more sympathetic Inspector Harris (John Barrie), immediately says "Famous last words." The notion is put forth more than once that homosexuals can't be converted, as well as the idea that there is nothing wrong in homosexuality and the laws against it are unfair and antiquated.

However, I do have a problem with the ending. The implication is that Melville and Laura may ultimately stay together, which seems unrealistic, although others have seen the ending more as an acknowledgment of deep friendship -- and Melville will certainly need friends when the blackmail trial is over, along with his career and future. More problematic is the way Melville burns the photograph of himself and Jack in the fireplace. This was used as blackmail evidence, but it can't be used to harm either himself or Jack anymore, and it seems cold that Melville would burn what is probably the only photo of a man who loved him enough to sacrifice himself to save him. True, one can't expect Melville to walk off into the sunset arm and arm with another man (which Dirk Bogarde did in real life) -- this was 1961 after all and it's lucky the film was even made -- but some more self-acceptance on Melville's part would have been welcome. The ending was possibly meant to suggest that Melville would go on suppressing his "unfortunate urges" and retain a semblance of a marriage, supposedly "triumphing" over his homosexuality like one of those delusional "ex-gays" -- a notion that undercuts the more positive statements of the picture.

Dirk Bogarde

In fact, one might wonder why this "self-hating homo" would destroy his career and marriage when he doesn't exactly have an activist's bent. Why not just forget it, breath a sigh of relief and move on? It makes his burning of the photo even more senseless. Victim may be trying to show how a glib, dishonest man can summon up inner strength and resolve -- indeed that's surely what the film is suggesting -- but the ending needed to be much stronger. It is also unfortunate that it is the married closet case who takes on the blackmailers, when all the other gay men -- who seem far more accepting of themselves -- all just want to pay them off. (This is completely unfair to the many activists who existed on both sides of the Atlantic even during the sixties.) I also wish more had been made of the confrontation between Melville and the bookseller Harold Doe (Norman Bird), who was previously involved with Jack and blames Melville for his death. Melville's reaction is rather cold, but one could argue that there's a coldness, or at least a coolness, not only to Melville but to the whole movie.

Bogarde was an understandably closeted gay man in real life, and it was brave of him to take on this role, which could have destroyed his own career. As he later noted, it did serve to get him away from the superficial "pretty boy" roles and led to much meatier parts, for which he was grateful. As for his performance in Victim, it's good, but not as great as in other films, perhaps because he was confused as exactly how to play the part, and because of the improbability of his character doing what he does in the first place. Sylvia Sims is first-rate as his loving but disillusioned and heartbroken wife, and there are notable turns from McEnery as Jack; Charles Lloyd Pack [The 3 Worlds of Gulliver] as the tragic barber, Henry; Dennis Price [Dear Murderer] as the actor Calloway; Donald Churchill as Jack's friend, Eddy Stone; Margaret Diamond as the hateful Miss Benham; and others previously mentioned or not. An interesting aspect of the picture is that Victim unfolds as a thriller or suspense film, with much information -- such as the reasons for the blackmail -- being withheld from the audience for quite some time.

Verdict: Whatever its flaws -- and that ending! -- Victim is a memorable film and a landmark in gay cinema. ***.

EXECUTIVE SUITE

EXECUTIVE SUITE (1954). Director: Robert Wise.

Avery Bullard, the head of Tredway Furniture Corporation, drops dead on a city street and a war begins over which of the executive directors will take charge of the company. The most interesting aspect of this picture is the opening, in which we see everything from Bullard's point of view (we never actually see Bullard). Then the picture just about talks itself to death, coming to life only sporadically whenever Barbara Stanwyck comes on as Julia Tredwell, wringing her hands, and yelling at one or two of the other characters. What this picture needs is a lot more of Stanwyck and a lot less of June Allyson, who is at her most perfectly cloying as William Holden's drippy wife. Fredric March, Nina Foch, Shelley Winters, Paul Douglas, and especially Louis Calhern all give good performances, however, with Stanwyck being the zippiest. Holden is adequate, and Walter Pidgeon is a bit better than usual in more of a character part. The funniest sections of the film -- which hasn't many laughs, just talk -- have to do with Calhern and his pretty, ever-hungry mistress. Allyson was a lot better in Woman's World, which came out the same year, had a similar premise, and was a much more entertaining movie.

Verdict: Given how little the women have to do in this film, it's a man's world after all. *1/2.

IN THE COOL OF THE DAY

Lansbury, Fonda and Finch amidst scenic Grecian splendor

IN THE COOL OF THE DAY (1963). Director: Robert Stevens.

"Murray and I already call each other by our first names. It happens fast in America." -- Christine

"I hear everything does." -- Sybil

Murray Logan (Peter Finch) is married to a bitter woman, Sybil (Angela Lansbury), who was scarred in the car accident in which their son was killed. Murray becomes friendly with Christine (Jane Fonda), the wife of his old friend Sam Bonner (Steven Hill); both men are in the publishing business. Sam treats Christine, who has major medical problems, as if she were a fragile child, and this is threatening their marriage. Christine gets the idea that the two couples should go off to Greece and have a great vacation. Surprisingly, Sybil agrees, but at the last minute Sam can't make it. Will the attraction that Murray and Christine feel for each other move up a notch when they're in Greece? What do you think? In the Cool of the Day could be dismissed -- and probably was -- as a soap opera or travelogue or both, but it's actually not a bad movie, in large part due to the interesting characters and the performances of the ladies; Fonda is simply outstanding and Lansbury, although she has a less sympathetic role, is also excellent. Finch was a fine actor but he doesn't have that much chemistry with Fonda (luckily she makes up for this) and at times seems completely disinterested in the proceedings. Constance Cummings is Christine's mother and Alexander Knox plays Sam's father, Frederick. If you don't care for the story you can always enjoy Peter Newbrook's photography of Athens and Delphi, as well as Francis Chagrin's flavorful musical score. It's hard for movies like this, based on novels where the author can describe the internal feelings of the characters, to work, but this is quite effective at times.

Verdict: Very interesting picture with a wonderful lead performance from Fonda. ***.

EVERYBODY'S BABY

Hattie: "Woman, you better run for your life cause I'm rowed!"

EVERYBODY'S BABY (1939). Director: Malcolm St. Clair.

Jones Family daughter Bonnie (Shirley Deane) has a baby girl and makes the mistake of ascribing to the dopey child-rearing theories of one Dr. Pilcoff (Reginald Denny of Strange Justice), who believes the baby should have little contact with the parents for the first year. This doesn't sit well with Bonnie's husband, Herbert (Russell Gleason), nor with any  member of the Jones family, especially Granny (Florence Roberts). Pilcoff hires a hatchet-faced nurse (Claire Du Brey of Jane Eyre) who comes into conflict with the family, and especially with Bonnie's wise old housekeeper, Hattie (Hattie McDaniel of The Great Lie), in the movie's best and funniest scene. In this installment of the popular Twentieth Century-Fox series, Bonnie is pretty much an idiot, at one point suggesting that Hattie, who has eight children (including the adorable Triola), "doesn't know anything about children." She also objects strenuously and in almost racist fashion when she finds Triola in her daughter's crib. On the other hand, there's a great scene when the gang finds Bonnie's "missing" baby at a meeting of black families where Triola wins a prize and the Jones baby sits happily with the other infants. Granny is again revealed as the smartest member of the Jones family, cooking up a clever scheme to get rid of Pilcoff and his notions once and for all. The rest of the family is in tow, all giving fine performances, and McDaniel is as terrific as ever. Fun!

Verdict: One of the cutest entries in the series. ***.

POINTED HEELS

William Powell and Fay Wray

POINTED HEELS (1929). Director: A. Edward Sutherland. Colorized.  

"I was so afraid you were going to be sensible -- and go away." -- Lora.

Broadway producer Robert Courtland (William Powell) is interested in the mildly talented Lora Nixon (Fay Wray of King Kong and Queen Bee) but she leaves the show to marry the wealthy Donald Ogden (Phillips Holmes of Beauty for Sale). Learning of his marriage, Donald's furious mother cuts him off without a penny and he and his new wife move into a dingy flat. Lora's brother, Dash (Richard "Skeets' Gallagher), has an act with his wife Dottie (Helen Kane), and they interest Courtland -- who is still attracted to Lora -- in their show, which they threaten to sink by suddenly deciding to act all "refined." Courtland can't help but notice a rift in the Ogden's marriage -- musician Donald can't quite deal with Lora being the breadwinner -- but will he take advantage of the situation? 

Phillips Holmes

Pointed Heels is a charming old musical, an early sound film, that features some good performances from the three leads although it frequently eschews logic. For instance, why would Donald feel out-classed by Lora when his score is being used for the new musical and she only has a supporting part? And one could certainly raise their eyebrows at Courtland's technique for loosening up the Nixons -- he gets them drunk before sending them out on stage on opening night! As well, Donald is working on a "symphony" but the passages we hear don't exactly sound like classical music. The songs in this include "Ain't Ya" and "I Have to Have You." Helen Kane only appeared in eight films but she became famous as the basis of Max Fleischer's cartoon character Betty Boop and even originated the phrase "Boop-boop-deboop." She sued Fleischer but lost, even though Betty Boop was clearly inspired by her. A. Edward Sutherland also directed Follow the Boys and many others. 

Verdict: Minor but fairly nice old musical with interesting players. ***.