TWILIGHT OF HONOR

Claude Rains and Richard Chamberlain

TWILIGHT OF HONOR (1963). Director: Boris Sagal.  

David Mitchell (Richard Chamberlain) is stunned when Judge Tucker (Edgar Stehli) insists he defend an Army vet, Ben Brown (Nick Adams), accused of murdering the beloved citizen and cop, Cole Clinton (Pat Buttram). David hasn't been in a courtroom in years, and then he was a prosecutor! Forced to take on the case, he consults with his aged mentor, Art Harper (Claude Rains), who agrees to help him. A widower, David draws closer to Harper's smitten daughter, Susan (Joan Blackman), as he prepares his case. He is convinced that even if Brown killed Clinton, it might be a justifiable homicide under New Mexico law if Clinton was sleeping with Brown's wife, Laura (Joey Heatherton). But the question of adultery -- and prostitution -- might test the limits of the angry town's patience, not to mention Clinton's widow, Amy (Jeanette Nolan). But David might be surprised by what Amy tells him outside of court ... but will she repeat it under oath?

Heatherton, Buttram, Adams

Twilight of Honor is a very good and absorbing courtroom drama that benefits from a swift pace, sharp direction, interesting twists, a certain sixties-style frankness, and some excellent performances. Taking time off from his hit medical series, Dr. Kildare, Chamberlain certainly delivers as the impassioned and intelligent, no-nonsense defense attorney. Nick Adams fought hard and spent much money to get a supporting Oscar, and while he was nominated -- and is quite good as well -- his screen time may have simply been too limited, and he lost to Melvyn Douglas. Rains is as good as ever, but perhaps the most impressive performance is from James Gregory (of A Distant Trumpet) as the special prosecutor -- he has a superb turn as a rather slimy character who's out to win at all costs, and makes no bones about it. Joey Heatherton -- introduced in this, her first movie -- proves that she had more than sexiness going for her, and Jeanette Nolan also scores as the widow who knew her husband's peccadilloes all too well. 

Chamberlain with Jeanette Nolan

There are also smaller roles played well by Paul Langton, Pat Buttram (as the victim), Don Barry, Arch Johnson, Edgar Stehli (as the judge), Bert Freed as the sheriff, and George Mitchell as the D.A. Linda Evans, later famous for Big Valley and Dynasty, plays the victim's angry daughter -- her first film as well. The only player who really doesn't impress is Joan Blackman; most of her credits were on television although she also did a couple of films with Elvis and was Jerry Lewis' leading lady in Visit to a Small Planet. Boris Sagal did most of his work for television, but also helmed such features as The Omega Man. 

Verdict: Solid courtroom drama with generally excellent performances. ***1/4. 

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. ***.

I COULD GO ON SINGING

Garland sings with the school boys

I COULD GO ON SINGING (1963). Director: Ronald Neame.

"I've held on to every bit of rubbish in life, and thrown all the good bits away."

"Alone. It's an awful word. And I know what it means."

Jenny Bowman (Judy Garland) had a child with lover David Donne (Dirk Bogarde) years before, but wouldn't give up her singing career to marry him or care for their child. Now she's a big success doing a tour in London, Donne is also a successful doctor, and their son is a charming young lad, Matt (Gregory Phillips) in boarding school. Once she meets Matt, Jenny realizes she wants the boy to be part of her life on a permanent basis, but is that the best thing for the boy and is it possible for David to forget -- and forgive -- the past? 

Garland's final film is clearly fashioned for her talents -- at times you get the distinct impression she's only playing a variation of herself (although playing it well) --  and she comes through with flying colors, and Bogarde is also excellent; the two play marvelously together. They get fine support from Phillips as the boy and Jack Klugman as Jenny's manager. One could quibble that this is primarily a showcase for Garland's singing talents, and that the characters and storyline could use a lot more fleshing out, but the film boasts beautiful widescreen photography and handsome production values to go with the first-rate performances. As for Garland's singing, this film probably illustrates why her fans found her legendary even when she was near the end of her life. Her performances of the title tune, "All By Myself," and especially "It Never Was You" and "Hello, Bluebird, Hello" make it clear that the gal was one hell of a gifted singer with strong interpretive skills to say the least. A very charming scene has Garland at the piano singing along with the British schoolboys, including her son, who have just given a performance of "H.M.S. Pinafore." Some of Garland's dialogue sounds like snippets from her own life.  This film presents the Garland mystique far better than End of the Rainbow. This was Garland's last movie.

Verdict: A fitting filmic swan song for Judy Garland. ***.  

OPERATION BIKINI

OPERATION BIKINI (1963). Director: Anthony Carras.

During the days of WW2 a submarine commanded by Captain Carey (Scott Brady) takes on a host of Marine underwater demolition experts, which in turn is led by Lt. Morgan Hayes (Tab Hunter). The sub is to take this gang to the Bikini atoll, where they are to destroy a submarine sunk by the Japanese. It seems this sub has special radar equipment on it that the allies don't want the Japs to get their hands on. Others on the demolition team include Joseph (Frankie Avalon), Floyd (Gary Crosby), Ed (Jim Backus), and William (Jody McCrea). Michael Dante plays Carey's second-in-command. On Bikini, Hayes and his band team up with certain friendly islanders, including Reiko (Eva Six), who has a brief dalliance with Hayes. 

Eva Six and Tab Hunter

American-International Pictures brought together some Beach Party players such as Avalon and McCrea, dropped in Tab Hunter, and "introduced" Hungarian actress Eva Six, who only made two more movies besides this one. Operation Bikini is pretty cheap and largely dull, although there are occasional spurts of action. Avalon, Hunter and the others turn in decent enough performances. Avalon even sings a song during a dream sequence, and proves not to be a bad singer at all. 

Tab Hunter

In the dream sequence Frankie is torn between his "girl back home," played by Nancy Dusina, and a sexy temptress, played by Judy Lewis. Lewis was the daughter of Loretta Young and Clark Gable. She had 28 credits, including Perry Mason, 77 Sunset Strip and The Secret Storm. The best thing about Operation Bikini is that unlike such films as Voyage to the Bottom of the Sea it features a realistic sub and gets across just what it's like to be in a cramped, uncomfortable submarine. 

Verdict: Ultimately, this is pretty much a waste of time. *1/2. 

THE SERVANT

Wendy Craig, James Fox, and the servant's shadow

THE SERVANT (1963). Director: Joseph Losey. Colorized version.  

Tony (James Fox), a wealthy if somewhat dizzy Londoner, simply can't function without a manservant, and hires Barrett (Dirk Bogarde) to be his cook, butler and chief bottle washer. His fiancee, Susan (Wendy Craig), takes an almost instant dislike to Barrett, who clearly isn't much impressed with her, either. Barrett has his "sister" (Sarah Miles of White Mischief) come move in to do the housekeeping, and it isn't long before she and Tony are carrying on, far more passionately than Tony ever did with Susan. One night Susan and Tony come back early and discover things may be even more twisted than they thought ... 

Bogarde meets Fox' approval

Although the screenplay for The Servant is written by Harold Pinter, who has a cameo in a restaurant, it is based on a novella by Somerset Maugham's gay nephew (I believe Somerset was also gay). He based the novella on his own experiences with a manservant who wanted to bring in his "nephew," but he feared being blackmailed. The novella changes gay characters to straight, as does the film, although there are certain intimations which go unexplored -- late in the film Tony and Barrett come off like a quarreling married couple, for instance, and there are those posters of muscle men on the bedroom wall. But both men seem to be lustily interested in the ladies (another case of gay erasure?) 

Setting up housekeeping: Bogarde; Fox

Acclaimed in its day, I'm not certain if The Servant deserves its reputation, although it is well-directed by Losey (who had to work in England after being blackballed by Hollywood), extremely well-acted, and has absolutely stunning cinematography by Douglas Slocombe. Not to mention an interestingly quirky score by John Dankworth. Perhaps the problem is that after all these years The Servant makes such obvious points about class distinction and the character flaws of the rich, the characters are not quite as dimensional as you might have hoped, and the predictable ending doesn't carry the punch that it might once have. Losey also directed Bogarde in King and Country and The Sleeping Tiger, both of which are arguably better than The Servant.  

Verdict: Outstanding cinematography is the film's major asset. **3/4. 

THE BLACK ABBOTT (1963)

The Black Abbott on the prowl

THE BLACK ABBOTT (aka Der schwarze Abt/1963). Director: Franz Josef Gottlieb. 

Lord Harry Chelford (Dieter Borsche of Dead Eyes of London) lives on his estate -- which is reputed to be haunted by a Black-robed Abbott -- and is engaged to Leslie (Grit Boettcher), although she clearly prefers her fiance's cousin, Dick Alford (Joachim Fuchsberger). Leslie's brother, Arthur (Harry Wustenhagen), has a great deal of debts, and is taken advantage of by his employee, Fabian Gilder (Werner Peters) -- Arthur either talks his sister into marrying Gilder, or he will send Arthur to prison. In the meantime, Gilder, Mary (Eva Ingeborg Scholz) who wants Lord Chelford for herself, and others -- including the berobed abbott -- are searching the grounds of the Chelford estate for a rumored treasure of gold. Someone has already been stabbed to death -- who will be next?

Kinski with Fuchsberger

The Black Abbott is based on an old novel by Edgar Wallace which is convoluted and dull and which I never did manage to finish. This film version -- there have been several -- is almost too faithful to the story and is also convoluted and dull. Frankly, although I generally love West German krimi (crime) movies based on Edgar Wallace novels, if this had been the first one I watched I probably wouldn't have sat through the others. Fuchsberger and Peters are familiar players -- Klaus Kinski (of Web of the Spider) is also in this, playing a sinister butler with a criminal history -- and we are also plagued by the presence of the awful Eddi Arent in his usual role of police bumpkin and alleged comedy relief.  

Mismatch: Werner Peters with Grit Boettcher

The Black Abbott has some atmosphere but not much suspense despite so many different characters running around to little effect. More than one of them dress up as the Black Abbott on different occasions, although there usually isn't much sense to it. There was a British film version of the novel in the thirties, and other krimi movies were based on it afterwards (such as The College-Girl Murders in 1967), although these took a lot of liberties. If you're looking for a horror film with a sinister monk beheading people, this isn't it. What you will get instead is a tedious mystery film that fades from memory even as you're watching it. 

Verdict: Could have killed the West German Edgar Wallace sub-genre practically at the starting gate. *. 

THE CARDINAL

Father Fermoyle (Tom Tryon) faces the KKK

THE CARDINAL (1963). Produced and directed by Otto Preminger.

At his birth it was decided that Stephen Fermoyle (Tom Tryon of The Unholy Wife) would become a priest, and he never questioned it. Seen as being too ambitious by Bishop Glennon (John Huston), Fermoyle is sent to one of the poorest parishes in the nation, where he works with the dying Father Halley (Burgess Meredith). Not certain that he wants -- or ever wanted -- to be a priest, he takes a leave of absence and falls in love with the Austrian woman Annemarie (Romy Schneider) and vice versa, but his faith is reignited and he remains in the priesthood. As he advances at the Vatican due to the patronage of Cardinal Quarenghi (Raf Vallone), he jeopardizes his career by helping a black priest, Father Gillis (Ossie Davis), in Georgia and comes afoul of whip-wielding members of the Ku Klux Klan. Later he goes to Vienna to consult with Cardinal Innitzer (Joseph Meinrad), who has capitulated to the Nazis but is betrayed by them. He manages to escape an attack on Innitzer's quarters and with most of his family present is made a cardinal. 

Raf Vallone with Tom Tryon

Over three hours long, The Cardinal -- which spans WW1 up to the beginnings of WW2 and the rise of Hitler -- is never boring. I only watched the film because I was curious how actor-turned-novelist Tom Tryon would handle such a demanding lead role, and he comes through with flying colors. Unfortunately, The Cardinal was a financial flop, and that adversely affected his career. One of the film's greatest strengths is the performances of the entire cast, although John Huston, despite some solid moments, is as uneven in this as he was in The Other Side of the Wind. Carol Lynley makes her mark as Stephen's sister, who falls in love with a Jewish man, well-played by John Saxon. Broadway star Bill Hayes is also effective as Stephen's brother, Frank, as is Dorothy Gish as their mother. Others in the cast include Patrick O'Neal as a southern bigot, Murray Hamilton as one of the racist group who tries to help Stephen, Chill Wills as a bishop, and Bobby Morse (appearing with the Adora-Belles) as the main performer in a spirited nightclub act. 

Joseph Meinrad with Tryon

One problem with the film is that apparently some scenes had to be left on the cutting room floor, or perhaps were never filmed. The resolutions of storylines involving the sister and her fiance, as well as Annemarie in Nazi-controlled Vienna, are left dangling. Some scenes, such as a confrontation between Stephen and his sister's Jewish fiance after a tragic occurrence, cry out to be recorded but are never shown. On the other hand, there are some powerful moments, such as a chorus of Catholics in Vienna attracting the negative attention of the SS and Hitler Youth, forming a startling contrast, and the sequences when Nazis storm Cardinal Innitzer's quarters, which actually happened. Joseph Meinrad [Sissi: The Young Empress] is excellent as the cardinal, who was a real-life individual. 

Brothers: Tom Tryon with Bill Hayes

The Cardinal does something unusual in that it depicts the Nazi persecution of Catholics. Although ordinary members of the clergy (Protestants as well as Catholics) were sent to concentration camps or killed, higher-ranking clergy were generally left alone so as not to become martyrs. In any case, this doesn't compare to the persecution of Jews, whose ordinary citizenry were slaughtered in appalling numbers. Annemarie's husband has Jewish blood, and comes to a bad end, but otherwise The Cardinal doesn't really deal with antisemitism, another serious flaw of the film. Despite the fact that the film was partially bankrolled by the Vatican (the church's liaison later became Pope Benedict XVI), it is made clear that the church didn't really want to get involved in civil rights, let alone in the troubles of the Jews.  

Whatever its flaws, The Cardinal boasts a beautiful, expressive score by Jerome Moross [The Big Country] and superb cinematography courtesy of Leon Shamroy [The Robe] . 

Verdict: I am not remotely Catholic but I enjoyed this movie -- the religiosity never quite becomes overbearing, it is great to look at, and much more interesting than you might imagine, with a great cast. ***. 

THE CEREMONY

Laurence Harvey

THE CEREMONY (1963). Produced and directed by Laurence Harvey. NOTE: Some plot points are revealed in this review.

In Tangier Sean McKenna (Laurence Harvey of Butterfield 8) is being held in prison and and is being prepped for execution. McKenna participated in a bank robbery in which a guard was killed, although he did not fire the shot and apparently tried to stop it. The warden (John Ireland of No Place to Land) and prosecutor (Ross Martin) want McKenna to tell them where the money is, but he refuses. Meanwhile his brother, Dominic (Robert Walker Jr.),  hatches a plot to spring Sean from prison by replacing Father O'Brien (Jack MacGowran) when he comes to give Sean the last rites. But Sean doesn't realize that he must pay a price for his brother's assistance, a price that concerns Sean's girlfriend, Catherine (Sarah Miles).

Sarah Miles and Laurence Harvey

Produced and directed by and starring Laurence Harvey, The Ceremony is, sadly, a mess. What might have been a thrilling picture -- and it does have a couple of exciting sequences -- has been turned into a pretentious allegory, a painfully obvious anti-capital punishment tract whose one-dimensional characters fail to get a grip on the audience. We learn so little about Sean that it's hard to have any sympathy for a bank robber, and since -- whoever fired the shot -- the guard was killed during the commission of a robbery, it's hard to understand why one of the prison staff is so upset at the thought of his demise -- in a completely ridiculous scene all the members of the firing squad refuse to shoot him (or at least the person they think it is). 

John Ireland and Ross Martin

Harvey gives a decent but not great performance. Poor Ross Martin, generally a fine actor, is forced to play the cliche of the "evil" prosecutor who takes extreme pleasure in someone being executed -- he never even comes off as a real person. John Ireland does what he can with another underwritten role, that of the prison warden. Jack MacGowran is incredibly irritating as the fussy and dithering priest who seems half-senile and who continuously talks to himself while saying nothing remotely interesting. Sarah Miles does her best but is unable to bring Catherine, torn between two brothers, to believable life. Lee Patterson [Spin a Dark Web], who appears briefly as a friend of Sean's and Dominick's who helps the former escape, is relatively unscathed. The sensitive, uncredited young actor who plays the prison guard disturbed at the thought of Sean being executed probably comes off best, although his character is also undeveloped. 

Verdict: Interesting cast in rather dull movie sunk by its own pretensions. **.  

THE CARETAKERS

THE CARETAKERS (1963). Produced and directed by Hall Bartlett.

Lorna Melford (Polly Bergen) has been deteriorating mentally ever since the death of her little boy, and her husband, Jim (Robert Vaughn), has no choice but to put her in the Canterbury state mental hospital. There she is enrolled in a controversial new program called "Borderline," where several patients are isolated from the others and may even have a chance at being outpatients in the future. This program is run by Dr. MacLeod (Robert Stack), and he is violently opposed by head nurse Lucretia Terry (Joan Crawford), who has been with the institute for a long time and thinks his methods are impractical and ridiculous. Frankly, although the film clearly takes the side of McLeod -- I mean, "Lucretia?" --  considering some of the goings-on in the hospital you can certainly see Terry's objections. Lorna actually tries to stab one (admittedly unpleasant) nurse, Bracken (Constance Ford) in the back, and runs off only to wind up in a ward with psychotic males who try to have their way with her (what actually happens is left to the imagination). Still MacLeod and his staff -- Nurse Clark (Susan Oliver), Dr. Denning (Van Williams), and Nurse Horne (Diane McBain) -- are convinced that Lorna and the others can someday lead normal and productive lives. Well ... maybe. 

Butting heads: Stack and Crawford with McBain in back

The Caretakers tries to come off as a compassionate and sincere look at the struggles of the mentally ill, and almost succeeds, although it can't quite resist succumbing to the lurid on more than one occasion. Director Bartlett keeps things moving and the film has several cinematic, briskly-edited sequences, such as when Lorna gets shock treatment. Bergen gives a good performance although she almost goes over the top on more than one occasion. Robert Stack comes off like the grim Elliott Ness in the opening sequences -- who would want him for a doctor? -- but he warms up a bit as the movie proceeds and has an excellent sequence when he talks about his own father's mental illness. Joan Crawford plays with her customary authority and gives a very good latter-day performance, classing up the picture to a certain degree, as does Herbert Marshall in his sympathetic portrayal of Dr. Harrington, the hospital's superintendent. 

Joan oversees her nurses learning judo

Inmates are portrayed by such as Janis Paige  [Please Don't Eat the Daisies], who nearly steals the picture as the prostitute Marion, who covers up her insecurities with cutting remarks. Ellen Corby is the grandmotherly type who tries to be kind to all of the others. Barbara Barrie is Edna, who hasn't spoken for seven years, and nearly sets fire to the ward before miraculously uttering her first word. (This is one person who should definitely not be an outpatient! She and Lorna obviously need a lot more help before they can go home, and Nurse Terry would undoubtedly agree!) Robert Vaughn, that ultra-cool Man from UNCLE, gives a strong performance as a man who is simply unable to cope with his wife's severe mental and emotional problems. Susan Oliver and Van Williams are given a well-played scene together as the former wonders if she's really cut out for her job. Constance Ford ["The Creeper"] is effective as the rather cold Nurse Bracken, who backs up Lucretia Terry in every way she can. 

Constance Ford tussles with Polly Bergen

Crawford and Marshall, those old pros, play extremely well together. At one point Nurse Terry says "Sometimes I look back and I see myself years ago," the line given added poignancy by the fact that both, long-time stars, are playing supporting roles in a picture that may not be worthy of their talents. Elmer Bernstein's score has its attractive aspects, but it is also inappropriately jazzy and "sensational" at times. Cinematographer Lucien Ballard gives the film a crisp look, and there is one sobering moment when the camera pulls way, way back to show exactly how large the ward is and how many poor people are, in a sense, trapped there. 

Verdict: For all its obvious flaws, the picture is absorbing, ***. 

OSS 117 UNLEASHED

Kerwin Mathews

OSS 117 UNLEASHED 

(aka OSS 117 se dechaine/1963) 

Director: Andre Hunebelle.

An American agent with the Office of Strategic Services is searching for the prototype of a device that can detect atomic submarines and thinks he's found it in a grotto when he is killed. Hubert Bonisseur de la Bath, also known as OSS 117 (Kerwin Mathews of The Viscount), is sent to replace the dead man, and investigates a scuba instructor, Renotte (Henri-Jacques Huet), and his girlfriend, Brigitta (Nadia Sanders), who is keeping secrets. A nasty character named Mayan (Roger Dutoit) is out to keep 117 from finding the detector and employs various unsavory agents, male and female, to stop him. The climax takes place at a spooky estate located above the grotto where 117 will either destroy the device or die trying. 

Irina Demick holds a rifle on 117

OSS 117 was introduced in a series of French novels and made his first film appearance in 1957 where the character had a different name and was a French agent. When Dr. No became a sensation in 1962 filmmakers in France decided to revive the character and make him more like James Bond. Hence Mathews' adroit performance is clearly cut from the same cloth: a man with an eye for the ladies, callous and ruthless, and not at all bothered by the death of anyone, good guy or bad. The movie is fast-paced and suspenseful, with some colorful supporting characters. It cries out for a much better score, however, and the pop song that opens the film is especially bad. Followed by Panic in Bangkok. In French with subtitles. Director Hunebelle directed most of the succeeding 117 films in the sixties as well as Fantomas. 117 still appears in movies made in the 21st century. 

Verdict: Acceptable Eurospy film with handsome Mathews quite effective as the spy. **3/4. 

PALM SPRINGS WEEKEND

Owen Orr, Dorothy Green, Stephanie Powers, Troy Donahue

PALM SPRINGS WEEKEND  (1963). Director: Norman Taurog. 

The members of a college basketball team hightail it by bus to Palm Springs for Easter vacation, unaware that their dyspeptic Coach Campbell (Jack Weston) is along for the ride. A gaggle of gals are also on vacation and before you can say "Where the Boys Are" -- an earlier film that clearly was the inspiration for this one -- the sexes are intertwining in both comedic and light dramatic fashion. Naturally some of these young couples will think they're in love -- after a weekend!

Eric (Conrad) and Jim (Donahue) speak frankly

Of the lead "youngsters" -- none of whom are that young -- Robert Conrad (of The Wild, Wild West) offers the best performance as spoiled rich kid Eric Dean, a Palm Springs resident whose neglectful unseen daddy is off on one of his frequent honeymoons. Eric sets his sights on perky Gayle Lewis (Connie Stevens) who claims to be from Hawaii even though she isn't. She gets caught between Eric and hunky Texan and Hollywood stuntman "Stretch" (Ty Hardin of Wall of Noise). Meanwhile nice boy Jim Munroe (Troy Donahue) is smitten with record shop clerk Bunny Dixon (Stephanie Powers), who is the daughter of the Chief of Police (Andrew Duggan). Biff Roberts, played by typical college student Jerry Van Dyke, is at first put off by the tomboyish Amanda (Zeme North), but once Gayle helps her with her make up ... ! 

Jerry Van Dyke, Zeme North, Troy Donahue

The comedy has to do with such things as the pool turning into a bubble bath due to the accidental introduction of detergent, as well as the antics of Boom Boom (Billy Mumy of Twilight Zone's "It's a Good Life"), the adorable little monster who belongs to the hotel's proprietor, Naomi Yates (a spirited Carole Cook). The dramatic scenes have to do with a fight sequence when some lowlifes invade a party, and Eric taking after Stretch in his car and causing an accident after the latter has prevented Eric from sexually assaulting Gayle. 

In love after two days: Stephanie Powers with Donahue

Troy Donahue had to make this picture whether he wanted to or not, and was so zonked on drugs and alcohol during filming that it's a wonder he gives any kind of performance, although he gets by. In some shots you can already see the effect this is having on his looks, a certain puffiness, although the attractive sensitivity of his features is unaffected. Zeme North had appeared on Broadway in Take Me Along but had limited film and TV credits, retiring in the late sixties, which is too bad as she's quite appealing in this picture. As usual, little Billy Mumy nearly steals the movie. A small role is played by Owen Orr, AKA Greg Benedict, who was Donahue's college roommate and best friend. 

Verdict: Amiable if forgettable teen movie with hardly any teenagers in sight! **1/2. 

THE GROUP

THE GROUP (1963). Director: Sidney Lumet. 

"Who'da thunk it?" -- various.

"Sacrifice is dated. You don't reform a man. They just drag you down." -- Dottie.

In 1933 a group of women friends graduate from Vassar. The first to get married is Kay (Joanna Pettet), whose husband is a philandering playwright named Harald (Larry Hagman) whose mistress, Norine (Carrie Nye), also went to Vassar (but is not part of the group). Helena (Kathleen Widdoes) is the one who sends out a newsletter detailing the activities of the others. Priss (Elizabeth Hartman of The Beguiled) gets married to a controlling doctor, while Dottie (Joan Hackett) disillusioned by her first lover (Richard Mulligan), marries a much older man. Although she seems man-hungry, the bitchy Libby (Jessica Walter) reveals that she's a virgin when one suitor tries to assault her. Lakey (Candice Bergen) turns out to be a committed lesbian who comes back from Europe with a German baroness in tow. Polly (Shirley Knight) dallies with a married publisher (Hal Holbrook) before uniting with a doctor (James Broderick) who befriends her somewhat unusual father (Robert Emhardt). Pokey (Mary Robin-Redd) is a friendly and plump gal who seems a bit on the fringes of the group.  As the years go by the women interact, have babies, divorces, break-ups and react to world events such as communism and Hitler. Then one of their lives takes a decided and tragic turn for the worse. 

Lidia Prochnicka as the baroness with Bergen 

The Group is an interesting if very talky movie with some well-drawn characters and excellent performances. In the early scenes, of course, the actors all seem too old for their parts, but that isn't a problem in the later sequences. You expect -- and get -- memorable  performances from such as Joan Hackett, Jessica Walter (although perhaps a bit too arch and brittle at times), Kathleen Widdoes, and Hartman, but there's also good work from Candice Bergen and excellent work from Joanna Pettet, who is essentially the main character and is on top of things every step of the way. 

Bill Fletcher (seated) with some of the ladies

Larry Hagman has some good moments, as do the other fellows, with Broderick perhaps getting the most time on screen. Doreen Lang (of The Birds) makes a highly sympathetic nurse in one sequence. Bill Fletcher makes an impression as a rude actor who takes on Harald at a party. Sidney Buchman's screenplay seems to be fairly faithful to the novel (judging by a synopsis) while Sidney Lumet's direction covers the action competently but isn't especially inspired. There are no wipes, dissolves or other segues in the movie and nothing whatsoever to denote the passage of time, although there is period atmosphere. The ladies all had many credits after this film, with Bergen, Hackett, Knight, and Walter having the highest profiles. Kathleen Widdoes did work on the soaps. 

Verdict: If you can take all the cute nicknames -- what, no "Pukey?" -- this is an absorbing film with some fine performances. ***.  

THE MOUSE ON THE MOON

Ron Moody and Margaret Rutherford

THE MOUSE ON THE MOON (1963). Director: Richard Lester.

A crisis develops in the little duchy of Grand Fenwick, the smallest nation in the world, when their chief and only export, wine, inexplicably develops explosive properties. The Prime Minister, Count Mountjoy (Ron Moody) hopes to borrow half a million from the United States to install modern-day plumbing throughout the duchy, but tells the government that they need the money for their space program so as not to sound silly. The U.S. gives Grand Fenwick a million dollars -- a ploy by the Secretary of State. Not to be outdone, the Russians send a rocket to the country, which Mountjoy hopes to transform into indoor plumbing. However, scientist Kokintz (David Kossoff) decides to use the wine as fuel so as to send the rocket on a trip to the moon. Delegates from the US and USSR arrive to see if the professor can actually pull it off. Going with him on the trip is Mountjoy's son, Vincent (Bernard Cribbins of Frenzy).

The Mouse on the Moon, a sequel to The Mouse That Roared, has a cute idea, and there are quite a few laughs, especially in the first half, but it still comes off as second-rate. Margaret Rutherford as the dotty Grand Duchess is as fun and appealing as ever, but she isn't given nearly enough to do. Ron Moody gets the lion's share of the action, and he's fine, but not quite as amusing as you might hope. Once the rocket heads for the moon, the picture turns into a poor imitation of First Men in the Moon with its equally unscientific voyage into space. Terry-Thomas is cast as a spy, and June Ritchie is Mountjoy's niece, who gets involved with Vincent. Twenty years later Richard Lester directed Superman III. In The Mouse That Roared Peter Sellers played both the Grand Duchess and Count Mountjoy! 

Verdict: Very pleasant -- and pleasantly satirical -- in spots, but overall a disappointment. **1/2. 

SUMMER MAGIC

Mills, Mathers, McGuire, Hodges, Pollard

SUMMER MAGIC (1963). Director: James Neilson.

Widow Margaret Carey (Dorothy McGuire of Susan Slade) has to move her brood from Boston to a rented house in the country for financial reasons. The agent for the house, Osh Popham (Burl Ives of The Big Country), assures her that the owner is anxious for her to move in, but is he keeping secrets as his wife, Mariah (Una Merkel), suggests? Neither daughter Nancy (Hayley Mills) or older son Gilly (Eddie Hodges) are thrilled when they learn that stuck-up, pretentious cousin Julia (Deborah Walley), is moving in, but both young ladies are thrilled to meet the handsome young schoolmaster, Charles (James Stacy). Nancy is deflated when Charles seems to prefer Julia, but she may get the consolation prize when the house's real owner (Peter Brown of Violent Road) finally shows up. 

Eddie Hodges and Hayley Mills

Although there are a couple of moments when Summer Magic threatens to become dangerously sitcom-like and overly cutesy, I have to admit the darn thing has a lot of charm, not to mention several excellent performances. The gifted Hayley Mills always seems to be wonderful, and the same can be said of Dorothy McGuire. Ives and Merkel make an interesting couple, with the ever-quirky Michael J. Pollard (was there ever an actor anything like him?) playing their son with his customary shit-eatin' benevolence. Eddie Hodges is fine as Gilly, who would have preferred to stay in Boston, and little James Mathers (younger brother of Leave It to Beaver's Jerry Mathers) nearly steals the pic as the youngest member of the family. (It's somewhat annoying that when he's bullied because he has long hair and is wearing a Buster Brown outfit said bullies don't get any comeuppance.) 

Hayley with Dorothy McGuire

Summer Magic is a musical, and while the songwriting team of the Sherman Brothers is not exactly Rodgers and Hammerstein, they have contributed some more-than-pleasant tunes, including "On the Front Porch with You," "The Ugly Bug Ball," "Beulah" and others. Hayley, Eddie and Burl do their own singing while I believe the others are dubbed. The rather abrupt character reversal of Julia is unconvincing, although Deborah Walley manages to handle it all with aplomb. A song in which the girls sing about "Femininity" and hiding your true self to snare a beau is the most dated thing about the picture, even if it takes place in the twenties. Although Dorothy McGuire was not that old and still attractive, the film doesn't give her a romantic partner, another dated aspect.

Verdict: Take it with a grain of salt and this is amusing and entertaining in equal measure. ***. 

MURDER AT THE GALLOP

Margaret Rutherford and Robert Morley

MURDER AT THE GALLOP 

(1963). Director: George Pollock.

Jane Marple (Margaret Rutherford) is up to her old tricks of sticking her nose in police business and exasperating Inspector Craddock (Charles Tingwell). This time the old lady sleuth is out to find out which of four heirs did away with a wealthy old man found dead in his enormous mansion. Suspects include Michael Shane (James Villiers of Some Girls Do), George Crossfield (Robert Urquhart), and Hector Enderby (Robert Morley of Theater of Blood). Much of the story takes place at Enderby's inn and riding academy. 

Rutherford with Flora Robson

Murder at the Gallop is the second of four Miss Marple films starring Rutherford. The original novel, entitled After the Funeral or Funerals are Fatal, actually featured Christie's Belgian sleuth Hercule Poirot instead of Marple. The murder methods have also been changed to death by horse and engine. Much of the humor of the film is derived from the comical antics of those two old pros, Rutherford and Morley, but the film does not stint on the suspense, making this a near-perfect blend of laughs and mystery. Rutherford is marvelous as this alternate-Marple, and the other performances from those named -- as well as Stringer Davis as Marple's friend and Flora Robson as Miss Milchrest -- are uniformly excellent. 

Verdict: Good show! More well-done fun with Miss M. ***1/4. 

HOUSE OF THE DAMNED

Merry Anders 

HOUSE OF THE DAMNED (1963). Director: Maury Dexter. 

Architect Scott Campbell (Ron Foster of The Music Box Kid) is hired to survey Rochester Castle and bring his wife and partner, Nancy (Merry Anders), along. Eventually lawyer Joseph Schiller (Richard Crane of No Man's Woman) and his excitable wife, Loy (Erika Peters), also arrive on the scene. There are 13 keys for the house and a variety of rooms, as well as strange people skulking about in the shadows. Then Loy is chased by a giant figure (Richard Kiel of "To Serve Man" on Twilight Zone) and disappears, until Merry seems to find her headless corpse ...

Peters, Crane, Foster, Anders

Be warned that the above description makes House of the Damned sound a lot better than it is. The whole project just seems so languid and mediocre. It was as if this great location, the castle, were chosen first and then a script was hastily -- very hastily -- scripted around it, so there are no real characters and only one genuinely creepy moment, when some thing sneaks into the bedroom and borrows those keys. The house is beautiful, but it's not enough to save the movie. You might groan when you discover exactly who or what is behind the "horror." 

Ron Foster was a handsome and talented actor who chiefly appeared in "B" movies, and despite the fact that this was produced by 20th Century Fox in CinemaScope, this is no different; he couldn't catch a break. Henry Vars has contributed a nice and eerie theme, but otherwise the score is just too lethargic.   

Verdict: Promises a lot but delivers very little. **.   

JASON AND THE ARGONAUTS (1963)

Todd Armstrong

JASON AND THE ARGONAUTS (1963). Director: Don Chaffey. 

With a crew of brave and adept champions, including the mighty Hercules (Nigel Green), Jason (Todd Armstrong) sets sail on the Argo to the ends of the earth in an attempt to find the famous golden fleece. Jason is unaware that he has been sent on this journey by his hated enemy, Pelias (Douglas Wilmer), who only wants him out of the way. Also accompanying Jason is Pelias' conniving son, Acastus (Gary Raymond), and Argos (Laurence Naismith), the ship's builder. Jason has been granted several wishes by Hera, queen of the Gods (Honor Blackman) and she greatly enjoys stymying the plans of her husband Zeus (Naill MacGinness). But can even Hera help Jason overcome the incredible challenges he faces? 

The humongous Talos bears down on the Argo

These challenges, brought to life by the stop-motion wizardry of Ray Harryhausen (possibly his greatest achievement), include the gigantic bronze statue of Talos, which comes to life; tormenting harpies on an island paradise; the many-headed, slithering hydra; the clashing rocks, which would destroy the Argo were it not for the help of a very huge Poseidon; and the living and armed skeletons of the hydra's victims in the bravura climax. Jason is also graced with a rich and exciting score by Bernard Herrmann, excellent production values, skillful photography by Wilkie Cooper; and often stunning costuming and art direction to boot. In fact, Jason looks almost as good as MGM's Captain Sindbad. 

Jason confronts the gods of Olympus

The actors are also well-chosen. Todd Armstrong makes the perfect Jason. Although he had a perfectly good speaking voice which you can hear in other movies he made, he is dubbed as Jason. Nancy Kovack is also dubbed as Medea, who falls in love with Jason and vice versa when he rescues her from the sea. Blackman, MacGinnes, Naismith, Raymond, Green, Wilmer -- as well as John Cairney as the young and ill-fated Nylas and Jack Gwillim as King Aeetes -- all give flavorful and adept performances. Sadly Jason was not the big box office hit it deserved to be because people confused it with one of the ever-proliferating Italian "peplum" movies of the period when it was on a much, much higher level. The film did not do much good for the career of handsome Armstrong, who tragically committed suicide at 55. 

Verdict: Jason and the Argonauts gets my vote as the greatest classic fantasy film ever made. ***1/2.

FUN IN ACAPULCO

Elvis, supposedly in Acapulco

FUN IN ACAPULCO (1963). Director: Richard Thorpe.

After the death of his brother in a trapeze accident, Mike Windgren (Elvis Presley of Girl Happy) flees to Acapulco to get his head together, feeling he can no longer continue with the high-wire act. In Mexico Mike encounters a cute little boy named Raoul (Larry Domasin), a highly self-assured youngster who has many relatives and actually becomes Mike's manager. Mike gets assorted singing engagements while romancing a liberated lady bullfighter named Delores (Elsa Cardenas) as well as a pretty lady named Marguerita (Ursula Andress), who is the daughter of the hotel chef (Paul Lukas). Meanwhile high-diver Moreno (Alejandro Rey) does not take kindly to Mike's interference. Elvis does not wind up fighting a bull but he does take a dive off of a 136 foot high cliff.

Little Larry Domasin with Elvis

Since there really isn't much to the plot, Fun in Acapulco throws a song at the viewer almost literally every five minutes. Some of these tunes are quite nice -- "Acapulco;" "Mexico;" "El Toro;" "Marguerita;""Gaudalajara;" and a sexy "Bossa Nova" that Elvis also wiggles his pelvis to in flamboyant fashion -- while others are merely serviceable.  "Mexico" is sung by Elvis and little Raoul while riding on a bicycle, a charming moment.

Paul Lukas and Ursula Andress

By this time Presley had almost become a camp figure, with a decided sameness to each of his movies: bouncy songs with lots of wiggle room; girls fighting over him; some aging supporting players who really act; and a few adorable newcomers. The movie is easy to take, especially for Elvis fans, but it peters out before too long, unfortunately. After this film veteran actor Lukas [Deadline at Dawn] had two more theatrical features along with a host of television credits. Andress is sweet and attractive (and does not appear to be dubbed as she was in Dr. No) but the movie is stolen by the very talented child actor Domasin. Spanish kids who know everything and everybody are a cliche in movies, but Domasin makes the character very lovable.

Verdict: Just can't stay mad at Elvis! **3/4.