NOT SINCE CARRIE: FORTY YEARS OF BROADWAY MUSICAL FLOPS

NOT SINCE CARRIE: Forty Years of Broadway Musical Flops. Ken Mandelbaum. St. Martin's Press; 1991.

This very entertaining survey of flop Broadway musicals is not just a list of mega-bombs that were hated by critics and public alike, but a serious look at what went wrong with certain projects that should have and could have been great. Mandelbaum makes it clear that if is often simply more fun to watch, dissect and laugh about major Broadway disasters than it is projects of genuine quality, and that there are people who are sorrier they never got to see "Carrie" on Broadway than the latest hot ticket offering. But Mandelbaum also discusses why some musicals seemed doomed to failure from the outset due to bad ideas or unlikely source material and why others had great ideas, librettos or scores but still made little dent at the box office. Along the way you're given information about shows you may never have heard of and closed early that were still worthwhile or had excellent scores, many of which were recorded. However, in the final chapter Mandelbaum discusses shows that didn't deserve the ignominy of failure, but for me he almost overturns the whole book with his singling out Jerome Moross' The Golden Apple, a through-sung borderline opera that updates the story of the Odyssey to a post-Civil War period. With a terrible book and only one really memorable song (and a couple of other decent ones) amidst a lot of dribble, it's hard to believe Mandelbaum actually thinks this is a masterwork. Candide, yes; Apple  no. Oh well, to each his own.

The book was published nearly thirty years ago -- how time flies! -- so the reader has to supply his  own postscripts. For instance, Peter Allen bombed on Broadway in Legs Diamond -- he not only starred but did the songs -- yet years later the show about Allen (The Boy from Oz) was a success. There have been numerous revivals of Carrie at various theater companies. The bomb At the Grand was retooled into the successful Grand Hotel, even using some of the same songs. And so on.

Verdict:  Engaging, informative, thoughtful look at what makes some shows succeed while others fail. ***. 

MURDER IN NEW HAMPSHIRE

Hank Stratton and Helen Hunt

MURDER IN NEW HAMPSHIRE: THE PAMELA WOJAS SMART STORY (1991 telefilm). Director: Joyce Chopra.

Pamela Smart (Helen Hunt) is the media director of a high school in New Hampshire. She begins work on a project with several teens, and begins an affair with one of them, 15-year-old Billy Flynn (Chad Allen). Pamela assures Billy that her love for him is genuine, but that her supposedly abusive husband, Gregg (Hank Stratton) will make her life miserable if she divorces him. Pamela importunes Billy, with the help of some friends, to murder Gregg, and after some agonizing, he does. Pam is sure that the police will never figure out her involvement, but people, after all, will talk ...

Chad Allen as killer Billy

Murder in New Hampshire is based on real-life events, some of which were later fictionalized in the film To Die For. This is a fairly standard TV movie with some good acting, but it is never what you could call riveting film-making. Allen, who was 17 at the time, probably makes the best impression as the gullible Billy, although there is good work from Stratton and from Ken Howard and Michael Learned as Gregg's parents. Hunt is also good, but she doesn't get across the hardness and sheer dumb dead-commonness of Pamela Smart. Chad Allen, who is openly gay, later appeared in the film Save Me (along with many others), and again proved what a fine actor he is.

Hank Stratton  as Gregg Smart

Smart, who is serving a life sentence, was recently interviewed on Dateline. She maintains her innocence to this day, and refuses to show remorse or admit her guilt, two things she must do if she ever wishes to be paroled. (Flynn and the other boys have all been paroled.) She downplays the fact that she had an affair with a minor, a fact that might well have sealed her fate even if she were, improbably, innocent. The point was made, as it should be, that the true victim in this is Gregg Smart, who by all accounts was a perfectly nice guy. Joyce Chopra later directed a somewhat better telefilm, The Danger of Love, which was about another sociopathic lady, Carolyn Warmus, who murdered her boyfriend's wife. Not surprisingly, Smart and Warmus became friends in the penitentiary!

Verdict: Fair-to-middling TV version of a fascinating case. **1/2. 

LOVE, LIES AND MURDER

Clancy Brown

LOVE, LIES AND MURDER (1991 telefilm/mini-series). Director: Robert Markowitz.

David Brown (Clancy Brown) tells the police that his wife, Linda, was shot but can't bring himself to check on her in the bedroom. He then tells them that his 14-year-old daughter, Cinnamon (Moira Kelly), murdered Linda, who was her stepmother. Linda's younger sister, Patti (Sheryl Lee of Twin Peaks), was also in the house. Although the cops feel that there are things about the story that don't add up, Cinnamon confesses after a suicide attempt, and is incarcerated. But while David and Patti live large on Linda's huge insurance payout, Cinnamon decides to open up to the police, and a diabolical scheme unfolds ... Love, Lies, and Murder is based on a true case (which was also the subject of two books), and features some fine performances by the leads, with especially good work from Kelly and Lee. If there's any problem with the movie it is that we don't get to know the victim very well, and the other characters are defined more by what has happened to them than anything else. Cynthia Nixon has a small early role as a friend of Patti's. Clancy Brown does a lot of voice work for animated shows such as Justice League where he played Lex Luthor.

Verdict: Absorbing and shocking true crime story. ***.

DEADLY INTENTIONS ... AGAIN?

Joanna Kerns and Harry Hamlin

DEADLY INTENTIONS ... AGAIN? (1991 telefilm). Director: James Steven Sadwith.

In this sequel to Deadly Intentions, Charles Raynor (now played by Harry Hamlin) has gotten out of prison after being convicted of trying to murder his first wife. His second wife, Sally (Joanna Kerns) has always believed in his innocence, but she becomes suspicious of his actions, as well as of a chained up case that he keeps in the trunk of his car. Sally finally comes to the conclusion that not only is Raynor guilty of the crime he was convicted of, but he is still planning to get even with his wife, not to mention the prosecutor whose book was turned into the Deadly Intentions telefilm. Will Sally be able to notify the authorities before her time runs out? Deadly Intentions ... Again? is an entertaining TV flick, but Hamlin [Clash of the Titans], although more than competent, can't hold a candle to Michael Biehn, who played the role in the earlier film. The always-amiable Hamlin rarely if ever seems seriously threatening. Kerns is excellent, however, as are Eileen Brennan [Jeepers Creepers], who is even better as Raynor's mother than Cloris Leachman was; and Fairuza Balk, who plays Raynor's troubled stepdaughter. More fictionalized than the original film.

Verdict: You just can't keep a good sociopath down. ***.

DARK SHADOWS (1990)

Ben Cross and Barbara Steele

DARK SHADOWS (1991).

In this "revival" of the sixties TV show, Barnabas Collins (Ben Cross), turned into a vampire two hundred years before, is freed from his coffin and becomes a "new" member of the Collins family. In the original series, waitress Maggie Collins (Ely Pouget) was the spitting image of his old love, Josette, but in this version it is Victoria Winters (Joanna Going) who excites Barnabas' romantic interest. Dr. Julia Hoffman (Barbara Steele) tries to cure Barnabas of his vampirism, but is angered when she realizes his affection is reserved not for her but for Victoria. Victoria winds up going back to 1790 during a seance, and from then on the show follows both the modern and 18th century storylines, as Victoria is denounced as a witch despite the fact that the real perpetrator is Josette's handmaiden, Angelique (an effective Lysette Anthony). Most of the cast play dual roles. For instance, Roy Thinnes is fine as Roger Collins, who is having an affair with psychic Maggie, but he is really splendid as the grotesque Reverend Trask, who torments Victoria mercilessly.

Jean Simmons was cast as Elizabeth Collins, taking over from Joan Bennett, but while she's good, she isn't given that much to do. Joanna Going makes an impression as the beautiful Victoria. Two cast stand-outs are Joseph Gordon-Levitt as little David Collins, a really superb child actor who graduated into adult roles, and Jim Fyfe as Willie Loomis, who at times seems to be channeling Dwight Frye from Dracula. Over the top on occasion, he still gives a mesmerizing performance. Michael T. Weiss is also notable as Joe Haskell and Peter Bradford. Barbara Blackburn is okay as a somewhat sexier version of Carolyn Stoddard. Most of these actors amassed many credits after Dark Shadows went off the air.

And then there's the glue that holds the whole thing together: Ben Cross [Star Trek]. Aside from the rare perfunctory moment, Cross is superb as Barnabas, expertly delineating both the character's kind and vicious aspects, and managing to be genuinely frightening at times, something Jonathan Frid never quite accomplished. Cross is a fine actor and he makes the most of this opportunity. At the time he told an interviewer that this was his last chance to break out into major stardom, but while that may not have happened, he's still had a busy career ever since.

It was probably seen as another casting coup to hire Barbara Steele [Black Sunday] to play Julia Hoffman, but frankly, taken out of her Italian movie context she's just not a lot of fun, and her performance (as both Julia and a French character in 1790) is only adequate.

The town of Collinsport seems to learn much more about the existence of vampires than in the original series, but I admit it's been a while since I've seen those episodes. Some scenes were shot day for night, but they don't quite work, making it look as if Barnabas is walking about in broad daylight. Despite its higher production values, this version sometimes doesn't seem to escape its somewhat schlocky origins, but it starts to gather speed with the third episode, and hits high gear with the eleventh. Unfortunately, there was only one more episode left, making this more of a mini-series than a series. It does manage to tell the whole story of Barnabas' introduction and his and Victoria's 1790 adventures in twelve hour-long episodes, and generally does it well. A highlight is when a supposedly dead Angelique walks into the courtroom where Victoria has just branded her the true witch.

Dan Curtis directed many of the episodes, which were also helmed by Armand Mastroianni, Paul Lynch, and Rob Bowman.

Verdict: Gets an "A" for effort and is often entertaining. ***.

MORTAL THOUGHTS

Glenne Headly, Demi Moore, Bruce Willis

MORTAL THOUGHTS (1991). Director: Alan Rudolph.

"All these years you haven't been married to me, you've been married to each other. -- Arthur Kellogg.

Cynthia Kellogg (Demi Moore) has been best friends with Joyce Urbanski (Glenne Headly) -- a couple of Bayonne, Jersey Girls -- for years, but their friendship is put to the test when Joyce's bullying pig of a husband (Bruce Willis) is found dead and both women are involved. Cynthia tells Detective Woods (Harvey Keitel of Alice Doesn't Live Here Anymore) her side of the story, but things may be even more complicated than he imagines. Mortal Thoughts holds the attention, and it provides an interesting (some might say stereotypical) look at the lives of lower-class Italian-Americans -- whatever their intended ethnicity these people come off like Italians --  but something's just a little off with the picture, which at times borders on a black comedy (which actually might have made it a better movie). Headly and Moore give good, but somehow unmemorable, performances -- Headly has the edge on Moore -- and the film just doesn't have the strong dramatic impact it requires. It doesn't help that just about everyone in the film is unlikable. Willis [Surrogates] does okay as the slobbering Jimmy, and John Pankow offers some very nice work as Cynthia's husband, Arthur. There are some good character performances sprinkled throughout the movie as well. There's another murder by the end of the film, but many viewers won't be sure who the perpetrator is. This just becomes a little too contrived and unconvincing. Moore [Mr. Brooks] once made such high-profile movies as Ghost, Indecent Proposal, and For a Few Good Men, but her best years remain the 90s.

Verdict: Low impact pre-CSI thriller. **1/2.

SHATTERED (1991)

Tom Berenger

SHATTERED (1991). Director: Wolfgang Petersen.

Dan Merrick (Tom Berenger) and his wife Judy (Greta Scacchi) are in a terrible car accident that leaves his face, mind and body shattered and her with hardly a scratch. After a year of operations and therapy the two return to their home in San Francisco, where amnesiac Dan learns some disturbing things about himself and about his relationship with Judy. He hires a private eye named Gus (Bob Hoskins) to find out about a man that Judy was apparently having an affair with, and who may be back in her life. Was the accident really an accident, and who was actually driving the car? The more that is unveiled, the more sinister things become ... Shattered is absorbing, well-acted and well-done for the most part, but some viewers may find it ultimately a little too far-fetched. Corbin Bernsen, Joanne Whalley  and Debi A. Monahan offer some flavorful supporting performances.

Verdict: Certainly holds the attention but the pay-off will either startle or annoy. ***.

THE CHARM OF EVIL: TERENCE FISHER

Terence Fisher

THE CHARM OF EVIL: The Life and Films of Terence Fisher. Wheeler Winston Dixon. Scarecrow Press; 1991. Introduction by John Carpenter.

This is an exhaustive, superbly-researched look into the life and work of British director Terence Fisher, who helmed a great variety of films but is today best remembered for his work for Hammer Studios, including Horror of Dracula, The Two Faces of Dr. Jekyll, The Gorgon, and many others. More a career study than a biography proper, there is still much of his personal life, with recollections from his widow and those who worked with Fisher. Dixon looks into Fisher's pre-Hammer work, interesting films such as Stolen Face and Portrait from Life, as well as such curiosities as Four-Sided Triangle and Blackout. While an obvious admirer of his subject, Dixon doesn't slavishly love everything the director did, [although one might wonder about his defense of such comparative drek as The Earth Dies Screaming.] Some might feel Fisher isn't worthy of such intensive scrutiny as Hitchcock, but Fisher's best films show a firm directorial hand and are both vivid and dramatic. The book is written in an academic style that isn't too off-putting, although Dixon betrays a certain prissiness at times. Some might eschew the somewhat tedious shot by shot analysis that Dixon occasionally goes in for and just look at the movies themselves. Basically, this is a well-done, scholarly and admirable labor of love.

Verdict: For Fisher fans this is the "reel" deal. ***1/2.

SHADOWS AND FOG

SHADOWS AND FOG (1991). Written and directed by Woody Allen.

In a small dream-like town a timid soul named Kleinman (Woody Allen) is woken out of bed and told he must join a vigilante group that is looking for a man who is going about strangling townspeople. This is a backdrop for Kleinman's encountering a variety of individuals as he wanders through the streets, foremost among them circus performer Irmy (Mia Farrow). Breaking up with her boyfriend, Irmy winds up at a brothel where she runs into hookers improbably played by Kathy Bates, Jodie Foster, and Lily Tomlin, and even takes on a one-time client (John Cusack) who offers her a lot of money. There are a great many other characters, and a great many actors in the movie (including Madonna, John Malkovich and Donald Pleasance), but while it has intriguing elements and holds the attention, when it's over you may feel it was much ado about literally nothing. Shadows and Fog indeed! The script seems thrown together from bits and pieces, but the acting is generally good.

Verdict: Like a meal with tasty ingredients but which ultimately is unsatisfying. **.