MYRNA LOY: THE ONLY GOOD GIRL IN HOLLYWOOD

MYRNA LOY: THE ONLY GOOD GIRL IN HOLLYWOOD. Emily W. Leider. 2011; University of California Press.

This absorbing, well-written and well-researched biography of Loy traces her roots in Montana, her early years doing movie after movie, often cast as "exotic" Orientals [The Mask of Fu Manchu], her indentured servitude working for studios that hardly ever gave her a day off, her eventual emergence as a major star with a wider range than expected who commanded some respect from fellow filmmakers, and her final days when she turned to the theater and became a character actress in a few late movies [Midnight Lace]. Along the way we meet Loy's four husbands, most of whom treated her badly (and most of whom were plug-ugly, although Leider refers to one potato-head as "catnip to women!"). Loy had liberal politics, seemed to care about people other than herself (which alone makes her different from most movie stars) and decided after her fourth divorce that it was not so terrible not to have a husband. The bio also delves into Loy's many friendships with people famous and not so famous, her relationships with various family members, and analyzes most of her films and her approach to her roles, which included co-starring in the Thin Man movies, The Best Years of Our Lives, Cheaper by the Dozen, The Animal Kingdom, and many, many others.

Leider resuscitates this business about Loy possibly having had some kind of relationship with Montgomery Clift while they were making Lonelyhearts and after (first brought up in Patti Bosworth's bio of Clift). Loy denied this vehemently in her own memoir, and also denied it (in my presence) to Lawrence Quirk, who wrote The Films of Myrna Loy. Considering that she was no longer married to her husband at that time years later, it makes little sense to deny it if it were true. Also, Clift was essentially gay, Loy was 15 years older, and as this book makes clear, she was not the type to sleep around indiscriminately or cheat on her husband. (I also knew Jim Kotsilibas-Davis, who worked on Loy's memoirs with her.)

Verdict: Excellent biography and quite possibly the last word on Loy. ***1/2. 

HAYWIRE

HAYWIRE. Brooke Hayward. Originally published in 1977; updated 2011. Random House.

Brooke Hayward is the daughter of actress Margaret Sullavan and agent-turned-producer Leland Hayward. This memoir looks not so much at those two individuals, but at how their interactions affected Ms. Hayward and her brother and sister. Sullavan and the narcissistic Hayward divorced after the latter had an affair while she was out of town working oversea for months, and it left lasting scars, especially on Sullavan, who felt abandoned by her children when they went to live with their father. Both of the parents remarried.

Instead of a probing look at the parents, two interesting individuals, whatever their flaws, with seriously important careers, we mostly get the ruminations of their daughter, which at times become quite tedious in this lengthy if occasionally absorbing memoir, although, to be fair, she does a fair job of analyzing them at times. Although the author tries very hard to portray her family as some kind of dynasty, and their story as an epic tragedy, this doesn't quite work, and she seems oblivious to the fact that marital problems, suicides, mental health issues etc. also afflict people in tenements. In fact, entitlement screams at you from every page. Oddly, Ms. Hayward barely goes into her marriages to Dennis Hopper or Peter Duchin (son of Eddy Duchin), although that might have been of some interest to the reader. Despite the rave reviews (Ms. Hayward had connections, after all), I imagine many readers got tired of slogging through the book in search of juicy material. Another problem is that the book is poorly organized, jumping around in time when a linear narrative would have worked much better.

Ms. Hayward also ignores her career, although there wasn't much to it. Although she was rather amateurish appearing opposite Jerry Orbach in the film Mad Dog Coll, she displayed real ability in the Twilight Zone episode "The Masks." She only amassed 12 credits, however. She also had a brief modeling career although her looks were average.

If you actually want to read a biography of the great Margaret Sullavan, I recommend Margaret Sullavan, Child by Fate by Lawrence J. Quirk.

Verdict: Well-written but seriously flawed memoir. **1/2. 

HOLLYWOOD MADONNA: LORETTA YOUNG

HOLLYWOOD MADONNA: LORETTA YOUNG. Bernard F. Dick. University Press of Mississippi; 2011.

This career study posing as a biography briefly looks at Young's early days, then documents the movies she made on her way up [Platinum Blonde; The Hatchet Man; Wife, Husband and Friend], before emerging as the major star of such films as Orson Welles' The Stranger and Rachel and the Stranger with William Holden. In her last days of movie stardom, she began to appear in such "B" movies as The Accused and Paula, before she accepted it was time to throw in the towel and flee for television. There she had the successful Loretta Young Show for several seasons, an anthology in which she played various parts with well-known co-stars. When she got tired of that she tried to reinvent herself as a sitcom star, but The New Loretta Young Show, in which she played a widow with several children, only lasted one season. Young had no desire to go the fright flick route a la Davis and Crawford, which is one reason why she is not an icon today. She did sign to star in the prime time reboot of Dark Shadows, but backed out (as did Joan Fontaine after her), with the role eventually going to Jean Simmons. Two late-in-life telefilms years later capped her career, but she spent most of her time devoted to her Catholic faith and in humanitarian works. Her first husband was the actor Grant Withers [Jungle Jim serial], and both of her sisters were also actors, Polly Ann Young and Sally Blane [She Had to Choose].

Frankly, most fans find more fun and fascination in the "bad girls" such as Davis, with Young -- if she's thought of at all today -- as the somewhat sanctimonious hypocrite who had a child out of wedlock with the married Clark Gable, then didn't tell her daughter the truth of her birth for many decades. At times Young almost seems demented in her piousness. The shame of it is that whatever you think of Young's character or private life, she was a very good actress and gave strong performances in many movies. This book, however, doesn't delve into her true character that much; there are few if any back stage anecdotes or interviews, and it's hard for the reader to get a true sense of just what the woman was like. On the other hand, author Dick does examine her career with thoroughness, even devoting a chapter to her radio appearances wherein she reprised her performances in some of her movies and took on other actress's movie roles as well.

Verdict: Superficial as biography, but worthwhile as career study with some biographical details. ***. 

HALLOWE'EN PARTY

The Perfect Poirot: David Suchet

HALLOWE'EN PARTY (2011). Director: Charlie Palmer. (This is episode 2 of season 12 of Agatha Christie's Poirot.)

Mystery writer Ariadne Oliver (Zoe Wanamaker of Mrs. McGinty's Dead) contacts her friend, Belgian detective Hercule Poirot (David Suchet), when a murder occurs in a village where she is visiting. The victim is a young girl who was drowned in a tub meant for the bobbing of apples at a Halloween party. Shortly before she was killed, the child, Joyce (Macy Nyman), was telling people that she had once witnessed a murder. Poirot investigates any past occurrences and accidents that may have been homicides, and uncovers a number of village secrets. Along with Ariadne, Poirot is a guest of widowed Judith Butler (Amelia Bullmore), who has a daughter named Miranda (Mary Higgins). Joyce's brother, Leopold (Richard Breislin) confides that he never much liked his sister. Other characters include Rowena Drake (Deborah Findlay), whose home was the sight of the Halloween party; Michael Garfield (Julian Rhind-Tutt), who designs fabulous gardens for wealthy clients; the town gossip Miss Whittaker (Fenella Woolgar); and others. David Suchet is simply superb as Poirot, the only actor to ever completely capture the character as Christie describes him. All of the performances are good (although Wanamaker seems bored through much of the telefilm and doesn't remind one at all of Christie's character), but Findlay and Rhind-Tutt are especially notable. This adaptation makes it explicit that a certain character is a sympathetically-drawn lesbian. This is one of the rare occasions when a Christie adaptation (written by Mark Gatiss) may be even better than the original novel. Christian Henson's score is suitably eerie and effective.

Verdict: Clever, suspenseful, and very well-acted. ***.

THE HAMMER VAULT

THE HAMMER VAULT: Treasures from the Archives of Hammer Films. Marcus Hearn. Titan; 2011. Revised and Updated Edition.

This beautiful over-sized coffee table book is a compendium of photos and memorabilia relating to the famous -- some might say infamous -- Hammer studios, who chiefly made horror films but branched out to other genres from time to time as well. Hammer studios made a name for itself with its new, bloodier versions of Dracula and Frankenstein, and made stars of such as Peter Cushing and Christopher Lee. Some of the filmmakers most associated with the studio include Val Guest, Terence Fisher, and Jimmy Sangster, among others. The book is chock full of production stills, behind-the-scenes shots, annotated shooting scripts, posters, drawings, press books, letters, publicity kits, and all manner of esoterica relating to the studio. The book covers all of the output of the studio from the very early days (The Quatermass Xperiment) to more recent films such as The Woman in Black, providing a fairly complete history of Hammer. You can also read about Hammer projects that were announced or conceived but never came to fruition.

Verdict: A must for the obsessive Hammer enthusiast. ***.

VITO

Vito Russo

VITO (2011). Directed by Jeffrey Schwarz.

This superb documentary looks at the life, activism and career of Vito Russo [1946 - 1990], who fought for gay rights for years and also wrote the book The Celluloid Closet, which looked at gay images in films. Vito also worked for the AIDS organization, ACT UP, and co-founded GLAAD, the organization that monitors LGBT images in the media. The film also looks into Vito's personal life, his relationships with his family,and his boyfriend, Jeffrey Sevcik, who died of AIDS,

Vito watched the action the night of the Stonewall riots, but just thought "it was a bunch of crazy queens." He didn't become political until sometime later, but he never suffered from Catholic guilt over his homosexuality nor thought there was anything wrong in being gay. Vito eventually got his own cable TV show, and became friends with Lily Tomlin, and was instrumental in getting her to appear at a Gay Pride rally. Tomlin and various activists, friends and relatives are all interviewed, and there are loads of clips of Vito himself, who seems like an intelligent and sensitive man.

Although I chaired the media committee of the Gay Activists Alliance for several years (in a later period) I did not get to work with Vito, although I met him, and it's a shame we never had a chance to become good friends or co-workers as our interests certainly coincided.

Verdict: Moving, beautifully-done portrait of a gay activist who deserves to be remembered, ****.

JUDAS KISS

2 sides of the same coin: Richard Harmon; Charlie David

JUDAS KISS (2011). Director: J. P. Tepnapa.

"My Hollywood career has consisted of parties and rehab."

"I even masturbate cinematically!"

Failed screenwriter Zachary Wells (Charlie David) goes back to his old film school, the scene of his first and last triumph, to help judge a competition. He has a one-night stand with a student who turns out to be in this same competition. But a bigger surprise comes when this student reveals his name as Danny Reyes (Richard Harmon) and his film as "Judas Kiss." The trouble is that Danny Reyes is Zachary's real name, and "Judas Kiss" is the film he made that won the competition fifteen years earlier. This is already an intriguing situation but it turns into the Twilight Zone when it develops that Danny Reyes is Zachary's younger self, and he is told by an old man, who is still another version of Danny Reyes, that his life will turn out much better if he actually loses the competition. Naturally younger Danny objects to this idea ... This could have been a gay variation on a whimsical, fantasy film, but the tone is too heavy (without being profound) and the characters don't seem the slightest bit surprised or perplexed by this odd situation. Zach makes love to his younger self -- a bizarre situation in of itself -- but doesn't recognize him or even think he looks familiar. Judas Kiss isn't the first film in which characters are given second chances by going back in time (although it's never made quite clear that this has happened, even when Zach tells a teacher that she "doesn't look a day older"), but its main problem, perhaps, is that it tries to tackle a little too much in one movie. In spite of its overly complicated plot and surplus of characters, the film is well-produced for an independent and is often strangely arresting, although it drags in the final quarter. Many of the actors could be described as talented amateurs, but the leads in this have had a significant body of work, especially Harmon, who has definite presence and is effectively intense, and David (who looks even better without his beard), although he doesn't quite bother to get across his character's desperation, although that may be due to the generally superficial tone of the movie (despite some serious elements). Former (?) porn star Sean Paul Lockhart* certainly makes an impression as a young man, Chris, who wants a relationship with Danny; there's no reason he can't have a solid legitimate acting career. Julia Morizawa, among others, is also notable as Abbey. The entire cast sings the catchy closing credit number, "If I Fall." Some of the male actors overdo the "girlishness" at times.

* Lockhart (also known as Brent Corrigan for his adult films) is the subject of a 2016 James Franco movie entitled King Cobra, which the former disavows.

Verdict: Well, at least it's certainly different .,. **1/2.

SEAN CONNERY Christopher Bray

SEAN CONNERY A Biography. Christopher Bray. Pegasus; 2011.

Less a biography than a career study -- Bray had virtually no access to either Connery or any close associates -- this book looks at how Connery became a star as 007, came to hate his close association with the role, then reinvented himself as a leading man and character actor as he got older. Connery played Lana Turner's love interest in Another Time, Another Place, the male lead in Hichcock's excellent Marnie, and did a few more Bond movies such as Never Say, Never Again before taking off his wig and playing several characters who were actually older than he was in real life. Bray is critical of Connery's acting in the early years, and doesn't seem to think much of James Bond movies, and there are times when he seems to be playing curmudgeon more than he is honest film critic, but the book is very readable. The book could be dismissed as one man's ruminations on his "man crush," but Bray does provide interesting and often cogent analysis of Connery's movies and performances in everything from Goldfinger to Outland to the awful Zardoz. Bray looks at Connery's unsuccessful first marriage to actress Diane Cilento, but there's almost nothing abut his relationship with his younger brother, Neil, who tried to make it in spy movies like Operation Kid Brother.

Verdict: Not the last word, perhaps, but an entertaining look at a highly intriguing actor and sex symbol. ***.

TALES FROM DEVELOPMENT HELL

TALES FROM DEVELOPMENT HELL: The Greatest Movies Never Made? David Hughes. Titan; 2011.

Hughes' interesting book looks at how and why some movies, which seem like good bets or even certainties, never make it out of the development stage for one reason or another. Hughes writes about this process with a sense of humor and an understanding of the frustrating process of actually making a full-fledged movie come into being despite a number of pitfalls, including changes in executives, actors bowing out, script problems, lawsuits (and that old favorite of too many cooks spoil the broth), and so on. Some of these films were actually made [after years of delays] by other people, including remakes of Planet of the Apes (terrible) and Total Recall (acceptable), but others never saw the light of day: the remake of Fantastic Voyage; The Hot Zone; The Sandman. Hughes also looks at intriguing alternate versions of existing movies-that-never-were, such as another version of Batman and others. While one could argue that the efforts to mount a remake of Total Recall  are much ado about nothing, Tales from Development Hell is of interest to readers who want to go behind the scenes and discover why some movies get made and others don't.

Verdict: Interesting book on Hollywood behind-the-scenes. ***.

ALL STAR SUPERMAN

Superman and Lois Lane have a moment

ALL STAR SUPERMAN (2011/direct to video). Director: Sam Liu.

This is a feature length animated film based on the comic book mini-series of the same name. Rescuing some people in space, Superman is told that he absorbed radiation that is slowly killing him, something that was, of course, engineered by arch enemy Lex Luthor. Like the series, this is episodic, but eliminates some of the stupider sequences of the comic, such as the protracted business with the Bizarro duplicates, although the silly sequence with macho meathead time travelers "Atlas" and "Samson" remains. The sequence with the Parasite -- who is especially monstrous looking in this -- in jail has been expanded and is exciting. There are also two Kryptonian astronauts who were lost in space but now represent a danger to earth, an energy creature named Solaris, and Luthor's nasty niece Nasthalthia. James Denton, Christina Hendricks and Anthony LaPaglia all give good voice performances as, respectively, Superman, Lois Lane, and Luthor.

Verdict: Okay, but watch the excellent Superman vs. the Elite instead. **1/2.

THE SON OF NO ONE

Channing Tatum and Ray Liotta

THE SON OF NO ONE (2011). Written and directed by Dito Montiel.

Young cop Jonathan White (Channing Tatum) was "involved" in two murders in the projects when he was a boy, and now his past has come back to haunt him. A newspaper reporter (Juliette Binoche) is getting notes from someone claiming that these two deaths were covered up and a cop is going to be in trouble. White tries to find out who is sending these letters, but his childhood buddy Vinnie (Tracy Morgan), who knows the truth, assures him that he's told no one. Then the reporter is murdered not long after White goes to talk to her ... This could have made an interesting thriller, but Montiel's meandering approach and mediocre script -- not to mention all the switching back and forth from 1986 to 2002 -- only add up to tedium. Ray Liotta and Al Pacino are wasted in the smaller roles of cops, while Tatum's performance, even when you consider his character is suppressing emotion, is at times borderline zombie; he seems clueless as to how to play the character. Even the most humble "B" movie from the forties is put together with more smooth finesse than this. Tatum was also in G.I. Joe: The Rise of Cobra. Pacino had a supporting role as himself in Jack and Jill the same year.

Verdict: A poor excuse for a suspense film. *1/2.

JACK AND JILL

Al Pacino and Adam Sandler

JACK AND JILL (2011). Director: Dennis Dugan.

Jack Sadelstein (Adam Sandler), an advertising man in LA, has one month to sign Al Pacino [Glengarry Glen Ross] to a contract for a new coffee product. Things seem hopeless until Pacino (played by himself) meets Jack's twin sister, Jill (played by Sandler in drag) and finds her, um, appetizing. Can Jack get Jill to go home with Al, or he will have to dress up in her clothes and go on the date himself? Guess... Although this was skewered by most critics, it's one of the more palatable Adam Sandler comedies, with some genuinely funny moments to go with the low-class flatulence jokes, of which there are too many. Sandler isn't bad in both roles, especially as the good-hearted but gauche and declasse, fairly obnoxious Jill, who drives her brother crazy, but the movie is stolen by Pacino, who gives a fine comedic performance spoofing his image and seems to be having a ball.

Verdict: An Adam Sandler movie you may actually sit all the way through thanks to Al, but beware. ***.

WE NEED TO TALK ABOUT KEVIN

Tilda Swinton and Jasper Newell

WE NEED TO TALK ABOUT KEVIN (2011). Director: Lynne Ramsay.

"When I see fat people they're always eating. Don't give me this hormones and glands business." 

Eva (Tilda Swinton) is dealing with a lot in her life, much of which we don't even realize until the end of the movie. One thing we do know is that her son, Kevin (Ezra Miller) has done something terrible, which has made many members of Eva's community, some of whom lost loved ones, despise her. Kevin jumps back and forth in time [sort of pushing the viewer out of the story instead of pulling him in], but the young Kevin, although difficult at times, seems no more and no less childish and annoying than many children can be at times. Eva, who can't seem to see the humor in Kevin's behavior, loses control and breaks the child's arm [although no one but her son is aware of this act of decided child abuse]. As a teen Kevin is incredibly obnoxious, and seems to (understandably?) hate his mother. In present day segments Eva gets a job and deals with loneliness and the cruelty of some of the people around her, and endures depressing visits to see Kevin in an institution. Some of the details of what Kevin actually did to his family and others are finally unveiled at the ending. Ms. Swinton gives a good performance, but the actress is so androgynous, even boyish, that during the film's opening moments you might think that she is playing Kevin. Rocky Duer, Jasper Newell, and the aforementioned Miller are all excellent as Kevin at varying ages. The biggest problem with the movie is the non-linear directorial approach, which does little to help us understand Eva or her situation. The soundtrack consists of various songs which often relate to what's going on but can be nonetheless distracting.

Verdict: An interesting but ultimately unsatisfying look at a tragedy of modern times. **1/2.

YOU'RE NEXT

YOU'RE NEXT (2013). Director: Adam Wingard. Made in 2011; widely released in 2013.

"Would you just die already? This is hard enough for me!" -- killer to victim. 

Crispian (AJ Bowen) brings his Aussie girlfriend Erin (Sharni Vinson) to a family reunion where she meets his mother Aubrey (Barbara Crampton of Re-animator), father Paul (Rob Moran), and assorted siblings and their spouses. Certain members of the family have their resentment issues (this aspect threatens to turn the movie into a parody at times) but a bigger problem is that one of the guests, a filmmaker named Tariq (Ti West), becomes the first victim of a trio of home invaders wearing animal masks. Raised by a survivalist father, Erin takes charge and tries to keep the members of the family focused on surviving and fighting off the vicious interlopers. As more murders occur, it becomes apparent that this is not a random attack but the family has been targeted and it may even be an inside job ... You're Next may not be any kind of cinematic masterpiece, but it is taut and suspenseful and some of the gruesome killings have a bit of imagination in Simon Barrett's screenplay [Barrett plays one of the masked killers as well]. The performances by a largely unknown cast are on the money as well. The plot may not hold up under close scrutiny, and that modern tendency to layer in black comedy is in evidence (though not that prevalent), but You're Next certainly has more than its share of exciting moments. The ending is satisfying but the filmmakers can't resist one last nasty bit of business.

Verdict: Tense and bloody thriller holds the attention. ***. 

KILLER JOE

Matthew McConaughey

KILLER JOE (2011). Director: William Friedkin.

"Who would like to say grace?" -- Joe

This latter-day film from the director of The Exorcist is based on a play by Tracy Letts, who also did the screenplay. Chris Smith (Emile Hirsch) owes thousands of dollars to bookies who are threatening him with death and disfigurement, so he hatches a plan -- with the full approval of his father, Ansel (Thomas Haden Church), virginal sister, Dottie (Juno Temple), and stepmother Sharla (Gina Gershon) -- to hire a hit man to murder his hated mother. The hired gun they choose is a West Dallas detective known as "Killer Joe" (Matthew McConaughey), who insists on being paid $25,000 up front. When Chris tells him that they can only pay him after they get his mother's insurance money, Joe demands a retainer -- Dottie. No one gives him any argument. Of course, things don't quite work out the way everyone thinks they will. Killer Joe is a well-made and well-acted black -- very black -- comedy that leads up to some disquieting, but hardly unexpected, violence. Ever since the relative success of Pulp Fiction, we've gotten all sorts of movies in which the characters are all complete low lives, and this is just another one, although it holds the attention for the most part and has some riveting sequences. Gershon is excellent, and Smith and Temple do the best they can considering the material. McConaughey seems miscast at first, but he quietly etches a disturbing portrait of simmering and slithering evil. Church seems like just a variation on the idiot "Lowell" that he played on the sitcom Wings; in fact, the whole movie resembles a particularly dark sitcom with violence. An unpleasant aspect of the movie is that at times it seems like little more than an excuse to brutalize women. A fellatio scene involving a piece of chicken seems dragged in for no good reason. This probably worked better on the stage, but Eugene O'Neill it's not. You forget it as soon as it's over. Friedkin and Letts also collaborated on another adaptation of a Letts' play, Bug, but based on this I'm not in such a rush to see that.

Verdict: Has its moments, but not every play needs to be immortalized on film. **1/2.

JENNIFER JONES: THE LIFE AND FILMS

JENNIFER JONES: THE LIFE AND FILMS. Paul Green. McFarland; 2011.

Author Green makes it clear at the outset that this is less a traditional biography of Jones than it is a study of her films. So while you might have to go elsewhere to read more intimate details of, say, her first marriage to Robert Walker, Green nevertheless provides most of the important facts of Jones' life story in a compelling fashion. Green examines all of Jones' movies -- including her early Republic period as Phylis Isley when she appeared in such cliffhangers as Dick Tracy's G-Men and made little impression -- from The Song of Bernadette to Carrie [in which she gave one of her all-time best performances] to The Towering Inferno, providing critical and audience reaction, behind-the-scenes notes, and a discussion of how effective Jones may or may not have been in a particular role. Green also includes chapters on her stage work, TV appearances, and parts that she nearly played but didn't, as well as abortive film projects. This is packed with info, intelligently presented, for the Jones fan. Foreword by Robert Osborne of Turner Classic Movies.

Verdict: Excellent, very readable book on a somewhat neglected movie star. ***1/2.

SITTING PRETTY: The Life and Times of CLIFTON WEBB

SITTING PRETTY: The Life and Times of CLIFTON WEBB. Clifton Webb with David L. Smith. University Press of Mississippi; 2011.

Clifton Webb wrote several chapters of his memoirs, but never completed the project. In this excellent book those chapters are published for the first time, with annotations by David L. Smith, who not only fleshes out [and occasionally corrects] Webb's memories but adds the biography that forms the bulk of the book [with comments from Webb's notes included]. Far from being an overnight sensation, Webb had a long career as a dancer and actor before he hit it big in motion pictures and became a most unlikely movie star in middle age after appearing in Laura. He created the character of Mr. Belvedere in Sitting Pretty and its two sequels, was Barbara Stanwyck's husband and gave one of his all-time best performances in Titanic, played an aging silent movie star turned professor in Dreamboat with Ginger Rogers, and did many other movies, some more memorable than others [but he was always excellent]. Whatever his private life [Smith doesn't make any revelations in that regard or uncover a single relationship the man might have had except with his mother, Mabelle], people have always assumed Webb was (stereotypically) gay, and Smith perhaps tries too hard to refute that -- and is, frankly, unconvincing. But for Pete's sake, this is the 21st century -- would Smith think less of Webb if he were gay?! That is the only real flaw in an otherwise noteworthy tome. Whether you're reading Webb's own words, or Smith's, the actor comes across as a combination of a charming, urbane, sophisticated and cultured man and a precious, occasionally snooty "old queen," but in any case makes a witty and welcome companion for a couple of hours of reading pleasure.

Verdict: Gives Webb his due as an actor and entertainer. ***1/2.

MILDRED PIERCE (2011)

Kate Winslet as Mildred

MILDRED PIERCE (2011 HBO mini-series. Director: Todd Haynes.

"I am never coming back to this hovel as long as I live!" --Veda Pierce.

This mini-series is adapted from the same James M. Cain novel that was the basis of the Joan Crawford movie of the same title. This version is much more faithful to the novel, as the Crawford version added a murder sequence that was not in the book and turned the original Mildred Pierce into a classic piece of film noir, which this version is definitely not. In the mini-series Mildred is played by Kate Winslet, who doesn't have Crawford's presence but gives a good performance, although it lacks spontaneity. The story begins in 1931 California where Mildred splits from her husband and is left to take care of their two daughters. As in the original movie, the proud Mildred gets a job as a waitress, bakes pies, opens her own restaurant -- and has to contend with her haughty older daughter, Veda [first played as a child -- and quite well -- by Morgan Turner, who might even have been able to handle the later sequences]. As in the novel Veda is studying piano, but discovers she lacks distinction. In the book she becomes an opera singer in a rather ludicrous fashion, so the mini-series wisely has her talking about it instead of showing it. The other major character is gigolo Monty Beragon, played by a credible Guy Pearce. Mildred Pierce has some fine performances and memorable sequences, such as a tragic death scene for a young character; an interview for a housekeeping job that Mildred has with rich bitch Mrs. Lenhardt [uncredited but very good]; Mildred's reaction when she first hears Veda's singing voice on the radio; and an explosive climax in a bedroom when Mildred sees her daughter's true colors in the cruelest way possible. The adult Veda is played by Evan Rachel Wood, who isn't bad in the part, but she just can't compare to the vicious brilliance of Ann Blyth in the original version [and Pearce can't quite erase memories of smarmy Zachary Scott as Monty]. Mare Winningham, James LeGros, Melissa Leo, Brian F. O'Byrne, and Quinn McColgan are all notable in important supporting roles. Nice music from Carter Burwell. Veda's gorgeous soprano singing voice is supplied by the very talented Sumi Jo.

Verdict: Pretty classy cable mini-series. ***1/2.

THE ARTIST

THE ARTIST (2011). Director/writer: Michel Hazanavicius

"It's an honor to meet you. My father is a big fan."

If ever anyone needed proof that winning Oscars often has more to do with pressure from studios and aggressive campaigning than with pure quality, look no further than the fact that this won the Best Picture Academy Award for 2012. Except for a dream sequence and at the very end, The Artist is a black and white silent movie with titles and music [more about that music in a moment]. There have been quite a few classics from the silent movie period -- King Vidor's The Crowd instantly comes to mind -- but The Artist is not on that level. Instead it's yet another variation on A Star is Born with a Valentino-type actor, George Valentin (Jean Dujardin) -- who resists the idea that talkies are taking over -- giving a break to a young female newcomer, Peppy Miller (Berenice Bejo), only to watch her become a big star while he becomes a forgotten has-been. [It is never explained why Valentin won't be hired for sound movies, as no mention is made of any problem with his voice.] However, Peppy doesn't forget her one-time mentor's kindness and comes to his aid. Penelope Ann Miller is Valentin's unloving wife and John Goodman and Malcolm McDowell are movie biz types. There's a cute little dog who nearly steals the picture, but the lead characters are not that sympathetic, and the film is full of show biz cliches without having anything new to add. Yes, The Artist may be an "homage" to motion pictures, but surely it should be as good as the best of the movies it honors before it wins major awards? [Sometimes the Oscars get it right; The King's Speech was a genuinely great picture and deserved to win Best Picture.] Ludovic Bource's music is very good and does a lot of the work, but talented Bource couldn't have been thrilled with the director's decision to score a climactic sequence with, of all things, Bernard Herrmann's love theme from Hitchcock's classic Vertigo! Not only does this pull you out of one movie into another -- as some critics noted -- but it's unfair to Bource, Herrmann, the movie, and the audience. Herrmann [nor Hitchcock] is not alive to protest, but Kim Novak certainly did -- and should have. It was a very bad decision to use such famous music, especially in a scene where it is completely inappropriate.

Verdict: Handsomely produced and well-acted, but we've seen it all before. And the Vertigo steal is disastrous! **1/2.

RESTITUTION

C. Thomas Howell in sinister mode

RESTITUTION (2011). Director: Lance Kawas.

Bryan Spikes (Mark Bierlein), who investigates insurance fraud, meets a pretty bartender named Heather (Mena Suvari), and then gets murdered. Then writer Alex Forrester (also Mark Bierlien), who looks like Bryan without his beard, comes to town and claims he is doing a book about -- Bryan Spikes, who allegedly murdered several people. What's going on here? Since most people will sort of notice that Bryan and Alex resemble one another, the final twist in this picture may not come as much of a surprise, but there's enough confusing stuff to almost hold the attention [in a roundabout way] between the opening and the climax. But the emphasis is on the word confusing, for even when you've figured it all out the movie doesn't make much sense. Mark Bierlein, the star of the movie, also co-wrote the screenplay and served as executive producer. Bierlien is not untalented [as an actor at least] but he isn't the best casting choice and, frankly, could use a little more seasoning. He is not without appeal, but making mediocre vanity projects is probably not the way to go. The whole movie seems like something a small town drama club cobbled together with borrowed equipment -- it looks more or less professional at times but has the veneer of something cheap and fifth-rate. Exceptions to this are the first-rate musical score by Misha Segal, and the performances of C. Thomas Howell and Mena Suvari, who is talented but needs to stay out of movies like this. Tom Arnold is the only other "name" in the cast besides Howell; he's supposed to be funny but isn't. There are some good scenes, but not enough.

 Verdict: Amateur Hour and a half. **.