BACK FROM ETERNITY

BACK FROM ETERNITY (1956). Director: John Farrow.

In this widescreen if black and white remake of Five Came Back (which was also directed by John Farrow), a motley group of passengers survive a crash in the South American jungle, only to realize that only a few of them can fly away and there are headhunters right around the corner. Back from Eternity could have been a terrific, gut-wrenching movie if only all of the dumb "Hollywoodisms" had been excised from the script. True, I've watched plenty of silly if entertaining dumb Hollywood movies, but what makes Eternity worse is that it had so much potential. True, the final few minutes are suspenseful, the acting isn't bad, and the conclusion has a certain power, but otherwise it's not a very good movie. Anita Ekberg [Screaming Mimi] got the lion's share of the publicity, and aside from being beautiful and busty, she's not a bad actress, either (by Hollywood standards, at least), although her American career didn't last long. (She appeared in this before her famous role in Fellini's La Dolce Vita.) Robert Ryan as the possibly tippling pilot is perhaps less effective in this than in other films, but Rod Steiger offers the best performance as a condemned man being brought back for execution. Phyllis Kirk and Gene Barry are effective enough as an engaged couple who have problems, and Beulah Bondi and Cameron Prud'homme are fine as an elderly professor and his wife. Jesse White is Jesse White.

SPOILER ALERT: Now let's talk about those "Hollywoodisms:" Fred Clark is taking Steiger back for execution, but he uses no handcuffs on a supposedly dangerous felon. Kirk and Ekberg have a completely ridiculous "cat fight" over a man that serves only to show the latter in a wet, clinging outfit. Worse still is the whole business with the lovely stewardess, Maria (Adele Mara of Night Time in Nevada). First let's make it clear that Maria is a friend and co-worker of the pilot and his co-pilot (Keith Andes), and is an attractive and really nice person. Saving a little boy (Jon Prevost) from falling out of the plane when a tank smashes open the door, she herself falls to her death in a horrifying moment. There is no scene when Andes tells Ryan what happened. After the plane lands in the jungle, Ryan says to Andes "everyone all right?" to which Andes replies that the passengers were only a little bruised. There's absolutely no mention of brave Maria and her horrible death throughout the rest of the movie, and these are her co-workers!  (A somewhat similar sequence occurred in another plane crash drama The Crowded Sky.) Admittedly, the passengers are having their own problems, but even during a quiet, contemplative moment much later on, when the pious professor and his wife lead everyone in the Lord's Prayer, nobody offers up a prayer for Maria. It's unbelievable, cold-blooded and illogical scenes like this (or the lack of them) and others that make me classify Back From Eternity less as drama than as schlock. Farrow's direction, although the plane scenes are well-handled, also does little to disguise/detour around some moments of really bad acting.

Verdict: The final quarter has its moments but then there's the rest of it ... **.

THE VAMPIRE'S GHOST

Charles Gordon, John Abbott, Adele Mara

THE VAMPIRE'S GHOST (1945). Director: Lesley Selander. Colorized.

In the village of Bokunda in Africa, dead bodies are turning up partially drained of blood. The natives believe a vampire is on the loose, something which is scoffed at by Father Gilchrist (Grant Withers of Jungle Jim), as well as Roy Hendrick (Charles Gordon), his girlfriend, Julie (Peggy Stewart), and her father Thomas (Emmett Vogan of Hop Harrigan). On an expedition to a nearby village, tavern owner Webb Fallon (John Abbott of Deception) puts a spell on Roy and reveals that he is four-hundred years old and fond of drinking blood. As more murders occur, Fallon develops an overwhelming "fondess" for Julie, whom he hopes to make one of the Undead to ease his loneliness. Will Roy be able to shrug off the mind control and save his lover? 

John Abbott as the unlikely vampire

The Vampire's Ghost -- there is actually no ghost in the picture -- is a cheap Republic horror film that has some well-staged sequences (a night time attack on gambler Roy Barcroft, for instance) but is overall mediocre. In motion pictures vampires tend to be frightening and/or romantic figures, but the funny-lookin' John Abbott more often played comical or weaselly roles. However, Abbott is a good enough actor to be entirely credible as the sinister Fallon. Republic contract player Charles Gordon, who only made ten pictures, is effective as Roy, who doesn't seem much of a match for Fallon. Peggy Stewart, and Adele Mara as the ill-fated dancer Lisa, are also good. Grant Withers and Roy Barcroft, old standbys in classic serials, go through their paces with panache, especially Barcroft. The conclusion at a jungle temple devoted to a long-gone cult of evil is so drawn out that the film, which is less than an hour long, temporarily seems interminable. Lesley Selander also directed the serial Jungle Raiders. 

Verdict: Worth seeing just once. **1/2. 

BELLS OF ROSARITA

Roy Rogers and Dale Evans

BELLS OF ROSARITA (1945). Director: Frank McDonald. 

Sue Farnum (Dale Evans) appeals to her late father's good friend, Slim Phillips (Addison Richards), when she realizes that her father's slimy business partner, Ripley (Grant Withers) is trying to cheat her out of her circus. Slim and his daughter, Patty (Adele Mara) travel west to see what they can do. Almost immediately Slim is kidnapped! Filming nearby Sue's property, Roy Rogers, playing himself, gets involved and tries to find Slim with the help of Gabby Whittaker (Gabby Hayes) and Bob Nolan (also playing himself), head of the vocal group Sons of the Pioneers. 

Elliott, Livingstone, Sunset Carson, Allan Lane, Red Barry

Roy also comes through for Sue when he convinces her to put on a show in the nearby town and enlists the aid of the other Republic Studios western stars: Allan Lane [King of the Mounties], Sunset Carson, Wild Bill Elliot [Footsteps in the Night], Bob Livingstone and Don "Red" Barry. These fellows also help round up the ornery polecats who have kidnapped Slim. This must have been quite a thrill for Western movie fans back in the day. There's also a bunch of pleasant tunes, including Roy's "Build a Fence Around Texas" and the very talented Robert Mitchell Boy Choir. Gabby Hayes wears out his welcome rather quickly, however. 

Robert Mitchell Boy Choir

Bells of Rosarita is another "modern-day" Rogers western. The film-within-a-film that Roy is making is also entitled Bells of Rosarita and has something to do with a woman being forced to marry a man she does not love. Although there are some would-be exciting chases in the film, it can't quite escape being a little dull, although it is fun to see all of those handsome Western heroes in one movie. My mind wandered through the movie and I found myself wondering if the one black child in the choir was treated respectfully by the other white boys. It's good that he was included at all, of course. 

Verdict: A fairly typical Roy Rogers western musical with talented cast members. **1/4.    

ALIAS BOSTON BLACKIE

Chester Morris and Richard Lane

ALIAS BOSTON BLACKIE (1942). Director: Lew Landers.

Boston Blackie (Chester Morris) is at a prison putting on a Christmas show for inmates when he encounters Eve (Adele Mara of Back from Eternity), the desperate sister of convict Joe Trilby (Larry Parks.)  Joe insists that he was framed by two men, and contrives a way to escape from prison so he can get his revenge upon them. Boston, in the meantime, tries to catch up with Joe to prevent him from committing murder, even as Inspector Farraday (Richard Lane) tries to catch up with both of them. Boston holds a gun on a cop, locks him in a closet, impersonates a police officer, and so on, but somehow when everything is neatly resolved Farraday never presses charges on Boston, a man he's never trusted and always wants to arrest. Morris is fine, but the best performances come from Larry Parks [The Boogie Man Will Get You] and Paul Fix [The Bad Seed] as the cabbie, Cavarone. Cy Kendall gives one of his better performances in this.

Verdict: Ok BB entry. **1/2.

NIGHT TIME IN NEVADA

NIGHT TIME IN NEVADA (1948). Director: William Witney.

Farrell (Grant Withers) doesn't want to share the booty with his mining partner Andrews (James Nolan), so he murders him and hides his body. Many years later Andrews' daughter, Joan (Adele Mara), shows up hoping to get her hands on some of the money in her father's trust fund -- of course there isn't any. Sheriff Roy Rogers (Roy Rogers, of course) suspects that Farrell is a bad 'un, and his suspicions prove correct when he and his hench men try to rustle some cattle off a train, leading to an exciting climax with Roy and Farrell having a battle on a speeding truck. If this sequence reminds you of a cliffhanger serial, it's because the movie was directed by serial specialist William Witney. Aside from the climax and Withers' good performance as the nasty, murderous Farrell, Night Time has little to recommend it. Rogers made over one hundred similar features in addition to his TV show. Andy Devine [A Star is Born/1937] and Trigger the horse [who had a notable part in Son of Paleface, along with Rogers] are Rogers' co-stars and they are both about as usual. Adele Mara later wound up in Curse of the Faceless Man.

Verdict: A good-looking hero never hurts. **.

CURSE OF THE FACELESS MAN

CURSE OF THE FACELESS MAN (1958). Director: Edward L. Cahn.

This was one half of a double bill of two films directed by Cahn and written by Jerome Bixby (most famous for the short story "It's a Good Life," adapted on The Twilight Zone in 1961.) The other, much more successful feature was It! The Terror from Beyond Space, but Faceless Man is not without interest. Taking his cue from old Mummy movies, Bixby fashioned a story wherein an encrusted slave, Quintillus Aurelius, buried during the eruption of Vesuvius in Pompeii is unearthed and brought to a museum in the city (he is not actually a mummy but rather is covered with crusted mud). Radiation from the earth and from an X-ray machine bring the slave back to life, and - wouldn't you know it? -- the reincarnation of the woman he once loved (Elaine Edwards) is conveniently nearby, the fiancee of Dr. Paul Mallon (Richard Anderson). Also involved in the action -- what there is of it -- are Mallon's old girlfriend Maria (Adele Mara), her new boyfriend Dr. Ricci (Gar Moore) and her father Dr. Fiorillo (Luis Van Rooten), among others. The picture isn't terrible, but a lot of it isn't that well-staged, and it never quite comes to a full boil. The storyline is interesting, however, the acting sufficient, and Gerald Fried's music adds some excitement now and then.

Verdict: Disappointing but not awful cheapie creepie. **1/2.