CALYPSO HEAT WAVE

Alan Arkin (left) as a young calypso singer

CALYPSO HEAT WAVE (1957). Director: Fred F. Sears. Produced by Sam Katzman.

Mack Adams (Paul Langton of The Big Knife) is head of a record company whose primary artist is Johnny Conroy (Johnny Desmond). Sleazy Barney Pearl (Michael Granger) tries to insert himself into Adams' business even as Pearl's girlfriend, Mona (Meg Myles) gets herself a hit record thanks to Adams' assistant, Alex (Joel Grey). Meanwhile Johnny walks out on this new hybrid company and takes off to the West Indies -- can Mack and his secretary Marti (Merry Anders of The Hypnotic Eye) convince him to come back and save the company? Calypso Heat Wave has a slender plot that employs the talents of Columbia recording artists, including Maya Angelou in her pre-poetess days, an all-black group called the Treniers, and a romantic trio known (confusingly) as the Tarriers, for whom a young Alan Arkin is the lead singer -- and he's not bad. If that weren't enough we have Pierre Watkin as the lawyer Thornwall, and Darla Hood (of The Bat and "Our Gang" comedies fame) singing a duet with Johnny but having no real role or dialogue. Desmond is a charismatic performer who manages in some numbers to crediby do the Calypso with a Caucasian twist, although in other numbers he comes off a little hokey. Angelou, known as "Miss Calypso," gets two numbers and is effective, while Meg Myles does a nice job with the catchy "Treat Me Like a Lady." Of the actors, Langton, Grey [Cabaret] and Myles make the best impression. That same year director Sears came out with the zesty The Giant Claw.

Verdict: Some genuine and Hollywoodized Calypso music and that's about it. **.

WAIT UNTIL DARK

Alone in the dark with a killer

WAIT UNTIL DARK (1967). Director: Terence Young.

Blind Susy Hendrix (Audrey Hepburn) is unaware that some men who have come to her apartment pretending to either be friends of her husband or police officers are actually crooks looking for a drug-filled doll that a woman handed off to Susy's unsuspecting husband, Sam (Efrem Zimbalist Jr.). Gradually she realizes that something is wrong, and prepares to fight for her life when the gentlemen come back from a wild goose chase she's sent them on. The main trouble with Wait Until Dark -- which was based on a stage play by Frederick Knott (Dial M for Murder) -- is that the suspense is minimal because the audience is clued in to what's going on from the very beginning. Hepburn gives a very good performance and the rest of the surprisingly C List cast are fine, although Alan Arkin seems about as threatening as Boris Badenov. Julie Herrod is excellent as the neighbor child Gloria who is alternately helpful and bratty. Henry Mancini's score does what it can to increase the limited excitement. It's hard to figure why Arkin and Crenna were billed above the title along with Hepburn.

SPOILER ALERT: Susy has been encouraged by her husband to be as independent as possible despite her blindness, which leads to two problematical developments. We already know she can walk by herself to her husband's office, so instead of barricading herself in her apartment, why doesn't she just leave and ask for someone to help her get to the nearest precinct? [St. Luke's Place where this takes place runs right into Seventh Avenue and the men watching her place have gone off on the wild goose chase.] At the very end when Sam sees her bloodied and huddled by the refrigerator, he waits for her to get up and make her way towards him, but surely in a situation like this he would forget his independence edict and go hug the woman he's supposed to be in love with after such an ordeal? Also, in a moment that made some nervous nellies in the audience jump in fright, Alan Arkin leaps out of the darkness at Susy after he's been stabbed and falls to the ground unconscious. Maybe he might have been able to painfully lurch after her, but leap? The moment is ludicrous instead of startling.

Verdict: If you want to see a better Frederick Knott adaptation watch Dial M for Murder instead. **.

INSPECTOR CLOUSEAU

Alan Arkin as Inspector Clouseau

INSPECTOR CLOUSEAU (1968). Director: Bud Yorkin.

Commissioner Braithwaite (Patrick Cargill) of Scotland Yard is dismayed to learn that the Prime Minister insists he bring in an outsider, Inspector Clouseau, to track down a gang of thieves who have been quite difficult to apprehend. Another problem is that the members of the gang hit upon the idea of wearing face masks that make them look just like Clouseau. Alan Arkin had the unenviable task of stepping into the very large shoes of Peter Sellers, and while he's a talented actor, and arguably a "sexier" Clouseau, he just can't quite make the role his own. Cargill is another talented actor, but he won't make anyone forget Herbert Lom as Clouseau's favorite foil. Barry Foster of Hitchcock's Frenzy is also in the cast, as are Frank Finlay (The Deadly Bees, Twisted Nerve) as a Superintendent and Beryl Reid, amusing as his wife. Delia Boccardo is the pretty undercover cop who assists Clouseau. Inspector Clouseau isn't terrible, there's a lot of talent on screen, but it's the weakest of the films showcasing the weird French policeman. Steve Martin was somewhat more effective as Clouseau, playing it more farcically. It probably doesn't help that this was directed by Bud Yorkin and not Blake Edwards.

Verdict: Stick with Sellers. **1/2.