PSYCHE 59

Dysfunctional marriage: Curt Jurgens and Patricia Neal

PSYCHE 59 (1964). Director: Alexander Singer.

"Someone has to stop loving somewhere along the line -- otherwise it's like committing suicide." -- Alison

"All the men I knew have either gotten married or gone queer -- what's going on in this country?" -- Robin

Alison Crawford (Patricia Neal) has been psychosomatically blind since a traumatic incident which she doesn't recall. Considering that the audience is clued in almost from the first that something went on between Alison's husband, Eric (Curt Jurgens) -- a real pig -- and her younger sister, Robin (Samantha Eggar), it doesn't take much to figure out what Alison saw. So much for suspense over the final revelation. Robin has recently broken up with her husband, so she comes to stay with Alison and Eric, something the latter isn't thrilled by -- or is he? Then there's Eric's friend, Paul (Ian Bannen of From Beyond the Grave), who is in love with Robin, and her strange mother-in-law, Mrs. Crawford (Beatrix Lehmann). If this all sounds interesting, be warned that it isn't. Despite the hysterical blindness, the infidelity and betrayal, and god knows what else, the film is actually quite boring until the last couple of minutes -- too little, too late. The acting is good but the characters are so one-dimensional that not even the performances can bring the people fully to life. Maybe Tennessee Williams could have done something with these dysfunctional individuals, or perhaps the producers should have turned it into a wild horror movie with someone -- Pat Neal, maybe? -- wielding an ax on hubby. But despite some interesting elements, this just never jells or amounts to anything but a waste of ninety minutes. It's a shame, because Neal [Diplomatic Courier] is especially fine in this, expertly delineating her character's blindness. While his character is not at all likable, Jurgens' portrayal of the husband, a virile but perhaps frightened man on the cusp of fifty, might have been made somewhat sympathetic, but the part is too under-written for that. Walter Lassally's cinematography is excellent, and there's some nice music by Kenneth V. Jones. Alexander Singer also directed A Cold Wind in August. He simply fails to imbue this film with enough dramatic tension.

Verdict: . **.

A COLD WIND IN AUGUST

A COLD WIND IN AUGUST (1961). Director: Alexander Singer.

Iris Hartford (Lola Albright) has been disappointed by the men in her life, so she decides to slap the make on a boy this time, the super's 17-year-old son, Vito (Scott Marlowe). The two fall in love, but Vito can't deal with Iris' profession. Right away the movie has a problem because Scott Marlowe was actually 29 at the time of filming, and looks considerably older, so the whole idea of a supposed twenty year age difference is completely lost; Albright was 36. Marlowe gives a good performance, but can't quite compensate for his miscasting. Albright is much more interesting in this than she was in her white bread role on Peter Gunn, but the greatest actress in the world would have trouble making the confused and confusing, underwritten Iris come alive. Joe De Santis scores as Vito's father, Mr. Pellegrino, and Herschel Bernardi, also from Peter Gunn, is excellent as a "friend" of Iris who is clearly in love with her. Perhaps the most notable performance is given by Clarke Gordon as Iris' desperate ex-husband, Harry. This script should probably never have been filmed, at least not with these leads. Singer also directed Love Has Many Faces with Lana Turner.

Verdict: Under-baked, with titillation that goes nowhere slowly. **.

LOVE HAS MANY FACES

LOVE HAS MANY FACES (1965). Director: Alexander Singer.

Wealthy Kit Jordan (Lana Turner) is living in Acapulco and married to ex-beach bum, Pete (Cliff Robertson of Obsession). When an old flame of hers, another beach bum named Billy, washes up dead on the shore, it causes tension in her marriage, a situation that isn't helped by the arrival of Carol (Stefanie Powers of Die, Die My Darling), who once cared for Billy, and who attracts the attentions of Pete. Meanwhile half-naked hustler Hank (Hugh O'Brian) and his buddy, Chuck (Ron Husmann), zero in on two middle-aged tourists, Margot (Ruth Roman) and Irene (Virginia Grey). Although the movie is in general well-acted [by Hollywood standards] -- with an especially noteworthy and reptilian O'Brian -- the actors still aren't brilliant enough to make these stereotypes come to life. Marguerite Roberts' thrice-removed screenplay moves the characters around in allegedly interesting tableaux but nothing of consequence ever happens, and the dialogue is as empty as the people. The sub-plot with O'Brian and the ladies really goes nowhere.

Verdict: Go to the beach instead -- or Acapulco! *1/2.