LADIES ON HIS MIND: FOUR STAR PLAYHOUSE

Colman on his couch

FOUR STAR PLAYHOUSE: Ladies on His Mind (1953). Directed by Robert Florey.

Four Star Playhouse, which aired from 1952 to 1956,  had a series of rotating hosts, four stars including David Niven, Charles Boyer, Dick Powell, and Ida Lupino. Either one of the aforementioned male stars was replaced by Ronald Colman, or other stars appeared in certain episodes when one of the hosts wasn't available. In any case Colman [The Prisoner of Zenda] is the star of this indifferent and forgettable half-hour segment, the 17th episode of the first season. In "Ladies On His Mind" Colman plays a happily-married psychiatrist whose wife (Benita Hume) doesn't seem to think too much of his profession. 

Ronald Colman consults

During the half hour Colman sees three female patients played by Patricia Morison (an actress who only hopes to find true love), Elisabeth Fraser (who fears her husband's best friend has fallen in love with her when it might be vice versa), and Hilary Brooke (an unhappy neglected wife whom Colman seems to think is a shrew worth poisoning without ever meeting her husband). As he listens to the ladies' woes, Colman fantasizes himself into a stark painting on the wall where sort of mini-ballets are played out, none of which are very interesting. Colman is as excellent as ever, Hume personifies middle-aged loveliness, Brooke is quite good as the neglected wife, and the others are fine. But the script for this lets everyone down. Gifted director Robert Florey [The Face Behind the Mask] does the best he can with the material. Alix Talton [Deadly Mantis] plays Colman's nurse. 

Verdict: Tries to be something different but just doesn't work. **.

CARNIVAL OF CRIME

Unidentified player with Jean-Pierre Aumont

CARNIVAL OF CRIME (1962). Director: George Cahan.

"He has a marvelous sex potential."

A French building contractor named Mike Voray (Jean-Pierre Aumont) lives in Rio with his wife, Lynn (Alix Talton). As he goes to Brasilia to supervise a project, she runs off with an unknown man. Now Mike cooks up a scheme to not only find her but find out who her lover is. But before he can do so, fate takes a hand ... This odd movie begins very badly, with stock footage and a long tedious sequence (that seems to have nothing to do with the rest of the movie) in which two men wait in the jungle to kidnap someone. After that protracted and amateurish waste of time, the story proper begins and it is at least faster paced and has some interesting elements, although ultimately it isn't very good. Other characters include Mike's mother-in-law and her much younger boyfriend;  a photographer and his model; Mike's hard-drinking associate and pretty secretary; and so on. Except for the two leads (although Talton has little to do) the actors are dubbed. The zero-budgeted film winds up with what appears to be a travelogue of Brasilia with background music like you would hear in a skating rink. Had Talton [Deadly Mantis] dyed her hair blond years earlier she might have had a bigger career. She and Aumont [Hilda Crane] both give more than acceptable performances. The title refers to the "Carnivale" in Rio of which we see some footage. This is a co-production of Brazil, Argentina, Spain and the good ol' USA.

Verdict: See Brasilia and die! **.

THE MAN WHO KNEW TOO MUCH (1956)

THE MAN WHO KNEW TOO MUCH (1956). Director: Alfred Hitchcock.

"The Muslim religion allows for few accidents."

Dr. Ben McKenna (James Stewart) and his wife, Jo (Doris Day) are vacationing with their little boy Hank (Christopher Olsen) in Morocco when they become enveloped in intrigue. After an acquaintance of his is stabbed, the dying man (Daniel Gelin) imparts information about an upcoming assassination in London to Ben, but before he can do anything about it Hank is kidnapped by the conspirators to prevent McKenna from telling what he knows. Afraid to cooperate too much with police out of fear for Hank's safety, the worried couple go to London and try to find the child themselves. Meanwhile the clock is ticking for a dignitary who doesn't know his life is measured in hours ...  One could quibble about certain aspects of the movie, but for the most part this is a well-acted and suspenseful film with an absolutely knockout climax in Albert Hall. Stewart is fine, and Day -- while she may not be considered perfect casting -- is generally excellent as well; the two have an especially good scene when Ben tells his wife that their boy has been taken. The supporting roles are all very well cast, from Brenda de Banzie and Bernard Miles as a friendly English couple to Alix Talton (Deadly Mantis), Carolyn Jones, Hillary Brooke and Alan Mowbray as friends of the McKenna's who intrude at a delicate moment. Olsen as Hank and Gelin as the murder victim in Morocco are both fine, and Reggie Nalder probably has his best role as a marksman. Richard Wordsworth of The Creeping Unknown and The Revenge of Frankenstein shows up as a taxidermist, and Betty Bascomb makes an impression as weird Edna, one of the conspirators. Bernard Herrmann's dynamic opening credit theme is very memorable, and the film also introduced the popular song "What Will Be, Will Be" [better known as "Que, sera, sera"] as sung by Day. Herrmann didn't compose the songs nor the wonderful "Storm Cloud Cantata" that he conducts during the Albert Hall sequence. The movie has a strong and moving sub-text of the bond between parent and child.

Verdict: Flawed but often exhilarating suspense classic from The Master. ***1/2.