SERIOUS CHARGE

Andrew Ray, Sarah Churchill, Anthony Quayle

SERIOUS CHARGE (1959). Director: Terence Young. 

Reverend Howard Phillips (Anthony Quayle of Tarzan's Greatest Adventure) lives with his wise, feisty mother (Irene Browne) at the vicarage. Hester Peters (Sarah Churchill of Royal Wedding) is an aging spinster who is almost desperately in love with him. One of the parishioners, Mary (Leigh Madison of The Giant Behemoth), has been knocked up by juvenile delinquent Larry (Andrew Ray), who now wants nothing to do with her. Rejected by Howard, Hester has a bad reaction, especially when she sees Mary coming out of a back door of the vicarage. But just when you're thinking Howard will be accused of fathering Mary's child, the picture -- based on a play by Philip King -- pulls a neat twist: Larry accuses bachelor Howard of "interfering" with -- in other words, molesting -- him in the latter's study. Hester backs up Larry, and now Howard is subjected to a whole barrage of homophobic poison pen letters and more. But Mrs. Philips isn't going to take this lying down ... 

Quayle with Churchill

Thanks to a swift pace and some excellent performances, especially from Quayle, Serious Charge, despite some dated aspects, emerges a credible, entertaining and fairly frank British drama. The juvenile delinquents seem a little too much like the Hollywood version, and due to the casting of singer Cliff Richard, "introduced" in the movie, scenes of the kids dancing as if they were on a TV show look like very weird production numbers -- Richard even sings on more than one occasion. Fortunately, these scenes don't ruin the movie. Of all the things Larry -- played with marvelous sleaziness by Ray -- could have accused Howard of, what he chooses makes one wonder what put it into his mind in the first place. As for Howard's sexuality, this fifties film remains mum on that although Howard's mum seems convinced he only needs a good woman. Well ... This was an early film for director Young, most famous for Dr. No and Thunderball. Percy Herbert of Mysterious Island plays Larry's father. 

Verdict: Fine acting, a good script, makes this a worthwhile watch despite its flaws. ***.   

THE FALL OF THE ROMAN EMPIRE

THE FALL OF THE ROMAN EMPIRE (1964). Director: Anthony Mann.

A dying Marcus Aurelius (Alec Guinness), great Caesar of the Roman empire, must make a choice of who will replace him, and chooses not his son, Commodus (Christopher Plummer), but Commodus' friend, the leader of the Roman army, Livius (Stephen Boyd). Obviously this does not sit well with Commodus, and before you can say "Ben-Hur" -- this film's obvious model -- the two men are caught in a lifelong love-hate rivalry. The emperor's daughter, Lucilla (Sophia Loren), who is in love with Livius and vice versa, is also not happy that she is forced to marry another man, Sohamus (an unrecognizable Omar Sharif). Livius hopes to unite the barbarians who are ill-treated by Rome and periodically try to seize the city, while an uncaring Commodus -- who becomes emperor only due to his father's untimely death -- basically wants to turn everyone in the outlying areas into slaves. Whatever historical accuracy this movie does or does not possess, it is well-made and quite entertaining even if nearly three hours long (with an intermission). It lacks the great story of Ben-Hur, but Mann's direction is good, the pace never flags, and the performances are mostly expert, with Guinness, Boyd, and especially Plummer [Dracula 2000] at the top of their game. Loren is also fine, and there is notable work from James Mason (especially during a harrowing torture scene, although, oddly, he seems to recover from the ordeal much too quickly), Anthony Quayle, Mel Ferrer [Born to be Bad] , and others. Naturally there's a fairly well-done battle between the two major antagonists on the expected chariots, and the climactic duel between the two men in an arena is the film's highlight. There is some stunning scenic design, an excellent score by Dimitri Tiomkin, and some striking widescreen photography by Robert Krasker.

Verdict: Essentially a Roman soap opera, but quite entertaining on that level. ***.

TARZAN'S GREATEST ADVENTURE

Anthony Quayle and Sean Connery 

TARZAN'S GREATEST ADVENTURE (1959). Director: John Guillermin.

Tarzan (Gordon Scott) pursues enemy Slade (Anthony Quayle) and his party even as Slade hunts for a hidden diamond mine and its riches. Tarzan is saddled with a somewhat callous woman named Angie (Sara Shane of Three Bad Sisters) who has survived a plane crash and develops more courage and warmth as the movie proceeds. Slade's associates include old Kruger (Niall MacGinnis); pretty Toni (Scilla Gabel); wily Dino (Al Mulock); and strutting, charismatic O'Bannion (Sean Connery). Tarzan's Greatest Adventure seems more intense than the Weissmuller Tarzan films, has an excellent script with well-realized characters, and boasts excellent acting from the entire cast. Quayle [The Wrong Man] underplays beautifully, which only makes him seem more menacing, and more of  a contrast to the swaggering Connery, who demonstrates the star presence he had even before he became James Bond. Scott makes an appealing and attractive Tarzan. The movie is fast-paced and has an exciting cliff-side climax. There's an interesting scene involving Dino and O'Bannion, a locket that Dino refuses to show him, and some deadly quicksand. Cheetah appears, but isn't given much to do, for shame, but the tone of this film is never comic. Guillermin also directed The Whole Truth and co-directed The Towering Inferno.

Verdict: Maybe not his greatest, but this is a brisk and entertaining Tarzan adventure. ***

THE WRONG MAN

The lives of this family are about to be shattered

THE WRONG MAN (1956). Director: Alfred Hitchcock.

Manny Balestrero (Henry Fonda) is an unassuming family man who plays bass fiddle in a band at New York's tony Stork Club. When he goes to an insurance company to find out how much he can borrow on his wife's policy -- they need several hundred dollars to fix her painful dental problems -- the clerks there react with fear and disbelief. Apparently Manny looks just like the man who has robbed the office on two occasions, as well as other places. Manny is arrested, identified by other people as the robber, and hires a lawyer (Anthony Quayle) he can't afford. Meanwhile his wife, Rose (Vera Miles) is so beset with fear and tension that she has to be institutionalized, leaving Manny to face this ordeal alone except for his devoted mother (Esther Minciotti). Based on a true story, The Wrong Man is a Hitchcock film in a low-key mode in all departments and this approach is very effective. Fonda, playing 38 at 51, is quite good, and although Miles is a little off in some scenes, she also gives a very nice performance. Doreen Lang, who later was the hysterical woman in the restaurant in The Birds, is excellent as one of the women in the insurance office; all of the witnesses are very well cast and quite good. William Hudson, Nehemiah Persoff, and Bonnie Franklin all have small roles. The film is expertly photographed by Robert Burks, and has a snappy if sinister theme by Bernard Herrmann. Beautifully done, The Wrong Man is, in its own way, quite disturbing and chilling, and builds up to a very moving finale. It's sad to realize that in real life there was no happy ending.

Verdict: A certified Hitchcock classic. ***1/2.

THE CHOSEN aka RAIN OF FIRE

THE CHOSEN (aka Holocaust 2000 aka Rain of Fire/1977). Director/co-writer: Alberto De Martino.

Released in theaters in 1977, this Italian film has had its name changed more than once, and resurfaced on DVD as Rain of Fire (not to be confused with Reign of Fire, which was about dragons decimating the world of the future). It would seem for all the world like a direct imitation of Damian: Omen 2 -- there's an anti-Christ, sinister deaths and "accidents," and even a doctor cut in half -- were it not for the fact that it came out one year earlier. In any case, The Chosen was clearly influenced by The Omen (1976) and is in some ways a very loose "sequel" to that film. Robert Caine (Kirk Douglas) wants to build a thermonuclear power plant in the mid-east but there's a great deal of opposition to it, including objections from his own wife (Virginia McKenna), who is an early victim of an assassin's blade supposedly meant for Caine. In short order others who oppose the plant are killed off, even as Caine is told that the unborn child he is having with journalist Sara Golan (Agostina Belli) may be the anti-Christ. Then there's Caine's pleasant son, Angel (Simon Ward), who may be anything but. An interesting aspect of the picture is the notion that this plant may be a modern-day embodiment of a seven-headed demon with ten crowns that "will rise from the sea and destroy the world." Adolfo Celi of Thunderball, Alexander Knox [The Sleeping Tiger], and Anthony Quayle [A Study in Terror] are also in the cast. The movie is dull, poorly made and indifferently directed, although the actors, including Douglas (who appears buck naked in a dream sequence to show off what good shape he was in at 61), do the best they can with mediocre and mostly unoriginal material. A gruesome scene involves a politician and the spinning blades of a helicopter, and an unintentionally comical one has a Catholic priest attempting to mastermind an unwilling abortion! The music tries to imitate the score of The Omen without being one tenth as effective.

Verdict: Watch Damian: Omen 2 instead. *1/2.