VALERIE

Sterling Hayden and Anita Ekberg

VALERIE (1957). Director: Gerd Oswald. Colorized.

Valerie begins with a literal bang as two men enter a home, shots are fired, and in short order there are three corpses lying in the living room. However, one of these corpses, Valerie (Anita Ekberg of Back from Eternity), is still alive, although it is a question if she will ever wake up out of a coma. Her husband, John Garth (Sterling Hayden of The Asphalt Jungle), is put on trial but insists he only fired in self-defense. He tells his story on the witness stand,  as does Reverend Stephen Blake (Anthony Steel of Another Man's Poison), who tried to get Valerie to safety although Garth claims he was "running off" with his wife. These conflicting accounts have everyone confused, until Valerie wakes up and tells everyone her side of things -- and a completely different story emerges. 

Peter Walker and Sterling Hayden

Nowadays Valerie -- which takes place in the post-Civil War period -- is a forgotten movie, but it doesn't deserve to be, as it has themes that resonate even today. It's fascinating the way the viewer is carried along by the original narrative -- poor John Garth married a faithless woman who's just after his money -- only to have it turned on its head by the climax, which is as violent as the opening. One also comes to conclusions about Valerie because of her voluptuousness. Hayden's performance seems slightly off in this perhaps because in many scenes he has to play it a certain way to keep the viewer in suspense. Ekberg is not only gorgeous, but convincing as the confused and tormented Valerie. There is also good work from Anthony Steel, who was (briefly) married to Ekberg at the time. Peter Walker, who mostly did television work, is adequate as Garth's brother, Herb. 

Anthony Steel

Valerie is well-photographed by Ernest Laszlo. It also has a good and interesting score by Albert Glasser, who usually scored science fiction and monster movies such as The Beginning of the End, but here is allowed to flex his musical muscles and delivers. Gerd Oswald also directed Ekberg in Screaming Mimi and Paris Holiday, but he got his best work from her in Valerie. Oswald's most famous film is A Kiss Before Dying. 

Verdict: An unusual and twisted romance. ***. 

OUTPOST IN MALAYA / THE PLANTER'S WIFE

Jack Hawkins and Claudette Colbert

OUTPOST IN MALAYA (aka The Planter's Wife/1952). Director: Ken Annakin.

Liz Frazer (Claudette Colbert) and her husband, Jim (Jack Hawkins of Five Finger Exercise), own a rubber plantation in Malaya. Jim wants Liz to accompany their cute little boy, Mike (Peter Asher), when he goes to school in England, but Liz is sure Jim doesn't want her to return and she's not sure if she will  -- something seems to have gone out of their marriage. A bigger problem are the communist terrorists -- herein referred to as "bandits" -- who are attacking and murdering the people in the area. They wage a bloody attempted siege of the plantation in an exciting climax.

Anthony Steel with Colbert

Two years previously Colbert had filmed Three Came Home in which she played a wife imprisoned in a Japanese camp. Somehow it was decided she would again eschew a glamorous part in Outpost, in which her character had also been in a Japanese camp some years before this story begins. Frankly, I imagine most of Colbert's fans wanted to see her being witty and sophisticated, not firing guns and lobbing grenades (!) as she does in this movie. The amazing thing about Outpost is that -- until the climax and despite some of the dramatic things that happen -- the movie seems quite dull for the most part, the most exciting scene having to do with a fight between a cobra and a mongoose named Mr. Mangles! Things might have percolated more if Colbert's wife had had a steamy affair with handsome Captain Dobson (Anthony Steel of Another Man's Poison), but, alas, nothing like this ever develops.

little Peter Asher

However, the last twenty minutes of the movie, detailing the attack on and defense of the plantation, almost make up for the lethargy of the first hour. It's not just the events that transpire, it's as if somebody took over from director Ken Annakin and decided to actually direct the movie. As for Colbert, she acquits herself well, although there must have been times when she wondered what the hell she was doing there. Jack Hawkins is also good, but he and Colbert don't have very much chemistry. Peter Asher and Jeremy Spenser [The Prince and the Showgirl] as Mike's buddy Mat are talented and effective child performers. Anthony Steel does have chemistry with Colbert and is much better than expected. Ram Gopal was introduced in this film and plays Nair, an associate of the Frazer's. There are also some good performances from Asian actors in supporting roles as well.

Verdict: Give Colbert a cocktail and some good dialogue and keep her out of jungles! **1/2. 

ANOTHER MAN'S POISON

Bette Davis

ANOTHER MAN'S POISON (1951). Director: Irving Rapper.

Janet (Bette Davis) is a well-known English author of mysteries who finds herself with an unwelcome guest at her country estate. George Bates (Gary Merrill of Mysterious Island) tells her that he and her husband pulled off a bank robbery during which a guard was shot. George wants to see hubby immediately -- but there's a problem: he's lying dead, murdered, in the study. George helps Janet get rid of the body but he decides to impersonate her husband for both of their sakes, a decision that leaves Janet most uncomfortable. For one thing Janet is madly in love -- or lust -- with Larry (Anthony Steel), the very handsome fiance of her secretary, Chris (Barbara Murray of Operation Bullshine). And then there's the nosy next-door veterinarian, Dr. Henderson (Emlyn Williams), who is simply asking way too many questions ...

"You Killed Fury!?

Bette Davis -- although she finally has a chance to do a full-on British accent after doing a half-assed one for most of her life -- is not the best casting choice for Another Man's Poison. Fortunately, towards the end of the movie she is afforded some chances for her intense and formidable acting pyrotechnics when she learns that her beloved horse, Fury, is dead.  "You killed Fury!" she screeches at George before launching into a great speech in which she fervently expresses that the horse meant much more to her than any human being possibly could. I suppose she can't be faulted for being stagy when the movie is based on a stage play, even if there are attempts to open it up and get her away from the basic house set. But for much of the movie's length Davis seems to be doing an impression of a drag queen doing an impression of Bette Davis!

Gary Merrill

But Davis is magnificent compared to her then-husband Gary Merrill. Merrill had certainly given some fine performances in other movies, but in Another Man's Poison he seems like a college student merely reciting lines with little emotion or nuance and hoping that he's making a decent impression. True, his character is never well-delineated, which gives him a handicap right from the start, but even so he is utterly mediocre. The only problem with Emlyn Williams is that his character, the Nosy Parker who lives down the road, is so irritating. It's also hard to believe that George would even humor the man. He'd be more likely to tell him to screw off.

Anthony Steel

Barbara Murray gives a pleasant enough performance as the secretary who fears that she just can't compete with her boss, who has decided that she wants her Larry and that's that. As Larry, the very handsome Anthony Steel provides hunk appeal, but his acting is nothing to rave about. As with Merrill, his character is very under-written. In any case, his on-again/off-again dalliances with his fiancee's employer make Larry seem like a sleazeball. Reginald Beckwith and Edna Morris are notable in smaller roles as a villager who pursues George for an appearance with a local club, and the family housekeeper. Another Man's Poison is modestly entertaining, but despite a somewhat ironic and amusing (if not unexpected) wind-up, it's too contrived and even silly to be that memorable. Anthony Steel was one of the husbands of Anita Ekberg. Irving Rapper also directed Davis in two much more memorable movies, Now, Voyager and Deception.

Verdict: Latter-day Davis in a mediocre vehicle that is not without some points of interest. **3/4. 

BECOMING ANITA EKBERG

Mastroianni and Ekberg in La dolce vita and 27 years later, both still sexy

BECOMING ANITA EKBERG
 (2014  documentary). Director: Mark Rappaport.

While I always strive to review a book or movie for what it is as opposed to what it isn't, sometimes you're not given much of a choice. If you tune in to a (very short) documentary entitled Becoming Anita Ekberg, you would think you'd have a right to expect some sort of biographical treatment, and that you might be told, say, what her early life was like; who, if anyone, she might have married; some of her personal thoughts on her films and co-workers; how she got her start in show business; and so on. Alas, Becoming Anita Ekberg is yet another of director Mark Rapport's insufficient "video essays," this time purportedly on Ekberg but more about the nature of stardom and the short shelf life of sex symbols. (Some of this is interesting while much of it is obvious and pretentious.) You won't learn much more than the basics about Ekberg herself: how she played "Anita Ekberg" in the Martin and Lewis comedy Hollywood or Bust (an all too obvious title); reached international stardom as the movie star in Fellini's famous La dolce vita; and wound up playing herself again in Boccaccio '70, this time as a giant-size poster of herself that comes to life. For the record Ekberg was married to actors Rik Van Nutter and Anthony Steel and had sixty-five credits in films, few of which are even mentioned. Her life and career were actually quite interesting, but you will learn much more at imdb.com than you will from this "documentary." Obviously, this is just a collection of clips tied together to illustrate Rappaport's ruminations, with the clips coming first and the ruminations second. There's also a bit of ageism in this as the film tries to make out that Ekberg has become hideous or something because she's older, but she and Mastroianni, although undeniably older, still look quite attractive. One of her later movies was Killer Nun. She was certainly prominent in the poster for Back from Eternity, which gurgled "Ooh That Ekberg!" Rappaport was also responsible for Debra Paget, For Example, which is somewhat better than this.

Verdict: Skip it and watch one of Ekberg's movies instead. *.