SLIGHTLY SCARLET

Rhonda Fleming and John Payne

SLIGHTLY SCARLET (1956). Director: Allan Dawn.

June Lyons (Rhonda Fleeming), who is secretary and more to mayoral candidate Frank Jansen (Kent Taylor), brings her sister, Dorothy (Arlene Dahl) home after the latter gets out of prison. Both women get involved with Ben Grace (John Payne), who is the brains behind a criminal outfit run by Solly Caspar (Ted de Corsia), who has had to take it on the lam. Now Ben tries to take over and get all his ducks in a row, including Jansen, the police chief, and the two attractive ladies -- although things get a bit dicey when Solly suddenly returns from Mexico ...

Such devoted sisters? Dahl and Fleming

Slightly Scarlet is entertaining enough but it has a script that goes all over the place, and Allan Dwan's direction is not strong enough to make up for it. What we're left with is some vivid emoting from Payne, going through his bad guy (but not that bad) film noir phase, a solid Fleming, a vivacious and sluttish Dahl making the most of her scenes, and de Corsia also making an impression as the decidedly nasty and nearly psychopathic Solly. Although Payne does a good job in playing Ben, the screenplay never seems to get a true handle on the guy, so there doesn't really seem to be anyone to root for in this mess. Kent Taylor has a few scenes as the man who becomes mayor but he isn't developed enough to be much of a factor. June seems overly devoted to her sister, a trampy shoplifter and worse who doesn't even seem to care when Solly makes it clear that he's going to murder June.

Payne and Dahl at that beach house

Other players include Ellen Corby as June's very pleasant housekeeper, Roy Gordon [War of the Colossal Beast] as a crusader against Solly who meets a horrible fate, George Wallace [Radar Men from the Moon] as a sullen member of Solly's gang, and Myron Healey [Hot Rod] as another colleague who tries to ventilate Ben to his regret. Solly owns a beach house that can best be described as "fabulous." This is based on as novel by James M. Cain. An RKO-Radio production, it was filmed in "Superscope."

Verdict: Not as much fun as the plot might suggest, but fun enough if you're in an undemanding mood. **1/2. 

NO QUESTIONS ASKED

NO QUESTIONS ASKED (1951). Director: Harold F. Kress. 

"Take her down to the boiler room. No one will hear her down there." 

When lawyer Steve Kiever's (Barry Sullivan) girlfriend Ellen (Arlene Dahl) dumps him for a wealthier guy, he determines to make as much money as possible by becoming a go-between for crooks with stolen goods and the insurance companies who want the goods back at reduced prices -- all for a generous fee. George Murphy and Richard Anderson are the cops who have contempt for Kiever because, while what he's doing isn't illegal, they think it's unethical and immoral. Meanwhile Kiever's new girlfriend, Joan (Jean Hagen), is also troubled by the company Kiever keeps. Scripted by Sidney Sheldon, this lively crime thriller has some unexpected plot twists and interesting scenes, such as a hold up in a theater's ladies room by two gunsels in drag (one of whom is William Reynolds). Joan is aware that Steve is still carrying a torch for Ellen, and stares at her bleakly when she spots her in the ladies room. When Ellen asks Joan if she's finished, Joan says "Probably." Sullivan is in command throughout the movie, Dahl plays the duplicitous sex pot as well as ever, and Jean Hagen nearly walks off with the picture. George Murphy is George Murphy but Anderson makes more of an impression. Mari Blanchard has a notable cameo as sexy Natalie. 

Verdict: More entertaining than it has any right to be. ***.

WOMAN'S WORLD

WOMAN'S WORLD (1954). Director: Jean Negulesco.

"New York is the most fabulous, exciting, thrilling city in the world!"

This is a very entertaining, handsomely produced comedy-drama with a simple premise. Ernest Gifford (Clifton Webb), the President of Gifford Motors, needs a new general manager after the man in that position dies. He calls three district managers and their wives to New York so he and his sister can look them over. Gifford knows that the man who gets the job will need to have a wife who can also do her part on the social end, and who will understand that the job might have to come first. Katie and Bill Baxter (June Allyson; Cornel Wilde) are small-towners and the wife wants to keep it that way. Liz and Sid Burns (Lauren Bacall; Fred MacMurray) are actually in the midst of a marriage crisis, with the wife already thinking that the business has taken her husband away from her and given him an ulcer. When it comes to third couple Carol and Jerry Talbot (Arlene Dahl; Van Heflin), the wife has fallen in love with the city and all it offers while the husband fears he's too frank to be given the job. The picture works up some nice suspense as to who will be offered the position while offering serio-comic vignettes about each marriage and how each wife sees her position in it. Director Negulesco has gotten fine performances from the entire cast, with Webb his usual superb self, and especially nice work from MacMurray. Dahl is sexy and zesty as the slightly amoral Carol; one of her better performances. Allyson and Wilde make the Baxters a very appealing couple. [No mean feat, as this writer generally can't stomach June Allyson.]

Verdict: It ain't Shakespeare, but it's fun! ***.

THREE LITTLE WORDS

THREE LITTLE WORDS (1950). Director: Richard Thorpe.

A perfectly pleasant and completely undistinguished biopic about the not terribly distinguished song writing team of Bert Kalmar (Fred Astaire) and Harry Ruby (Red Skelton). The casting pretty much insures that there won't be a heck of a lot of drama in this movie, and there certainly isn't, although the two men spend a lot of time bickering and having misunderstandings [although the humor is not of the laugh-out-loud variety]. Vera-Ellen is Kalmar's spouse and a warmer-than-usual Arlene Dahl is Ruby's better half, Eileen. Gloria DeHaven, Keenan Wynn, Debbie Reynolds and Carleton Carpenter have smaller roles (walk-ons in the case of the last two). Gale Robbins is sexsational as Terry, the singer that Ruby initially falls for. Astaire's fans will enjoy his smooth and fancy foot work. As for the songs, well ... they're pleasant enough, tuneful, but Kalmar and Ruby were not exactly Rodgers and Hammerstein or Rodgers and Hart. They spend the whole movie trying to make a song out of a tune Ruby keeps playing and when they finally do at the climax it's only the utterly mediocre title number!

Verdict: If you don't expect much ... **1/2.

SHE PLAYED WITH FIRE aka FORTUNE IS A WOMAN

SHE PLAYED WITH FIRE (1957). Aka Fortune is a Woman. Director: Sidney Gilliat. 

Oliver Branwell (Jack Hawkins) is an insurance investigator called out to look into a fire at the estate of Tracey Moreton (Dennis Price). Moreton's wife, Sarah (Arlene Dahl) turns out to be a woman with whom Branwell once had a very close relationship. It wouldn't be fair to reveal the twists of this suspenseful crime thriller, but it's safe to say that Branwell is soon up to his neck in arson, suspicion, and murder. Is Sarah the innocent, loving woman that she seems, or is she something else? Bolstered by good performances from the leads and supporting cast, as well as good pacing and an evocative score by William Alwyn, She Played with Fire is a solid mystery that pulls you in right from the arresting opening. Christopher Lee has a small role in the film as an actor, and Ian Hunter has a larger role as one of Branwell's colleagues. 

Verdict: Worth a look. ***.

WICKED AS THEY COME

WICKED AS THEY COME (1956). Director: Ken Hughes.

This pretty much forgotten movie stars Arlene Dahl (pictured) as a woman from a poor Boston suburb who uses her charms to insure she wins a beauty contest, and from then on strings along a series of men, each one older and richer than the one before. She eventually becomes embroiled in a murder trial. Phil Carey plays the less successful – and rather sappy – guy who remains consistently infatuated with her and comes to her defense. Dahl gives a pretty good performance (one suspects she was playing someone not all that different from the real Arlene Dahl), and Herbert Marshall is also fine as one of her married paramours; the supporting performances are also on the money. She gets engaged to her first conquest, runs up a huge bill at shops as his fiancee, then skips town and leaves him with a staggering amount of debt – but he manages to get an ironic revenge at the end. Dahl’s philosophy, as she tells the father-son newspaper team whom she used to become beauty queen, is that men are perfectly willing to exploit women for their pleasure but they don’t like it when the shoe is on the other foot (however, she should by no means be confused with a feminist, although she is certainly quite intelligent). It’s strange that Dahl doesn’t try to make her way to Hollywood but opts for a "career" in business instead, but that may be part of her "smarts." The script comes up with a somewhat dubious (and convenient) psychological motive for her hatred of men as if her wanting a better life and more security isn’t enough to turn her into a gold digger. The picture is not a masterpiece but it holds the attention and is often very funny. "Women like me don't get proposals," says Dahl, "only propositions."

Verdict: Some fun. **1/2.

JOURNEY TO THE CENTER OF THE EARTH

JOURNEY TO THE CENTER OF THE EARTH (1959). Director: Henry Levin.

"Oh, goose, goose, goose!" Professor Lindenbrook when his daughter impatiently tells him to come to supper.

One could easily quibble and say that Journey is sometimes too silly for its own good, goes on too long, and that we still haven't gotten the ultimate film version of Jules Verne's fascinating novel, and while all this is true, it is also true that Journey is a very entertaining picture. Professor Lindenbrook (James Mason) is accompanied on the title journey by a student Alec (Pat Boone), a big Icelander named Hans (Peter Ronson), and the widow of a rival professor, Carla (Arlene Dahl). The bickering between Mason and Dahl is amusing (courtesy of screenwriters Walter Reisch and Charles Brackett), and the film works up suspense as our team tries to stay ahead of yet another rival scientist, Count Saknussem (Thayer David) who thinks of himself as the King of the Underworld. One of the most exciting scenes has the expedition encountering gigantic and hungry prehistoric dimetrodons (essentially big lizards) that nearly snack on Dahl. They also come across a section of the lost city of Atlantis [there were monsters in Verne's novel, but no Atlantis.] There are some wonderful sets and art direction; the special effects work is uneven but much of it is quite well done. Mason is excellent; Dahl, snappy; Boone, boyish and perky; and David marvelous as the villain of the piece. Leo Tover's cinematography is first-rate and Bernard Herrmann's beautiful and expressive score is nigh onto perfection. Diane Baker is lovely in a small role as Mason's daughter, Jenny. Verne's basic premise is one of the most compelling in fiction. Very handsome production and even a couple of pleasant tunes sung by Boone.

Verdict: Flawed but fascinating fantasy. ***.