DELIGHTFULLY DANGEROUS

DELIGHTFULLY DANGEROUS (1945). Director: Arthur Lubin. 

15-year-old Sherry Williams (16-year-old Jane Powell) lives in a girls' school that is paid for by her sister, Josephine (Constance Moore of Buck Rogers), a big Broadway musical comedy star -- or so Sherry thinks; Josephine is actually a burlesque queen known as "Bubbles" Barton. Things come to a head when Broadway producer Arthur Hale (Ralph Bellamy) comes to the school and is impressed with Sherry's talent, but not with her youth. As for her sister, he just can't see putting a burlesque star in one of his "classy" shows. But this being Hollywood, chances are good that one or both ladies will wind up starring in a Broadway show. 

Ralph Bellamy and Jane Powell

Delightfully Dangerous features some excellent performances, with a very young Powell on top of things even at that early stage of her career (this was only her second film). Constance Moore has such style and class that one can't imagine anyone objecting to putting her on Broadway. Ralph Bellamy is Ralph Bellamy, his lack of sex appeal stripping the film of any sexual tension. Arthur Treacher and Louise Beavers are fun as Bellamy's butler and Moore's maid, dresser, and confidante. Ruth Tobey is cute as Sherry's best friend, Molly, and Shirley Hunter makes her mark as a bitchy classmate named Nadine. Christian Drake is appealing as Jimmy Burns, a young sailor and friend of Hale's who is attracted to Sherry when she's all dolled up and looks older than her years. 

It's interesting that at one point Josephine does a parody of the high-pitched soprano style of singing when that's just the sort of thing Powell specialized in. The show that Hale finally puts on is a combo of the old and new, with Straussian melodies interspersed with jive. While some of the production numbers are just plain weird and even a bit dull, the finale is colorful and features some excellent dancing. By far the best number features "Bubbles" on the stage at the burlesque house, doing a sharp, fun and sexy rendition of "I'm Only Teasing." There are some plot similarities to Doll Face which also came out that year.   

Verdict: Another typically unreal but somewhat entertaining Hollywood musical. **1/2. 

ALI BABA AND THE FORTY THIEVES

Jon Hall as Ali

ALI BABA AND THE FORTY THIEVES (1944). Director: Arthur Lubin. 

Prince Ali (Scotty Becket) of Baghdad is the son of the king and has a little girlfriend in Amara (Yvette Duguay),  with whom he makes a blood pact. When the King is betrayed by Amara's father, Cassim (Frank Puglia of 20 Million Miles to Earth), Ali manages to escape. Cassim is working with Hulagu Kahn (Kurt Katch of The Mask of Dimitrios), leader of the Mongul hordes and the new king of Baghdad. Ali stumbles upon the cave where the forty thieves keep their booty, and is adopted by them, especially old Baba (Fortunio Bonanova) and the grumpy Abdullah (Andy Devine of Never Say Die), who resents being a "nurse maid" to the boy. The years go by and young Ali Baba, as he is now known, has managed to turn the thieves into freedom fighters (!) who strike swiftly at the Mongolians. Cassin's beautiful daughter, now grown (and played by Maria Montez), is betrothed to Kahn, but falls for the handsome thief, Ali Baba. Eventually they will realize who the other one really is, but in the meantime Kahn is determined to kill one and marry the other ... 

Maria Montez

Ali Baba takes the story from "The Thousand and One Nights" and does its best to turn it into a tale of WW2-style oppression and resistance although it never really loses its fantastic flavoring. Part of this is the casting of Montez -- the only actor with her name above the title despite the fact that even she complained that it was Hall's picture -- and again she proves more than adequate for the proceedings, although much of her part consists of merely reacting to what is going on around her. Hall gives a good performance, as adept at the derring do as he is at pitching the woo. Scotty Becket, as always, is just as good as Ali as a boy. Devine, Bonanova, Puglia, and especially Kurt Katch as the loathsome Kahn, head up the supporting cast, along with Turban Bey, who is fine as a slave boy who assists both Amara and Ali. Like the earlier Arabian Nights, Universal pulled out all the stops for this flick, which is bathed in rich technicolor and has an exciting score by Edward Ward. Arthur Lubin's direction is not quite on the same level but he does keep things moving. 

Verdict: Colorful fantasy flick -- open sesame! ***. 

SOUTH SEA WOMAN

Burt Lancaster and Virginia Mayo

SOUTH SEA WOMAN (1953). Director: Arthur Lubin. 

Through a series of misadventures Sergeant James O'Hearn (Burt Lancaster), his buddy and rival Davey (Chuck Connors), and the woman, Ginger (Virginia Mayo), that Davey is in love with wind up on an isolated island that seems untouched by the war except that any soldiers there wind up in jail. O'Hearn only pretends that he's gone AWOL, but Davey wants no part of the war, with the result that O'Hearn, of all people, winds up court-martialed. The movie is a long flashback detailing how he wound up in such a situation with the story veering from Shanghai to the French island of Namou. Too much talk in the courtroom sequences slows the movie down but there's some good action near the end when a commandeered yacht helmed by O'Hearn takes on the Japanese fleet! The three leads all give very good performances, as does Viola Vonn as the Frenchwoman Lillie Duval, and Arthur Shields [Daughter of Dr. Jekyll] as another resident of the island. Paul Burke plays an ensign at the court martial. 

Verdict: Entertaining if unremarkable. **1/2.

THE FIRST TRAVELING SALESLADY

Very odd pairing: Clint Eastwood and Carol Channing

THE FIRST TRAVELING SALESLADY (1956). Producer/director: Arthur Lubin.

In 1897 feminist Rose Gillray (Ginger Rogers) tries to make a killing selling corsets, but when that doesn't pan out she inveigles a job selling barbed wire in the wild west, but has to deal with a powerful rancher, James Carter (David Brian), who is opposed to the use of it. Rose has a sort of thing going with Charles (Barry Nelson,) who has a horseless carriage, while her assistant Molly (Carol Channing) becomes embroiled in a romance with Lt. Rice (Clint Eastwood) in one of filmdom's strangest pairings. The performances are all good in this, with Rogers affecting a high squeaky voice and Channing, sounding just like "Satchmo," just being her own weird self. James Arness [The Thing from Another World] and Tristram Coffin [Up in the Air] have smaller roles.

Verdict: Cute picture. ***.

MIDNIGHT INTRUDER

Louis Hayward

MIDNIGHT INTRUDER (1938). Director: Arthur Lubin.

"Houses without people, people without houses." -- Barry musing on the inequities of life.

Barry (Louis Hayward) and his older pal Doc (J. C. Nugent) are completely broke after Barry loses all of their money at the track. Seeking shelter in a rainstorm, they enter a big empty house and later are mistaken by servants for wealthy John Reitter Jr. and one of his friends. Learning that the real Reitter won't be coming home, Barry decides to keep impersonating him and enjoying the good food and liquor and high-toned companions, although Doc is increasingly nervous until he meets rich widow Mrs. Randolph (Jan Duggan of The Old-Fashioned Way). Then Barry learns that the real Reitter (Eric Linden) has been jailed for murder under an assumed name and things get complicated. The oddly-titled Midnight Intruder [which makes it sound almost like a horror film] starts out as a light-hearted comedy and turns into a mediocre mystery halfway through, although it is continuously bolstered by the work of most of the cast, especially Hayward in another absolutely winning lead performance. Nugent is also fine, and the supporting actors include Irving Bacon and Pierre Watkin. Duggan is as much fun as ever in her brief turn as the widow and Robert Grieg scores as the butler Willetts.

Verdict: Amiable, even if it goes off course at the midway point. **1/2.

IMPACT

IMPACT (1949). Director: Arthur Lubin.

Walter Williams (Brian Donlevy) has just had a triumph in the boardroom and hopes to take a trip with his wife, Irene (Helen Walker). Instead he winds up giving a lift to his wife's alleged cousin, Jim (Tony Barrett, a rather unlikely lover boy). The best scene in the picture vividly details the fateful things that happen on the mountain highway between the two men. The problem with Impact is that it starts out as a high-tension thriller, then  halfway through settles into an unconvincing small-town romance, and never quite recovers from this. It is also incredibly illogical, with one character being arrested for murder even though it's clear that the "victim" was killed in an accident -- with witnesses no less [who are never called to testify -- sure!] Donlevy isn't a bad actor, but he lacks the vulnerability to make the romantic scenes work, and Ella Raines, as the woman he falls for, is only adequate. Charles Coburn is miscast as an Irish cop on the case. He isn't terrible, but this is one of his rare unimpressive performances. Anna May Wong [Daughter of Shanghai] has a small but pivotal role as a maid, and Philip Ahn [Red Barry] turns up as her uncle. Clarence Kolb of My Little Margie appears in the opening boardroom scene. As expected, Helen Walker [Nightmare Alley] gives the most vital performance as Walter's wife.

Verdict: Lots of potential in this, but a weak script and some indifferent acting put paid to an interesting premise. **1/2.

THE SPIDER WOMAN STRIKES BACK

THE SPIDER WOMAN STRIKES BACK (1946). Director: Arthur Lubin. 

"But it won't really be dying -- you'll live on in this beautiful plant!" 

Jean Kingsley (Brenda Joyce) arrives at an isolated community where coincidentally an old boyfriend, Hal (Kirby Grant), just happens to be living. Jean has been hired by a supposedly blind woman named Zenobia Dollard (Gale Sondergaard) -- without either ever meeting the other -- to be her live-in companion. [You would think that name alone would have frightened Miss Kingsley off.] Zenobia seems quite charming, if a touch smarmy, and has a brutish deformed servant, Mario (Rondo Hatton) who has rather poor manners. While a nervous Jean tries to find out what really happened to Zenobia's last companion, who supposedly went off to get married but was never heard from again, Mr. Moore (Milburn Stone) of the Department of Agriculture is trying to find out where the weed is that's poisoning so many of the farmers' cows. Sondergaard is as excellent as ever as the rather batty, vengeance-minded woman who feeds both spiders and human blood to her collection of carnivorous plants. One supposes the title of this film was meant to tie the movie in with the great Sherlock Holmes film The Spider Woman, made two years earlier, which also features a deadly spider and stars Sondergaard [as Adrea Spedding, a completely different but similarly evil character]? 

Verdict: Gale Sondergaard and flesh-eating plants-- wow! **1/2.

BLACK FRIDAY

BLACK FRIDAY (1940). Director: Arthur Lubin. 

When his friend Professor Kingsley (Stanley Ridges) is killed in an accident at the same time as a gangster, Red Cannon, Dr. Sovac (Boris Karloff) transplants the gangster's brain into Kingsley's body. Right away you can see the problem with this, especially when at first Kingsley unaccountably retains his own memories and personality. Later on, of course, Kingsley begins acting like the hoodlum whose brain he acquired. [There's some attempt to intimate that parts of both brains were combined in one cranium, but this is never really made clear.] In the meantime, Sovac hopes that Kinsgley can remember where "he" hid some loot so that he, Sovac, can use it to fund some experiments. But Kingsley seems more interested in getting revenge on fellow mobster Eric Marnay (Bela Lugosi) and the henchmen who were responsible for his death. Ridges makes an impressive transition from the meek and kindly professor to the homicidal Red Cannon and back again, often at inopportune moments. Anne Nagel of Winners of the West and The Secret Code gives a flavorful performance as an old girlfriend of Red's. Black Friday is not a bad movie, but it's more of a gangster picture than a horror film. Karloff and Lugosi have not a single scene together, and Lugosi, in particular, has little to do. The movie is really a showcase for Ridges, who gives an excellent dual peformance. James Craig of The Cyclops, Winners of the West, and While the City Sleeps has a small role as a reporter. Generally fast-paced. 

Verdict: A waste of the talents of Karloff and Lugosi but Ridges certainly scores. **1/2.

FOOTSTEPS IN THE FOG

FOOTSTEPS IN THE FOG (1955). Director: Arthur Lubin. 

"When she tried to make herself look young, for the first time I realized how old she really was." 

In 19th century London Stephen Lowry (Stewart Granger) poisons his demanding, nagging wife but a young maid, Lily (Jean Simmons), figures out what happened and starts to make demands. And then the fun begins. Lots of interesting twists in this unpredictable suspense tale that is very well acted by the leads and supporting cast. Belinda Lee plays a beautiful woman that Stephen has set his cap for; Bill Travers is a lawyer and love rival. Well-directed and handsomely produced, with a nice score by Benjamin Frankel. Crisply photographed by Christopher Challis. A particularly good sequence is set in London's nighttime fog. Marjorie Rhodes scores as the unpleasant housekeeper Mrs. Park. 

Verdict: A very bizarre romance indeed. ***.

HOLD THAT GHOST

HOLD THAT GHOST (1941). Director: Arthur Lubin.

Lou Costello: I'm afraid to go outside by myself with no one to talk to.

Bud Abbott: Why don't you talk to yourself?

Lou Costello: I get stupid answers.

It's a toss-up as to which is Abbott and Costello's best and most-beloved film, this or Abbott and Costello Meet Frankenstein. In Hold That Ghost the boys wind up inheriting a spooky abandoned inn from a mobster who died in a shoot-out with the cops. His money is hidden in the house and nefarious characters run about acting like ghosts while the fellows and a bunch of stranded travelers try to keep their nerves from jangling. The most nervous of the bunch -- after Costello -- is Camille, a professional radio show screamer played by the hilarious Joan Davis. Lou and Joan make a delightful pair, and their inventive dance to the Blue Danube Waltz is the picture's highlight. Sure, this is pretty silly at times but it's also very cute and amusing, with everyone in top form. Evelyn Ankers, Richard Carlson, and others offer fine support, and Mischa Auer is as dinstinctive as ever as Bud and Lou's exasperated boss in the opening scene. The hokey but likable Ted Lewis asks "Is Everybody Happy?" more than once, and the much-less-than-beautiful Andrews Sisters sing two songs. And there's the loopy three-way interchange between Bud, Lou and Joan that ends with Lou angrily answering "The Twain on Twack Twee!"

Verdict: Real good classic comedy if you're in a silly mood. Plus the Andrews Sisters sing Aurora! ***.