DUFFY'S TAVERN

Ed Gardner

DUFFY'S TAVERN (1945). Director: Hal Walker.

Archie (Ed Gardner), the manager of the old-fashioned saloon Duffy's tavern, has hired 14 soldiers as waiters in the owner's absence because the record factory where they worked has closed down. O'Malley (Victor Moore) tries to raise money to reopen the factory but the bank won't extend him credit. His daughter, Peggy (Marjorie Reynolds of Up in Mabel's Room), meets and falls for one of the out of work soldiers, Danny (Barry Sullivan), not knowing that Archie is in love with her. Archie finally gets the idea of getting celebrities from a nearby hotel to put on a show and raise the needed capital. Archie acts as master of ceremonies, introducing sketches and song numbers with such guest artists as Betty Hutton, Brian Donlevy, Alan Ladd, Veronica Lake, and other performers from Paramount studios. 

Billy DeWolfe, Bing, and Betty Hutton

I can imagine how the public must have felt back in 1945 when they went to see a film allegedly starring Bing Crosby, and Der Bingle doesn't even show up until after 80 minutes into the running time! Instead we are treated to dull alleged comedy from Ed Gardner and Victor Moore, one of the unfunniest pairings in film history. Gardner had starred in the radio show Duffy's Tavern, and this picture was a film adaptation; ten years later Gardner starred in a TV sitcom of the same title. Based on his performance in this movie, I can see why Gardner has been completely forgotten -- he also contributed to the largely unfunny screenplay. He might be better known as Shirley Booth's first husband. 

Buck-toothed and brassy: Cass Daley

The last third of the film is somewhat of an improvement although much of it is also nearly unwatchable. Betty Hutton hollers her way through one number, and her less attractive clone Cass Daley (of Red Garters) also screams through a similar number -- both women lamenting the lack of interest they inspire in men. (The question is did Hutton rip off Daley or vice versa?) A terrific dance team temporarily lifts the audience's spirits and there's a quick, mildly amusing sketch with Paulette Goddard, Sonny Tufts, and Brian Donlevy.  The finale features Bing Crosby, first in a cute bio of his life with special guest-stars, and then his rendition of "Swingin' on a Star" with Dorothy Lamour and others joining in. The other generally forgettable songs are by Burke and van Heusen. This is one of the worst of the all-star studio films. Star Spangled Rhythm was a far superior Paramount compendium. 

Verdict: Put on any show but this one! **. 

THE GLASS KEY

Alan Ladd

THE GLASS KEY (1942). Director: Stuart Heisler. 

Politician Paul Madvig (Brian Donlevy), essentially a crook, is trying to clean up his reputation for re-election by going after hood Nick Varna (Joseph Calleia). Paul has formed an alliance with wealthy Ralph Henry (Moroni Olsen), and also fallen in love with Henry's daughter, Janet (Veronica Lake). Meanwhile Paul's sister, Opal (Bonita Granville), is head over heels for Janet's brother, Taylor (Richard Denning), a gambling addict with serious debts. Paul's associate and best friend, Ed Beaumont (Alan Ladd), stumbles across Taylor's dead body, and wonders if Paul, who hated Taylor and his influence over his sister, could possibly be responsible. Apparently both Opal and Janet think that he is. The truth may be a little more complicated.

Ladd and Lake

Based on the novel by Dashiell Hammett, The Glass Key is a reasonably absorbing but rather unpleasant bit of film noir. For one thing, there isn't a single really likable major character; even the hero played by Ladd is a creep. Ladd is as swell at the hardboiled routine as anyone, but he never quite comes off as a real person. He's handsome, but almost as bland and artificial as a Ken doll. Brian Donlevy is as good and forceful as ever, but it's a typically brusque and bristling Donlevy performance like he gives in virtually every movie, including The Creeping Unknown. Similarly Joseph Calleia is excellent in his very familiar gangster role. Veronica Lake has been seen to better advantage in other movies (such as I Married a Witch). 

"Let's have a drink." William Bendix with Ladd

Part of the problem is that the characters in this are mostly one-dimensional and the actors can't do enough to flesh them out. One exception is William Bendix, who honestly steals the movie as the sadistic gunsel who nearly beats Ed to death. Bendix also has a splendid scene, again with Ladd, when they sort of share a drink together as a semi-drunken Bendix tells Ladd what horrible things he's going to do to him. It's not in the script, but Bendix makes this miserable character come alive and almost makes your flesh crawl. (Why Ed would want to be anywhere near the psychopath who put him in the hospital is another question.) Before he became the lovable hero of TV's Life of Riley, Bendix frequently played distinctly malevolent characters and played them superbly.

Tramp and Dickhead: Margaret Hayes and Ladd

A tip of the hat also must go to Margaret Hayes, who briefly plays Eloise Matthews, the trampy wife of a newspaper publisher who makes a play for Ladd right in front of the man after she learns her hubby is flat broke. A true gentleman -- not -- Ladd fervently responds to her sexual entreaties. Again, even with this character being played by the pleasant and inoffensive- looking Ladd it can't disguise what an utter dickhead Ed is! Others in the cast include Frances Gifford as a friendly nurse; Donald MacBride as the easily-influenced district attorney; and Billy Benedict as an office boy. Bonita Granville does a nice job as the grieving girlfriend of the dead Denning.

Verdict: If ever a "hero" didn't deserve a happy ending! **1/4. 

DESTRY RIDES AGAIN

James Stewart

DESTRY RIDES AGAIN (1939). Director: George Marshall.

Kent (Brian Donlevy) who runs the saloon and the town in the old west, conspires with singer Frenchy (Marlene Dietrich) to cheat Lem Claggert (Tom Fadden of Winners of the West)  out of his ranch during a crooked card game. When Sheriff Keogh (Joe King) objects, he is dispatched with, as is anyone who gets in the way of Kent. Into this situation comes Tom Destry Jr. (James Stewart), the son of the legendary Sheriff Destry and now the deputy for inept and half-drunken Sheriff Washington Dimsdale (Charles Winninger). Destry doesn't carry a gun, although he's a crack shot (wouldn't you know?)  It's now his job to enforce the law, clean up the town, and find Keogh's body, while dealing with the hooker-hard Frenchy, who eventually warms up to him and vice  versa. Destry Rides Again is an odd movie, a sometimes uncomfortable combination of grim situations and unpleasant characters with moments of out and out farce, and the characters never seem remotely real. On the other hand, the movie is entertaining and certain sequences are quite well-staged by Marshall, including Frenchy's post cat-fight meltdown in the bar, and the sequence with the angry townswomen going on the march. As for the acting. it's top of the line all the way, with Dietrich giving an outstanding portrayal that almost manages to make her rather heartless character sympathetic. Jack Carson scores as a cattleman, a less genial role than he usually plays, Una Merkel is fine as the gal who tries to give French a good thrashing, Dickie Jones [Blake of Scotland Yard] is charming as young Claggett, Brian Donlevy [Juke Box Rhythm] is brisk and commanding as the evil Kent, and Charles Winninger gives a typically winning performance as the "new" sheriff, Wash. Dietrich's voice, with every other note sung flat, is wretched, but she still manages to put over such songs as "See What the Boys in the Back Room Will Have" with her emoting. It's interesting that while Frenchy is somewhat redeemed, she is still punished for her actions as she would probably not be today. This was remade with Audie Murphy as Destry, and seven years earlier Tom Mix starred in a very different version of Destry Rides Again. Andy Griffith starred in the Broadway musical version with songs by Harold Rome, and John Gavin starred in the short-lived television series. These all originated in a book by Max Brand.

Verdict: Peculiar in some ways but Dietrich knocks it out of the ball park. ***.

KISS OF DEATH

Victor Mature and Richard Widmark

KISS OF DEATH (1947). Director: Henry Hathaway.

Nick Bianco (Victor Mature) has already served one term in prison, when in desperation he participates in another robbery and is caught. The D.A. (Brian Donlevy) offers him a deal if he names names, but Bianco refuses to squeal. But when he finds out that his wife is dead and his two adorable little girls are in an orphanage, he wants to see them and changes his tune. Unfortunately, this brings him into deadly conflict with the gleefully sociopathic Tommy Udo (Richard Widmark), who thinks nothing of pushing an old lady in a wheelchair (Mildred Dunnock) to her death in the film's most famous scene. Mature gives one of his best performances in this, and Widmark is also swell, although at times he seems like Frank Gorshin as the Riddler, and at other times like Leo Gorcey of the Eastside Kids. Donlevy is also solid, as is lovely Coleen Gray [The Leech Woman] as Nettie, who loves Nick. Taylor Holmes registers as Nick's deceptively pleasant defense attorney. There are tense scenes that work without music but could have used some. Best shot: a sneering Tommy Udo through the slit in a curtain. This picture almost qualifies as film noir except there's no femme fatale, just a brief appearance by one of Udo's girlfriends. This was Coleen Gray's first major role and she delivers.

Verdict: Well-done and well-acted crime film. ***.

THE FAT SPY

Phyllis Diller as Rapunzel/Camille Salamander

THE FAT SPY (1966). Director: Joseph Cates.

"After I saw The Fat Spy I went straight to confession -- and I'm not even Catholic." -- Phyllis Diller

George Wellington (Brian Donlevy), the head of a cosmetics firm, and Camille Salamander (Phyllis Diller) are both hoping to get their hands on a fountain of youth formula and are annoyed that a bunch of singing teenagers have taken up residence on the island where the formula might be found. Or something like that. Rarely have there been such films of stark brilliance, comedic genius, and extreme profundity -- and The Fat Spy is certainly not one of them. The movie is a weird combination of Beach Party-spoof, teen musical, and alleged comedy, although it has only a couple of genuinely amusing sequences. In one of these Camille's boyfriend Herman (Jack E. Leonard) sings a funny number, "You Haven't Changed a Bit" ["a peeping tom pulled down the shade"] to her, and the ending is kind of funny, too. Otherwise ... There are some decent tunes warbled by Johnny Tillotson, Jordan Christopher [who later married Sybil Burton] and the Wild Ones, and even Jayne Mansfield, who sings "I'd Like to Be a Rose in Your Garden, but I'm Just a Thorn in Your Side." Diller isn't bad, Donlevy is an old pro, but Leonard isn't much of an actor yet is given two roles to play. Jayne Mansfield has done better work elsewhere, such as an episode on The Alfred Hitchcock Hour. The film is padded with long sequences of good-looking young people dancing. Cates also directed Who Killed Teddy Bear? and little else of note.

Verdict: Get ready to hit that fast-forward button -- or "stop!": *1/2.

CURSE OF THE FLY

CURSE OF THE FLY (1965). Director: Don Sharp.

In this sort-of sequel to The Fly  and Return of the Fly, a hitherto unknown second son of  Andre Delambre named Henri [in Return of the Fly Andre's son was named Philippe] and played by Brian Donlevy, has continued his father's research -- aided by his two sons, Martin (George Baker) and Albert (Michael Graham) -- with miserable results. Martin's wife and others went through the teleportation machine and came out twisted freaks which the "kindly" Delambre keeps isolated in the stables! Although he's already married, Martin comes across a woman (Carole Gray) who escapes from a mental institution, falls in love with and marries her, and brings her home, never telling her about the misshapen wife (Mary Manson) he's already got who isn't even allowed in the house! Yet these Delambres are presented as "nice" people. Inspector Charas, played by Herbert Marshall in the first film, appears briefly, this time played by Charles Carson. The film never answers the question of how Andre Delambre could have fathered another son after he was killed by his wife in The Fly. Curse of the Fly takes material from the first two films and doesn't do very much with it. Perhaps the most horrifying thing about the movie is that George Langelaan, who wrote the novella "The Fly," receives no onscreen credit [maybe he preferred it that way!]. Curse of the Fly holds the attention and isn't badly acted, but it pretty much wastes some terrific ideas. Sharp also directed Rasputin, the Mad Monk.

Verdict: Swat this fly! **. 

BARBARY COAST

Robinson and Hopkins

BARBARY COAST (1935) Director: Howard Hawks.

Mary Rutledge (Miriam Hopkins), known as "Swan," arrives in San Francisco during the gold rush, fully expecting to find a fiancee and a million bucks waiting for her. Instead she winds up at a crooked roulette wheel in a casino-saloon owned by Luis Chamalis (Edward G. Robinson). Chamalis is a racketeer who runs the town with the aid of killer Knuckles (Brian Donlevy), who's fond of shooting people in the back. Swan becomes rather hardened by her life and Chamalis' persistent and unwelcome wooing of her, but she's softened a bit by an attractive and kindly young prospector, Jim (Joel McCrae), but their next encounter is quite unpleasant ... Hopkins and Robinson make an interesting team -- more interesting than Hopkins and McCrea -- but that's not enough to save this picture, whose basically light tone is at odds with the grim subject matter. Despite some good performances from the leads and the supporting cast -- Frank Craven (In This Our Life) as a colonel who starts a newspaper is especially noteworthy -- the movie is a mediocre mish mash, and not one of Robinson's better pictures. Walter Brennan offers another of his bizarre portraits as the cackling "Old Atrocity."

Verdict: Begins promisingly but goes in too many dull directions. **1/2.

THE GREAT MAN'S LADY

THE GREAT MAN'S LADY (1942). Director: William A. Wellman.

On the day of the dedication of a statue of the late and great man and pioneer-turned-millionaire Ethan Hoyt (Joel McCrea), reporters try to get a story about him from a woman, Hannah Sempler (Barbara Stanwyck), who claims she was once married to him, even though there's no proof of a union and it might even make Hoyt a bigamist. The movie is a flashback to 1848 that explains this contradiction, and shows how Hannah did indeed marry Ethan, and why he remarried even though they were never divorced, and it's a sad and fascinating story.  Brian Donlevy is a third character, Steely Edwards, who falls unrequitedly in love with Hannah and has much to do with her life and marriage. There are interesting twists and turns to the plot, and the movie is bolstered by another excellent performance from the indomitable Stanwyck; McCrea and Donlevy are also very good. As the film proceeds we can see how much of his success Hoyt owes to the smarter Hannah. Stanwyck's old age make up as she plays a centenarian at the beginning and end is very well done.

Verdict: Flavorful film with fine performances and an unusual storyline. ***.

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.

JUKE BOX RHYTHM

JUKE BOX RHYTHM (1959). Director: Arthur Dreifuss.

So Princess Ann (Jo Morrow) has come to New York to find a coronation gown and she winds up getting into a wild swing thing with handsome Riff Manton (Jack Jones, son of Allan Jones). Riff is the son of down-on-his-luck Broadway producer George Manton (Brian Donlevy), who is keeping time not with Riff's mother (Marjorie Reynolds) but with a hotter blonde (Karin Booth) -- for shame. Then we mustn't forget former junk man Balenko (Hans Conreid) who fancies himself the greatest fashion designer in the world. He thinks Riff and the princess are "just like that" and asks him to somehow get Her Highness to look at his designs. But will the princess' uppity Aunt Margaret (Freida Inescort) allow it?

So let's see. We've got Freida Inescort of Return of the Vampire, Brian Donlevy of the Quatermass films, "Mr. Livermore" of I Love Lucy (Hans Conreid), Edgar Barrier of The Giant Claw, Fritz Feld of a zillion features (almost always playing the same role and doing it well) and the son of Allan Jones -- all in the same movie!

Jack Jones [dig that groovy haircut!] can act and has a pleasing personality, so it's a wonder his movie career didn't go further. Jo Morrow (who also appeared in 13 Ghosts) is decorative [she's the ginchiest!] and competent. Donlevy and Conred are fine, which is to be expected. Inescort adds a touch of class to the proceedings, which are perfectly amiable and utterly forgettable.

Low point: George Jessel shows up, tells bad jokes, and sings -- very badly!

Verdict: You probably won't dig it the most but some might think Jones is "the most"! **.

BRIGHAM YOUNG

BRIGHAM YOUNG (1940). Director: Henry Hathaway.

This story of the Mormons dealing with persecution and traveling to find a new home is surprisingly entertaining and exceedingly well-made with some striking photography and adroit editing. An initially unrecognizable Dean Jagger is quite good as the self-appointed Mormon leader, and he gets some fine support from the likes of Vincent Price (as Joseph Smith, who understandably wants the Mormons to arm themselves), John Carradine, Brian Donlevy, and Mary Astor as one of Young's wives. Tyrone Power gives one of his more memorable performances as Jonathan, a young Mormon, and Linda Darnell is effectively sweet as the non-Mormon he falls in love with. As always, Jane Darwell scores as Power's mother. The film milks a lot of drama out of the persecution and troubles of the Mormons. The raids on Mormon farms which open the film with assorted shootings and whippings is chilling, and a large amount of suspense is generated by the scene in which the Mormons rush to traverse a frozen river before their tormentors can catch up to them. Joseph Smith's brutal death at the hands of a mob whose bullets force his body out of a second story window is memorable. By the time the Mormons must try and beat off a horde of hungry crickets eating their grain, you may think the picture will do just about anything to drum up some drama, but even this sequence is exciting, as is the timely intervention of a huge flock of seagulls to eat the crickets. The movie has to be taken with a grain of salt, but to its credit it doesn't cram religion down your throat and it isn't an advertisement for the Mormon faith. Although the polygamous aspects of Mormonism are played down, there are some generally amusing references to it, and we see Young with more than one wife on at least one occasion. NOTE: the film is titled Brigham Young, Frontiersman on video.

Verdict: Quite entertaining. ***.