THREE LITTLE GIRLS IN BLUE

Blaine, Vera-Ellen and Haver

THREE LITTLE GIRLS IN BLUE (1946). Director: H. Bruce Humberstone.

Three farm sisters in 1902 -- Pam (June Haver), Liz (Vivian Blaine) and Myra (Vera-Ellen) -- learn that they haven't inherited as much from their late aunt as they were expecting. So they go to Atlantic City and book a suite while Pam pretends to be an heiress. with Liz playing her secretary and Myra playing her maid. The plan is to attract a wealthy husband whom she will also, naturally, fall in love with. Pam quickly gets two suitors: Van (George Montgomery of The Brasher Doubloon) and Steve (Frank Latimore of In the Meantime, Darling). Meanwhile Myra finds herself very attracted to hotel employee Mike (Charles Smith of Henry and Dizzy) and vice versa. Of her two gentlemen callers Pam prefers Van, but will the fellow propose before their money runs out? 

Frank Latimore and George Montgomery

If Three Little Girls in Blue sounds familiar it's because it was already filmed at least twice as Three Blind Mice and Moon Over Miami. The plot is creaky but it's been dressed up with enthusiastic players and technicolor. There are several song numbers, with the suspicion being that the forgettable ditties are new while the best songs -- "On the Boardwalk in Atlantic City" and especially "You Make Me Feel So Young" -- are classics. All of the performances are good, with Charles Smith particularly notable as the likable Mike. As usual Vera-Ellen impresses with her dancing skills. Celeste Holm, who made her film debut in this picture, shows up late in the movie as Steve's sister. At times she channels "Oklahoma's" Ado Annie (she was in the Broadway show) and other times is the bitchily genteel Southern belle.

Verdict: Amiable, pleasant and well-played poop. ***. 

CARNIVAL IN COSTA RICA

Dick Haymes and Vera-Ellen

CARNIVAL IN COSTA RICA (1947). Director: Gregory Ratoff. 

Luisa Molina (Vera-Ellen), daughter of Costa Rican Rico (J. Carrol Naish) and American Elsa (Anne Revere), is told that she is to have an arranged marriage to Pepe Castro (Cesar Romero). For his part Pepe is already in love with the brash Celeste (Celeste Holm), and pretends to Luisa and her parents that he is too sickly to dance, sightsee or do much else that she might enjoy, hoping they will cancel the engagement. While Luisa is contemplating this possible union with a low-energy, half-dead spouse, she meets Jeff Stephens (Dick Haymes), who practically sweeps her off her feet during Carnival. Neither Luisa's or Pepe's parents have a clue to what is going on as everyone tries to do the right thing -- but what is it?

Celeste Holm and Cesar Romero

Carnival in Costa Rica is, as the title implies, very colorful and full of music, including a few fairly insipid if inoffensive songs by Levanna and Ruby. There isn't much plot beyond what is described in the paragraph above, so the movie sinks or swims on its musical numbers, which are at least energetic if not terribly inspired, and its performances. Everyone in the cast is more than adequate, but I especially enjoyed Anne Revere, sophisticated and stylish as the mother; Romero, who is as charming as ever; and of course the ever-delightful Fritz Feld as a hotel manager who has an amusing scene with the two fathers in question. Dick Haymes' is fine as an actor, and when he opens his mouth out comes one of the smoothest and most attractive voices in popular music. He knows how to put over a song, too (if only the songs had been a bit better). Little red-headed Tommy Ivo plays Luisa's sister even if he doesn't look much like a Costa Rican. Vera-Ellen's dancing is swell, but this could have used an Astaire or Kelly. 

Verdict: A pleasant and perfectly forgettable musical comedy without enough comedy. **1/4.

DEATH CRUISE

Kate Jackson and Edward Albert

DEATH CRUISE (1974 telefilm). Director: Ralph Senensky.

Three couples have won an all-expenses-paid, three week cruise on an ocean liner. Sylvia Carter (Polly Bergen) is distressed by her husband Jerry's (Richard Long) philandering. Elizabeth Mason (Celeste Holm) is concerned that her children are grown and may not need her, and then learns that her husband (Tom Bosley) wonders if there's any point in their even staying married. Mary (Kate Jackson of Making Love) is bitterly disappointed when her husband James (Edward Albert) insists that he doesn't want children. Then one by one all of them begin dying. The ship's doctor (Michael Constantine) discovers that the company which paid for the three couple's cruises doesn't even exist. Screenwriter Jack B. Sowards channels his inner Agatha Christie to come up with a suspenseful, twisting, and diabolical plot, and all of the actors do their best to bring their characters to life as well as to conceal who may or may not be behind it all. Everyone is good, but Holm [All About Eve] and Long [Follow the Boys] make the best impression. Albert and Jackson also played a couple in the previous year's Killer Bees.

Verdict: Absorbing TV puzzler well worth the watching for mystery fans. ***.

ROAD HOUSE

Wilde, Lupino and Widmark in a tense moment

ROAD HOUSE (1948). Director: Jean Negulesco.

"Jefty" Robbins (Richard Widmark of Garden of Evil) runs a road house complete with nightclub and bowling alley in a small town with his buddy Pete (Cornel Wilde) as a top employee. Jefty also hires Lily (Ida Lupino of Private Hell 36), upon whom he is struck, as a singer in the club. Jefty seems to think of Lily as his girlfriend even though they've apparently never even kissed, a problem she does not have with Pete, who succumbs to her charms, and vice versa, to the strains of Wagnerian opera on the radio. Clueless Jefty plans to marry Lily, and doesn't take it well when he discovers where her true feelings lie. Before long, he comes up with a plan for revenge ... Road House is one of those twisted melodramas that might have amounted to more than an entertaining time passer with a little more care and a much better script, but it never plumbs below the surface. One very amusing aspect of the film is Lily's "singing." Lupino's voice is not dubbed, and is absolutely awful, although she's a good enough actress to put over a number like "The Right Kind of Lovin'." In real life, the soused patrons of the club would have been tearing the gal to figurative shreds, but only in Hollywood can there be a rapt audience for someone with no talent. As waitress Suzie (Celeste Holm) says of Lily: "She does more without a voice than anybody I've ever heard." The real howler comes when Wagner plays on the radio and Lily tells Pete -- not without a trace of irony -- that her father told her that someday she'd sing at the Met! Lupino is swell, Wilde [The Naked Prey] is suitably manly and handsome and generally good, Holm has little to do (although she is billed above the title with her three more important co-stars) and adds little nuance to her role, and the picture is stolen by a splendid Widmark as the spoiled little boy in a man's body. Those viewers looking for possible homoeroticism in the relationship between Jefty and Pete should look elsewhere -- it's easy to imagine but it really isn't there, in my opinion.

Verdict: Once you get past Ida's singing, this is fun if distinctly minor. **1/2.

MIDNIGHT LACE (1981)

Gary Frank and Mary Crosby

MIDNIGHT LACE (1981 telefilm). Director: Ivan Nagy.

TV reporter Cathy Preston (Mary Crosby) is haunted by the fact that her mother, who heard voices and committed suicide, may have passed on her madness to her daughter. Cathy gets especially hysterical when she hears weird voices in the fog and on the telephone, and it seems as if someone is trying to kill her. This is a mediocre remake of the similarly-titled Doris Day thriller, with Gray Frank offering his usual sensitive performance as Cathy's supportive husband, Brian. Celeste Holm [Cinderella] is on hand as Cathy's aunt, along with brief turns from Carolyn Jones [The Man in the Net] as a nightclub psychic and Susan Tyrrell [From a Whisper to a Scream] as Cathy's boss, who thinks she's just a rich dilettante. Joanne Nail makes an impression as a crazy rock star named Luana, and Robin Clarke is fine as Craig, the family lawyer who's holding a few secrets too many. A miscast Shecky Greene isn't very good as the police lieutenant on the case.

Verdict: Stick with the original. **.

RED: THE TEMPESTUOUS LIFE OF SUSAN HAYWARD

RED: THE TEMPESTUOUS LIFE OF SUSAN HAYWARD. Robert LaGuardia and Gene Arceri. Macmillan; 1985.

Reading this book I was reminded of how grateful I am never to have been continually in the orbit of any self-absorbed and difficult movie star, as Susan Hayward is not someone I would have liked to have known personally. Hayward was a good actress who could be excellent in some roles and merely indifferent in others. According to this very readable biography, Hayward never got over the fact that her family, her mother especially, favored her sister Florence and thought she would become the star. When it didn't work out that way, Florence virtually starved while Hayward made millions and cut off all contact with her. Hayward cast off first husband, actor Jess Barker, when his career didn't reach the same level hers did, but seemed to love second husband Eaton Chalkley, who ran her career (some would suggest right into the ground) and is depicted as a racist, obsessive quasi-Catholic, heavy drinker, and possible closet queen. Hayward was nominated for Oscars several times, and finally won one for I Want to Live! As she got older, she often regretted her film choices, although she did get attention for appearing in Back Street, Where Love Has Gone, and Valley of the Dolls, among others. A funny incident has Hayward being very bitchy with Celeste Holm when the latter was going to replace her in Mame, and Hayward is generally described as being cold and distant with her co-workers. There were people who were devoted to her, however, and she made some friends without ever growing terribly close to anyone. She admitted more than once that she "wasn't a nice person." The authors include many interviews and anecdotes, and describe Hayward's final days -- an awful death due to multiple brain tumors -- in nearly excruciating detail. Hayward will be remembered as a feisty star with charisma, personality, and genuine talent, which the authors clearly have an appreciation of.

Verdict: Graphic, uncompromising look at Susan Hayward. ***1/2.

RODGERS AND HAMMERSTEIN'S CINDERELLA (1965)

Stuart Damon and Lesley Ann Warren

RODGERS AND HAMMERSTEIN'S CINDERELLA (aka Cinderella/1965). Director: Charles S. Dubin.

This is an entertaining color version of the musical, written for television, which first appeared in 1957 with Julie Andrews in the lead. While Lesley Ann Warren [The Happiest Millionaire] may not be in Andrews' league as a singer, she is still quite effective and charming as our heroine, and Stuart Damon makes a convincing Prince Charming. Pat Carroll makes an impression as one of the wicked step-sisters, with Jo Van Fleet [Wild River] suitably nasty and ugly as her mother and Barbara Ruick just fine as her sister. Celeste Holm [Everybody Does It] makes an excellent fairy godmother, but Ginger Rogers is fairly ho hum as the queen and Walter Pidgeon looks like he's about to nod off any moment as the king; they can't compare to Dorothy Stickney and Howard Lindsay in the original. The memorable songs include "A Lovely Night;" "Ten Minutes Ago;" "Whats the Matter with the Man?"; "The Loneliness of Evening;" and "Do I Love You (Because You're Beautiful)."

Verdict: Not bad, but the original has the edge. ***.

A LETTER TO THREE WIVES

A LETTER TO THREE WIVES (1949). Writer/Director: Joseph L. Mankiewicz.

An unseen woman (voiced by Celeste Holm), Addie Ross, sends a letter to three different women telling them that she's run off with one of their husbands. This extremely interesting comedy-drama is one of those infrequent pictures that somehow has more to it than meets the eye, even though it's neither a major drama nor a side-splitting comedy. Somehow it call comes together beautifully (despite some missteps and superficial, sitcom-like aspects); the fine acting from the entire cast really helps put it over. Jeanne Crain, who worries that she's plain and awkward, remembers that her husband gave Addie her first kiss. Ann Sothern recalls that Addie remembered her husband Kirk Douglas' birthday when she did not. And snappy Linda Darnell, in perhaps her most memorable performance, wonders if her rich husband and former boss (Paul Douglas) ran off with Addie because he thinks she, Darnell, only wants him for his money. The Darnell/Douglas section of the story is the best and most amusing. One might wonder why someone as “wonderful” as Addie Ross didn't marry one of those three men, or someone else, long before.

Verdict: Very entertaining stuff. ***.