DIAMOND HEAD

Yvette Mimieux, Elizabeth Allen, Charlton Heston

DIAMOND HEAD (1962). Director: Guy Green.

Widower King Howland (Charlton Heston) is a wealthy land owner in Hawaii who lives with his sister-in-law, Laura (Elizabeth Allen of Donovan's Reef), and his younger sister, Sloane (Yvette Mimieux of The Time Machine). Sloane is in love with an islander named Paul (James Darren), who returns her feelings, but neither King nor Laura approve of the marriage. "We've never mixed blood," King says, as he tries to enlist Paul's half-brother, Dean (George Chakiris) in breaking up the romance. Dean may have reservations about the union, but he will not speak out against it, although his mother (Aline MacMahon of Babbitt) feels mixed marriages will dilute the Hawaiian minority. Complicating the whole situation is that the hypocritical King is having an affair with an Asian woman (France Nuyen) who is going to have his child. At a party to celebrate the upcoming nuptials between Sloane and Paul, a tragedy occurs ... 

Heston

Diamond Head may take advantage of some gorgeous scenery, but its dramatic value is somewhat lacking. The admirable attempts to denounce racism are half-hearted, especially when you consider that the three main "Hawaiian" roles -- Jimmy, Dean, and their mother -- are played by Caucasian actors. Heston displays his usual charisma, and  his performance is perfectly competent but unmemorable. Elizabeth Allen is okay in the thankless role of the sister-in-law secretly in love with her late sister's widower. Chakiris and MacMahon -- and to a lesser extent Darren -- are notable, and Mimieux gives a fairly strong and sensitive performance, as does Nuyen -- perhaps the best in the picture. Harold Fong makes an impression as King's major domo, Koyama, and Marc Marno is vivid as Nuyen's sleazy brother, Bobby. 

A sub-plot has to do with King planning to run for the state senate, and there are also a couple of obvious hints of his incestuous feelings for his sister. That being said, the movie has an absolutely horrible ending which I believe was tacked on by someone who let their common sense run away with them. 

Verdict: You might have a better time watching reruns of Hawaiian Eye. **1/2. 

BEN-HUR

Stephen Boyd and Charlton Heston

BEN-HUR (1959). Director: William Wyler.

In 26 A.D. the Romans have taken over Jerusalem. Jewish Judah Ben-Hur (Charlton Heston) is reunited with his childhood friend Messala (Stephen Boyd), but earns his enmity when he refuses to help him in the Roman cause. When some tumbling masonry accidentally falls onto a Roman dignitary from a spot where Ben-Hur and his family are watching, Messala has all of them arrested, with Ben-Hur becoming a galley slave, and his mother (Martha Scott) and sister (Cathy O'Donnell) put in a dungeon and contracting leprosy. After an epic sea battle, Heston becomes adopted by the Roman consul Quintus Arrius (Jack Hawkins) and becomes known as an expert charioteer. Now Ben-Hur is ready to face his most hated enemy in the arena, leading to the chariot race to end them all. 

Ben-Hur could have been trimmed of an hour without losing any of its entertainment value, and while it has a strong story it survives on the strength of its set-pieces: the galley slave sequence; the sea battle; the crucifixion; and especially the outstanding chariot race which the whole movie leads up to. Heston [Bad for Each Other] is not bad as Ben-Hur, although it could be argued that he doesn't so much become the character as turn Ben-Hur into Charlton Heston. On the other hand, Stephen Boyd [Fantastic Voyage] gives the performance of a lifetime in his ferocious portrait of Messala. (Some, including the late Gore Vidal, have insisted that Messala's anger towards his old friend is caused by a frustrated homosexual attraction as, according to them, there seems no other good reason for his hatred -- as if his Roman pride and ambition, barely-suppressed anti-Semitism, and his unpleasant character couldn't be enough?) Haya Harareet [The Secret Partner] plays Esther, who loves Ben-Hur; she is capable but had few other credits. Ben-Hur is unnecessarily bloated, but it does boast attractive (if sometimes too prettified) settings, excellent matte paintings, generally skillful direction from Wyler, and fine photography by Robert Surtees and others. A scene with some beautiful trained Arabian stallions doesn't advance the story but one can see why it wasn't cut. Yakima Canutt, who co-directed several cliffhanger serials, worked on the chariot sequence (although it may be inaccurate to say that he "directed" it). Oddly enough, Wyler's The Big Country, also starring Charlton Heston, is more entertaining.

Verdict: Misses being a masterpiece, but has many fine moments. ***.

THE BIG COUNTRY

That's a mighty bigggg country, all right!

THE BIG COUNTRY (1958). Director: William Wyler. Produced by Wyler and Gregory Peck.

Easterner James McKay (Gregory Peck) goes west to meet the family of his fiancee, Patricia (Carroll Baker). There he discovers that her father, Henry Terrill (Charles Bickford), has been embroiled for years in a feud with the Hannassey family, which is led by grizzled but proud Rufus (Burl Ives). James also finds he has a rival in foreman Steve (Charlton Heston), who doesn't believe he makes a fit mate for Patricia. While Steve needs to impress Pat and flaunt his machismo on a regular basis, the more secure James wants to be loved for other reasons than his ability to fight (at which he happens to be quite good). As the feud that James wants no part of heats up, he is drawn to a lovely friend of Pat's named Julie (Jean Simmons), who owns the land where both families send their cattle for water, and who has the unwanted eye of Rufus' crude son, Buck (Chuck Connors). Eventually all the intense rivalries boil over ... Franz Planer's widescreen photography gets across the vastness and beauty of the countryside in panoramic style, and even the comparatively "petty" quarrels are set against the hugeness of the "big" country. A major fight scene between James and Steve is photographed mostly in long and medium shot, where their struggle is contrasted with the epic majesty of their impressive surroundings. Other memorable scenes include James trying to tame a spirited horse that pulls the blanket off its back with its teeth [although you sort of wish he would just let the horse retain its independent spirit]; James and Julie trying to outdo one another with gross and grisly stories of sharks and red ants; a pistol duel between two characters late in the movie; and a  moving climactic scene between Rufus and his son, Buck. Gregory Peck, although a little too cool at times, gives an excellent performance in a role that was made for him. Heston also gives one of his best performances and Baker [The Carpetbaggers] and Simmons [Angel Face] are similarly perfect. As the blustering patriarchs who hate each other Bickford and Ives nearly walk off with the movie; the latter is especially effective in his entrance scene when he comes to a party at the Terrill estate to tell off Henry in no uncertain terms. Although he's saddled with a stereotypical role, Mexican actor Alfonso Bedoya scores as the Terrill servant, Ramon. And Chuck Connors offers an outstanding turn as the nasty but somehow likable Buck, who seems as lonely as he is horny. The Big Country has a fairly predictable plot but somehow it doesn't matter, as you are anxious to see the confrontations and developments that you know are coming, and Wyler's expert direction not only adds an artistic sheen to the production but insures that you're never bored for the nearly three hour running time. [It might have been more interesting if James weren't quite so adept at fighting and everything else.] Jerome Moross' theme music is wonderful and I believe was later re-used for a western TV show. It's very strange that this movie -- considering its major stars and director -- seems to have been almost completely forgotten. It's arguably more successful than Peck's other big western, Duel in the Sun.

Verdict: Rousing, absorbing, Grand Old Western with superior direction and some fine performances. ***1/2.

THE GREATEST SHOW ON EARTH

Cornel Wilde pitches the woo to Betty Hutton

THE GREATEST SHOW ON EARTH (1952). Producer/director: Cecil B. DeMille.

Late in The Greatest Show on Earth, star Betty Hutton (also star of the "craptastic" Betty Hutton Show), playing trapeze artist Holly, is shown doing acrobatics on a cross bar in a parade down Main Street. Or rather Hutton is superimposed over the parade, and you can actually see through her in an embarrassingly cheap process shot. That pretty much encapsulates this whole cheesy movie, which purports to be about circus life. What it actually is -- against a backdrop of Barnum and Bailey/Ringling Brothers circus -- is a tiresome soap opera wherein Holly is in love with manager Brad (Charlton Heston), rival trapeze artist Sebastian (Cornel Wilde) is in love with Holly, and Jimmy Stewart wears clown make up throughout because he's hiding a secret. Dorothy Lamour of Donovan's Reef sings a number or two and is sardonic, while Gloria Grahame, also carrying a torch for Heston, has a good scene trading minor barbs with Hutton. The acting in this isn't bad -- even Hutton is more palatable than usual -- but you may find the elephants far more impressive. Wilde swaggers around with an okay Italian accent and is effective. (Although Wilde is billed over Heston, the latter is featured on the DVD cover due to the vagaries of Hollywood fame.)  There's a not-bad train crash at the climax. DeMille only directed one more movie, The Ten Commandments, four years later.

Verdict: Okay, but Berserk is more fun. **1/2.

THE WRECK OF THE MARY DEARE

Charlton Heston explores the wreck

THE WRECK OF THE MARY DEARE (1959). Director: Michael Anderson.

John Sands (Charlton Heston) of the salvage vessel Sea Witch comes across what he thinks is a derelict ship, the Mary Deare, in the middle of the ocean. There is one person aboard, however, Captain Gideon Patch (Gary Cooper), who insists that he did not give the order to abandon ship. There is also a corpse in the hold that Patch tries to cover up. Exactly what happened on the ship and why it happened unfolds in a courtroom sequence and in the finale back on the ship as the hold is explored for a certain cargo ... Mary Deare is a fast-paced suspense film that features good performances from Heston and Cooper, as well as Virginia McKenna [The Chosen] as the daughter of the original captain who died at sea; Ben Wright as Sands' partner in the salvage operation; Richard Harris as the eternally smirking sailor, Higgins; Michael Redgrave as a lawyer in the court of inquiry; and others. The ending is a touch dragged out, perhaps, but this is an absorbing and well-acted movie.

Verdict: Worth a look. ***.

DARK CITY

Lizabeth Scott and Charlton Heston

DARK CITY (1950). Director: William Dieterle.

"We're a great pair. I haven't got a voice and you have no ear."

Danny Haley (Charlton Heston), who has a shady past, participates in a poker game which he thinks is honest but ultimately fleeces a former soldier, Arthur Winant (Don DeFore) of a five thousand dollar check that doesn't belong to him, causing Winant to commit suicide. As Haley dodges questions from Captain Garvey (Dean Jagger) and words of love from smitten songstress Fran (Lizabeth Scott), a mysterious figure with a big ring is murdering all the men who were in the card game. Trying to track down the killer, Haley even becomes involved with Winant's widow, Victoria (Viveca Lindfors) and her little boy, Billy (Mark Keuning). Heston was introduced in this picture and has a certain intensity and ability, even if one couldn't say he was exactly a brilliant performer. Scott and Lindfors are both more than adequate if not incredibly impressive; both have been better. DeFore, Jagger, Ed Begley, Harry Morgan and especially Jack Webb [in a role very different from what he played on Dragnet] give the most notable performances. The characters could all have used a little more dimension, but at least this holds the attention and has a nice ending.

Verdict: Not prime film noir but not without interest. ***.

BEN-HUR REMASTERED BLU-RAY DVD COMING SOON

BEN-HUR 50TH ANNIVERSARY [plus a couple of years]

From Warner Brothers video [Jeff Baker and Ronnee Sass]:

"To celebrate the film's 50th anniversary, Warner Home Video is planning the Blu-ray and DVD release as a limited and numbered Ultimate Collector's Edition [UCE] scheduled for fall 2011, in time for holiday promotions and gifting opportunities."

This new release will be restored and remastered in high definition, "looking the best it ever has in a half-century... Everything will look more stunning in Blu-ray." Ben-Hur was originally released in 1959, but the celebration is better late than never.

There will be a plethora of extras, a huge beautiful case, and a reproduction of the personal diary star Charlton Heston kept during the film's production.

More on release date and other information when we have it at Great Old Movies.

THE OMEGA MAN

THE OMEGA MAN (1971). Director: Boris Sagal. 

This is the second of three films to be based on Richard Matheson's 1954 novel I Am Legend [following The Last Man on Earth with Vincent Price]. However The Omega Man doesn't have much to do with Matheson's novel, in which a plague kills off most of the world's population and brings them back as vampires. In this version people who survive [aside from those with immunity, such as the protagonist] germ warfare turn into pasty-faced, white-eyed ghouls who want to tear down all remainders of human society, which is represented by Robert Neville (Charlton Heston, pictured), but they don't drink blood. Instead of vampires we're given a kind of cult of deranged people who call themselves the Family and are led by a former newscaster named Matthias (Anthony Zerbe). As in The Last Man on Earth Neville is again turned into a scientist, although he now lives in an elaborate townhouse with all of the modern conveniences and then some [being a scientist must pay pretty well!] Rosalind Cash, who appeared in a number of "blaxploitation" pictures during this period, is cast as Heston's love interest, and the two aren't quite as unlikely a couple as you might imagine. Heston swaggers his way through the film with his customary charisma [although a friend of mine who saw the film and hated it said all he got out of it was that it was "a big ego trip for Heston"] but the attempts to make him a kind of Christ-figure are ludicrous. Eric Laneuville is memorable as young Richie, who is undone by his own misplaced compassion. The film boasts the excellent cinematography of Russell Metty and an attractive score by Ron Grainer [whose music is often in counterpoint to the action] that is on occasion rather inappropriate, however. [In general it underlines the fact that The Omega Man is more of an action-drama than a horror film.] After awhile, The Omega Man -- despite good moments and acting -- sinks under the weight of its own ambitions and pretensions. 

Verdict: Taken on its own terms, it has some value, but I am Legend it is not. **1/2.

BAD FOR EACH OTHER

BAD FOR EACH OTHER (1953). Director: Irving Rapper.

A young medical man is torn between helping the poor miners in his home town or joining a practice in which most of his patients would be bored, wealthy women. No, it's not The Citadel, it's a modern-day rip-off called Bad for Each Other. Charlton Heston is actually a military man with a medical degree who comes home to Pittsburgh after his brother's death. Lizabeth Scott is the rich gal he falls for, and Mildred Dunnock is his mother (both are very good). Arthur Franz is fine as an ex-serviceman who asks Heston for a job and Marjorie Rambeau scores as Scott's aunt. Heston saunters through the movie with his usual star charisma and gives a good performance, but this mediocre soaper with its one-dimensional characters and familiar plot is no substitute for the real thing.

Verdict: Watch The Citadel instead. **.