INHERIT THE WIND

INHERIT THE WIND (1960). Director: Stanley Kramer.

"Fanaticism and ignorance is forever busy, and needs feeding!"

In 1925 John T. Scopes was arrested in Tennessee for teaching the theory of evolution to his students. Clarence Darrow defended him and William Jennings Bryan acted as prosecutor, while H. L. Mencken covered the "monkey" trial for a newspaper. In a play by Jerome Lawrence and Robert Edwin Lee, which fictionalizes the story, the characters were changed into Henry Drummond (Spencer Tracy) for Darrow; Matthew Harrison Brady (Fredric March) for Bryan; Bertram Cates (Dick York) for Scopes; and E. K. Hornbeck (Gene Kelly) of the Baltimore Herald for Mencken. The play and this film version thereof adds a further complication: Scopes/Cates is engaged to the daughter, Rachel (Donna Anderson), of the local preacher (Claude Akins), who is a borderline fanatic. The main strength of this film, besides the exchange of ideas and the notion of casting off narrow minds, is the acting by the two leads, both of whom are superb. March, in particular, possibly gives the best performance of his career, full of nuances, and giving his character enough charm to understand why people like and enjoy him even when they think he's dead wrong. (Florence Eldridge, who was married to March in real life, is also notable as Brady's wife, Sarah. And Gene Kelly is so good as Hornbeck that he proves to be far more than just a song and dance man and a fine dramatic actor. ) 

Fredric March and Spencer Tracy

There is, perhaps, a little too much dramatic license; for instance, it doesn't make sense that Drummond wouldn't ask for a recess after Brady's brutal examination of Rachel. The movie is serious and sickening under the amusement and banter, as timely today -- if not more so -- than it was in 1960. Its weakest moment is the sop to the religionists with Drummond carrying a bible out of the courtroom at the end. Still, it was brave of Kramer and the others to make the film way back in 1960. Leslie Uggams sings "That Old-Time Religion" over the credits.

Verdict: Powerful stuff with two massive lead performances. *** (half a star taken off for that compromised ending).

CLAUDELLE INGLISH

Arthur Kennedy, Diane McBain, Constance Ford

CLAUDELLE INGLISH (1961). Director: Gordon Douglas.

Claudelle (Diane McBain) lives in a rented farmhouse with her father, Clyde (Arthur Kennedy), and her unhappy mother, Jessie (Constance Ford). Jessie is horrified at the thought of her daughter marrying a poor man, Linn (Chad Everett, who was 24 but looks about 12), and living the same kind of deprived life that she has. Claudelle has nothing to worry about on that score, however, as Linn falls in love with somebody else and she is devastated. Determined not to ever marry anyone, Claudelle embarks on a campaign to date very many boys and acquire gifts from all of them in exchange for you-know-what. In this amusingly lurid soaper, Claudelle's sensuality pits fathers against sons, inflames the lust of her father's boss (Claude Akins), and even starts her mother on the pathway to back seat action! 

Chad Everett, Diane McBain, Will Hutchins

Claudelle isn't really "evil," but the production code insures a "sin and suffer approach" to the proceedings. McBain [Parrish] was very appealing in some roles, and perhaps her casting prevents her from being too slatternly, but she doesn't quite throw herself into the difficult part as other actresses might have done; she's simply a bit too lightweight (although one could argue that she underplays). Arthur Kennedy was always a good actor but sometimes, as in this, he just seems to be going through the motions; Constance Ford is better as his rather desperate wife, and Claude Akins [Tentacles] is just terrific as horny, old Crawford. Claudelle's "suitors" include Will Hutchins, Robert Colbert, Frank Overton, Jan Stine, and an especially charming Robert Logan [77 Sunset Strip]. Claudelle Inglish is trashily entertaining, but it lacks the good dialogue and characterizations that might have lifted it above a soap opera level. Based on the novel by Erskine Caldwell, who also wrote "Tobacco Road." Gordon Douglas also directed the excellent creature feature Them.

Verdict: Lots of fun in spite of itself, but it might as well have been even trashier. ***.

A DISTANT TRUMPET

Suzanne Pleshette and Troy Donahue

A DISTANT TRUMPET (1964). Director: Raoul Walsh.

"Burning while Rome fiddles?"

Lt. Matt Hazard (Troy Donahue) is sent from the graduating class at West Point to Fort Delivery in Arizona. Doing things by the book, he whips the soldiers into shape -- to their dissatisfaction. When a merchant, Seely Jones (Claude Akins), offering booze and women to the troops, shows up, Hazard contrives to get rid of him. Although he has a fiancee, Laura (Diane McBain), back east -- who eventually appears -- Hazard is romantically drawn to Kitty (Suzanne Pleshette), who is married to Captain Mainwaring (William Reynolds). In addition to a love triangle and resentful soldiers, Hazard has to deal with Indian troubles in the person of Chief War Eagle (uncredited) -- and the U.S. Army itself, which may go back on its promises to Native Americans.

When Ladies Meet: Pleshette with McBain

A Distant Trumpet, the last film for director Raoul Walsh, was excoriated by critics when it was released, and star Troy Donahue along with it. In truth, the picture, although certainly not a forgotten classic, is not terrible and neither is Donahue. Although still a bit stiff in quieter scenes, Donahue plays the lieutenant in an authoritative fashion and has a commanding presence. The two ladies give good performances if only on a soap opera level; McBain is stronger than expected, and Pleshette not as good as one might have hoped. (She was married to Donahue for a grand total of nine months!) All of the leads are a bit too contemporary in style. William Reynolds is good as Mainwaring but he disappears too quickly.

Donahue with James Gregory

Others in the cast are more memorable: Although a trifle too pompous at times, James Gregory scores as General Quaint, who goes to bat for Hazard when he confronts the Secretary of War (Kent Smith) over the treatment of the Indians. Claude Akins is flavorful as the ever-scheming Jones. Larry Ward is effective as the undisciplined Sgt. Krogur, as is Bobby Bare as the alleged deserter Crenshaw. Lane Bradford makes an impression as the nasty Indian-hating Major Miller, who gets a sock in the jaw from Hazard for his trouble. 

Hazard at West Point

A Distant Trumpet can be classified as one of those movies that is good enough that you wish it had been better. Walsh turns in an adept directorial job that keeps things moving and Max Steiner's score, especially the martial theme, is excellent, embellishing every sequence. William H. Clothier contributed the sweeping Panavision cinematography. But A Distant Trumpet is still unsatisfying, probably due to the weaknesses of the script, some unlikable characters (although Hazard is a bit redeemed at the end), and the lack of a dramatic climax. 

Verdict: Reasonably entertaining Western that looks good and has some interesting sequences. **3/4. 

THE SEA CHASE

THE SEA CHASE (1955). Producer/director: John Farrow.

How's this for perfect casting? In The Sea Chase John Wayne plays Karl Erlich, the Captain of a German freighter (the Ergenstrasse), who supports his country but is no fan of Hitler. Lana Turner is cast as Elsa Keller, a kind of Mata Hari German spy who winds up as the only female passenger among a bunch of horny sailors. While it can't be said that Wayne and Turner have great chemistry, the odd thing is that the movie actually works and both stars are more than adequate in their roles. Erlich sets sail from Sidney just as war is declared, and an old friend, the British officer, Jeff Napier (David Farrar of The Echo Murders) -- he was one of Elsa's many conquests -- doggedly pursues him. Complications ensue when Chief Officer Kirchner (Lyle Bettger) takes it upon himself to murder some innocent fishermen who are shipwrecked on a supply island, making Erlich and his crew not only murderers but wanted war criminals. Erlich also has a conflict with Schlieter (James Arness) who has a chip on his shoulder and hates taking orders from his captain. Not only is The Sea Chase suspenseful, but you get caught up in the unusual storyline and begin to care about what happens to the characters and their ultimate fate. Bettger [No Man of Her Own] is especially good as Kirchner, and there's also excellent work from Farrar and from John Qualen [Dark Waters] as Chief Engineer Schmidt. Richard Davalos, Tab Hunter, Paul Fix, Arness, and Claude Akins (whose name is misspelled as "Akin" in the credits) also have some fine moments. Clearly this picture would not have been made just a few years earlier. In WarnerColor.

Verdict: Memorable "forgotten" Wayne film with an intriguing and different plot. ***.

THE TWILIGHT ZONE: SIZE IS RELATIVE

"Stopover in a Quiet Town"

"The Fear" with Mark Richman

Agnes Moorehead in "The Invaders"

"The Little People"

The classic "To Serve Man"

THE TWILIGHT ZONE: Size is Relative.

During its several years on the air, The Twilight Zone broadcast several stories that had to do with the size of human beings or other things. Some were memorable, and others were not.

The Invaders. Season 2, episode 15. Written by Richard Matheson and directed by Douglas Heyes. Agnes Moorehead plays a farm woman who comes across a tiny spaceship filled with equally small astronauts. At the end we learn that this ship is actually a "U.S. Air Force Space Probe" that the old lady has smashed. This is mostly a silly burlesque. C+

The Fear. Season 5, episode 35. Written by Rod Serling and directed by Ted Post. Police officer Mark Richman and resident Hazel Court encounter what appears to be a humongous space man in an isolated area. This has some suspense, even if it could be dismissed as silly "comic book" stuff. B-/C+.

The Little People. Season 3, episode 28. Written by Rod Serling and directed by William Claxton. Two astronauts come across microscopic people on a planet and one of them plays God, until he realizes to his horror that he's not the only one who's out of proportion. This is a bit hokey, like an old comic, but it boasts fine performances by Claude Akins and particularly Joe Maross. B-.

Stopover in a Quiet Town. Season 5, episode 30. Written by Earl Hamner Jr. and directed by Ron Winston. A couple who partied a bit too much wake up in a strange house and find themselves in a deserted town, then board a train that goes absolutely nowhere. A little girl's giggling voice can be heard everywhere. Although the episode is treated a bit lightly at the end (often the case with Serling's black comedy narration), it's actually quite horrifying, with this couple, whatever their flaws (including drunk driving), suffering a supremely and grotesquely horrifying fate. Possibly the influence for the show Land of the Giants. Barry Nelson and Nancy Malone give excellent performances. A.

To Serve Man. Season 3, episode 24. Written by Rod Serling (from a story by Damon Knight) and directed by Richard L. Bare. This episode qualifies if for no other reason than the alien who visits earth is 9 feet tall and weighs 350 lbs. This alien claims that he wants to help mankind and even gives scientists a book entitled "To Serve Man." Unfortunately one scientist has the book translated too late to save all of the people who are traveling to the giant's planet for supposed edification. Another supremely horrifying episode whose tension is almost dissipated by Serling's jokey narration. Lloyd Bochner, Susan Cummings, and Richard Kiel give good performances. I've always thought a great movie sequel could be made showing the earth people in the ship, slowly realizing what's about to happen to them, and fighting back. Probably one of the most fondly-remembered episodes of the series. A-.

THE NIGHT STALKER

Darren McGavin as Kolchak

THE NIGHT STALKER (1972 telefilm). Drector: John Llewellyn Moxey. Written by Richard Matheson.

Reporter Carl Kolchak (Darren McGavin), hoping to get back to the big time of New York from Las Vegas, latches onto a story about women being found dead drained of every drop of blood, and runs with it, discovering that an actual vampire (Barry Atwater) is on the loose, leading to a tense climax in the bloodsucker's lair. This high-rated telefilm [a "Movie of the Week"] introduced Kolchak, who returned in a second telefilm, The Night Strangler, before getting his own series, which lasted one season. McGavin is fine, bolstered by performances from Carol Lynley as his girlfriend, Claude Akins as a cop, Kent Smith as the D.A., and Simon Oakland as Kolchak's belligerent boss, Vincenzo. Elisha Cook Jr. and Charles McGraw are also in the cast and are notable. An unlikely aspect of the plot is that Vincenzo wants to suppress the story, which makes no sense as he's in the business of selling newspapers, and a story of vampire killings would certainly garner a hell of a lot of attention!

Verdict: Entertaining time passer with a nifty premise. ***.