BLITHE SPIRIT (1956).

Noel Coward and Claudette Colbert

BLITHE SPIRIT on Ford Star Jubilee Season One, episode five (1956). Director: Noel Coward. LIVE. 

Charles Condomine (Noel Coward of The Astonished Heart) and his second wife, Ruth (Claudette Colbert of Thunder on the Hill), invite the medium Madame Arcati (Mildred Natwick of A Woman's Vengeance) to their home for a seance. Unwittingly the somewhat vague Arcati summons up the ghost of Charles' first wife, Elvira (Lauren Bacall of Sex and the Single Girl), who can be seen by Charles but is invisible to Ruth. Eventually Ruth acknowledges that Elvira truly exists and is occupying their home, and schemes to send her back to the ether. Meanwhile Elvira is scheming to have Charles join her forever in the "hereafter," but her plans may go awry ... 

Coward with Lauren Bacall

This live TV adaptation of Noel Coward's famous very dark comedy is worth seeking out as it's quite funny and wonderfully acted by all. Coward, of course, knows just how to handle this material, and while she might seem like a lightweight in this company, Bacall is much better than expected as Elvira. Then we have Colbert, proving again what an acting powerhouse she is as Ruth -- she nearly walks off with the whole show. In one of her earliest roles Marion Ross of Happy Days and Lizzie is wonderful as the frenetic maid, Edith, and there are fine turns by Philip Tonge as Dr. Bradford and Brenda Forbes as his wife. Mildred Natwick is so good as Madame Arcati that she almost makes you forget Margaret Rutherford's superb portrayal of Arcati in the 1945 film version. Can one detect a definite if unintentional note of misogyny in this play -- possibly -- as at least one of these women certainly doesn't deserve her fate. One can imagine Condomine going off to the nearest gay beach when the play is over!

Verdict: Exciting, beautifully-acted live theater on TV! ***1/2. 

THE SECRET FURY

Claudette Colbert and Robert Ryan

THE SECRET FURY (1950). Director: Mel Ferrer. Colorized version.

Ellen Ewing (no relation to J. R. Ewing) is about to marry architect David McLean (Robert Ryan), when a strange man (Willard Parker) interrupts the ceremony and insists that he was present when Ellen married another man -- she is about to commit bigamy! Ellen insists that she never heard of her "husband," Lucian Randall (Dave Barbour). Although Ellen's Aunt Clara (Jane Cowl) seems to fear that her niece might have had a nervous breakdown, David has a more supportive attitude and sets off with his fiancee to find Randall and get to the bottom of this mystery. The couple get more than they bargained for when a murder is committed and Ellen is accused. Is she the victim of a far-reaching conspiracy, or is Ellen truly unhinged? 

Robert Ryan questions Vivian Vance

Although there are some holes in the plot -- the whole logistics of the murder, for instance -- The Secret Fury proceeds at a fairly swift pace and maintains suspense for its entire length. You'll find yourself being suspicious of virtually everyone in the picture. The acting can't be faulted. Although Ryan has the less showy role of the two stars, he never reveals too much nor too little about David. Colbert is excellent, particularly in a courtroom sequence when she has a positive meltdown (and gives Doris Day of Midnight Lace a run for her money!) Paul Kelly is wonderful as a former flame of Ellen's, although it is highly unlikely that he would be the prosecutor on the case. Philip Ober is given one of his all-time best roles as Ellen's defense attorney and friend, and his then-wife Vivian Vance makes an impression as a maid who swears that she met Ellen and her husband, the aforementioned Randall, before. (The following year Vance wound up as Ethel on I Love Lucy.) Jane Cowl is also excellent as the aunt who hardly seems like she's that much on her niece's side. Percy Helton, Paul Picerni and Elisabeth Risdon also make an impression in smaller roles. This is one of ten or so films directed by actor Mel Ferrer; his work on this is efficient enough if hardly Hitchcock level. Jose Ferrer (no relation to Mel) has a small role in the film as a wedding guest. 

Verdict: Very suspenseful thriller with some excellent performances. ***. 

OUTPOST IN MALAYA / THE PLANTER'S WIFE

Jack Hawkins and Claudette Colbert

OUTPOST IN MALAYA (aka The Planter's Wife/1952). Director: Ken Annakin.

Liz Frazer (Claudette Colbert) and her husband, Jim (Jack Hawkins of Five Finger Exercise), own a rubber plantation in Malaya. Jim wants Liz to accompany their cute little boy, Mike (Peter Asher), when he goes to school in England, but Liz is sure Jim doesn't want her to return and she's not sure if she will  -- something seems to have gone out of their marriage. A bigger problem are the communist terrorists -- herein referred to as "bandits" -- who are attacking and murdering the people in the area. They wage a bloody attempted siege of the plantation in an exciting climax.

Anthony Steel with Colbert

Two years previously Colbert had filmed Three Came Home in which she played a wife imprisoned in a Japanese camp. Somehow it was decided she would again eschew a glamorous part in Outpost, in which her character had also been in a Japanese camp some years before this story begins. Frankly, I imagine most of Colbert's fans wanted to see her being witty and sophisticated, not firing guns and lobbing grenades (!) as she does in this movie. The amazing thing about Outpost is that -- until the climax and despite some of the dramatic things that happen -- the movie seems quite dull for the most part, the most exciting scene having to do with a fight between a cobra and a mongoose named Mr. Mangles! Things might have percolated more if Colbert's wife had had a steamy affair with handsome Captain Dobson (Anthony Steel of Another Man's Poison), but, alas, nothing like this ever develops.

little Peter Asher

However, the last twenty minutes of the movie, detailing the attack on and defense of the plantation, almost make up for the lethargy of the first hour. It's not just the events that transpire, it's as if somebody took over from director Ken Annakin and decided to actually direct the movie. As for Colbert, she acquits herself well, although there must have been times when she wondered what the hell she was doing there. Jack Hawkins is also good, but he and Colbert don't have very much chemistry. Peter Asher and Jeremy Spenser [The Prince and the Showgirl] as Mike's buddy Mat are talented and effective child performers. Anthony Steel does have chemistry with Colbert and is much better than expected. Ram Gopal was introduced in this film and plays Nair, an associate of the Frazer's. There are also some good performances from Asian actors in supporting roles as well.

Verdict: Give Colbert a cocktail and some good dialogue and keep her out of jungles! **1/2. 

THUNDER ON THE HILL

Ann Blyth and Claudette Colbert

THUNDER ON THE HILL (1951). Director: Douglas Sirk.

In Norfolk county, England, Sister Mary (Claudette Colbert) works at a convent hospital under the firm but loving Mother Superior (Gladys Cooper). During a flood which forces the whole town to seek shelter in the convent on higher ground, along comes a strange group of people: Valerie Carns (Ann Blyth) has been convicted of murdering her invalid brother, and she is accompanied by Sgt, Melling (Gavin Muir) and a female assistant known only as Pierce (Norma Varden), who are taking her to be executed. However, Sister Mary becomes convinced that Valerie is innocent, and she risks the wrath of the Mother Superior by not only playing detective, but by bringing Valerie together with the man she loves, Sidney Kingham (Philip Friend), who may not be convinced of her innocence.

Claudette Colbert and Philip Friend

Thunder on the Hill is an absorbing and well-acted picture, with an interesting interplay between Colbert (playing possibly the most sophisticated nun in the history of cinema) and a sympathetic Blyth, proving that Veda in Mildred Pierce was not just a fluke. Gladys Cooper gives her usual authoritative and highly adept performance as the Mother Superior, and there is also nice work from Connie Gilchrist as another nun; Phyllis Stanley as a rather bitter nurse (almost on the verge of overplaying at times); Michael Pate [Hong Kong Confidential] as the slow-witted Willie; and Robert Douglas [This Side of the Law] and Anne Crawford as the convent doctor and his wife, among others.

Verdict: Unusual mystery with a very interesting cast. ***. 

REMEMBER THE DAY

John Payne and Claudette Colbert

REMEMBER THE DAY (1941). Director: Henry King.

"Remember when Dan and I took the train together. I was so proud of him in his uniform." -- Dewey

"The House of Representatives will never pass an income tax plan." -- the Dean

Teacher Nora Trinell (Claudette Colbert) waits at a Washington reception to renew her acquaintanceship with an old pupil, Dewey Roberts (Sheppard Strudwick), who is now a Presidential nominee. She thinks back to when Dewey was a boy (Douglas Croft) and developed a big crush on her, even as she became secretly married to another teacher, Dan (John Payne), who goes off to war. One might wonder why this woman would want to go see a man that she hasn't been in contact with since he was a boy -- presidential nominee or no -- but it is made clear in a scene between Nora, Dewey and his wife, (Frieda Inescort) at the very end of the picture. Remember the Day is a lovely and touching film with excellent performances from Colbert, Payne [The Crooked Way] and especially young Douglas Croft [George Washington Slept Here], the screen's first Robin (of Batman and Robin), who nearly walks off with the movie. (Tragically, Croft died at only 37 years of age, which adds another poignant element to the picture.) There are other fine performances from Anne Revere as another teacher; Jane Seymour and Harry Hayden as Dewey's parents; Steve O'Brien as a bellboy; and William Henderson and Ann E. Todd as students; Marie Blake and Chick Chandler are also in the cast.

Verdict: Sentimental in the right way. ***1/2.

PARRISH

Claudette Colbert looks at Troy Donahue with misgivings

PARRISH (1961). Writer/Producer/Director: Delmer Daves.

"If there's a death warrant for happiness, you've described it."

Ellen McLean (Claudette Colbert) gets a job as a sort of companion to Alison Post (Diane McBain), whose father, Sala (Dean Jagger), refuses to let Ellen's son, Parrish (Troy Donahue), live with them. Parrish nevertheless gets a job working Post's tobacco fields, and becomes friends with the vivacious if unsophisticated Lucy (Connie Stevens). Meanwhile Ellen finds herself drawn to the charismatic tobacco magnate, Jud Raike (Karl Malden), and Parrish soon finds himself with opportunities he may not desire, besides being in the middle of a love triangle with Lucy and Alison -- not to mention Jud's daughter, Paige (Sharon Hugueny). Parrish is a highly enjoyable light drama with some excellent performances. Although Troy Donahue is hardly in the league of the other actors, his brooding, intense quality works for the part and he even manages to do some genuine acting in certain scenes; he certainly doesn't ruin the movie as he did My Blood Runs Cold and may well have upped his game due to the influence of director Daves as well as Colbert and Malden; he proves a good listener if nothing else. Colbert gives a wonderful performance as the free-spirited mother who still has her standards; Connie Stevens and Diane McBain, one earthy, the other patrician, play with conviction; and Karl Malden, in a ferociously powerful performance, positively walks off with the picture. There is also fine work from Jagger [My Son John]; Hampton Fancher [Rome Adventure] as the slimy Edgar Raike; and Huguney as his love-happy sister, Paige. Director of Photography Harry Stradling [Suspicion] gives the picture a fairly glamorous sheen, and all of the aforementioned ladies -- and Donahue -- look stunning throughout. While nowadays the tobacco industry would be more deserving of an expose than a romance, Parrish is still a very entertaining picture. Max Steiner's insinuating musical score adds to the picture's class.

Verdict: Fine acting, interesting script, class production put this over. ***.

Farewell Larry

Gloria Swanson with reporter Larry Quirk

LAWRENCE J. QUIRK 1923 - 2014

Larry Quirk was my best friend and longtime companion for 35 years. Larry had been an Army sergeant during the Korean War, a Hearst reporter covering the crime beat, a Hollywood columnist and publicity man, and the author of numerous books on movies and celebrities, such as the bestselling Fasten Your Seat Belts: The Passionate Life of Bette Davis and The Kennedys in Hollywood, to name just two. Larry and I collaborated on a few books as well.

It's fitting that of the two pictures I've chosen for this post -- one when Larry was relatively young, decades before I'd met him, and another when he was older -- the first features Gloria Swanson a year or two before she did Sunset Boulevard, a still from which graces this blog. After a solid body of books behind him, Larry began tendering "Quirk Awards" named for his uncle, James. R. Quirk, who edited and published Photoplay magazine back in the golden age. Therefore the second photo shows Larry giving Claudette Colbert an award in her dressing room when she was appearing on Broadway. Originally the awards were for films and actors, but when I began tendering them along with Larry we made them full-fledged performing arts awards, with venues ranging from the Roosevelt Townhouse to the 5 Oaks bar and Rose's Turn in the village, to St. Clement's Theatre on 46th street.

Larry with Claudette Colbert

There was nobody like Larry. He liked people and liked to help them, and while the "Quirk Awards" may not have had the prestige of other awards, they were given respectfully and sincerely to both talented newcomers and older people with a solid body of work behind them. Larry had a great sense of humor and enjoyed life to its fullest.

He was a true original, and I and others will miss him very much.

Rest easy, Larry.

THE SECRET HEART

Claudette Colbert

THE SECRET HEART (1946). Director: Robert Z. Leonard.

On shipboard, Lee (Claudette Colbert) is romanced by Chris (Walter Pidgeon), who urges her to marry him instead of his "friend," Larry Addams (Richard Derr), to whom she is engaged. But Lee does marry Larry and finds herself trapped in a relationship with a neurotic, paranoid composer -- basically an asshole -- who takes a long time to finally dispose of himself. Chris comes back into Lee's life, but she resists him out of guilt. Another complication is that her step-daughter, Penny (June Allyson), thinks she's fallen in love with the much older Chris -- when she learns the truth of whom he really loves will she go the way of her father? The Secret Heart is an absorbing enough romantic melodrama, bolstered by some very good performances, especially from Colbert, Derr [Terror is a Man], Robert Sterling [Bunco Squad] as Lee's stepson and Patricia Medina as his fiancee. Lionel Barrymore is in Wise Old Owl mode as Penny's shrink, and Marshall Thompson is charming as a young man who is attracted to a dismissive Penny. June Allyson is not bad as Penny, although, as usual, she's a trifle cloying, and Pidgeon manages to hold his own with Colbert without being on her level. Elizabeth Patterson and Dwayne Hickman are also in the cast. Leonard also directed the far superior In the Good Old Summertime.

Verdict: Some people you can live without. **1/2.

THE PALM BEACH STORY

Rudy Vallee and Claudette Colbert

THE PALM BEACH STORY (1942). Written and directed by Preston Sturges.

"Men don't get smarter as they get older, they just lose their hair."

Geri (Geraldine) Jeffers is married to an engineer, Tom (Joel McCrea), who can't seem to get a break. Geri figures that they would be better off if they divorced, and if she married someone wealthy she could get him the $100,000 he needs for his dream project, a "suspended" [!] airport. Although broke, she manages to make her way to Florida via the zany members of the "ale and quail club" and meets a man named J. D. Hackensacker (Rudy Vallee), who is fabulously rich. Tom flies down to stop Geri from getting a divorce and winds up in the clutches of J. D.'s man-hungry sister, the Princess Centimillia (Mary Astor), who thinks he's Geri's brother... The Palm Beach Story is a delightful comedy with fine performances and some hilarious dialogue. Colbert and Astor come off best, and McCrea and Vallee are quite good although they are not especially gifted comic actors. Robert Dudley almost steals the show as a sweet old man who wants to rent the Jeffers' apartment and winds up giving Geri money for the back rent. There's a riotous scene when the Ale and Quail Club shoot up the club car with Fred "Snowflake" Toones [Seventeen] comical as the nervous and then horrified bartender. Other notables in the cast include William Demarest, Mantan Moreland (dining club waiter); Franklin Pangborn [The Bank Dick] as an apartment manager; and Sig Arno as Toto, the princess' latest, unintelligible boyfriend. This is a charming and very funny movie. You may be confused by the frenetic credit sequence, in which there seems to be two Claudette Colberts, but all is explained (more or less) at the conclusion.  Sturges also wrote and directed Unfaithfully Yours, which is vastly inferior to this.

Verdict: A classic comedy. ***1/2.

THE EGG AND I

Colbert can do without MacMurray's attention to Allbritton

THE EGG AND I (1947). Director: Chester Erskine.

Bob MacDonald (Fred MacMurray), a selfish and inconsiderate husband, buys a farm without even consulting his wife, Betty (Claudette Colbert) -- which alone would be a reason for divorce for some women --   and the two set off for the country to raise chickens and sell eggs. While having assorted misadventures, the couple meet the odd Pa Kettle (Percy Kilbride), his big-hearted wife, Ma (Marjorie Main), and their huge brood, as well as the predatory Harriet (Louise Allbritton), who doesn't seem to care that Bob has a wife. The Egg and I is consistently amusing, has a nice scene when all the neighbors show up to help the MacDonald's after a fire, and boasts some very good performances; Colbert, in particular, is excellent, and her expressions throughout the movie are priceless. There are guest appearances by the likes of Donald MacBride, Elisabeth Risdon [from the "Mexican Spitfire" films], and Esther Dale, and there's even a pig named Cleopatra! Ida Moore shows up late in the film as a somewhat dotty old lady who has a tale of a giant chicken. While there are some fairly foolish marital developments at the end of the movie that make Betty seem like a dope, The Egg and I is still a very funny and entertaining picture. The characters of Ma and Pa Kettle soon got their own feature as well as several sequels.

Verdict: Colbert is a riot! ***.

SLEEP, MY LOVE

SLEEP,  MY LOVE (1948). Director: Douglas Sirk.

Sutton Place heiress Alison Courtland (Claudette Colbert) wakes up on a train to Boston with no idea how she got there. Turns out this is not the first time that this has happened. She also has weird nightmares and swears she keeps seeing a strange man in horn-rimmed glasses who claims to be a Dr. Rhinehart (Ralph Morgan) but looks nothing like the real one. We can also see this man, whose name is Charles (George Coulouris) and are let in early on that he's involved in some scheme with Alison's faithless husband Richard (Don Ameche), who has fallen for the slinky Daphne (Hazel Brooks) and has unpleasant plans for Alison. Bruce Elcott (Bob Cummings) is a man Alison met on the train and has become friends with; he's the only one who really believes she keeps seeing creepy Charles. The Gaslight -like plot of Sleep, My Love may not hold a lot of surprises, but the film is very entertaining in spite of it, thanks to Sirk's smooth direction and fine performances from the entire cast who make the most of the material. Raymond Burr appears briefly as a cop; Rita Johnson is Alison's muddle-headed friend Barby; and Keye Luke is Bruce's honorary brother, whose honeymoon is interrupted by sinister events. Hazel Brooks is as sexy and compelling in this as she was in Body and Soul with Garfield.

Verdict: Fun if minor suspense item with a creditable cast. ***.

TORCH SINGER

TORCH SINGER (1933). Director: Alexander Hall [with George Somnes].

"Why couldn't you have been a boy? The world's such a tough place for a girl to come to."

Sally Trent (Claudette Colbert), who had to give up her illegitimate baby girl for adoption, is a notorious torch singer who causes one scandal after another, but she is also known as "Aunt Jenny" (under the name Mimi Benton), the much-beloved singing hostess of a radio show for kiddies! Sally hopes to use the program to somehow reconnect with her little girl. Ricardo Cortez is Sally's producer and David Manners is the father of her baby. Baby Leroy [The Old-Fashioned Way] is in the cast (and gets high billing) as the baby of Sally's friend early in the picture, but the adorable little tyke hardly gets any scenes -- for shame! Colbert, obviously having a lot of fun, is swell in this picture; she can't sing to save her life but puts over her song numbers in spite of it. Mildred Washington is a delight as Carrie, Sally's sassy maid, and there's a nice bit from a little black child actress -- whom Sally hopes is her daughter until she sees her and realizes it isn't --  who is uncredited. It would have been nice to see the reaction of the sponsors when they finally discover who "Aunt Sally" really is, but we never do. 

Verdict: Completely contrived but very entertaining with Colbert in fine fettle. ***.

GUEST WIFE

GUEST WIFE (1945). Director: Sam Wood.

Chris Price (Dick Foran) and his wife Mary (Claudette Colbert) are about to depart for Manhattan for a second honeymoon when in blows Chris' best friend, reporter Joe Parker (Don Ameche). Parker has told his boss, the unctuous and moralistic Arthur Truesdale Worth (Charles Dingle) that he has a wife, even going so far as to send him Mary's photo. Mary is importuned to pose as Mrs. Parker in New York, which leads to embarrassing complications, and so enrages Mary that she pretends she's fallen for Joe just to get even with both men, one of whom is a creep (Joe) and the other a thoughtless fool (Chris). Colbert's spirited performance is the only reason to watch this fairly leaden "comedy" with unlikable and unsympathetic male characters. There is a mildly funny bit with a nosy shoe salesman in a nightclub, as well as a sequence wherein a bartender assumes the three principals are having a menage a trois, but otherwise this is pretty much a waste of an hour and a half. Sam Wood may have directed A Night at the Opera, but he couldn't do much with this script. Ameche is okay and Foran is as amiable as ever.  

Verdict: Don't be a "guest" in this movie. **.

THE SIGN OF THE CROSS

Claudette Colbert

THE SIGN OF THE CROSS (1932). Director: Cecil B. DeMille.

"I'm the emperor's most urgent business."

In 64 A.D. Marcus, (Fredric March), the prefect of Rome, falls in love virtually at first sight with Mercia (Elissa Landi). The problem is that Mercia is a Christian,as is her entire household, and Marcus causes all of Rome to gossip and watch in dismay as he defends her, although he doesn't share her beliefs. Another problem is that Emperor Nero's wife, Poppea (Claudette Colbert), has a thing for Marcus and is perfectly willing to commit adultery with him, which he refuses to do; she is not thrilled by his interest in Mercia. In the meantime hunky Tigellinus (Ian Keith), who should certainly pique the empress's interest but apparently doesn't, is already plotting against Marcus before the latter gives him plenty of ammunition due to his passionate interest in Mercia. If you can get past the pious nature of some of the scenes -- and some of the Christians do seem nuts -- this can and should be taken as a study of cruel oppression. The scenes of Christians being herded into an arena only to be mauled and eaten by lions are still quite raw and disturbing (if not as graphic as they would be today) and one can't help but think of the later Holocaust and its atrocities. [Ironically, Hollywood parties were probably more like Roman orgies than Christian prayer meetings.] Charles Laughton is excellent, as usual, in his brief appearances as Nero. Charles Middleton has a small role as the panicking Christian Tyros, who feels that God has forgotten his people. Tommy Conlon is excellent as the boy Stephen, who is tortured until he gives away the Christians' location. Colbert is as good as she was in Cleopatra, but March, frankly, never quite seems to get a handle on his character, perhaps because as written Marcus is a little unreal. There's a supposedly "lesbian" dance in which a woman seductively drapes herself around Mercia to music. The coliseum scenes are intense and harrowing and even if you're neither Christian or even religious it's hard not to be affected by the awful deaths of so many innocent people. [Ironically, many Christians today are similarly intolerant towards others.]

Verdict: DeMille has his cake and eats it, too! ***1/2.

CLEOPATRA

Wilcoxon and Colbert

CLEOPATRA (1934). Director: Cecil B. DeMille.

"I am dying, Egypt, dying."

In 48 B.C. Egyptian princess Cleopatra (Claudette Colbert) first falls in love with Julius Caesar (Warren William) and then feels even more passion for the magnetic Marc Antony (Henry Wilcoxon). In the meantime, there is a lot of  jockeying for power and all sorts of heinous betrayal from many quarters. This is an opulent, totally absorbing bit of "Hollywood" history that is remarkably entertaining from start to finish. Colbert gives one of her finest performances, matched by florid William and studly Wilcoxon as her paramours. Other stand-outs in a fine supporting cast include Ian Keith as Octavian and Joseph Schildkraut as King Herod. This film also has the bit with Cleo wrapped up in a rug that was featured in the inferior remake with Elizabeth Taylor. One of the film's highlights is the detailed, briskly-edited montage of the war between Rome and Egypt, with a smitten Antony desperately fighting against his own countrymen out of love for Cleo. Fascinating, handsomely produced, and well-directed -- and ultimately moving.

Verdict: DeMille and Colbert at the height of their power. ****.

FOUR FRIGHTENED PEOPLE

Colbert gives a come hither look in "Four"

FOUR FRIGHTENED PEOPLE (1934). Director: Cecil B. DeMille.

"This is practically virgin territory."

"Perhaps that's why Corder doesn't like it."

When bubonic plague breaks out on a ship, four passengers escape in a small boat and wind up in Malaya, where they have to go through a jungle with various pitfalls to, hopefully, make it to civilization. The four are geography teacher Judy Jones (Claudette Colbert), reporter Stewart Corder (William Gargan), society do-gooder Mrs. Mardick (Mary Boland), and unhappily married Arnold Ainger (Herbert Marshall). Leo Carillo plays Montague, who guides the four through the jungle. The prim, unsophisticated Judy blossoms into a woman during the trek, and soon Corder and Ainger are competing for her, even as some natives want to keep portly Mrs. Mardick prisoner until the others can return with her weight in rice. The rather dull narrative [despite all the goings-on] is briefly enlivened by the appearance of a carnivorous plant that eats a cute animal, and a playful chimp [probably played by the famous, talented Cheetah] who steals Judy's shoes. Colbert is initially quite good in the film, completely de-glamorized, but later on becomes shrill and irritating, overplaying every scene; the other actors are fine. Colbert gave some fine performances, but this is not one of them. DeMille made some great movies, but this is a tiresome throwaway, pretentious and often predictable.NOTE: This is the shorter 78 minute version, which is quite long enough.

Verdict: One trip through the jungle you can avoid. **.

BLUEBEARD'S EIGHTH WIFE

BLUEBEARD'S EIGHTH WIFE (1938). Director: Ernst Lubitsch.

Nicolle (Claudette Colbert) falls in love with the extremely wealthy Michael Brandon (Gary Cooper) but right before the wedding she discovers that he's already been married to -- and divorced -- seven other women! Distraught not only by the fact of his previous marriages, but his cavalier -- and financial --attitude toward matrimony in general, Nicolle marries Michael but becomes the Wife from Hell, hoping he'll divorce her and she'll get a lifetime annuity. This meant-to-be-frothy comedy, although written by Billy Wilder and Charles Brackett, is comparatively dull and mostly unfunny and illogical, and is no "screwball" classic. Cooper tries hard and has his moments, but he's no Cary Grant, and Colbert is at her most artificial and "actressy." Scenes between the two have absolutely no spontaneity but seem carved in cement. The supporting players, including Edward Everett Horton, Franklin Pangborn, Elizabeth Patterson, and David Niven, are more on the mark.

Verdict: One or two laughs, maybe, and you can miss them. *1/2