TEN LITTLE INDIANS (1965)

Hugh O'Brian and Shirley Eaton

TEN LITTLE INDIANS (1965). Director: George Pollock. 

Ten people, including two servants, are given invitations to work or play at an isolated estate located high atop a mountain and accessible only by cable car. They discover the strange nursery rhyme about "ten little Indians" in each of their rooms The mysterious voice (Christopher Lee) of their unseen host declares that they have each gotten away with killing someone, and now it is time to pay the piper. The first to go is singer Mike Raven (Fabian), who ran over two people and barely got a slap on the wrist -- he dies by arsenic -- and then more murders occur, somehow each corresponding to the method of death mentioned in the rhyme. Will anyone be left alive? 

Leon Genn and most of the group

George Pollock had previously directed four Agatha Christie "Miss Marple" adaptations, and he does a good job adapting her "And Then There Were None/Ten Little Indians" to the screen. While I might have preferred a little more tension, this is not quite as "cutesy" -- for lack of a better word -- as the forties film And Then There Were None. Hugh O'Brian pretty much smirks his way through the movie, as if he were above it all (which he isn't), but his performance is adequate, although the other cast members are more on target. Stanley Holloway, Shirley Eaton, Dennis Price, Leo Genn, and Mario Adorf (as the houseman) deliver adept performances, while Fabian gets an "A" for effort and Wilfrid Hyde White seems to think he's back in that forties adaptation and can best be described as annoyingly impish. Surprisingly Daliah Lavi has a very good turn as the high-maintenance actress Ilona Bergen, and comes through in her scene when she admits all about her past. As the cook and housekeeper Marianne Hoppe is, perhaps, a bit too hysterical. 

Dennis Price and Wilfrid Hyde White

This version transplants the story from an island to a mountaintop and two of the murders center on falls from great heights, one in a cable car whose cable snaps, and the other while a character attempts a climb down the mountain to get help; these are well-handled, and the film has genuine suspense. O'Brian and Eaton are given a love scene that seems a bit out of place. Malcolm Lockyer's jazzy score does little for the picture, but the lensing is sharp thanks to cinematographer Ernest Stewart. This was George Pollock's last theatrical feature. 

Verdict: Very entertaining Christie picture with some fine performances. ***, 

THE RETURN OF DR. MABUSE

Daliah Lavi and Lex Barker 

THE RETURN OF DR. MABUSE (aka Im Stahlnetz des Dr. Mabuse/1961). Director: Harald Reinl.

Commissioner Lohmann (Gert Frobe) is alerted to the murder of an operative, an event which might be of major importance, and cancels his vacation. As the mysterious masked Dr. Mabuse slays his enemies second-hand and plots an attack on a power plant, Lohmann is aided by FBI agent Joe Como (Lex Barker), who may actually be a representative of the syndicate from Chicago. The syndicate wants to work with Mabuse, but he needs to show off the efficacy of his will-sapping drug. Como romances photo-journalist Maria (Daliah Lavi), whose father has been imprisoned by Mabuse and has developed the aforementioned gas. Lohmann suspects that Mabuse is operating out of a prison this time, and presumes Warden Wolf (Fausto Tozzi of Constantine and the Cross) is the master criminal, but there are unexpected developments. Other possible suspects include prison employee Bohmler (Werner Peters of Phantom of Soho); Father Briefenstien (Rudolph Fernau); and even Lohmann's assistant, Detective Voss (Joachim Mock). This is sort of a sequel to The 1000 Eyes of Dr. Mabuse, although Fritz Lang did not work on this film, and Frobe's name has been changed back to Lohmann after "Kras" was his surname in the previous picture. There's an assassin with a wooden leg, and a truck that shoots flames out of its side and roasts to ashes another female Syndicate operative. The score and dubbing are poor, with no one using their own voices, an especial problem for Daliah Lavi [Some Girls Do] who isn't much of a sex bomb without that husky voice and her bosom draped. As usual in these dubbed Mabuse pictures the man's name is pronounced "Ma-booze" when it should be "Ma-boo-suh." This picture repeats the bit with the couple trapped in a room filling with water that was used in Lang's Testament of Dr. Mabuse, but it's not as effective. Wolfgang Preiss again plays Mabuse but he doesn't actually show up until the end, after he removes another character's mask. Mabuse would return more than once.

Verdict: Some interesting stuff but perhaps not enough. **1/2.

THE WHIP AND THE BODY [AKA WHAT]

THE WHIP AND THE BODY [aka What/La frusta e il corpo1963]. Director: Mario Bava [attributed to "John M. Old"].

The Menliff family is disturbed by the reappearance of errant son Kurt (Christopher Lee), who went away after his dalliance with a maid led her to take her own life. Her mother (Harriet Medin), another domestic, keeps the bloody knife her daughter used to kill herself under glass as a morbid memento, and it is used when people in the Menliff castle start getting murdered. Is someone human behind the slayings, or is it a ghost from beyond the grave? The title is apparently explained by more than one sequence in which Kurt whips his sister-in-law Nevenka (Daliah Lavi), who was once affianced to him but then married his brother Christian (Tony Kendall), and who seems to enjoy the sadomasochistic foreplay. Like most of Mario Bava's movies this one has atmosphere, good photography and settings, and is drenched in the usual bizarre and colorful lighting schemes, but it's also a bore, with lots of walking around and brooding that amounts to very little; there's nothing remotely scary about it. However, the film has one of the best dubbing jobs of an Italian import, and the voices are well chosen, especially the actor who dared to dub Christopher Lee.

Verdict: Another bad Mario Bava movie. Watch his superior Blood and Black Lace instead. **.