SPY IN YOUR EYE

Dana Andrews

SPY IN YOUR EYE (aka Berlino appuntamento per le spie/1965). Director: Vittorio Sala.

Colonel Lancaster (Dana Andrews) assigns two of his men --  Bert Morris (Brett Halsey) and Willie (Mario Valdemarin) -- to rescue Paula Krauss (Pier Angeli), the daughter of a deceased scientist who has invented a "super death ray." Both the Russians and Chinese want Paula in the hopes that she knows her father's secret formula. As the woman is shuttled back and forth from spy to spy and country to country, Colonel Lancaster has his missing left eye surgically replaced with a micro-telecamera that looks like a human eye. Lancaster thinks that only he can see out of his mechanical eye and doesn't realize that enemy agents are seeing and hearing everything that he does, and therefore have full knowledge of his agents' plans. 

Brett Halsey

This last aspect of the story is really the only point of interest in the movie, but little is done with it. Because Dana Andrews was still a name, and Brett Halsey a recognizable "B" actor, American filmgoers were fooled by a major ad campaign and saturation bookings into thinking they were seeing some kind of James Bond-type adventure. Instead they got a mediocre eurospy film  Aside from the fake eye, the movie is pretty low-tech, with Bert using special dehydration pills to get two bad guys to talk, and another bad guy employing a supposedly devastating weapon to shoot down a bird. 

Consultation: Halsey and Andrews

There is some mild excitement at the climax, in which the walls of a clinic move back and forth, creating new rooms to fool secret agents, a femme fatale is crushed, and the heroes and villains shoot it out amidst the melee.  The real voices of Halsey [Return of the Fly] and Andrews [Night of the Demon] are used, while the Italian actors are generally dubbed. Both actors had many, many more credits after this film was released, although this was not one of the better films that either performer appeared in. 

Verdict: Better than some eurospy movies but not great. **1/4. 

NIGHT SONG

Dana Andrews and Merle Oberon

NIGHT SONG (1947). Director: John Cronwell.  

Now here's a strange one. Wealthy Catherine (Merle Oberon of A Song to Remember) goes slumming in a nightclub one evening with friends, and is attracted to, and fascinated by, a talented composer, Dan (Dana Andrews), who is also sort of slumming as a piano player. Cathy is initiially distressed to realize that Dan is blind, but decides he needs a patron -- but how to get past his depression and indifference. She hits upon the incredibly tasteless idea of pretending to be blind herself, assuming a new identity and even renting a different apartment from her fancier digs. She is able to inspire Dan to finish his concerto, and in her true identity sponsors him in a competition. Now he has the money to get his eyes operated on, but will he forget all about the blind gal who helped him once he can see the world in all its glory -- including the real Catherine? She wants him to love her as the comparatively drab but steadfast and loving blind girl, not as the glamorous doyenne of the social register. 

James Bond? Hoagy Carmichael

Night Song was made during a period when hopelessly contrived movies came out one after another trading on the romantic and emotional element and the acting of its lead players. Sometimes they worked; sometimes they didn't. Night Song is about half and half. On the plus side are the actors, with Oberon proving once again that she was not just a beautiful face, handling all the cliches and absurdities with aplomb. The same is true of Dana Andrews, who keeps a straight face throughout. Then there's the marvelous Hoagy Carmichael as Dan's friend and clarinetist Chick, who goes along with the deception despite his misgivings (this is another credulity-stretching aspect to the story). Carmichael is charming and makes the most of his thankless role of the best friend. Incidentally, James Bond creator Ian Fleming always thought of 007 as resembling Carmichael, although he never went so far, to my knowledge, as to suggest him for the role. Carmichael gets to warble the snappy number "Who Killed 'Er?" 

A resplendent Merle Oberon

Ethel Barrymore is also excellent as Cathy's Aunt, Miss Willey, who lives with her and acts as her secretary-companion. She is given some of the tartest lines, and the screenplay has some interesting dialogue. Walter Reed [Emergency Hospital] and Donald Curtis [I Love Trouble] have a few moments as two of Cathy's friends and suitors, and Eugene Ormandy and Artur Rubinstein play themselves, with the former conducting Dan's completed concerto and Rubinstein playing the piano. Lucian Ballard's cinematography is first-rate and in some shots Oberon is strikingly gorgeous. The score is by Leith Stevens, who wrote the concerto that the two aforementioned classical musicians supposedly admire. It is perfectly pleasant movie music. This is another movie in which the hero essentially treats his love interest like crap.   

Verdict: You either go with the flow or think "you've got to be kidding me!" **1/2.        

EDGE OF DOOM

Farley Granger and Dana Andrews

EDGE OF DOOM (1950). Director: Mark Robson.

Father Thomas (Dana Andrews) tells a colleague (Robert Karnes)  -- who wants to leave this impoverished parish and go elsewhere -- the story of young Martin Lynn (Farley Granger), and how meeting him helped renew his faith. Martin's father was a criminal who committed suicide, and he hates the church because he was denied a Christian burial. Now Martin needs a raise to send his ill mother out of town, but his boss can't afford it. When the mother dies, Martin insists that old Father Kirkman (Harold Vermilyea of Manhandled) -- the one who denied the burial -- make up for all the money his mother gave to the church by paying for an elaborate funeral. Kirkman objects and things go downhill from there.

Granger with Mala Powers

Edge of Doom doesn't exactly take an intellectual approach to the material -- few "religious" movies ever do -- but it is nevertheless an interesting picture, and not as simple-minded as it might at first sound. An interesting aspect is the depiction of Father Kirkman. While he is not quite an ogre, he is also not the beneficent Bing Crosby-type of priest, being generally grumpy (and not in a cute way) and unpleasant, out of touch with his parishioners -- I wonder what the Catholic church thought of how he was portrayed. It would also be all too easy to dismiss Father Thomas as a bleeding heart who confuses reasons (for a person's behavior) with excuses, but it is easy to see why he has sympathy for Martin despite the young man's actions. Oddly, virtually no sympathy is expressed for the victim, despite his being an elderly priest! But this is typical of movies that focus more on troubled-young-men who become killers than they do on the ones they kill (especially if the killers are handsome).

In deep trouble: Farley Granger

The performances in the film are generally good. Granger at 25 may be a little old for the part but he certainly has affecting moments. Andrews is solid and convincing in an unusual role for him. Mala Powers is sensitive and effective as Martin's girlfriend. There is also good work from Paul Stewart as a neighbor, Robert Keith as a detective, Vermilyea as the older priest, Houseley Stevenson [Dark Passage] as Martin's boss at the flower shop, and Mabel Paige as an old woman who sees the priest killer outside the rectory and becomes a witness. Adele Jergens is a bit unsatisfactory as Stewart's girlfriend, however, especially in a scene she has with Andrews and Granger at the rectory. Douglas Fowley and Ellen Corby have smaller roles. Oddly Joan Evans, who was with Granger in Roseanna McCoy the previous year, receives top billing with him and Andrews but only has a small and relatively unimportant role as Father Kirkman's niece; she has one tiny scene with Granger. NOTE: Apparently the scenes with Andrews telling Martin's story were added after the film's initial release, as some feel the whole point of the movie and the novel it is based on is that the Church really can't do much to solve the problems of its parishioners.

Verdict: Imperfect but interesting crime drama. ***.

BRITANNIA MEWS

Maureen O'Hara and Dana Andrews

BRITANNIA MEWS (aka The Forbidden Street/1949). Director: Jean Negulesco.

In Victorian England Adelaide Culver (Maureen O'Hara of The Parent Trap), who comes from a wealthy family, falls in love with her painter-teacher, Henry Lambert (Dana Andrews of Where the Sidewalk Ends), and decides to marry him. The two reside in an area of tenements known as Britannia Mews, which Adelaide has been fascinated by since girlhood. Henry, who has made a group of intricate puppets that Adelaide has no use for, gets little work done and drinks too much, a situation that leads to tragedy. Blackmailed by an ugly and pitiful old woman known as "the Sow," (Dame Sybil Thorndike of The Prince and the Showgirl), Adelaide figures she has little to look forward to in life until she meets a man named Gilbert Lauderdale (also Dana Andrews), who bears a strange resemblance to Henry.

O'Hara and Andrews

Britannia Mews, which was rechristened The Forbidden Street for, presumably, box office reasons, is an odd picture that goes in a lot of different directions but on the other hand is entirely unpredictable. It's completely absorbing, although one can't say that it's completely satisfying. The performances are quite good, however. Andrews was supposedly angry that his voice was dubbed in British prints, but in the print I saw the dubbed voice was only used for bearded Henry, not clean shaven Gilbert, so this may have been intentional all along; in any case it's an excellent job of dubbing by the uncredited actor. Dame Sybil Thorndike, made up to look like the most hideous of harridans, certainly scores as Mrs. Mounsey, AKA the Sow. Anthony Tancred is also effective as Adelaide's sympathetic brother, Treff. Wilfrid Hyde-White has a small role as their father. This has an interesting score by Malcolm Arnold.

Verdict: Interesting aspects to this, but one can't quite escape the impression that this is just a well-polished bodice-ripper with pretensions. **3/4. 

THE SATAN BUG

George Maharis and Anne Francis

THE SATAN BUG (1965). Director: John Sturges.

Lee Barrett (George Maharis of Sylvia) is called in when several vials are stolen from a government lab. Some of these vials contain a deadly virus that can cause many deaths but will eventually die out itself. But one of the vials contains what scientists have termed "the Satan bug," an airborne, self-perpetuating, basically indestructible virus that can wipe out all of humanity within the space of two months! Barrett learns that a wealthy and mysterious man named Ainsley may be behind the theft after he makes certain demands, but he also fears that this mastermind may have a confederate in the lab. To show he means business Ainsley unleashes the "less" deadly virus on Florida, killing many innocent inhabitants. Now Barrett has to find the flasks and get them away from Ainsley and his associates before the worst can happen.

John Clarke, George Maharis, Simon Oakland

I had wanted to see The Satan Bug for years (although this was probably not the best time to finally take a look at it). It's a strange picture. It has many interesting elements and a few very suspenseful scenes, especially towards the end, but for much of its length the movie just sort of meanders under John Sturge's somewhat stodgy direction and this is its primary problem. The plot of the movie should have had the audience on the edge of its seat biting its nails, but aside from one or two scenes, it never develops that level of tension. George Marahis' role is ill-defined, which is also true of Anne Francis as his sort-of girlfriend and Dana Andrews as her father. The large supporting cast includes everyone from Richard Basehart (who is excellent) as a scientist to Edward Asner as a bad guy to Harry Lauter as a phony FBI agent to James Doohan as a real agent of some kind, and many others.

The film does have its moments. There's a tense business when Barrett enters a lab with a mouse with the realization that if the little creature dies he will have to be shot moments later to protect everyone else. There's the black and white footage the characters watch as a helicopter flies over the corpses all over the ground in Florida. Then there's a wild fight in a careening helicopter. But much of the suspense is minimized by poor pacing and sequences that don't add to the excitement but seem to detract from it. Still, The Satan Bug is undeniably creepy and generally absorbing. Sturges also directed Jeopardy.  A much better film on a somewhat similar theme is the excellent Andromeda Strain.

Verdict: Just misses being a really top-notch thriller. **3/4. 

HALLOWEEN HORROR -- PART TWO

HALLOWEEN HORROR -- PART TWO.

For the second weekly installment of my two part, two week annual Halloween horror round-up, Great Old Movies looks at a classic Alfred Hitchcock episode; a Roger Corman-Vincent Price-Edgar Allan Poe "collaboration;" a late entry slasher film that doesn't star Jamie Lee Curtis; and a supernatural horror film that doesn't star her, either, although she is in the supporting cast. (Hint: her mother is in it, too.). There's also a certified horror classic, Night/Curse of the Demon with Dana Andrews, and a sequel to that movie with the pumpkin monster that you read about last week.

Have a great Halloween!

NIGHT OF THE DEMON (1957)

NIGHT OF THE DEMON (aka Curse of the Demon/1957). Director: Jacques Tourneur. Screenplay by Charles Bennett and Hal Chester. Based on "Casting the Runes" by M. R. James.

Professor Harrington (Maurice Denham), who has challenged the abilities and veracity of a warlock named Julian Karswell (Niall MacGinnis), finds himself under a deadly curse, and is found dead and mutilated the following morning. Another skeptic, psychologist John Holden (Dana Andrews), arrives in London and hooks up with Harrington's beautiful niece, Joanna (Peggy Cummins), who is convinced that her uncle's death was not a grotesque accident. Holden is a complete non-believer, but he admits he is baffled by some of the things that have happened since he has encountered Karswell, whose supernatural claims he has come to investigate. Holden discovers that Karswell has secretly passed him a parchment covered in runic symbols which mark Holden as the next victim of a legendary demon. Although Holden scoffs at first, Joanna's near-hysteria and certain occurrences make him wonder if he really has something to fear ...

Dana Andrews and Peggy Cummins

Night of the Demon was released in the U.S. under the title Curse of the Demon with fifteen minutes cut from the running time. It is a superior horror film, with very good performances, a wonderfully creepy atmosphere, adroit direction from Tourneur, and sequences that stay in the memory. Clifton Parker's music adds just the right note, and Edward Scaife's [Tarzan's Three Challenges] cinematography is first-rate. At the time of the film's release and later, there were some who objected to the producers' insistence on including a demon during key sequences, suggesting that this ruined the ambiguity of the film -- is the supernatural real or is everyone over-reacting? -- but there are other sequences in the film (footprints suddenly appearing in the ground where no one is walking; a cat that turns into a much larger feline creature; those hands on the banister) that make it clear that the supernatural events are actually occurring. Besides, the monster looks great. Andrews' panicky run through the midnight woods with something after him is chilling, and despite the film's essential grimness, there is an amusing seance that features comic actor Reginald Beckwith, with Athene Seyler  [I Thank a Fool] as Karswell's conflicted mother. Brian Wilde makes an impression as the haunted prisoner, Rand Hobart, a member of Karswell's sect who has been driven insane. Tourneur also directed I Walked with a Zombie, among many others, but this is by far the better film.

Verdict: A highly effective, engrossing, well-made and scary horror film without a single severed limb and with a fine script by Charles Bennett and Hal Chester. ***1/2.  

SPRING REUNION

Betty Hutton and Dana Andrews

SPRING REUNION (1957). Directed and co-written by Robert Pirosh.

A small town is the location of a 15 year reunion for the high school class of 1941. The most popular girl in school, Maggie Brewster (Betty Hutton) is unmarried and works in her father's real estate office. Maggie has been trying to sell off a house owned by old classmate Fred Davis (Dana Andrews) -- "most likely to succeed" -- when he comes back to town and changes his mind. A romance begins between the two even as Maggie's friend, Barna (Jean Hagen of Singin' in the Rain), who has a husband and children, finds herself attracted to married former football hero, Jack Frazer (Gordon Jones of The Green Hornet), who seems to exist on reflected glory. Spring Reunion is a pleasant surprise, a light romantic drama greatly bolstered by some excellent performances. Betty Hutton, who I can find overbearing in some of her comedies, is not only lovely and comparatively subdued in this, but gives one of the best and most poignant performances of her career. Andrews is similarly excellent, as are Hagen and Jones, and Laura La Plante [Show Boat] and Robert F. Simon are wonderful as Maggie's parents. Spring Reunion is full of interesting scenes, such as one when Maggie's father makes it clear to her mother that he doesn't like the idea of taking a vacation without his daughter along, that it won't be much fun, and the mother's expression speaks volumes. In another good sequence, Maggie and Fred try to figure out why their lives didn't quite turn out the way they'd intended. James Gleason (billed as "Jimmy") is fine as a lighthouse keeper, and Sara Berner is fun as an impressionist who performs at the reunion. Irene Ryan (Granny from The Beverly Hillbillies) plays a high school official who doesn't know what "Smirnoff" is yet loves the spiked punch, but she isn't given enough to do. Hutton sings "That Old Feeling" and nails it, and Chopin's "Nocturne in E Flat Major" is used as an evocative theme.

Spring Reunion does reflect the attitudes of the time it was made in. Many single women in the fifties probably did feel like "old maids" because they were unmarried in their thirties, but even today women -- and men -- still hope to find someone special to share their lives with. As for Spring Reunion, many of Hutton's fans were disappointed that she wasn't the overly zany Betty Hutton they remembered. Subsequently, this was her last film, although she starred in her own TV show and had other television credits. This was also the last film -- and last credit -- for silent movie star Laura La Plante.

Verdict: Nice romance with some unpredictable touches. ***. 

UP IN ARMS

UP IN ARMS (1944). Director: Elliott Nugent.

Danny Weems (Danny Kaye, in his film debut) is a hopeless hypochondriac who not only thinks he has every ailment imaginable but convinces others as well (in the film's funniest sequences). Danny is also hopelessly smitten with pretty Mary (Constance Dowling) who only has eyes for Danny's buddy, Joe (Dana Andrews of Where the Sidewalk Ends). Meanwhile, nurse Virginia (Dinah Shore of Follow the Boys) is unrequitedly in love with Danny. Then Danny and Joe get drafted and the two gals join up as nurses, wherein all four find themselves on a ship sailing into the Pacific war zone. Up in Arms is supposedly a remake of Eddie Cantor's Whoopee, with the setting transferred from the wild west to WW2, where the sight of singing and dancing on a ship sailing into combat seems pretty silly. Indeed, although the movie starts off quite well, it soon becomes a little too silly, although Kaye is a wonderful performer and emerged a major star after this. Andrews, Dowling and Shore are marvelous support, and Shore gets to sing two memorable numbers, "Wildest Dreams" and "I Had a Man." A very odd sequence occurs when the two men and the two gals are sitting back to back on a bus, carrying on a conversation while pretending (according to military edict) not to know one another, with the result that it appears as if Kaye and Andrews -- and Dowling and Shore -- are wooing one another! The decidedly homophobic reactions from the other passengers, considering the time period, are a little discomfiting! Other cast members include Lyle Talbot (typically bland as a sergeant); Louis Calhern as a colonel; Margaret Dumont [Shake, Rattle and Roll], looking rather slender in a scene in a movie theater lobby; Elisha Cook Jr., Benny Baker, and George Mathews as fellow sailors; and Virginia Mayo as one of the beauteous Goldwyn Girls -- in short order Mayo would be deservedly co-starring with Kaye in several pictures. Constance Dowling (sister of Doris Dowling) was a pretty, perfectly competent actress, somewhat reminiscent of Veronica Lake, who made her debut in this film and made just a few others, often in Italy.

Verdict: Amiable nonsense that has little to do with the actual war. **1/2. 

STATE FAIR (1945)

Dana Andrews and Jeanne Crain

STATE FAIR (1945). Director: Walter Lang.

The Frake family head for the Iowa state fair with a variety of goals: Father Abel (Charles Winninger) wants his boar, Blueboy, to win a prize; mother Melissa (Fay Bainter) also wants to win a ribbon for her mincemeat; restless daughter Margy (Jeanne Crain) has spring fever and is hoping to meet someone more exciting than her fiance, Harry (Phil Brown of Obsession); and son Wayne (Dick Haymes) just seems to want to have fun. Margy meets a newspaperman named Pat (Dana Andrews), who tells her he'll just disappear if if doesn't work out with her, and Wayne encounters singer Emily (Vivian Blaine), who has a little secret. Frankly, the romantic aspects of the movie are a little lopsided -- who really falls sincerely in love in two days? -- and the siblings blow off their respective beaus with casual, if not heartless, ease, but this is standard stuff for the period and since everything is just a framework for some excellent Rodgers and Hammerstein tunes, it doesn't really matter. "Spring Fever," "That's For Me," "I Owe Iowa" are all fine numbers, but the best songs are Haymes [Irish Eyes are Smiling] and Blaine's zesty delivery of "Isn't It Kind of Fun?" and the movie's best song, the beautiful "It's a Grand Night for Singing," a classic Rodgers melody. State Fair was not based on a Broadway show but on the first State Fair film, a non-musical starring Will Rogers made in 1933, although Oscar Hammerstein II wrote the screenplay for this remake (just as he did the librettos for their stage musicals). The acting in this is uniformly excellent, with Donald Meek nearly stealing the picture as a judge who gets drunk on Melissa's brandy-soaked mincemeat. Percy Kilbride scores as the Frakes' pessimistic neighbor, as do Jane Nigh, Harry Morgan, and William Marshall [The Phantom Planet] in smaller roles. Remade in 1962; both versions are in color.

Verdict: As stories go, this is not exactly The King and I, but the performances are good and the songs are all lilting and memorable. ***.

CRACK IN THE WORLD

Kieron Moore and Janette Scott

CRACK IN THE WORLD (1965). Director: Andrew Marton.

Dr. Stephen Sorenson (Dana Andrews) and his team have developed a way to bring magma to the surface for a variety of energy needs, but an atomic bomb must be shot down into the core for it to work. Dr. Ted Rampion (Kieron Moore) is opposed to the idea, sure that it will cause massive earthquakes and severe structural damage to the earth. Guess who's right? A fissure is formed in the Mercedo trench which threatens to stretch at 3.5. miles an hour and could literally tear the world apart. Complicating matters is the fact that Rampion used to be the lover of Sorenson's wife, Maggie (Janette Scott), herself a scientist. Crack in the World sets up an exciting premise but has too low a budget to do it justice, relying on stock footage and only really coming alive in the final few moments. The performances are fine, however, with the under-rated Dana Andrews [Where the Sidewalk Ends] giving another good account of himself, and Moore [Satellite in the Sky] and Scott [Paranoiac] on top of things. Alexander Knox is also fine as Sir Charles Eggerston, who heads the committee that determines whether or not the rocket should be fired. Most of the film's excitement comes from the score by John Douglas. The love triangle business isn't especially convincing.

Verdict: An early disaster film that didn't start a trend. **1/2.

THE CROWDED SKY

THE CROWDED SKY (1960). Director: Joseph Pevney.

While Captain Dick Barnett (Dana Andrews) and his bitter co-pilot Mike Rule (John Kerr) fly an airliner, a small Navy jet piloted by Dale Heath (Efrem Zimbalist, Jr.) is heading in the same general direction. Heath notes to his passenger McVey (Troy Donahue) that there are "2000 near-misses each year." As the audience tenses itself for the disaster to come, the movie features flashbacks showing the back stories of several of the characters, including crew and passengers. Rhonda Fleming [While the City Sleeps] is Heath's bored and unfaithful wife; Anne Francis is a stewardess in love with Rule; Barnett has a poor relationship with his son, Dick Jr. (Ken Currie); and so on. The Crowded Sky manages to maintain suspense not just over the plane situation, but also over the various characters' inter-relationships. Some of this is soap opera, but it is generally interesting to watch. Keenan Wynn flirts with a passenger, Jean Willes [Desire Under the Elms], whom he jilted years before and whom he doesn't recognize, while Patsy Kelly is an agent for actor Tom Gilson, both of whom feature in scenes of -- on one occasion -- inappropriate comedy relief. Joe Mantell plays the likable navigator, Louis, whose grotesque death is pretty much forgotten (shockingly) by the other characters. There is evidence that much footage was left on the cutting room floor, as Troy Donahue's role practically amounts to a bit, and another major character's death is also not given any kind of moving post script, making it all seem a rather callous exercise. One suspects there's a much better movie left somewhere, but The Crowded Sky is still quite entertaining. Freida Inescort shows up briefly as a woman who may or may not be Kerr's mother. The acting in this is perfectly okay but nobody really stands out as anything special. Pevney also directed The Strange Door.

Verdict: Stay on the ground. ***.

BRAINSTORM (1965)

Jeffrey Hunter

BRAINSTORM (1965). Director: William Conrad.

Jim Grayam (Jeffrey Hunter) discovers a passed out blond named Lorrie (Anne Francis) in a car on the railroad tracks. Saving the woman, he takes her home to her wealthy husband, Cort Benson (Dana Andrews), where it becomes obvious that this is a marriage from Hell. Jim and Lorrie begin an affair (incredibly, they seem to think they're being discreet), and Jim is subjected to a campaign of harassment. Then Jim decides that the only way for the couple to be free -- and be free to take care of Lorrie's small daughter -- is to plot a murder ... Brainstorm features a very good performance from the "impossibly" good-looking Hunter [Belles on Their Toes] and isn't badly directed by portly actor William Conrad [Cry Danger]. Francis is more than okay, but Andrews is atypically listless as Benson. Viveca Lindfors, with her Cheshire cat grin, is very effective as a psychiatrist who has to determine Jim's sanity. Mann Rubin's screenplay -- he also wrote An American Dream --  becomes increasingly implausible as it progresses, however. Strother Martin, Kathie Browne, and ham-handed Richard Kiel have smaller roles, and the last two are certainly vivid. Conrad is seen in the background of a hospital as an asylum inmate. Francis and Hunter appeared together as a romantic couple in Dreamboat 13 years earlier.

Verdict: Quite effective lead performance in half-baked melodrama. **1/2.

FALLEN ANGEL

Alice Faye and Dana Andrews

FALLEN ANGEL (1945). Producer/director: Otto Preminger.

" ... and love alone can make the fallen angel rise,  for only two together can enter paradise."

In a small coastal town not far from San Francisco, ex-publicity man Eric Stanton (Dana Andrews) has set his sights on the wealthy June Mills (Alice Faye), whose sister, Clara (Anne Revere), may be a tougher nut to crack. Then there's sexy waitress, Stella (Linda Darnell), who may throw a monkey wrench into Eric's schemes if he's not careful. A murder investigation ensues, which brings in tough detective Mark Judd (Charles Bickford), and a suspect named Dave Atkins (Bruce Cabot). Fallen Angel can be looked upon as a mystery, film noir, or whatever you want to call it, but it's full of such good performances and nice moments that it emerges as a strong (if flawed) and compelling drama. In a different role for her, Faye [On The Avenue] is excellent as a woman who loves someone unconditionally -- she has a particularly good moment telling Eric how she feels about him  --  Darnell [Day-Time Wife] is vivid and vital as the saucy waitress, and Andrews [Boomerang] gives another sharp and solid performance, playing a man who is more complex than he first appears. Revere, Cabot, Bickford, as well as John Carradine as a professor and Percy Kilbride as a cafe owner with feelings for Stella, are all on the mark. The story is, perhaps, wrapped up a bit too neatly, but this is an engrossing and interesting movie.

Verdict: One of Preminger's better efforts. ***.

WHERE THE SIDEWALK ENDS

Dana Andrews confronts Gary Merrill

WHERE THE SIDEWALK ENDS (1950). Producer/director: Otto Preminger.

Detective Mark Dixon (Dana Andrews) is a tough cop who has been warned once too often to use less force when "interviewing" suspects, but he goes too far and inadvertently kills a war hero with a plate in his head (Craig Stevens of Peter Gunn), then covers it up. As part of his investigation he meets the dead man's estranged wife, Morgan (Gene Tierney), whose father (Tom Tully) is arrested for the crime. Mark's guilt increases as he and the lovely Morgan are drawn to one another, and she worries terribly about a man whom Mark knows is innocent. Will he do the right thing? Where the Sidewalk Ends reunites the director and leads of Laura and is good enough that you don't even miss Clifton Webb. Andrews, Tierney, Gary Merrill (as a crook Mark has been trying to ensnare), and even Craig Stevens all give adept performances, and there is good support from Tully, Karl Malden and Bert Freed as cops, Eda Reiss Merin as Freed's wife, and Ruth Donnelly as a restaurant owner and friend of Mark's. More proof that Dana Andrews was an under-rated actor.

Verdict: Smooth romance-suspenser with some fine performances. ***.

HOLLYWOOD ENGIMA: DANA ANDREWS

HOLLYWOOD ENIGMA: DANA ANDREWS. Carl Rollyson. University Press of Mississippi; 2012.

While perhaps not in the top tier of movie stars, Dana Andrews did have a long, successful career and starred in a great many movies, the most famous of which is probably Laura. Due to what Rollyson describes as a "minimalist" acting style, Andrews could at times be unfairly seen as a Great Stone Face, although some of his performances belie that impression; he got his characters' feelings across with less showy effects. Andrews' big problem was alcoholism, which began to affect his life and his work as the years went by, until he got on the wagon and went public with his affliction in a public service TV spot against drunk driving -- certainly an act of courage. Andrews was no great fan of the phony Hollywood lifestyle, and avoided such rockbound Republicans as Wayne and Heston. Written with the cooperation of Andrews' family -- much of the info on his early life comes from a series of letters, perhaps related in a little too much detail -- the negative elements of his life are mentioned if downplayed. Basically this is a solid look at the actor's life and times. Some of Andrews' most memorable films and performances include Boomerang, Beyond a Reasonable Doubt, and an episode of the TV series Checkmate. 

Verdict: Compelling bio of an interesting man and performer. ***1/2.  

LAURA

Clifton Webb and Gene Tierney

LAURA (1944). Producer/director: Otto Preminger.

"For a charming, intelligent girl you've certainly surrounded yourself with a collection of dopes." -- Waldo Lydecker.

"I write with a goose quill dipped in venom." -- ditto.

"This is beginning to assume fabulous aspects!" -- ditto.

Detective Mark McPherson (Dana Andrews) is put on the case when a lady advertising executive, Laura Hunt (Gene Tierney), has her face blown off by a shotgun blast from an unknown killer. The suspects include her alleged fiance, Shelby (Vincent Price), her Aunt Ann (Judith Anderson), who is in love with Shelby, and Laura's patron Waldo Lydecker (Clifton Webb), who was not so much in love with Laura as he wanted to possess her because he feels she owes him everything. [A very important flashback sequence that was stupidly deleted but can now be seen on the DVD shows the early evolving relationship of Lydecker and Laura.] Preminger's direction is strictly routine, but the movie works because of the dialogue and acting; everyone [including Dorothy Adams as the rather neurotic maid, Bessie] is at their best and Webb, in his first major screen role, is magnificent; his trading bitchy barbs with Vincent Price is, eh, priceless. One especially stupid moment occurs when a certain character, knowing that a killer is on the loose who shoots people in the face point blank and that she might be next on his list, opens a door without even asking who it is. For all its flaws the picture is quite entertaining, and if nothing else, it turned the wonderful Webb into a major star.

Verdict: At least it doesn't have Lee Radziwill, who played Laura in a 1968 telefilm. ***.

BEYOND A REASONABLE DOUBT (1956)

BEYOND A REASONABLE DOUBT (1956). Director: Fritz Lang.

After viewing an  execution in a prison, writer Tom Garrett (Dana Andrews) and newspaper publisher Austin Spencer (Sidney Blackmer) have a discussion in which the latter wonders if the dead man, convicted on purely circumstantial evidence, could have been innocent. While Spencer is very much opposed to the death penalty, Garrett is thinking more of what a great book it would make if the two of them conspired to make it look as if the latter were responsible for the unsolved murder of a show girl. The idea is to get the innocent Garrett convicted and then whip out photographs Spencer has taken of Garrett planting phony evidence. (It doesn't occur to either of them that by tampering with evidence and obstructing justice they would both be committing serious crimes.) The biggest problem is that the two men don't include Spencer's daughter Susan (Joan Fontaine), who is engaged to Garrett, in the loop. While the whole movie has to be taken with a grain of salt, Beyond a Reasonable Doubt moves at a brisk pace and is quite entertaining, offering a neat twist that most viewers won't see coming. Andrews' stoicism serves him well as Garrett, Blackmer is as good as usual, and Fontaine is simply outstanding in her strongly emotional scenes as Joan. Arthur Franz, Shepperd Strudwick, Barbara Nichols and Philip Bourneuf are also solid in supporting roles. Remade -- quite well -- in 2009.

 Verdict: Invigorating suspense film with neat finale. ***.

WHILE THE CITY SLEEPS

WHILE THE CITY SLEEPS (1956). Director: Fritz Lang. 

A young man called "the lipstick killer" is stalking women in the city during a shake-up at a newspaper where several men hope to be named the new editor. Dana Andrews is a hot-shot reporter; Ida Lupino is Mildred, a columnist; Vincent Price is the neophyte publisher; Rhonda Fleming is his unloving wife, Dorothy; James Craig is Dorothy's handsome lover; and George Sanders is an executive with his eye on the prize. The interesting cast, a generally fast pace, and a couple of exciting scenes -- such as a chase in the subway -- may keep viewers from initially noticing that this would-be sprawling movie is kind of mediocre. There's a dumb attempt, typical of the period, to blame juvenile delinquency on comic books! 

Verdict: Busy but basically insubstantial. **1/2.

THE FEARMAKERS

THE FEARMAKERS (1958). Director: Jacques Tourneur.

Alan Eaton (Dana Andrews) comes back from a POW camp in Korea to find out that the partner in his polling firm has been killed and that he apparently sold out to a man, Jim McGinnis (Dick Foran), who uses shady methods and who seems to have a communist agenda. Although it's not the main point of the film, The Fearmakers examines how polls can be influenced by loaded questions, poor research, etc. to say whatever the pollster wants them to say -- an "unamerican" practice that has, sadly, been going on in America for decades now. Eaton agrees to join the firm only to investigate it for a concerned Senator friend, and winds up threatened and victimized by McGinnis and his cronies just as he was by the Koreans. The film has interesting casting, especially singer Mel Torme who plays an employee of the firm -- the "velvet fog" is quite good as the man who turns against his bosses out of love for a pretty secretary (Marileee Earle) whose life is endangered. Veda Ann Borg and Kelly Thordson are vivid as a battling married couple with whom Eaton boards for a hectic night. Senator Walder is played by Roy Gordon, who was the doctor in Attack of the 50 Foot Woman. When Eaton sees the Senator's picture on the cover of Time, you almost expect Eaton to open the magazine to find pictures of a giant Allison Hayes in her underwear with Gordon pontificating on her in a sidebar. Dennis Moore, who plays an Army doctor, also appeared in serials The Mysterious Mr. M and The Purple Monster Strikes, not to mention The Mummy's Curse. The main problem with this movie is that it has few thrills.

Verdict: Not fearful enough. **.