THE LINEUP

Partners in Crime: Robert Kieth; Eli Wallach

THE LINEUP (1958). Director: Don Siegel. Colorized. 

San Francisco cops Lt. Ben Guthrie (Warner Anderson) and his partner Al Quine (Emile Meyer of Shield for Murder) investigate a dope-smuggling racket when a solid citizen, Philip Dressler (Raymond Bailey), has his luggage nearly stolen by thugs pretending to be a bellboy and a cab driver. The cops discover $100,000 worth of heroin inside a statue that was sold to Dressler when he was in the Orient. As Guthrie and Quine track down the members of the gang, two men named Julian (Robert Keith) and Dancer (Eli Wallach of Plot of Fear) -- plus their new driver, Sandy (Richard Jaeckel of Come Back, Little Sheba) -- who report to someone known only as "the man," are driving around the city catching up with unsuspecting tourists who have no idea what their luggage contains. Things start to go haywire when Julian and Dancer try to find the drugs inside a doll owned by a little girl (Cheryl Callaway of Cry Vengeance) with an anxious and frightened mother (Mary LaRoche). 

Emile Meyer and Warner Anderson

The Lineup began life as a radio show and then was turned into a popular, long-running TV series in 1954. (Yes, even back in the day they made theatrical films from TV shows.) Warner Anderson played the same role in this movie as he did on TV, as did Marshall Reed as Inspector Asher. The actors playing cops are professional and solid but the movie is stolen by Keith and especially Wallach as the psychopathic Dancer. Then there 

Vaughn Taylor

is a notable confrontation between Dancer and "The Man" (Vaughn Taylor) at an ice rink that ends in a bravura moment of violence. The Lineup, well-photographed by Hal Mohr, is briskly edited and sharply directed by Don Siegel. Stirling Silliphant's excellent screenplay presents many characters who are fleshed out a bit more than in the typical thriller. The protracted chase sequence that occurs at the climax will have you on the edge of your seat. 

Verdict: Exciting and suspenseful crime thriller. The ice rink scene is amazing! ***1/2. 

EDGE OF ETERNITY

Victoria Shaw and Cornel Wilde

EDGE OF ETERNITY      (1959). Director: Don Siegel. 

Near the Grand Canyon, Deputy Les Martin (Cornel Wilde of The Naked Prey) pursues a pretty if reckless driver, Janice (Victoria Shaw), distracting him from preventing the horrible murder of an unknown man marked for death. As Les and Janice begin a romance, there are other murders as well, and the County Attorney expects action. Sheriff Edwards (Edgar Buchanan of Lust for Gold) may be forced to ask Les to turn in his badge if he doesn't come up with something. Then Janice innocently gives Les a clue to the first dead man's identity, meaning that her family might even be involved ... 

Dashing Wilde

Edge of Eternity has Wilde adeptly playing a less dynamic, more laid-back kind of individual who nevertheless will eventually get his man -- and woman. His co-star, Victoria Shaw [The Eddy Duchin Story], is also quite adept and thoroughly winning. Also notable is Rian Garrick, who plays Janice's half-drunken brother, Bob; this handsome actor had only a few credits. Mickey Shaughnessy, Dabbs Greer, Jack Elam, and Edgar Buchanan, among others, are old reliables who give solid performances. 

Edge of Eternity also benefits from a score by (Mr.) Daniele Amfitheatrof and Burnett Guffey's CinemaScope photography of those sweeping grand canyon vistas. When a cable car that travels high over the canyon is first introduced, you know that it will figure in the thrilling climax, which it does, although the deputy's actions are a bit too foolhardy to be believed -- still it makes for a rousing sequence. The stunt work at the end -- the long shots reveal no nets and no FX work -- is not only amazing but almost horrifying! This is probably the only movie ever made in which the producers offer thanks to the U. S. Guano Corporation! Australian-born Victoria Shaw was married for a few years to Roger Smith before his marriage to Ann-Margret; Shaw and Smith had three children. 

Verdict: This movie is no guano! ***.

THE GUN RUNNERS

Hemingway hero: Audie Murphy

THE GUN RUNNERS (1958). Director: Don Siegel.

Sam Martin (Audie Murphy of World in My Corner) has a charter boat operation that is barely squeaking by, and a pretty wife named Lucy (Patricia Owens of The Fly). One day a supposed fisherman named Hanagan (Eddie Albert) charters his boat and brings along his girlfriend, Eva (Gita Hall, who was introduced in this film). Hanagan makes Sam a proposition: to take him on an illegal voyage to Cuba, Sam is wary, but his boat is on the verge of being dispossessed, so he agrees, but he has his regrets as bodies begin to pile up.

Audie Murphy and Gita Hall

The Gun Runners is yet another adaptation of Ernest Hemingway's novel "To Have and Have Not," originally filmed as To Have and Have Not and later under the title The Breaking Point, the best and most faithful version of the three. On its own terms The Gun Runners -- even without Bogie and Bacall -- is at least as entertaining as To Have and Have Not. Murply's acting got better with each picture, and he's fine as an essentially decent man who makes some unfortunate decisions. Eddie Albert [On Your Toes], cast against type, is superb as the villain of the piece, and makes the most of his very nasty portrayal.

Everett Sloane

Another actor who almost steals the picture is Everett Sloane [The Big Knife], generally cast as executives and solid citizen types, herein also cast-against-type as an old rummy, Sam's alcoholic first mate, Harvey; he is outstanding. Alas the ladies in the cast don't fare as well. Patricia Owens simply doesn't have enough screen time to really register, and Gita Hall, although sexy and adequate in her femme fatale role, made only one other movie the same year and had one television credit fifty-five years later! Also in the cast are Richard Jaeckel and Paul Birch.

Verdict: Not the best version of the story, but Murphy makes an appealing and more-than-competent leading man. **1/2.

PLAY MISTY FOR ME

"Play Misty for me," says the lady on the phone

PLAY MISTY FOR ME (1971). Director: Clint Eastwood.

Radio DJ Dave (Clint Eastwood) plays easy listening on the night shift, and he consistently gets calls from a woman who says "Play Misty for me." One night Dave meets a woman named Evelyn (Jessica Walter) at a bar and has a one-night stand with her. She not only turns out to be the lady who requests Misty, but she seems to think this one encounter means that she and Dave are in a "relationship." Things get worse when Dave sleeps with her a second time, and she acts as if they're engaged, showing up uninvited, expecting him to act like a significant other when all he wants to do is get away from her. In spite of this, Dave shows compassion after Evelyn's suicide attempt [a doctor friend risks his license by not reporting the incident, even though it would have forced Evelyn to get help], after which Evelyn is even more deeply "attached" to the man. If anything her behavior gets worse ... Play Misty for Me is an entertaining visualization of one man's Casual Sex Nightmare, and features a striking performance from Jessica Walter with an okay Eastwood pretty much along for the ride. Eastwood also directed the film, which is well-shot by Bruce Surtees. There's an exciting, if too brief, climax wherein Evelyn tries to butcher Dave; a sequence where she stabs repeatedly at his poor maid, Birdie (an amusing and sassy Clarice Taylor) is acceptable but hardly has the "Psycho-like editing" one critic attributed to it. Eastwood, as usual, whispers all of his lines [the way a woman would if she wants to sound slinky] in a way he assumes sounds masculine and sexy. Donna Mills [Curse of the Black Widow] plays his on-again/off-again girlfriend, Tobie. In this she is sweet and fresh-scrubbed; she later successfully reinvented herself as a devious sexpot for the show Knot's Landing. John Larch ["It's a Good Life" on Twilight Zone] and Irene Hervey [Honey West] have notable bits as, respectively, a cop who comes afoul of Evelyn, and a radio producer who wants to sign Dave to a great new contract until Evelyn interferes. Duke Everts plays Tobie's gay friend Jay Jay like a stereotype, and Don Siegel has his first acting part as a bartender. A romantic sequence to the strains of Roberta  Flack's "The First Time Ever I Saw Your Face" is effective, but a long sequence at a jazz festival just stops the picture dead. Although I haven't seen Fatal Attraction in a long time, I think this is a better picture.

Verdict: A zesty Walter makes this a pleasure. ***.

THE BEGUILED

Geraldine Page, Clint Eastwood, Elizabeth Hartman

THE BEGUILED (1971). Director: Don Siegel.

During the civil war a wounded Union soldier, John (Clint Eastwood), winds up at a Southern girls school run by Martha (Geraldine Page) and her assistant, Edwina (Elizabeth Hartman). These two women and a couple of the nubile students are mightily intrigued by this Yankee, and agree to keep him hidden in the school until he's recovered, as they are afraid in his condition he might die in a rebel prison. With survival uppermost in his mind, John romances the two ladies, tells them anything they want to hear, and unsuccessfully fends off the advances of sexy student, Carol (Jo Ann Harris). Finally one night he gets an invitation from all three women, but whose bed should he go to, and what will the consequences be if he makes the wrong choice ...? The Beguiled is more about sexual tension than about anything else, and on that level it succeeds, although it could be argued that it's somewhat sexist and even rather silly at times. In spite of that the movie has a certain fascination. Eastwood [Revenge of the Creature] is more than adequate, although he's out-acted by his two powerhouse co-stars, with Page [Sweet Bird of Youth] convincing as the headmistress with her pansexual fantasies, and Hartman excellent as the virginal spinster who's come to see John as her escape. Harris, Pamelyn Ferdin [The Mephisto Waltz] as 13-year-old Amy, and Mae Mercer as the black servant, Hallie, are also notable. Siegel also directed the classic Invasion of the Body Snatchers.

Verdict: Obvious but entertaining and nearly a classic. ***.

PRIVATE HELL 36

Steve Cochran and Ida Lupino have plans

PRIVATE HELL 36 (1954), Director: Don Siegel.

Detectives Cal Bruner (Steve Cochran) and Jack Farnham (Howard Duff) are trying to find some stolen loot and the guys who snatched it. When a marked $50 bill is given to chanteuse Lilli Marlowe (Ida Lupino) as a tip, they interview her to find out what she remembers about the generous club patron; Cal and Lilli are drawn to one another. Things take a dark turn when one of the two cops decides to pocket some of the aforementioned stolen loot ... Private Hell 36 is a minor crime drama with some good acting from all of the principals; Lupino is especially appealing as the slightly hard-bitten but likable saloon singer. Dean Jagger scores as the wise older boss of the two detectives, and Dorothy Malone is fine in the brief, thankless role of Farnham's wife [although Lupino and Duff were married at the time they are not paired with each other]. The script is credited to Lupino and her ex-husband, Collier Young. Borderline film noir. Director Siegel's best-known film is arguably Invasion of the Body Snatchers.

Verdict: Interesting idea that's not developed all that well. **.

CRIME IN THE STREETS

CRIME IN THE STREETS (1956). Director: Don Siegel. 

Frankie Dane (John Cassavetes) is a troubled, aimless youth full of rage that has nowhere to go. Annoyed by an older man (Malcolm Atterbury) who snitched on one of his pals, Dane importunes two buddies to help him fulfill a plot to murder the guy. These friends include young Angelo (Sal Mineo, fine as usual) and Lou (Mark Rydell, who plays the character somewhat stereotypically gay). James Whitmore is fine as a social worker who tries to help Dane and the other boys, and Virginia Gregg gives the performance of her career as Frankie's mother, who just doesn't know how to deal with him. Will Kuluva is also notable as Angelo's troubled father, Mr. Gioia. Cassevetes, in his film debut, offers a knock-out portrayal, and Peter Votrian as his sensitive little brother, Richie, is also memorable. Reginald Rose's script is full of interesting characters and heart-felt moments, although the film may seem dated in its seeming belief that there are no sociopaths but just "misunderstood" boys. [A lot of viewers may feel that what nasty Frankie needs is not understanding but a good swift kick in the derriere.] Still, this is an interesting film with many good moments, an excellent Cassevetes, and an absolutely outstanding Gregg. NOTE: This has just been released on DVD as part of Warner Brothers Film Noir Classic Collection Volume 5. 

Verdict: Raw emotion served up with relish -- and possibly Gregg's finest hour. ***.

THE VERDICT (1946)

THE VERDICT (1946). Director: Don Siegel. 

Scotland Yard superintendent George Grodman (Sydney Greenstreet) loses his job to a rival, Buckley (George Coulouris), when it is discovered that a man he sent to the gallows for a murder was actually innocent. Then another murder occurs in the same family as before, and Buckley sets out to find the killer as Grodman does what he can to help him. Peter Lorre is cast as Victor Emmric, an artist friend of Grodman's, and Paul Cavanagh is Russell, who becomes a major suspect in the second murder. Rosalind Ivan is the hysterical landlady, and Joan Lorring is Lottie, a nightclub singer who was involved with the dead man. The picture at first seems to go in many different directions, but it eventually builds up quite a bit of suspense as to the identity of the murderer. The acting all around is excellent, although at times it may seem as if that wonderful team of Greenstreet and Lorre are just going through the motions (although it may just be some consummate underplaying). Terrific ending, and the film is fascinating on many different levels. Very well-directed for maximum tension by Donald Siegel, who also directed the science fiction classic Invasion of the Body Snatchers. This was his third directorial assignment. Lorring also appeared with Lorre and Greenstreet in Three Strangers. 

Verdict: Greenstreet and Lorre are always fun! ***1/2.

THE BIG STEAL

THE BIG STEAL (1949). Director: Don Siegel.

Duke Halliday (Robert Mitchum) meets up with Joan Graham (Jane Greer) in Mexico where both discover that they are in pursuit of the same man, Jim Fiske (Patric Knowles), who stole money from them. In the meantime Captain Blake (William Bendix) is in pursuit of Halliday. It takes a while to figure out who are the good guys and who are the bad guys in a movie that consists of a lot of seemingly aimless running and driving around. It all comes together in the climax, but by then it's a little too late. However, there are some exciting and suspenseful moments in the film, and the acting is good. Mitchum was at his best in roles like this, and The Big Steal offers one of his most credible performances. While Greer is not on his level, she's quite good when she's testily bantering with Mitchum. The ever-reliable Bendix is as good as ever and even Knowles turns in a solid performance. However the picture is almost snatched away by middle-aged Ramon Navarro, who is delightful as Inspector General Ortega. (Don Alvarado plays his lieutenant.) Pascual Garcia Pena of Black Scorpion and The Beast of Hollow Mountain plays a construction worker who helps Greer and Mitchum momentarily get away from Bendix.

Verdict: Distinctly minor but entertaining. **1/2.

INVASION OF THE BODY SNATCHERS (1956)

Dana Wynter, Kevin McCarthy and King Donovan

INVASION OF THE BODY SNATCHERS (1956). Director: Don Siegel.

Miles, a young doctor (Kevin McCarthy) returns from a trip to his home town of Santa Mira and discovers that many of the residents – his patients – are convinced that their loved ones – mothers, uncles, husbands and the like -- are not really their loved ones anymore. He and his one true love Becky (Dana Wynter) discover that the townspeople are slowly being replaced by unemotional, alien doppelgängers, This low-budget terror-by-daylight masterpiece manages to be creepy by slowly inserting the outré, such as a half-formed “corpse” slowly taking on the features of one victim, into the ordinary. Although this is as much a horror film as science fiction, it generally avoids the usual horror conventions, and there are no monsters in the sense that the monsters are alternate versions of us. [The film's detractors complain about this very prosaic, matter-of-fact element, which seems deliberate and not just due to budgetary restrictions.] In the fifties this was seen as having a subtext of anti-communism although today it can just as easily be seen (and usually is) as a comment on McCarthyism and the fear of non-conformity. Hell, mainly it works because it's just a good, scary movie that is very disquieting and even poignant: remember -- the townspeople are not just turned into drones, they are killed and replaced, their feelings, aspirations, and personalities [except when “performing” for the unconverted] simply eradicated. If there's a general flaw to the film it is that despite its intelligence, it at times fails to rise above a certain “schlock” level. Although Wynter and especially McCarthy are quite good in the film, neither of them really gets across the raw, terrified desperation – in fact, the utter despair -- they should be feeling. But the film is very well photographed, interestingly scored by Carmen Dragon (although the opening theme is forgettable), and for the most part works -- and chills – beautifully. One scene that always gives one pause is when Becky falls asleep and is replaced while Miles checks out the source of some music in the distance. One has to assume that a pod was somehow left near where she was sleeping, and that the duplicate put on her clothes and assumed the same position as the now-dead Becky. [The 1978 remake pretty much shows this happening, but despite some good sequences, it doesn't really compare to the original, being at times campy and a bit slow.]

Verdict: Great scary science fiction. ***1/2.