THE BONNIE PARKER STORY

Jack Hogan and Dorothy Provine

THE BONNIE PARKER STORY (1958). Director: William Witney.

In 1930's Oklahoma Bonnie Parker (Dorothy Provine of Kiss the Girls and Make Them Die) has a dead end job as a waitress after her husband, Duke (Richard Bakalyan), is sent up the river for 175 years. But then Bonnie meets the cocky "Guy Darrow" (Jack Hogan of The Cat Burglar), whose first passes are easily blocked by the feisty and easily-angered Bonnie. Eventually Guy convinces his new girlfriend that they could make a lot of money knocking off gas stations and the like, but Bonnie -- who proves much more strong-willed than Guy -- is sick of getting comparative chicken feed. Her new plan is to to break her husband out of jail and start robbing banks ...

Dorothy Provine as Bonnie Parker

Made almost ten years earlier than the more famous Bonnie and Clyde, this is arguably the better of the two pictures. Provine and Hogan give more convincing performances as these rather vicious individuals, and William Witney -- who helmed numerous cliffhanger serials -- knows how to keep things moving at a brisk pace and also creates lots of suspense in key moments. There are other good performances in the film as well: Joe Turkel [The Glass Wall] as Guy's brother; Patricia Huston as his girlfriend; William Stevens as a budding architect who sees a more romantic and tender side of Bonnie; Richard Bakalyan as Duke; Douglas Kennedy as a cop who is pursuing the couple; and others.

Jack Hogan as "Guy Darrow"

The picture has several good scenes, including the hold-up of a armored truck which is nearly interrupted by a boy scout troop and the terrified scoutmaster (Sydney Lassick), and a tense if amusing business when a cute little boy (Stanley Livingstone) seemingly identifies Bonnie and the others as "bank robbers." The climactic shoot-out is also extremely well-handled. One could argue that the film may not have a lot of period atmosphere and it's strange that Clyde Barrow's name was changed, albeit not very much.

Verdict: Very snappy AIP crime drama with vivid players. ***. 

CRY VENGEANCE

CRY VENGEANCE (1954). Director: Mark Stevens.

Former cop Vic Barron (Mark Sevens) comes to Alaska in search of mobster Tino Morelli (Douglas Kennedy), whom Barron feels is responsible for the death of his wife and child as well as his own facial disfigurement. Searching for the man and plotting his revenge, he encounters bar owner Peggy Harding (Martha Hyer) and old girlfriend, Lily (Joan Vohs). Barron is so understandably intent on getting even that he even contemplates harming Morelli's little girl, Marie (Cheryl Callaway). But before he can get to Morelli, he has to deal with a nasty blond hit man named Roxey (Skip Homeier). Homeier [Stark Fear], Hyer and Vohs [Lure of the Swamp] give the best performances in this; striving for a depiction of single-minded intensity, Stevens, who also directed, plays it all in one note. Mort Mills, the cop in Psycho, has a small role, as does Richard Deacon [The Birds] as a bartender.

Verdict: Acceptable if minor-league film noir. **1/2.

SAFARI DRUMS

SAFARI DRUMS (1953). Writer/producer/director: Ford Beebe.

A movie company has invaded Bomba's (Johnny Sheffield) turf and hope to get him to help them get some real animal action for the cameras. The director, Larry Conrad (Emory Parnell), wants some real "dramatic footage" from his cameraman, Steve (Paul Marion of The Lost Tribe). Peg (Barbara Bestar) is the secretary for the company, and they've hired a guide named Brad (Douglas Kennedy of The Amazing Transparent Man). When a geologist in the area is robbed of a map that may lead to diamonds, and murdered, Bomba realizes that one of those three men must have been the killer -- but which one? At least this is one jungle movie that admits there are no wild tigers in Africa, so Conrad brings a tiger with him so he can film an exciting scene pitting tiger against lion. Leonard Mudie and Smoki Whitfield appear, respectively, as Andy and Eli.

Verdict: This is an acceptable Bomba adventure, mostly for fans. **1/2.

THE LION HUNTERS

THE LION HUNTERS (1951). Writer/director: Ford Beebe.

Yes, Bomba (Johnny Sheffield) is back in his fourth adventure, discovering that a lion has been injured and left to die in agony. At first Bomba blames the Masai tribe, but then learns that certain hunters are capturing the noble beasts presumably to put in zoos and circuses. Bomba doesn't feel that any animal should lose his freedom, and a young lady named Jean (Ann Todd) comes to agree with him. Jean is the daughter of the kind-hearted Tom Forbes (Morris Ankrum of Rocketship X-M), but his business partner and fellow trapper Marty (Douglas Kennedy of Flaxy Martin) isn't quite so benevolent. Meanwhile Bomba sneaks through Forbes' encampment and frees all of the lions. In another development the Masai chief's son goes out to kill a lion as a rite of passage but panics, with Bomba trying to prevent further bloodshed. An all-out lion attack caps the action. This is not a bad Bomba adventure, and the stock footage is very cleverly integrated into the new action. Ann Todd, aka Ann E. Todd, is not to be confused with the British actress of the same name. She was a nice actress and had many film credits but this was her last film. She then became a regular for many episodes of The Stu Erwin Show. Sheffield, now twenty-one, makes a very appealing hero exhibiting both a strong and sensitive nature.

Verdict: The lions are beautiful. **1/2.

THE STRANGE INTRUDER

Edmund Purdom and Ida Lupino

THE STRANGE INTRUDER (1956). Director: Irving Rapper.

During the Korean war, Paul Quentin (Edmund Purdom) promises his buddy Adrian (Donald Murphy of Frankenstein's Daughter) that he'll make contact with his family back home if he dies. After the war, during which Adrian is killed, Paul goes to his town to meet his family, who are unaware that he has mental and emotional problems -- they take to him as a surrogate of Adrian's. For some reason Paul takes too literally Adrian's telling him that he wants his children to be with him, and interprets this as meaning he must kill them...  The Strange Intruder works as neither drama nor suspense film, although Purdom gives a decent performance, as does Ida Lupino, playing Adrian's widow, Alice. The rest of the cast is interesting, too: a nearly unrecognizable Ann Harding [The Unknown Man] as Adrian's mother; Gloria Talbott as his sister; Douglas Kennedy as Alice's lawyer; and Jacques Bergerac [The Hypnotic Eye] as an ex-lover who is out to blackmail Alice. Carl Benton Reid of Amos Burke Secret Agent is on hand as Adrian's disabled father, who is able to walk again right after he meets Paul. [This also fails as an allegory, if that was what was intended.] Irving Rapper directed much better pictures, such as Now, Voyager.

Verdict: This should have been a half hour episode of some fifties dramatic series, and even then it might not have amounted to much. **.

DARK PASSAGE

Clifton Young tries to put one over on Bogie

DARK PASSAGE (1947). Director: Delmer Daves.

Vincent Parry (Humphrey Bogart), who was convicted of murdering his wife, somehow escapes from jail and winds up in San Francisco. Helping him hide out and in other ways is Irene Jansen (Lauren Bacall), whose father was [she believes] also wrongly convicted of murdering her stepmother. During the first half or so of the film we never see Bogart's face, as just about everything is depicted from his subjective point-of-view. It is not giving much away to relate that Parry has plastic surgery, and wears bandages for more of the running time, until he is unveiled as -- Bogart. [Oddly we see Parry's original face in newspaper photos and he is depicted by a much better-looking man than Bogart. But when Parry looks in the mirror he isn't dismayed by the fact that he looks much older and is, frankly, quite homely.] The best scenes in Dark Passage have less to do with Bogie and Bacall than they do with the very tense business involving Parry with would-be blackmailer Baker (Clifton Young.). While Bogart and Bacall are both good in the movie they are overshadowed in the acting department by some members of the supporting cast, especially the aforementioned Young [who died tragically four years later] and in particular Agnes Moorehead, who gives a ferociously mesmerizing performance as Madge, a friend [of sorts] of Irene's and a would-be paramour of Parry's. Tom D'Andrea is good as the cabbie, Sam, and Houseley Stevenson certainly makes an impression as the plastic surgeon that Sam [rather conveniently] happens to know. Bruce Bennett, Douglas Kennedy [as a cop named Kennedy!], and Rory Mallinson are also notable. Dark Passage is a very entertaining and suspenseful film, but the often far-fetched plot has to be taken with a grain of salt and the characterizations could have used more pepper. Daves' direction isn't bad, but he's not on the level of a Hitchcock. Crisp photography and a nice Franz Waxman score are added bonuses.

Verdict: Suspend disbelief and you'll enjoy this formidable piece of film noir with a frankly formidable Moorehead. ***.

EAST SIDE, WEST SIDE

Nancy Davis [Reagan] and Barbara Stanwyck

EAST SIDE, WEST SIDE (1949). Director: Mervyn LeRoy.

"Just because a man has one perfect rose at home, doesn't mean he can't appreciate the flowers of the field."

"I waited so long for you to come back to me. I never dreamed that when you did, I wouldn't care."

Jesssie Bourne (Barbara Stanwyck) is convinced that her husband Brandon (James Mason) is over his infatuation with former lover Isabel Lorrison (Ava Gardner), now that she's out of town, but when Isabel comes back wanting more, Jessie worries that she might lose him. In the meantime Jessie finds herself drawn to a sympathetic admirer in former cop Mark Dwyer (Van Heflin) who is being courted by newspaper publishers. Lovely Cyd Charisse [The Unfinished Dance] is Rosa, who befriends the Bournes and had a childhood crush on Mark. Nancy Davis -- later the first lady when husband Ronald Reagan became president -- plays Jessie's friend Helen and isn't bad. Douglas Kennedy of Flaxy Martin is a wealthy suitor of Isabel's and Beverly Michaels of Wicked Woman and Blonde Bait is both saucy and sexy as the "big girl" [Michaels was five foot nine] who's carrying a torch for Kennedy. Presumably Gale Sondergaard [The Spider Woman Strikes Back] wasn't thrilled to be cast as Stanwyck's mother when she was only eight years older [and has to say she's fifty-five when she was actually only fifty] but she's as adept as usual. William Conrad of TV's Jake and the Fat Man and Cry Danger plays a cop. William Frawley has a bit part as a bartender, but in two years he would become as famous as the stars when he was cast as Fred Mertz on I Love Lucy. East Side, West Side had real possibilities as a serious drama -- and the script is full of good dialogue -- but ultimately it's too superficial and frankly dull. Stanwyck, Mason, Heflin, and even Gardner are better than the material.

Verdict: There's certainly more to Manhattan than this. **1/2.

FLAXY MARTIN

FLAXY MARTIN (1949). Director: Richard L. Bare. 

Although the hard-as-nails title character is played by Virginia Mayo, the real protagonist is lawyer Walter Colby (Zachary Scott), who's sick and tired of having to get off the scum who work for hood Hap Richie (Douglas Kennedy). When one of them murders a blackmailing lady named Peggy (Helen Westcott), Colby decides to take the rap when Flaxy, whom he loves, is suspected of the crime. On the run Colby runs into good girl Nora (Dorothy Malone), and proceeds to have some not-so-interesting battles with gunsels and the like. Mayo doesn't have that much to do in the film; she's okay if a little obvious. Scott offers another brisk, almost-on-the-edge portrayal. Studio bosses didn't think Dorothy Malone had much sex appeal when she was a brunette, and this picture proves it -- she looked and did much better as a blond. Douglas Kennedy was also in The Amazing Transparent Man and others. Many years later Richard L. Bare wrote and directed Wicked, Wicked (1973). 

Verdict: Pretty forgettable noir lite. **.

THE AMAZING TRANSPARENT MAN

THE AMAZING TRANSPARENT MAN (1960). Director: Edgar G. Ulmer.

Sinister Major Krenner (James Griffith) and tough moll Laura Matson( Marguerite Chapman) break Joey Faust (Douglas Kennedy) out of prison so he can steal nuclear material for them after being turned invisible. Krenner forces old Dr. Ulof (Ivan Triesault) to work for him by holding his daughter Maria (Carmel Daniel) captive. Krenner hopes to eventually build an army of invisible soldiers. Faust has other ideas of what to do with his new-found ability. Short, fast-paced and well-acted, with good FX work, The Amazing Transparent Man is fun and unpredictable with some suspenseful and exciting sequences. NOTE: Chapman did a lot of television work, appeared in a few movies, and was also in the serial Spy Smasher. Kennedy, who's very effective in the film, was also in The Alligator People and Invaders from Mars. Griffith also appeared in The Vampire (1957). Triesault played the dead Professor Göteborg in Journey to the Center of the Earth.

Verdict: Cheap but snappy. ***.