THE WITNESS CHAIR

Walter Abel and Ann Harding

THE    WITNESS CHAIR     (1936). Director: George Nichols Jr. 

Stanley Whit-taker (Dou-glass Dumbrille) is found dead of a gunshot in his office. Although he left a suicide note admitting to embezzlement, the police determine that his death was really a homicide. Whittaker's associate, Jim Trent (Walter Abel of Fired Wife) is put on trial for the murder, but other suspects and interested parties include secretary Paula Young (Ann Harding of When Ladies Meet), bookkeeper Grace Franklin (Margaret Hamilton), office boy Benny Ryan (Billy Benedict), and even Trent's daughter, Constance (Frances Sage), who inexplicably wanted to run off with the much older and not especially attractive Whittaker. During the trial, the truth behind the murder eventually comes out. 

William "Billy" Benedict

The Witness Chair is an entertaining if very minor crime/court-room drama with generally good performances and a tidy if unspectacular screenplay. Ann Harding is as efficient as ever, even if her performance is of the long-suffering, hand-wringing variety. Back in the day, Harding was a major star -- this is a lesser vehicle for her -- but today she is known only to film buffs. Like Kay Francis and others, her films didn't show up on the late show until the days of TCM. Walter Able, a fine actor, was a leading man who later became a supporting player. The prolific Billy Benedict almost steals the film with his comic turn as the office boy, who hopes for a singing career and is annoyed that he gets such a short time in the witness chair. Margaret Hamilton is snappy as the outraged bookkeeper who insists that her boss, Whittaker, was innocent of theft. 

Verdict: Smooth easy watching if nothing to get excited about. **1/2. 

JUPITER'S DARLING

George Sanders and Esther Williams -- in the same movie!

JUPITER'S DARLING (1955). Director: George Sidney.

"If Hannibal attacks and Rome is destroyed, we can be buried together as man and wife." -- Fabius.

In 216 B.C. Hannibal (Howard Keel of Seven Brides for Seven Brothers) is marching toward Rome with hundreds of men and sixty elephants to sack the city. Inside the city, the dictator Fabius (George Sanders) tries his best to marry his recalcitrant fiancee Amytis (Esther Williams) while hoping he can hold the barbarians at bay. Amytis and her maid, Meta (Marge Champion), sneak off to grab a peek at the elephants -- and handsome Hannibal -- and before you know it they are captured by Hannibal's men. Now it's a question if Hannibal will murder Amytis as a spy or fall in love with her.

Howard Keel as the lusty Hannibal

Jupiter's Darling is a real oddity. First we have Esther Williams and George Sanders in the same movie, although it must be said that they play perfectly well together, although it's no question that despite Williams adroitness in this kind of stuff Sanders is the better actor. Then we have to take into consideration that this is, after all, an Esther Williams Musical and she does manage to get in a fair amount of swimming. Jupiter's Darling is also a kind of war movie (although the climactic battle never quite takes place) as well as a romance and action story. Everything but the kitchen sink. It would be all too easy to laugh at the picture if we were meant to take it seriously, but we're obviously not, and although the picture was a financial bomb for MGM -- it probably cost a fortune to make --  it is also quite entertaining and quite successful on several levels.

The magnificence of Rome

First there is the look of the picture. The cinematography by Paul Vogel and Charles Rosher is outstanding and the movie -- filmed in CinemaScope and Eastman color -- is great to look at throughout, thanks also to art direction by Cedric Gibbons [Tarzan and His Mate] and Urie McCleary. There is especially stunning underwater photography, and the underwater sequences are in every way splendid. Esther dances with some statues that come to life, and later is chased by three of Hannibal's men in an exciting and protracted sequence wherein you wonder when the participants managed to get some oxygen. The songs by Harold Adamson [Change of Heart] and Burton Lane are more than pleasant, with Keel warbling "The Road to Rome," "I Never Trust a Woman," and "Don't Let This Night Get Away." The soldiers come out with "Hannibal, Oh Hannibal," on more than one occasion. Although a dubbed Williams gets to sing "I Had a Dream", the duet she later sings with an un-dubbed Sanders, as well as a dance number for Marge and Gower Champion (playing another slave/soldier) was criminally cut, although it can be seen on the DVD.

Marge and Gower Champion dance with Hannibal's elephants

Speaking of the dancing, although his number about how he loves being a slave is in questionable taste, Gower delivers some fancy footwork in this sequence. Gower and his wife Marge really show off in a subsequent number in which they dance with a group of well-trained and talented elephants. (For the end of the film, the elephants were dyed different colors!) Hermes Pan did the lively choreography for the film. Keel, Williams, and especially Sanders, all offer good performances (albeit nothing Oscar-worthy), and they get excellent support from Norma Varden as Fabius' disapproving mother, Richard Hadyn as an historian, and Douglass Dumbrille as one of Fabius' generals.  An interesting aspect of the movie is that the heroine is essentially a traitress, although she does not kill anyone as some people have wrongly suggested. Another interesting aspect is that there's no way even audiences of the time could get around the fact that Hannibal and Amytis -- who fears becoming a vestial virgin -- are really shaking up that tent as Hannibal keeps postponing the sacking of Rome to satisfy his lusty appetites!

Verdict: Say what you will, this is an entertaining, colorful, and occasionally sexy MGM romp. ***. 

FEDERAL MEN / TREASURY AGENTS IN ACTION

"Have you paid your taxes?" Walter Greaza

FEDERAL MEN (aka Treasury Agents in Action/1950 - 1955.

This long-running fifties crime drama, consisting of 190 half hour episodes, looked at various, supposedly true cases investigated by the Treasury Department, under whose jurisdiction came everything from tax evasion to counterfeiting to smuggling. Each story was introduced by Walter Greaza as the somewhat stern chief, who is out to get you if you dare to cheat on your taxes. (One can see him putting sweet little old ladies in prison for failing to report bingo money!) If this program sounds a little dull, be forewarned that some of the episodes, standard looks at standard crime cases, are just that. But the best episodes of the series (at least the ones I've seen) focus just as much if not more on the human drama as on the crimes involved, looking into the desperate lives of people who sometimes feel they have no other option but to break the law.

"Lonely People:" Frances Rafferty and Skip Homeier

One of the best episodes is "The Case of the Lonely People," in which a father and daughter team ensnare a crippled veteran (Skip Homeier of Stark Fear) in a scheme to cash stolen veteran's checks, a scheme that becomes complicated when the vet and the daughter fall in love. Homeier and Frances Rafferty [Money Madness] give outstanding and sensitive performances. Homeier was also terrific in "The Case of the Princely Pauper," playing a no-good guy from a once-wealthy family who smuggles in cheap rings and other goods, with his clients paying inflated prices when they think they're getting a bargain.

"Buried Treasure:" Byron Foulger

Another excellent episode is "The Case of the Buried Treasure," in which a once-shady man and his wife bury booty they don't wish to declare to the IRS only to find out when they dig it up years later that it's become riddled with mold. Still, they do their damnedest to get rid of it. Byron Foulger [The Black Raven] and Vivi Janis give notable performances in this. There were other memorable episodes as well. In "The Case of the Leather Bags" Joanne Davis nicely plays a washed up cruise singer who helps her boyfriend smuggle heroin. "The Case of the Man Outside" details how some prisoners are actually able to make counterfeit money while inside a penitentiary, and the fate of the head of the shop who only wants to keep his nose clean and get parole.

"Steady Hand:" Gloria Talbott

Gloria Talbott guest-starred in "The Case of the Steady Hand," playing a woman who has trouble accepting that her boyfriend is both a crook and a creep. Douglass Dumbrille plays a theatrical impresario who pretends his books all went up in smoke when the IRS comes a'calling in "The Case of the Slippery Eel." Paul Langton is a married hood and tax dodger who falls hard for a classy opera singer, only to learn she's of common stock herself in "The Case of the Perfect Gentleman." Charles Bronson plays an agent who is ordered to murder a man in "The Case of the Deadly Dilemma."

John Stephenson 

Several different actors portrayed Treasury, IRS and Customs agents over the years depending on the episode's target: Ross Martin, Harry Landers, Harry Lauter, and Richard Travis, among them. John Stephenson played Agent Grant in many episodes, although he did even more voice-over work for cartoons than he did live-action, everything from The Flintstones, The Jetsons and Duck Dodgers to G. I. Joe, X-Men, and Jonny Quest. As for star Walter Greaza, both before and after this series he was mostly cast as judges, cops and psychiatrists.

Verdict: Remember to pay your taxes! **3/4.

CRIME AND PUNISHMENT

Peter Lorre and Edward Arnold

CRIME AND PUNISHMENT (1935). Director: Josef von Sternberg.

"You said you'd show me some of your blundering police methods, and you certainly have!" -- Roderick to Inspector Porfiry.

Roderick (Peter Lorre) is a poor but talented writer on criminal psychology who is months behind in his rent. He is forced to bring some of his possessions to a pawnbroker, Leona (Mrs. Patrick Campbell), a loathsome old lady who insults her clients and offers them little money for their items. Roderick hatches a scheme to get the money he needs, but things go wrong almost from the start. Now Roderick has to deal not only with Inspector Porfiry (Edward Arnold of Lillian Russell), who admires Roderick but comes to suspect him, but with his own conscience. One could argue that the movie is a cinematic "cliff's notes" version of Dostoevsky's famous 1866 novel, but the story and its implications and ironic aspects remain powerful. Lorre gives a great performance, nearly matched by Arnold, and there is also fine work from Marian Marsh [Svengali] as Sonya, whom Roderick has fallen in love with; Tala Birell [The Frozen Ghost] as Roderick's sister, Antonya, who is willing to make any sacrifice for him; Campbell as the old lady and murder victim; Gene Lockhart as Antonya's much-older suitor; Douglass Dumbrille as another man who is in love with the sister; and especially Elisabeth Risdon as Roderick's mother, who gets at least one very strong scene when she finds out the truth about what her beloved son has done. One problem with the movie is that our modern-day knowledge of criminology might cause us to look less sympathetically at Roderick. Nowadays we might even see Dostoevsky's anti-hero as a borderline narcissist and even a sociopath -- his crimes are even worse in the book than they are in the film -- and his "conscience" could simply be worry over being caught, thereby proving him not to be quite as superior as he thought.

Mrs. Patrick Campbell originated the role of Eliza Doolittle in Shaw's Pygmailion on the stage.  She was perhaps most famous for her oft-quoted line: "It doesn't matter what you do in the bedroom as long as you don't do it in the street and frighten the horses." More of a theater person than a film personality, she had only six movie credits, of which Crime and Punishment was the last. She did not enjoy working with von Sternberg, possibly because  he (appropriately) made her look horrible on camera.

Verdict:  Some very raw and powerful acting in this. ***. 

DU BARRY WAS A LADY

Ball, Kelly, Skelton, O'Brien, Dorsey

DU BARRY WAS A LADY (1943). Director: Roy Del Ruth.

May Daly (Lucille Ball) is a nightclub singer who is courted by both Alec (Gene Kelly) and Louis (Red Skelton), neither of whom are rich enough to suit her. She is squired around town by a man who is wealthy, as well as much older, Wille (Douglass Dumbrille). When Louis wins the sweepstakes May wonders if she can have any kind of life with the newly rich fellow, but before any decision is made Louis collapses and dreams that they are all back in the days of King Louis and Madame Du Barry. Who will May ultimately wind up with, and will the IRS man (Donald Meek) leave any money for Louis? Du Barry is a strange picture, whose plot -- such as it is -- is put on hold for about half an hour (after the brief opening minutes) while we watch Tommy Dorsey and his band perform and the Oxford Boys do their impressions of famous band leaders. Others in the cast include the delightfully deadpan Virginia O'Brien; Zero Mostel (who does a pretty terrible impression of Charles Boyer); Louise Beavers as May's sassy maid, Niagara; Dick Haymes, who only appears as the lead vocalist in a group of singers; and drummer Buddy Rich. There's also Clara Blandick as a funny little old lady on a subway who gives advice to Ball and Skelton. This is very loosely based on a Cole Porter Broadway show, although most of the songs in the movie were written by others. Du Barry isn't a very good movie, but it goes out on a high note, with the cast spiritedly performing Porter's "Friendship." Another bright spot is Kelly's dancing to "Do I Love You.", although Kelly doesn't get to do nearly enough dancing in this.

Verdict: Silly, amiable, light-weight, but well-performed, and the final number is a pip. **.

LADY KILLER

Cagney

LADY KILLER (1933). Director: Roy Del Ruth.

Fired from his job as usher, Dan Quigley (James Cagney) falls in with a gang of con artists who later take to robbing houses. Although Dan doesn't want anybody to get killed, the worst happens, and everyone takes it on the lam to California. There Dan becomes a movie extra, and then a star, until his old gang members show up to cause trouble. Lady Killer is another of those cheerfully amoral comedy-dramas with Cagney -- who is excellent -- playing another of his unpleasant if charismatic characters. The two ladies in his life are gang member Myra (Mae Clarke) and actress Lois (Margaret Lindsay of Dangerous); both women give very good performances, and Douglass.Dumbrille [A Life at Stake] is another cast stand-out as the leader of the gang. A repulsive scene has a bullying Cagney cornering a movie critic in a rest room and forcing him to literally eat his review. Cagney would probably have wanted it to be believed that Lady Killer is more or less his life story, but of course most of this is pure fiction, including the bit with the studio wanting to dump Quigley when news of his past leaks out (the studios tended to cover up for their assets). Dan doesn't turn on the gang because they're bad guys but because they threaten his livelihood, but the picture makes him out to be some kind of hero (not to mention he'd be in serious hot water even if he didn't kill anyone because he helped plan and execute the robberies). Still, this is fast, snappy and for the most part, fun, if morally questionable. One highlight is when the director insists Dan eat garlic before his love scene with poor Lois. Leslie Fenton is also in the cast. Clarke and Cagney were famously teamed in The Public Enemy two years earlier.

Verdict: Cagney is on top of his game even if the script is (literally) all over the lot. **1/2.

SHAKE, RATTLE & ROCK

Holloway, Dumbrille, Dumont and Helton

SHAKE, RATTLE & ROCK (1956). Director: Edward L. Cahn.

"Rock 'n' Roll is destroying the youth of our nation."

DJ Gary Nelson (Mike "Touch" Connors) is the host of a teen rock and roll program which inspires the ire of a group of old fogies who are offended by its alleged vulgarity. They form the Society for the Prevention of Rock and Roll and the Corruption of American Youth or SPRACAY. The most interesting thing about the movie is that the members of this group include no less than Margaret Dumont [Little Giant], Douglass Dumbrille, and Percy Helton [The Crooked Way], all of whom are marvelous (Dumbrille is especially wonderful in his comic portrayal, but the others score as well). Unfortunately, while these veterans are aware that they are in a comedy, the same cannot be said for Mike Connors and Lisa Gaye as his girlfriend, who display little skill at humor. As Connor's good right hand, Sterling Holloway [Wild Boys of the Road] is pure camp as an early "Maynard G. Krebs" type. Shake, Rattle & Roll tries to have it both ways by trying to be "serious" at times, but it certainly doesn't work in this picture. The movie displays its own prejudices when it introduces a lisping nerd as the voice of classical music (although even he ends up "rockin'" at the end). Some rock and "swing" movies (from an earlier decade) respected classical and operatic music while celebrating the new type of sounds, while others got defensive and put down classical stuff the same way others derided rock 'n' roll; this is in the latter category. Raymond Hatton is fun as Dumont's hen-pecked but eventually liberated husband, Clarence Kolb plays a judge, and Fats Domino sings a couple of numbers. Much more screen time should have been given to Dumont, who can be very, very funny.

Verdict: Very amusing at times, but the fun eventually peters out and a lot of opportunities for great comedy are muffed. **1/2.

THE LONE WOLF AND HIS LADY

Ron Randell as the Lone Wolf

THE LONE WOLF AND HIS LADY (1949). Director: John Hoffman.

"Stealing a diamond is the farthest thing from my mind." -- Lanyard.

"Yes, about as far as I can throw St. Paul's Cathedral. -- Jamison.

John Murdock (Douglas Dumbrille), the new publisher of the Daily Tribune, is so stupid that he doesn't know what a newspaper morgue is, but he wants the paper to sensationalize the news in order to increase circulation. Fisher (Arthur Space) is made the new editor and Grace (June Vincent), who worked on obituaries, is promoted to reporter. She importunes Michael Lanyard, the infamous "Lone Wolf" (Ron Randell) to sell his memoirs to the papers and also go to work for the Tribune, covering the exhibition of a fabulous diamond called the "Tahara." Naturally, Lanyard is the chief suspect when the diamond disappears. Randell makes an acceptable Lone Wolf, but he isn't as good as other actors who've played the part. As the leading lady, June Vincent gets a larger role than usual and is excellent. For added support we've got William Frawley [East Side, West Side] as the cop investigating the case; Alan Mowbray [Dante] as Lanyard's valet, Jamison; and Steven Geray as diamond expert Van Groot. Still, this is not an especially memorable Lone Wolf move. Randell and Vincent also appeared together in Counterspy Meets Scotland Yard. Not to be confused with The Lone Wolf Meets a Lady. From Columbia studios.

Verdict: The Lone Wolf's "lady" helps this quite a bit but not quite enough. **.

I MARRIED AN ANGEL

Sexless? Nelson Eddy and Jeanette MacDonald

I MARRIED AN ANGEL (1942). Director: W. S. Van Dyke.

In Budapest the irresponsible playboy and supposed banker, Willy (Nelson Eddy), is about to celebrate his 35th birthday with a masquerade ball. His disapproving associate, whom he calls "Whiskers" (Reginald Owen of The Good Fairy), thinks it's time Willy were married, and arranges for his shy secretary Anna (Jeannette MacDonald) to be invited to the party. His other, sexier secretary Marika (Mona Maris), suggests Anna go dressed as an angel, primarily to make fun of her. Willy doesn't know quite what to make of Anna, but later he dreams of an actual angel named Brigitta, who looks just like Anna, descending from heaven to marry him. But there are complications. I Married an Angel was based on a Rodgers and Hart musical, and it undoubtedly worked much better on the stage where its satirical aspects could be expressed with a degree of sophistication. Reworked as a vehicle for the essentially sexless duo Eddy and MacDonald, it simply comes off as weird and generally unmemorable. The picture picks up in the latter half, especially during a scene when Brigtta makes one tactless remark to her guests after another, assuming honesty is the best policy (but even this has a certain ugliness to it, as the targets are singled out for their age and appearance). MacDonald does become sexy in a nightclub scene, after Brigitta has fallen under the influence of a devilish baron (Douglass Dumbrille) and works her way scintillatingly through the crowd. I've no doubt most of the Rodgers and Hart songs were eliminated, but we still get the lovely title tune, the amusing "Willy Marry Me," and a snappy duet-dance between MacDonald and Binnie Barnes [Three Smart Girls] where the latter counsels the former to keep a "Twinkle in Your Eye." Wright and Forrest contributed one or two numbers as well. Unfortunately, both MacDonald [The Cat and the Fiddle] and Eddy [Phantom of the Opera] have a tendency to over-sing everything, clubbing the songs into submission. Their acting is fine, however, with MacDonald (although too old for the role of a virginal secretary) being as adept as the shy young woman warily approaching her boss at the party as she is as the semi-malicious character in the nightclub sequence. Owen, Maris and Barnes are fine, but Edward Everett Horton is wasted. Esther Dale and Gertrude Hoffman make their mark in smaller roles. At one point Eddy stands on a balcony and watches scenes of "Brigtta" inexplicably performing in such operas as Carmen -- making one wonder if the actress was hoping to be tapped by the Met. This was the last -- and probably least -- collaboration of the famous duo.

Verdict: Rodgers and Hart deserved better than this. **.

CASTLE IN THE DESERT

CASTLE IN THE DESERT (1942). Director: Harry Lachman.

Charlie Chan (Sidney Toler) receives a note from a woman named Lucy Manderley (Lenita Lane of The Bat) that asks him to come immediately to her castle located in the Mojave Desert in California. Once he arrives, Charlie learns that Lucy never sent the note, but there has apparently already been one murder. Lucy is a descendant of the notorious Lucrezia Borgia, and when a victim or two winds up poisoned, naturally suspicion falls upon her. But there are other suspects: Carl Detheridge (Richard Derr of When Worlds Collide), who worked with Charlie on a previous case; Lucy's husband (Douglass Dumbrille of Alimony), half of whose face is hidden due to a scar; sculptor Watson King (Henry Daniell), who wants to do a bust of Lucy; cadaverous Arthur Fletcher (Milton Parsons), who has a few secrets; the weird fortune teller Madame Saturnia (Ethel Griffies); and others. As the deaths occur, Charlie and the others, including son Jimmy (Victor Sen Yung), are trapped in the castle without a car or a telephone. There's an apothecary in the basement that contains numerous poisons as well as a torture chamber. Castle in the Desert gets a little silly at times, but it has a good story and is well acted by the principals. Derr and Griffies appeared in previous Chan films but played different characters. This was the last Charlie Chan film produced by Twentieth Century-Fox.

Verdict: Good fun in a creepy castle. ***.

CITY IN DARKNESS

Leo G. Carroll and Lynn Bari

CITY IN DARKNESS  (1939). Director: Herbert I. Leeds.

Charlie Chan (Sidney Toler) is in Paris where assorted characters are converging in a blacked-out city on the verge of war. Marie Dubon (Lynn Bari of Shock) is hoping to buy a forged passport from Louis Santelle (Leo G. Carroll) so that her husband, Tony (Richard Clarke), accused of embezzlement, can escape the city. Antoine (Pedro de Cordoba) sends his young son, Henri, off to war only to learn that his employer, Petroff (Douglass Dumbrille) may be up to treasonous activities. Lady spy Charlotte Ronnell (Dorothy Tree) is mighty handy with a gun, but she may not be the murderer Chan is looking for. This is an atypical Chan film in that there are no proverbs, few if any suspects, no sleuthing sons of Chan, and little suspense or excitement -- in other words it's a pretty dismal concoction. The performances are okay, with Dumbrille [A Life at Stake] taking top honors, but Harold Huber over-acts too much as a would-be French detective. Adrienne D'Ambricourt is more on the mark as a large and boisterous landlady. Lon Chaney Jr. has a bit part and just a couple of lines. Leeds also directed Bunco Squad.

Verdict: This one should have stayed dark. *1/2.

DISHONORED LADY

DISHONORED LADY (1947). Director: Robert Stevenson.

"You're a voluptuous pain in the neck."

"I'm mad about you -- in my own foul way."

Beautiful New York City magazine editor Madeleine Damian (Hedy Lamarr) tries to kill herself out of what seems to be ennui and is counseled by a rather patronizing psychiatrist (Morris Carnovsky), who encourages her to start a brand new life for herself. She meets a handsome scientist, David (Dennis O'Keefe), who lives upstairs and falls in love, but then her past intrudes, in the form of sleazy lover boy Felix Courtland (John Loder) and even sleazier former co-worker Jack Garet (William Lundigan). When Madeleine is accused of murder, David turns against her in the snap of a finger! [Why anyone would expect such a beautiful woman not to have admirers and previous boyfriends ... !] Lamarr [Crossroads] and the other actors are perfectly fine in this, but the screenplay is a load of rot. Paul Cavanagh and Natalie Schafer [Female on the Beach] are their usual adept selves as Madeleine's former associates, and there are appearances by Margaret Hamilton as a landlady, and Douglass Dumbrille as a prosecutor; both are swell. (Ms. Damian is quite a woman: it's not that she doesn't scream at the sight of a mouse, but that she's actually able to grab and pick up one of the little vermin without trouble! Faster than a mouse? Sure!)  It's fun to watch those two blond Hollywood pretty boys, O'Keefe and Lundigan [The White Orchid], having a knockdown, drag-out battle -- guess who wins? Lundigan is effective in an unusual bad boy role for him.

Verdict: An attractive, competent cast doesn't hurt, but oh that story! **.

A LIFE AT STAKE

Keith Andes and Angela Lansbury

A LIFE AT STAKE (1954). Director: Paul Guilfoyle.

An out-of-work architect named Edward Shaw (Keith Andes) is given an attractive business proposal by wealthy Doris Hillman (Angela Lansbury) and her older husband, Gus (Douglass Dumbrille). The catch is that Shaw will have to be insured for a very large sum of money, with Gus being the beneficiary. Shaw's paranoia over this aspect of the alliance only increases when he is drawn into a romance with Doris, and can't tell if she really loves him or is just waiting for hubby to collect on the insurance. Then there are the suspicious "accidents" ...  Andes [Clash By Night] makes a compelling, if understandably grumpy, leading man, and Dumbrille [Mr. Deeds Goes to Town] is typically excellent. Lansbury [Please Murder Me] gives a good performance as well, but while attractive, she is not quite convincing as the sexy, femme fatale type. [Ironically, a less talented "B" actress probably could have filled the bill better.] Jane Darwell is fine if a bit wasted as a landlady. A Life at Stake holds the attention and is not entirely predictable.

Verdict: Watch out for spiked coffee! **1/2.

A MILLIONAIRE FOR CHRISTY

Fred MacMurray

A MILLIONAIRE FOR CHRISTY (1951). Director: George Marshall.

Lawyer J. C. Thompson (Douglass Dumbrille) dispatches his secretary, Christy (Eleanor Parker) to tell radio personality Peter Lockwood (Fred MacMurray) that he's inherited two million dollars, but not before she's importuned by Patsy (Una Merkle) to go after the guy and get herself a wealthy husband. The trouble is that Peter is just about to get married to fiancee June (Kay Buckley), and neither he nor anyone else believes Christy about the money. Peter's rival, Dr. Roland Cook (Richard Carlson of All I Desire) thinks Christy is a mental case who needs his help -- and so on. A Millionaire for Christy is frenetic but absolutely and completely laughless -- you sit there and watch this, utterly stupefied, helplessly observing McMurray and Parker [Lizzie] struggling to bring life to an utterly hopeless script. Dumbrille [Alimony] is completely wasted. Nestor Paiva has a small role.

Verdict: Not even Fred can save this one. Atrocious. *.

ALIMONY

Dumbrille, Lind and Vickers set a scheme in motion

ALIMONY (1949). Alfred Zeisler.

Composer Dan Barker (John Beal) relates the story of a woman he was once in love with, Kitty Travers (Martha Vickers), to her estranged father (James Guilfoyle), who hasn't seen her in years. Show biz aspirant Kitty stayed in the same boarding house with Barker, who was affianced to pretty Linda (Hillary Brooke). But Kitty works her wiles on Dan, who is just about to sign to do a Broadway show, and before long the man has dumped poor Linda in favor of Kitty. Unfortunately for Dan, the Broadway deal comes a cropper and Linda is soon off looking for greener pastures. But even when Dan and Linda are finally married, Kitty comes back into their lives because she was the inspiration for a song Dan composed that becomes a big hit [and isn't that memorable]. Again Dan acts like a complete jerk, Kitty a total skank, and as for dopey Linda ... let's just say that Alimony is the kind of irritating melodrama where a perfectly nice and attractive woman is treated abysmally by her man but still seems to think only the other woman is to blame. Neal, Vickers and Brooke give good performances, as do Douglass Dumbrille as an oily lawyer who works with Kitty and her friend Helen (a snappy Laurie Lind, who was introduced in this picture and never made another movie) and Marie Blake (AKA Blossom Rock of Hilda Crane) who plays the landlady of the boarding house. The title refers to the fact that Helen and Kitty marry or try to marry wealthy older men so that they can divorce them and collect you-guessed-it.

Verdict: Nice actors and premise but this is forgettable. **.

KING OF THE MOUNTIES

One good-lookin' mountie: Allan Lane as Sgt. King

KING OF THE MOUNTIES (12 chapter Republic serial/1942). Director: William Witney.

In this sequel to King of the Royal Mounted, Sgt. Dave King (again Allan Lane) and his cohorts are up against a triumvirate of Axis baddies: Admiral Yamata (Abner Biberman) of Japan; Marshal von Horst (William Marshall) of Germany; and Count Baroni of Italy (Nestor Paiva of Tarantula). This gruesome threesome is behind numerous deadly acts of sabotage on Canadian soil, targeting such as oil fields, munition factories and the like, and employing such devices as a spiffy-looking flying Falcon ship. They use an active volcano [!] as their headquarters. Their plans for an Axis invasion of Canada are threatened by an invention called the Brent Airplane Detector; when the inventor is killed, his daughter Carol (Peggy Drake) carries on in his efforts to keep the device out of the determined enemies' hands. The three main bad guys are aided in their efforts by the traitor Harper (Douglass Dumbrille) and his associate Pierre (Duncan Renaldo). The wonderful Jay Novello shows up in a beard and engages in some of the lively fisticuffs that are sprinkled all through the serial. King makes some amazing death-defying leaps as well. Highlights include the remote control torpedo hidden beneath a phony haystack, and King's fight with a Japanese soldier in the cockpit of an out-of-control spitfire. Mort Glickman's music is also effective. This is a bit better than King of the Royal Mounted due to its somewhat more interesting storyline. Director Witney keeps things moving and at a high-excitement level throughout. NOTE: Much of the sound and some of the picture of this serial have been lost. You can find cheap copies of this with the missing parts, or buy a more expensive DVD from Serial Squadron which adds sub-titles to the parts without a soundtrack.

Verdict: Snappy stuff. ***.

JUNGLE QUEEN

JUNGLE QUEEN (13 chapter Universal serial/1945). Directors: Lewis D. Collins; Ray Taylor.

"They're walking into their graves and don't know it."

In 1939 on the eve of WW II, the Nazis have sent agents to the "dark continent" believing it is a necessary strategy to take over Africa, and are using "Tambosa" as their base of operations. One of the German agents is Dr. Elise Bork (Tala Birell) who runs an experimental farm, and works with another Nazi named Lang (Douglass Dumbrille). On the side of the angels are Bob Eliot (Edward Norris) and his buddy Chuck (Eddie Quillan), who go on a mission to Africa and share a plane with Pamela Courtney (Lois Collier), whom they suspect of being an imposter until they all wind up lost in the jungle after the plane crashes. The Nazis are trying to force control upon the natives, but they are less successful with a weird white queen named Lothel (Ruth Roman), who shows up unannounced  to make pronouncements, give advice to the natives, and rescue the boys and Pamela; Lothel is also impervious to bullets [where the hell she came from is never explained]. Then there's the "Sword of Tangu," which has a supposed secret, and is coveted by some of the characters. This is a fairly ridiculous serial but it's often entertaining, the leads are all competent, and it has everyone from Cyril Delevanti to Cy Kendall [the untalented Charles Laughton] in the supporting cast. Pamela is nearly eaten by hungry gators and mauled by a lion, there's a volcanic eruption that sends buildings and statues toppling, and Bob is pursued by dozens of salivating crocs in a river, nearly falls into a pit of lions, and is subjected with the others to a deadly gas attack. Birell had a notable role in The Monster Maker and Collier was in Flying Disc Man from Mars and many other movies.

 Verdict: For all of its flaws, it's one of the better Universal chapterplays. ***.

MR. DEEDS GOES TO TOWN

Jean Arthur and Gary Cooper

MR. DEEDS GOES TO TOWN (1936). Director: Frank Capra. NOTE: This review reveals some plot points in the movie.

A wealthy man dies in an accident and leaves twenty million dollars to a content, small-town fellow named Longfellow Deeds (Gary Cooper). Brought to New York by lawyer John Cedar (Douglass Dumbrille), Deeds turns out to be not as dumb as he seems, although he falls for the hunger act put on by newspaper reporter Babe Bennett (Jean Arthur), who at first only sees him as a story and mocks him in the paper. The two fall in love, but when Deeds discovers that Babe was the one behind the articles ... The film ends with a lengthy courtroom scene in which Deeds' sanity is brought into question. Frankly, Mr. Deeds is contrived and phony from the get-go. Deeds is seen as a fine, amiable fellow [who settles arguments with his fists!] but it doesn't occur to him to use the money to help other people until a starving farmer storms his mansion with a gun. When Cedar argues that Deeds isn't really responsible enough to handle twenty million dollars [because he wants to give it all away], the fact remains that Cedar is probably right -- in that Deeds doesn't know the right way to go about establishing a charitable fund. Robert Riskin's screenplay presents the quaint and preposterous notion that all big city dwellers are nasty "slickers" and small-town people are the salt of the earth [sure!]; caricatures wealthy opera fans [as if only the rich are cultured!]; and features a lead character, like John Doe, who never seems entirely real. To say all this becomes quite tiresome is an understatement. Deeds isn't so wonderfully noble -- he doesn't care about the money because he already seems to be well-off, owning more than one home and employing a live-in housekeeper. The only really amusing moments come in the climactic courtroom scene, especially with the little old ladies who think Deeds -- and virtually everyone else -- is "pixillated." Cooper is okay, Dumbrille is excellent, and Arthur as vital and wonderful as ever, the movie's saving grace. But this is far, far below the level of Capra's Mr. Smith Goes to Washington. A further minus is the irritating presence of Lionel Stander.

Verdict: Pure Capra-corn. **.

THE FROZEN GHOST

THE FROZEN GHOST (1945). Director: Harold Young.

Okay Inner Sanctum mystery stars -- who else? -- Lon Chaney (Jr.) as a mentalist who's convinced that he's psychically responsible for a heckler (Arthur Hohl) dropping dead during his act, even though the man was a heavy drinker with a heart condition. To recover, he breaks off his engagement to Evelyn Ankers and retreats to a wax museum owned by Valerie Monet (Tala Birell). There he also encounters Monet's niece Nina (Elena Verdugo) and a sinister assistant played by Martin Kosleck. When Valerie disappears, Inspector Brant (Douglass Dumbrille) investigates while Chaney's friend George (Milburn Stone) tries to lend sensible support. This mystery has some interesting elements to it, even if it doesn't always jell. Chaney's whispering is kept to a minimum, and his performance is adequate. Kosleck pretty much steals the picture. There is no ghost in the movie -- the title refers to suspended animation.

Verdict: Acceptable time waster, nothing more. **1/2.

LOST IN A HAREM

LOST IN A HAREM (1944). Director: Charles Reisner.

Bud and Lou are trapped in a kind of Kismet-like world as they try and help a deposed Prince Ramo (John Conte) get back his throne from his evil uncle Nimativ (Douglass Dumbrille). Marilyn Maxwell is the singer Hazel Moon who has a love/hate thing going with Ramo. Sporadically amusing movie is not one of the better A & C vehicles, although there's a pretty nice dance number by slave girls to the strains of Scheherazade. Somehow Jimmy Dorsey and his band are also stranded in Port Inferno, and Murray Leonard plays a prisoner who does the old vaudeville routine "Slowly I turned ..." (which was later used for an I Love Lucy episode as well). Lou disguises himself as Teema (Lottie Harrison), Nimativ's chubby head wife, at one point.

Verdict: For diehard A & C fans only. **.