THE PERFECT FURLOUGH

Janet Leigh and Tony Curtis

THE PERFECT FURLOUGH (1958). Director: Blake Edwards.

104 lonely men are stationed at an Arctic outpost and a notion is advanced to raise morale. One man will be chosen to go on a "perfect furlough," which is decided will be three weeks in Paris with the sexy movie queen Sandra Roca (Linda Cristal). Manipulating everyone behind the scenes, Corporal Paul Hodges (Tony Curtis) manages to become the winner. But when Colonel Leland (Les Tremayne) discovers that Hodges is an incurable skirt-chaser, he insists that his aide Major Collins (King Donovan) and Army psychologist Lt. Vicki Loren (Janet Leigh), who came up with the idea of the furlough, go along to keep Hodges out of trouble. But when Hodges gets a load of Sandra, this assignment may be more difficult than anyone imagines.

Elaine Stritch with Leigh

The Perfect Furlough could have been a smirking dirty joke but it's generally tasteful and consistently amusing. There are a lot of laughs in watching Hodges' efforts to escape from the MPs so he can hook up with Sandra -- who has a few surprises of her own -- as well as in the interplay between Hodges and a disapproving, yet attracted, Vicki. This is the perfect material for Curtis, who understandably has great chemistry with Leigh as the two were married at the time (1951 - 1962). While no comedian, Leigh is fine in the role, and there are excellent supporting performances from Elaine Stritch as Sandra's keeper; Tremayne and Donovan; Keenan Wynn as Sandra's manager; Alvy Moore as Private Brewer, who almost gets to go to Paris; and Gordon Jones as an MP. 

Argentinian actress Linda Cristal is cute, curvaceous and charming as Sandra, but she had her biggest success on television, starring in The High Chaparrral for several seasons. Troy Donahue [A Summer Place], playing a sergeant who accompanies Donovan and Leigh, is in the background in several scenes but has no dialogue. Another cast member who should be mentioned is the wonderful Jay Novello [The Mad Magician], who plays a French winemaker and lives with his father (Marcel Dalio), who hopes he'll get married. Lilyan Chauvin [Lost, Lonely and Vicious] shows up very briefly as a nurse. 

Verdict: Well-acted and funny fifties service comedy. ***. 

CAVALCADE OF STARS

Original Honeymooners: Jackie Gleason and Pert Kelton

CAVALCADE OF STARS (1949 - 1952). Featuring "The Honeymooners."

The great Jackie Gleason was the primary star of the classic variety series, Cavalcade of Stars, which ran for four years. He replaced Jerry Lester as the host of the show in 1950. The greatest contribution of this classic series was "The Honeymooners," which began as an approximately six minute sketch with Gleason as dyspeptic bus driver Ralph Kramden and Pert Kelton [Meet the Boyfriend] as his long-suffering wife, Alice. Art Carney showed up in the first sketch as a cop, but he appeared as Ed Norton for the first time in the sketch entitled "The New TV Set." Trixie was played for the first time by none other than Elaine Stritch, but she was never to repeat the role, being replaced by Joyce Randolph in "The Ring" sketch (meaning Randolph actually appeared in The Honeymooners before Audrey Meadows did). Meadows first appeared in "The New Bowling Ball," which may be the first time Ralph says "Pow. Zoom. Right on the kisser!" (Ralph's earliest catch-phrase was "Don't steam me, Alice, I'm steamed!") Apparently the blacklist, which primarily affected Pert Kelton's husband, Ralph Bell (who later appeared in Zelig) forced her out of the series when it metamorphosed into The Jackie Gleason Show, and she was replaced by Meadows, who was a more than creditable Alice but who was a less realistic partner for Ralph/Gleason. These early Gleason/Kelton sketches were certainly well-acted and funny, but they also had an undertone of pathos to them  that were arguably missing from later episodes. Ralph's mantra "baby, you're the greatest!" replaced scenes of genuine love and affection between him and Alice. As good as Meadows and Sheila MacRae were playing Alice Kramden, for my money Kelton made the best Alice, and her performances have all been preserved on DVDs of the "Lost Honeymooners" episodes.

Verdict: Pert Kelton as Alice is simply terrific. ***. 

THE SCARLET HOUR

Thomas Tryon and Carol Ohmart

THE SCARLET HOUR (1956). Produced and directed by Michael Curtiz.

"If I were dead, you don't take me to the morgue."

E. V. "Marsh" Marshall (Thomas Tryon) works for real estate developer Ralph Nevins (James Gregory) and is having an affair with Nevins' sexy wife, Pauline (Carol Ohmart). The lovers overhear a plot to rob a mansion while the owners are out of town, and Pauline cooks up a scheme to steal the booty from the robbers so she and Marsh can run away together. After an initial wariness, Marsh consents to the plan, but there are all sorts of complications and developments the night this double-cross is to take place, and someone winds up dying ... The Scarlet Hour is by no means on the level of such superior Curtiz films as, say, Mildred Pierce, but it is a snappy and absorbing crime drama whose interesting twists and turns keep you watching even as you wish there was some more character development and a better script.

This was the first movie for both Tryon and Ohmart, who were "introduced" in this picture, and they deliver, especially Ohmart. Ohmart [Caxambu!] was quite talented and distinctive with her sexy, breathy voice but she never quite ascended from B movie cult status. Tryon {The Unholy Wife] later became a very successful author [Crowned Heads]. Gregory is fine as the husband, and there's good work from Elaine Stritch [Monster-in-Law] as Pauline's pal,  Phyllis; Jody Lawrence as Kathy, Nevins' secretary, who has a crush on Marsh; and especially David Lewis as the owner of the robbed mansion, who turns out to be one of the most interesting characters in the movie. A sequence involving some incriminating evidence on an audio tape could have been handled with much more suspense. A strangely amusing scene has Marsh encountering a cop played by E. G.Marshall, and telling the cop "I am E. V. Marshall." Nat King Cole sings "Never Let Me Go" in a nightclub sequence. This cries out for a much better score than the one offered by Leith Stevens. Marsh's sanctimonious tone towards Pauline is hypocritical to say the least, but movies like this tend to let the man off the hook and put most of the blame on the woman.

Verdict: "A" director Curtiz helms a "B" movie but it mostly works. ***.

THEN AND NOW: A MEMOIR Barbara Cook

THEN AND NOW: A Memoir. Barbara Cook with Tom Santopietro. HarperCollins; 2016.                                                                                                                                                             Barbara Cook made her Broadway debut in the now-forgotten Flahooley, but she went on to great success in Plain and Fancy, and even greater success as Marian Paroo in The Music Man. And there were other triumphs to come. To say Cook had a weird childhood is an understatement. Her father walked out at six because he could no longer live with her mother, who lived vicariously through her daughter and did not seem to see her as a separate entity. Cook and her mother shared the same bed (non-sexually) until she was twenty! Cook's one and only marriage ended in divorce -- she had a long-time affair with the married actor, Arthur Hill [The Andromeda Strain] -- but gave her a beloved son, and she also developed a taste for food and, much worse, a continuous desire for alcohol. Her weight ballooning and alcohol taking over her life, Cook was even more depressed when in desperation her son moved in with his father. Hitting rock bottom, Cook, with the aid of friends and co-workers, was able to get off the bottle and began much concert work, including a night at Carnegie Hall, and was finally back on Broadway in Sondheim by Sondheim. Cook did some "straight" dramatic work on Broadway in Little Murders and other shows, and also wound up in the British production of the ill-fated Stephen King musical Carrie. As the memoir's title suggests, this book gives a backstage, insider's look at the differences between the theater in its golden age and today, when shows are no longer written for stars, and someone can graduate into a leading role without having had much experience, as in the past. Along the way Cook offers interesting sketches of such people as the difficult and self-absorbed Elaine Stritch [Monster-in-Law] and Music Man co-star Robert Preston [The Lady Gambles], whom she inexplicably seemed to find super-sexy. Despite working with many gay men over the years, she temporarily freaked out when her son came out of the closet. Cook was honored with a Kennedy Center award in 2011. Cooks' other notable musicals include Bernstein's Candide, The Gay Life, and She Loves Me. Cook was as good an actress as she was a a singer, as she proved in the "A Little Sleep" episode of Alfred Hitchcock Presents. In this she played a "bad," wealthy party girl who finds her destiny at an isolated cabin. Her co-star was Vic Morrow and Paul Henreid was the director.    

Verdict: Good, quick read of an interesting life and career. ***.

MONSTER-IN-LAW

MONSTER-IN-LAW (2005). Director: Robert Luketic.

Jennifer Lopez thinks she's met the man of her dreams in handsome and successful Michael Vartan, but she didn't count on his having a mother (Jane Fonda) who wants to run almost every aspect of his life, particularly in regards to whom he marries. Fonda steals the picture and is excellent as the middle-aged newswoman who's just been replaced by a young bimbo at the network, and has plenty of free time to make life miserable for Lopez – who finally realizes what's up and fights back. Lopez is fine in the movie, as is Vartan [from TV's Alias], but you have to wonder why Vartan's character isn't able to see through his mother and realize what problems she might cause for Lopez later on. Wanda Sykes may be a limited performer but she's also excellent as Fonda's friend, assistant, and conscience. Late in the picture Elaine Stritch puts in a memorable apperance as Fonda's mother-in-law. A cute, consistently entertaining comedy if not quite a classic. But Fonda looks great and is wonderful.

Verdict: Lots of fun. ***.