PATTERNS

Face Off: Van Heflin and Everett Sloane

PATTERNS (1956). Director: Fielder Cook. Screenplay by Rod Serling. Colorized. 

Recruited by Walter Ramsey (Everett Sloane of The Big Knife), the head of the Ramsey Corporation, Fred Staples (Van Heflin) moves with his wife (Beatrice Straight) to New York for an important position. Fred will be working with veteran Bill Briggs (Ed Begley of Odds Against Tomorrow) but doesn't know that Ramsey intends for Fred to be Briggs' replacement. Ramsey is doing his best to get Briggs to quit, yelling at him and humiliating him, but Briggs is determined to stick it out. Ramsey gives all the credit for a joint report to Fred even though many of the ideas were Briggs', leading to a tense boardroom confrontation that may lead to tragedy. Will Fred stay working for Ramsey, a man he admits he hates ...

In the boardroom

With an excellent script by Rod Serling and a superb cast -- Elizabeth Wilson also gets high marks for her portrayal of secretary Marge, whose heart is breaking for Briggs -- Patterns emerges as a compelling and intelligent drama that hasn't lost any of its power. Heflin gives another strong performance as a man who has principles and doesn't wish to compromise them, and is perfectly willing to take on the more ruthless Sloane on a day by day basis. Although one could accuse Sloane of occasional over-acting, he also makes Ramsey much more than just a one-dimensional villain, as much of what he says is logical and impassioned and there are signs that he is not without a conscience. The picture is well-cast down to the smallest role, well-directed and paced. This film was undoubtedly influential on many other films and TV shows about corporate intrigue.

Verdict: The human factor vs. logistics. Good show! ***1/2. 

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.

BY LOVE POSSESSED

Lana Turner and Efrem Zimbalist, Jr. 

BY LOVE POSSESSED (1961). Director: John Sturges.

Two law partners in a small town have personal problems to go with legal ones. Arthur Winner (Efrem Zimbalist, Jr.) is afraid that his wife, Clarissa (Barbara Bel Geddes) and son Warren (George Hamilton) feel completely disconnected from him. Julius Penrose (Jason Robards of Philadelphia) is afraid to get close to his tippling wife, Marjorie (Lana Turner), because of physical problems which undoubtedly include impotency. Meanwhile Arthur's father-in-law, Noah Tuttle (Thomas Mitchell), the head of the firm, seems to be senile and may have even committed embezzlement. Just as Arthur and Marjorie draw closer for an illicit relationship, Warren is accused of rape by the town tramp, Veronica (Yvonne Craig), with his girlfriend, Helen (Susan Kohner of The Gene Krupa Story) waiting in the wings.

Jason Robards (Jr.) and Lana Turner

Although her part is not even that large, Lana Turner was obviously cast and headlined so that the public would think they had another Peyton Place on their hands, which is not the case. Despite all the heavy breathing (especially on Hamilton's part) and other goings-on, By Love Possessed is neither strong drama nor even a trashy guilty pleasure. Zimbalist, who has the biggest part, is adequate and smooth but as bland and pedestrian as ever. He and Turner and some other cast members give overly earnest line readings as if they thought they were reciting something profound. Sometimes there is some interesting dialogue, such as when Veronica tells Warren "If I get drunk and pass out it's no fun for me, and if you get drunk and pass out it's no fun for me." Later Arthur tells his son: "Your generation doesn't have a monopoly on sex, legal or otherwise -- you just talk about it more."

Unrequited: George Hamilton with Susan Kohner

Jason Robards seems a mite uncomfortable acting with Lana, and his performance is actually only adequate. Bel Geddes [Caught] is playing the wise, warm and womanly role years before she enacted same on Dallas but she does it in a rather bland fashion. Old pros Mitchell and Everett Sloane as a doctor are more impressive, and the younger generation of Hamilton, Kohner, and Craig are also on the money. Jean Willes has a small role as a former prostitute suing her late paramour's estate, and she is fine. As for the story, everything with both couples is neatly resolved by the finale, but Warren's fate in the rape trial is left unrevealed, although it's hard to believe anyone would find Veronica -- who always refers to herself in the third person -- a creditable witness. The audience is supposed to be devastated by the sad fate of Helen, but we never get to know her well enough to feel anything for her. Elmer Bernstein's musical score has a few nice moments, but is also a bit sappy, which is no more than the picture deserves.

Verdict: This talky flick would have been more fun if it were just a blatant trash wallow. **. 

MARJORIE MORNINGSTAR

Natalie Wood and Gene Kelly

MARJORIE MORNINGSTAR (1958). Director: Irving Rapper.

Marjorie Morgenstern (Natalie Wood) takes a job at a summer resort and falls in love with the theater director, Noel Airman (Gene Kelly). At first Noel, who hides his Jewish roots, tries to convince himself that Marjorie is just another "Shirley," a typical Jewish American Princess, and her middle-class desires would never fit in with his plans. Still, over the years the two can't pull themselves away from each other, and their on-again/off-again relationship is beset with problems. Herman Wouk's novel has been reduced to an entertaining, slick soap opera that has some very good performances. Wood gets high marks as Marjorie, really giving a first-rate and honest portrayal of a tormented young lady. Gene Kelly just can't seem to get that far away from Gene Kelly, and his anguish over his failings both as an artist and a man just don't ring true -- he's too much of a winner for it to work. It's a perfectly good "Hollywood" performance but nothing more. As Marjorie's parents, Everett Sloane [The Big Knife] and especially Claire Trevor [The Velvet Touch] are more on the money, and Ed Wynn [Son of Flubber] makes his mark as Marjorie's beloved Uncle Samson. Carolyn Jones as Marjorie's best friend has a terrific scene when she nearly has a meltdown just before her wedding (as she's marrying Jesse White one can completely understand!). There are also good, if brief, performances from Martin Balsam as a doctor who falls for Marjorie; Edd Byrnes (billed as Edward Byrnes) as Marjorie's first boyfriend, Sandy; Martin Milner, as a playwright who carries a torch for Marjorie for years; Ruta Lee as a gal pal of Noel's; and others. Max Steiner has contributed a pleasant romantic score which helps a bit in putting this over.

Verdict: At least Wood and Kelly have definite chemistry! **1/2.

THE BIG KNIFE

Everett Sloane talks to Jack Palance

THE BIG KNIFE (1955). Producer/director: Robert Aldrich. Screenplay by James Poe from the play by Clifford Odets.

Movie star Charles Castle (Jack Palance) was involved in a hit and run that killed a child, but his p.r. man, Buddy (Paul Langton), took the rap for him. Charles' wife, Marion (Ida Lupino), who is separated from him, swears she'll divorce him if he re-signs with Stanley Hoff (Rod Steiger), who probably helped engineer the deception. Now there's a new complication: Castle had a woman with him in the car that night, Dixie Evans (Shelly Winters), and she's drunkenly shooting her mouth off everywhere she goes. Now Hoff and his associate Smiley (Wendell Corey), want to take care of Dixie -- permanently ... The Big Knife might have worked on the stage, and the Odets original was undoubtedly better than this half-baked adaptation, but the film sinks almost from the get-go. The chief problem is the epic miscasting of Jack Palance. Charlie might have evoked some sympathy in the viewer if he was played by a man who could get across his essential weakness and confusion, but Palance seems incapable of ever displaying the slightest trace of vulnerability. It gives the actor his presence and strength, but he's just all wrong for this picture. His scenes with Ida Lupino are stagey and over-rehearsed and just don't work at all -- both of them are busy "acting" instead of being. We're constantly being told of how wonderful Castle is and of his supposed integrity, but all we see is a corrupt, self-absorbed individual who allowed another man to take responsibility for his actions, slept with the man's wife, and acts like a dickhead throughout. When he protests at the idea of "silencing" Dixie, it's hard to believe that he would object -- he's the last one to take a high moral stance. It's up to the supporting cast to give the film whatever limited stature it has. Rod Steiger has some ferociously effective scenes as Stanley [some might think he's merely showing off]; Wendell Corey underplays beautifully as the slimy Smily; Everett Sloane is as solid as ever as Charles' agent; and Paul Langton has a beautifully and powerfully delivered speech to Castle at the end of the film that is one of the most memorable bits in the movie. As for the women, Ilka Chase offers a dead-on portrait of an oily, if stereotypical, gossip columnist, Shelley Winters is so-so as Dixie, and Jean Hagen fails to impress as Buddy's sluttish wife, Connie. Wesley Addy has a nice turn as the writer Hank Teagle. Oddly, a confrontation between Dixie and Hoff that might have been quite cinematic and dynamic is mentioned but not shown, but the film isn't "opened" up very much. It's hard to like or enjoy a movie in which virtually every character is either unpleasant or annoying. Robert Aldrich was the wrong director for this, as well. For a worthwhile Odets adaptation, see Clash By Night.

Verdict: A fairly embarrassing mess of Hollywood pseudo-profundity with horribly miscast leads. **.

THE LADY FROM SHANGHAI

Welles and Hayworth in the famous funhouse finale

THE LADY FROM SHANGHAI (1947). Director: Orson Welles.

"Is this what you people do in the evenings? Sit around toasting marshmallows and calling each other names?"

Michael O'Hara (Orson Welles) is hired by Elsa Bannister (Rita Hayworth) and her husband Arthur (Everett Sloane) to help run their boat, but he winds up smack dab in the middle of a convoluted murder plot -- but who's trying to kill whom? It would be criminal to give away any of the twists and turns for those who may never have seen the film; suffice it to say this is a smooth suspense thriller with flavorful characters and fine performances from a stellar cast; arguably Hayworth as the femme fatale has never been better or better-cast. Glenn Anders is also notable as Bannister's weird business partner and Ted de Corsia scores as the sinister Broome. The fascinating picture leads up to a highly memorable sequence in an amusement park with the exciting climax taking place in a mirror maze. One could argue that Welles isn't quite on Hitchcock's level and some scenes -- such as a courtroom scene -- are perhaps a little too busy, but Lady from Shanghai is nonetheless audacious and compelling. Welles, directing himself, is outstanding in the lead role. You can't look at the plot -- or some of the events -- with close scrutiny [O'Hara not being recognized by a policeman at one point!] -- the movie has its absurd moments -- but it all moves too fast for you to care. Beautifully photographed by Charles Lawton Jr. and some uncredited associates. William Castle was one of the producers of this classic.

Verdict: Film Noir par excellance! ***1/2.

CITIZEN KANE

CITIZEN KANE (1941). Director: Orson Welles.

Wrested away from his parents at a young age against his will, Charles Foster Kane (Orson Welles) spends the rest of his life trying to retain complete control of every aspect of, and every person in, his life. Employing flashbacks, first person narratives, and inventive camera work, Citizen Kane examines the life of the great Kane upon the event of his death at his castle Xanadu, where he mutters the word "Rosebud" (a reminder of the time when he felt fully loved and content). Sixty-seven years after its original release Welles' fascinating masterpiece seems, if possible, even greater. Welles offers a terrific performance as he goes from young newspaper magnate to aged tycoon, but he is matched by a fine cast that includes Joseph Cotten as his friend and associate Jed Leland, Dorothy Comingore as his second wife and hopeless opera singer Susan, Everett Sloane as the assistant he always calls Mr. Bernstein, Ray Collins as Kane's political opponent Jim Gettys, and others.

The film has a rich visual look due to the art direction by Van Nest Polglase and the cinematography of Gregg Toland. William Alland, who plays the reporter asking questions about Kane (and who later became a producer) is always seen in shadow. The marriage-by-breakfast sequences that show Kane's first marriage disintegrating at the breakfast table is just one of many memorably creative aspects of the picture. Bernard Herrmann's score is, as usual, excellent. [It should be noted that -- while Modest Musorgsky wrote an opera entitled Salammbo -- the Salammbo (or at least the aria from it) heard in Citizen Kane was actually composed by Herrmann. Too bad he didn't do the whole opera (Herrmann did compose a fine operatic version of Wuthering Heights, however.)]

There are some imperfect aspects to Citizen Kane. The whole business with the boy being sent away by his mother (Agnes Moorehead) to become the ward of the prickly old lawyer, Thatcher (George Coulouris), supposedly to get him away from his drunk, physically abusive father (Harry Shannon), seems contrived. The newly-rich Mrs. Kane could have paid off the father and taken the boy with her to live somewhere else. Yet later Leland tells us that Kane remained close to the mother who sent him away -- but why would he (we never again see the two together)? It's also interesting that while we hear in passing how Kane's first wife (Ruth Warren) and child are killed in an automobile accident, we are never shown Kane's reaction to the death of his son, certainly a pivotal moment in any man's life. Yet perhaps that's the point: that the self-absorbed Kane would not have been all that affected by the tragedy, as we see earlier that he doesn't take into account the effect that a disclosure of his affair with Susan might have on the child. Still, when you consider how great this film is, these are mere quibbles. Written by Welles and Herman J. Mankiewicz and edited by Robert Wise.

Verdict: A certified masterpiece on virtually every level. ****.

THE PATSY

THE PATSY ( 1964). Director: Jerry Lewis.

It's probably not the best idea to begin a comedy with the crash of an airliner (although most of it occurs off-screen). However, this inauspicious opening scene sets up the premise of the movie, in which a schnook bellboy named Stanley Belt (Jerry Lewis) is chosen as the new successor of a famous comedian who died on the plane. The late man's entire staff decide they can not only stay together as friends and co-workers but also change somebody's life for the better by creating a new star. Unfortunately, they have their hands full with Belt, who has no discernible talent and is stupid -- if sweet -- as well. This is a winning comedy from Lewis (who also co-wrote with Bill Richmond) with a fine cast of great character actors and several memorable sequences, including a bit with Jerry getting singing lessons from Hans Conreid in a parlor full of valuable antiques -- uh oh! The Chaplin influence is obvious in a bittersweet flashback to an embarrassing prom night, and in a funny sequence when Lewis dines out with Ellen Betz (played with warm graciousness by a lovely Ina Balin). Another highlight is when Belt really bombs during his opening night monologue at the Copa. Numerous guest stars include Hedda Hopper, who wears a hat that doubles as a huge table umbrella, and Ed Sullivan, good-naturedly spoofing his many famous mannerisms as he intros Belt on his show. The supporting cast includes Everett Sloane, Phil Harris, John Carradine, Keenan Wynn, Nancy Kulp, and more. Last film role for Peter Lorre.

Verdict: One of Jerry's best. ***.