THE STRAWBERRY BLONDE

James and Olivia

THE STRAWBERRY BLONDE (1941). Director: Raoul Walsh.

In old time New York, Biff Grimes (James Cagney) is a struggling dentist with a wife, Amy (Olivia de Havilland). He gets word that there's a man, Hugo Barnstead (Jack Carson), who has such a severe toothache that he needs to come by on a Sunday and he can name his price. When Biff finds out who his patient is, his mind goes back to years ago. Most of the film consists of a a long flashback that explains why he has good reason to hate the man. Will Hugo get a lethal dose of laughing gas? The Strawberry Blonde is an odd comedy-drama with scenes of low comedy blended not so felicitously with more dramatic ones, and coming up short as a whole. The acting helps put it over: Cagney. playing yet another rather unsympathetic character, is full of his trademark bluster and charisma. De Havilland [Libel] is lovely and generally expert in her portrayal of the woman that Biff first despises. Scoring very big is Rita Hayworth [Salome] as Virginia, the woman Biff had originally wanted but who was stolen by Hugo; as a married couple who hate each other both Hayworth and Carson [The Groom Wore Spurs] are very effective, with the former giving a particularly adept performance (there's more to Hayworth than just sex appeal).Alan Hale, Una O'Connor, and George Reeves are also good as Biff's father, a neighbor lady, and a college boy that Biff has a quarrel with. A big problem with Blonde is that there are just too many really stupid moments, many of them consisting of scenes crafted to show off Cagney's aging tough guy image, including a ridiculous scene when he beats up several college boys at once -- sure! Since most of the film takes place some years in the past, Cagney at 42 is too old to be entirely convincing in the role as well. Still, the movie is fast-paced and unpredictable, and does have a few funny scenes, such as the Grimes and Barnsteads first encounter with spaghetti at the dinner table. The film's main strength is in how it gets across how relationships can turn out far differently than you expected, and in how one's heartbreak over another, initially devastating, often turns out to be the best thing that could have happened. This is a remake of One Sunday Afternoon, with Gary Cooper playing Biff. A musical version in 1948 cast Dennis Morgan as Biff! Raoul Walsh directed that version as well.

Verdict: A little too odd but certainly different. **1/2.

LYDIA

Merle Oberon

LYDIA (1941). Director: Julien Duvivier.

"If I can't have all there is I don't want less."

An unmarried elderly woman named Lydia (Merle Oberon) invites a few old male friends to a gathering where she reviews her life and loves over the past few decades. Bob (George Reeves) runs off with Lydia after her grandmother Sarah's (Edna May Oliver) disapproval, but they never make it to the altar. Frank Andre (Hans Jaray) is a blind pianist whose love for Lydia remains unrequited. Michael (Joseph Cotten) is all set to marry Lydia but she doesn't feel the passion for him that she feels for Richard (Alan Marshal of House on Haunted Hill), a handsome sailor who tells her he must go off to settle some past romantic affairs and to wait for her. Well, it'll be a long wait ... Lydia is an unusual and unpredictable movie in that it defies romantic Hollywood conventions and doesn't offer up a traditional happy ending, meaning some viewers will find it unsatisfying, but it's just that difference that makes the movie interesting. The performances are excellent throughout, with a luminescent Oberon; George Reeves [The Adventures of Sir Galahad] proving that he was more than just Superman (whom he would essay a few years later); Joseph Cotten as good as ever; Alan Marshal charming as the mountebank; and Edna May Oliver nearly snatching away the movie from everyone else with her peppery portrayal of the hypochondriac grandmother. Sara Allgood is also on target, as usual, as the mother of a blind boy (Billy Ray) that Lydia befriends and Gertrude Hoffman is fine in a very small role. This has a nice score by Miklos Rozsa as well. The film is in some ways similar to Letter from an Unknown Woman, particularly in its conclusion.

Verdict: Romantic yet uncompromising. ***.

DEAD MEN TELL

Truman Bradley as the mysterious Captain Kane

DEAD MEN TELL (1941). Director: Harry Lachman.

Charlie Chan (Sidney Toler) is invited to participate in a treasure hunt for sixty million dollars on Coco's Island, a hunt presided over by the elderly Patience Nodbury (Ethel Griffies). Poor Patience is found dead on the docked ship, the Suva Star, whose Captain Kane (Truman Bradley of The Night Before the Divorce) does his best to keep out of sight as the other passengers embark. Tales of a pirate's ghost give Jimmy Chan (Victor Sen Yung) the willies when an unknown peg-legged man goes about causing mischief. Other suspects besides the captain include prison escapee Lydig (George Reeves); pretty typist Kate (Sheila Ryan of Great Guns); the weird Gene LaFarge (the ever-cadaverous Milton Parsons); perky Laura Thursday (Kay Aldridge); and Dr. Bonney (Lenita Lane of The Mad Magician); among others. If there's any problem with Dead Men Tell it's that the ship never leaves the dock and there's no action on the aforementioned island at all. Still, this has interesting aspects and is well-acted by everyone. Ethel Griffies [Vigil in the Night] is the cast stand-out even if she isn't around too long. As a running gag, Jimmy falls into the water perhaps once too often.

Verdict: More Jimmy hijinks with "Pop." **1/2.

THE ADVENTURES OF SIR GALAHAD

THE ADVENTURES OF SIR GALAHAD (15 chapter Columbia serial/1949). Director: Spencer Bennet.

A strange new knight named Sir Galahad (George Reeves) marches into Camelot, wins a jousting tournament, and is invited to join the Knights of the Round Table by King Arthur (Nelson Leigh) himself. Alas, pressed into guard duty over the mystical sword Excalibur, Galahad is knocked out and the sword stolen. Galahad comes under suspicion, and vows to recover Excalibur and return it to Arthur before its absence causes the destruction of Camelot. Other suspects include the Saxon king Ulric (John Merton), the Black Knight, whose identity is unknown, Morgan le Fay (Pat Barton). and even Merlin the Magician (William Fawcett). With lots of swordsplay, an enchanted forest whose branches grab at victims, and a mysterious Lady of the Lake, you'd think Sir Galahad would make a rousing serial, but for the most part it's routine and unexciting. There are a couple of decent cliffhangers, however, such as when Galahad falls before a stampede of horses, is trapped by a moving wall of spears, and is nearly crushed by a spiked iron ball. But these highlights are few and far between. Reeves, the subject of the film Hollywoodland, seems uncomfortable at times. Rick Vallin plays Sir Gawain.

Verdict: One suspects that if Republic had done this it would have been a lot better. **.

JUNGLE JIM

JUNGLE JIM (1948). Director: William Berke.

A middle-aged Johnny Weissmuller (pictured) trades in the loincloth of Tarzan for the safari suit of Jungle Jim, which was based on an Alex Raymond comic strip. The snappy Virginia Grey plays Dr. Hilary Parker, who is hoping to get a cure for polio from a witch doctor -- while others are just hoping to find treasure. George Reeves gives a lively performance as a creepy photographer and Rick Vallin plays, of all things, a native chieftain. Lita Baron is the bitchy native girl who tells Parker that she's "like a man." There are elephant stampedes, falling boulders, an attack by alligators, an odd crocodile with a tail that's more like a tentacle, and a trained crow that pecks at typewriter keys. The best scene has Jim dangling from the side of a cliff; his wrestling with a lion isn't bad, either. This may be mostly stock footage, but it plays. Reeves is more interesting as a bad guy than as a hero. Grey also appeared in Black Zoo.

Verdict: Fast-paced jungle fun. **1/2.