THE GAY SISTERS

THE GAY SISTERS (1942). Director: Irving Rapper.

The Gaylord Sisters have been waiting 27 years for their father's will to be probated, but a stubborn businessman named Charles Barclay (George Brent) refuses to accept their settlement offer. Seems the man has a personal grudge against one of the sisters, Fiona (Barbara Stanwyck), the reason for which comes out as this highly entertaining movie progresses. The other sisters, Evelyn (Geraldine Fitzgerald) and Susie (Nancy Coleman), don't like each other very much, with a true-to-form Evelyn doing her best to steal Susie's beau, "Gig Young" (played by Gig Young, who took his screen name from this picture). Then there's that little charmer Austin, who's sort of been adopted by Fiona. But whose little boy is he really? There are very interesting twists to this very well-acted and directed drama that transcends soap opera due to Lenore Coffee's excellent script and its sheer quality. Stanwyck is excellent, as are Fitzgerald and Coleman, and a large supporting cast including Donald Woods, Donald Crisp, Anne Revere, and Grant Mitchell. Young and Brent aren't slouches, either. Certain to stimulate debate is a scene between Stanwyck and Brent that could be taken as consensual (if cynical) sex or as rape! Irving Rapper, who is in full command of the picture, also directed Deception, The Corn is Green, Now, Voyager, and many others.

Verdict: Really the kind of movie they don't make anymore. ***1/2.

THE LATE EDWINA BLACK

Geraldine Fitzgerald and David Farrar

THE LATE EDWINA BLACK aka The Obsessed/1952. Director: Maurice Elvey.

"There's not much of a world for penniless young girls like you. Or lonely old women like me."

Gregory Black (David Farrar) lives beyond his means in a huge home because his wife, Edwina, is wealthy. Gregory's secretary is Elizabeth Grahame (Geraldine Fitzgerald), and the two have fallen in love. When the never-seen Edwina, who is a bedridden invalid, is found dead, Inspector Martin (Roland Culver) tells them that they found arsenic in the dead woman's system. It isn't long before both Gregory and Elizabeth are freaking out, each accusing the other of murder while Edwina's spirit seems to hover over the household. The Late Edwina Black is well-acted, especially by Fitzgerald [So Evil My Love] and Jean Cadell as the housekeeper, Ellen, and the film has genuine suspense. The problem with the picture is that the two main characters are completely unsympathetic, never registering the slightest compassion or understanding for Edwina. We're led to believe that she may be a harridan, but the events that could have led to her becoming that way are glossed over. This is based on a play that was filmed or made for television more than once. Well-photographed by Stephen Dade. Elvey also directed The Tunnel. David Farrar played Sexton Blake in The Echo Murders.

Verdict: Not bad mystery film with a good plot but unlikable characters. **1/2.

DARK VICTORY

Bette Davis and George Brent

DARK VICTORY (1939). Director: Edmund Goulding.

"You might fold up and I might fold up, but that horse has the breeding."

An outstanding performance by Bette Davis is the cornerstone of this tearjerker that deals with a dying wealthy woman who falls in love with her doctor. Judith Traherne (Davis) has headaches and vision problems, and is afraid to see anyone about it. Finally her family physician (Henry Travers) arranges for her to be examined by Dr. Fred Steele (George Brent), whose initial diagnosis is glioma [this is not a phony Hollywood word but is actually a general term for any tumor in the brain that arises in the supporting tissue]. Steele performs surgery on Judith, but learns that her illness will reoccur and there is nothing to be done to prevent her eventual death. A happy, unknowing Judith goes on planning her life while her doctors and secretary/best friend Ann (Geraldine Fitzgerald) try to keep the truth from her ... Dark Victory is what's known as a "well-mounted soaper" and it is graced by Davis in one of her best performances, a lovely Fitzgerald, and even Brent delivers with perhaps more sensitivity than usual. Ernest Haller's photography is also excellent. But like most soap operas, Dark Victory is terribly contrived at times, and its look at terminal illness is almost offensively stupid -- like most movies that treated the subject at this time, the sick person looks more beautiful the closer they come to dying, which is completely absurd. (Davis does look beautiful in the movie, however.) One of the stupider moments has Steele, without the slightest prelude, telling a terrified patient, Judith, "We have to operate!" just so the scene can be more dramatic. The whole business of Judith looking and feeling absolutely normal until just before her death is also ludicrous, but it means Davis can wear some striking evening wear throughout the movie. Humphrey Bogart isn't bad as the Traherne's horse trainer, and has one very interesting scene when he comes on to Judith in the stable. Ronald Regan makes virtually no impression as one of Judith's friends, but Dorothy Peterson as the nurse Miss Wainwright, and Virginia Brissac as the maid Martha, are more on the mark. "Give Me Time for Tenderness" is warbled -- and very nicely -- by Vera Van in a nightclub scene (although some sources say it was Mary Currier, who may have acted the part and been dubbed). One must assume Dr. Steele is rich because he seems to spend months doing nothing but attending to Judith (or else he gives her a mighty big bill). Dark Victory is very well directed by Edmund Goulding, who guided Davis to do some of her best work in pictures, The Old Maid being a case in point. Goulding also directed Davis and Brent in The Great Lie. This was remade 26 years later as Stolen Hours aka Summer Flight starring Susan Hayward.

Verdict: Yes, a "well-mounted soaper" with a splendid Davis. ***.

SO EVIL MY LOVE

Ray Milland as rotter Mark

SO EVIL MY LOVE (1948). Director: Lewis Allen.

A missionary's widow named Olivia (Ann Todd of The Seventh Veil) nurses a sick man named Mark (Ray Milland of A Life of Her Own) on a voyage returning to 19th century London and he later comes to board in her house. Mark is a thorough rotter and criminal with a cheap girlfriend, but he brings out Olivia's hidden desires and passions and she falls hard for him. Eventually the two work out a scheme for money that involves Olivia's old school chum, Susan (Geraldine Fitzgerald of Nobody Lives Forever), and her tiresome, tight-assed husband, Henry (Raymond Huntley). Much later an untenable situation develops that casts Susan into a nightmare and Olivia into a pit of torment and confusion. As for Mark, he is developing certain feelings that surprise even him. The best thing about this fascinating study of obsession is that it's completely unpredictable, throwing twists and turns at the viewer from start to finish. Although Milland may not be the best casting, he gives a good performance, Fitzgerald is fine, and Ann Todd is perfect and wonderful as the decent woman given in to love, lust and immorality. It all builds to a terrific and ironic conclusion. The score is by William Alwyn and Victor Young. Leo G. Carroll is the most notable of the supporting cast. Lewis Allen also directed Desert Fury and many others. Supposedly inspired by a true story.

Verdict: Absorbing romantic suspense film. ***1/2.

NOBODY LIVES FOREVER

NOBODY LIVES FOREVER (1946). Director: Jean Negulesco.

Nick Blake (John Garfield) is fresh out of the army, and discovers his girl, Toni (Faye Emerson) hasn't exactly been idle during his absence. He leaves for Los Angeles with his buddy Al (George Tobias), and is offered a lead role in a new scheme by fellow low-life, Doc (George Coulouris): he is to romance a recently widowed and wealthy woman named Gladys (Geraldine Fitzgerald) with the aim of parting her from her newly-acquired dough, a percentage of which he'll turn over to Doc and his racketeer cronies. But what happens if Nick genuinely falls in love with Gladys? Nobody Lives Forever is a surprisingly dull suspense drama with a shoot 'em out climax that seems to last an hour. Garfield is fine, but his character is unreal and uninteresting, and while Fitzgerald gives a good performance as the very naive and lady-like Gladys, it has no spark or fire, and neither does her character. The whole story is contrived and unbelievable in many respects to start with. George Coulouris (Womaneater; Citizen Kane) is excellent but George Tobias is irritating and adds absolutely nothing to the picture. Emerson [Lady Gangster], Walter Brennan [A Stolen Life] and Robert Shayne [The Neanderthal Man] are all fine in smaller roles. Again Brennan plays a character who is much older than he was at the time of filming.

Verdict: Phony and lifeless. **.

THE STRANGE AFFAIR OF UNCLE HARRY

THE STRANGE AFFAIR OF UNCLE HARRY (1945). Director: Robert Siodmak.

Harry Quincey (George Sanders) lives with his two sisters, Hester, a widow (Moyna MacGill) and a supposedly sickly younger woman named Lettie (Geraldine Fitzgerald), who doesn't react well when she learns that Harry is going to marry a pretty co-worker named Deborah (Ella Raines), leading to assorted complications. Although the incest theme is extremely overt, the production code necessitated an unbelievably annoying ending to the film. However, the movie is absorbing and generally well-acted. Sanders subdues his naturally rakish personality to play a shyer kind of fellow and Raines and MacGill are excellent, as is the always reliable Sara Allgood as the opinionated maid. Fitzgerald doesn't always quite seem to have a handle on her often repellent character, and some of the revelatory sequences are handled in a perfunctory manner. And that ending ...! Still, the picture is quite entertaining.

Verdict: Rumors that this was remade as Toys in the Attic are untrue. **1/2.

THE ALFRED HITCHCOCK HOUR SEASON 3

THE ALFRED HITCHCOCK HOUR Season 3. 

In its final season, this series remained quite entertaining despite a surplus of mediocre episodes. While even the lesser episodes generally hold your attention, the best stories either have you on the edge of your seat or make you somewhat nervous. "Water's Edge" unites John Cassavetes [as an ex-con] and Ann Sothern [his cell mate's girlfriend] on a hunt for hidden stolen loot. "Power of Attorney" pits con artist Richard Johnson against two ladies played by Geraldine Fitzgerald and Fay Bainter. "The Thanatos Palace Hotel" presents a bizarre resort where people planning suicide come to die. "The Life Work of Juan Diaz" is a truly grotesque affair about a man who can't afford a proper burial while "The World's Oldest Motive" features Henry Jones as a man with a mistress who wants to get rid of his wife, the eternal problem. "Night Fever" is a moody piece with Colleen Dewhurst as a nurse who finds herself falling for a criminal patient played by Tom Wilcox. "An Unlocked Window" -- one of the series' very best episodes -- features two nurses in a mansion with a maniac on the loose; it is both chilling and darkly amusing in equal measure. 

Verdict: All in all, lots of creepy pleasure. ***.

THREE STRANGERS

THREE STRANGERS (1946). Director: Jean Negulesco. Written by John Huston and Howard Koch.


Tied in with an old Chinese legend, three strangers share a sweepstakes ticket and an uncertain destiny. Crystal Shackleford (Geraldine Fitzgerald) is determined to get her husband, David (Alan Napier), back from the new woman in his life and will tell any nasty lie to do so. Jerome Arbutny (Sydney Greenstreet) is facing complete and total ruination if it gets out that he played fast and loose with a client's money -- he even goes so far as to ask the old biddy for her hand in marriage. Johnny West (Peter Lorre) is a foolish drunk who is arrested for a murder he didn't commit and was only nominally involved in. Will the goddess Kwan Yin favor them with good fortune, or will their own natures get the better of them? Unusual, cleverly scripted story features some fine performances from the stars and supporting cast, with Peter Lorre playing a more sympathetic -- and romantic -- part than usual. Decidedly offbeat and certainly unpredictable.

Verdict: Something different. ***.