THE GROUP

THE GROUP (1963). Director: Sidney Lumet. 

"Who'da thunk it?" -- various.

"Sacrifice is dated. You don't reform a man. They just drag you down." -- Dottie.

In 1933 a group of women friends graduate from Vassar. The first to get married is Kay (Joanna Pettet), whose husband is a philandering playwright named Harald (Larry Hagman) whose mistress, Norine (Carrie Nye), also went to Vassar (but is not part of the group). Helena (Kathleen Widdoes) is the one who sends out a newsletter detailing the activities of the others. Priss (Elizabeth Hartman of The Beguiled) gets married to a controlling doctor, while Dottie (Joan Hackett) disillusioned by her first lover (Richard Mulligan), marries a much older man. Although she seems man-hungry, the bitchy Libby (Jessica Walter) reveals that she's a virgin when one suitor tries to assault her. Lakey (Candice Bergen) turns out to be a committed lesbian who comes back from Europe with a German baroness in tow. Polly (Shirley Knight) dallies with a married publisher (Hal Holbrook) before uniting with a doctor (James Broderick) who befriends her somewhat unusual father (Robert Emhardt). Pokey (Mary Robin-Redd) is a friendly and plump gal who seems a bit on the fringes of the group.  As the years go by the women interact, have babies, divorces, break-ups and react to world events such as communism and Hitler. Then one of their lives takes a decided and tragic turn for the worse. 

Lidia Prochnicka as the baroness with Bergen 

The Group is an interesting if very talky movie with some well-drawn characters and excellent performances. In the early scenes, of course, the actors all seem too old for their parts, but that isn't a problem in the later sequences. You expect -- and get -- memorable  performances from such as Joan Hackett, Jessica Walter (although perhaps a bit too arch and brittle at times), Kathleen Widdoes, and Hartman, but there's also good work from Candice Bergen and excellent work from Joanna Pettet, who is essentially the main character and is on top of things every step of the way. 

Bill Fletcher (seated) with some of the ladies

Larry Hagman has some good moments, as do the other fellows, with Broderick perhaps getting the most time on screen. Doreen Lang (of The Birds) makes a highly sympathetic nurse in one sequence. Bill Fletcher makes an impression as a rude actor who takes on Harald at a party. Sidney Buchman's screenplay seems to be fairly faithful to the novel (judging by a synopsis) while Sidney Lumet's direction covers the action competently but isn't especially inspired. There are no wipes, dissolves or other segues in the movie and nothing whatsoever to denote the passage of time, although there is period atmosphere. The ladies all had many credits after this film, with Bergen, Hackett, Knight, and Walter having the highest profiles. Kathleen Widdoes did work on the soaps. 

Verdict: If you can take all the cute nicknames -- what, no "Pukey?" -- this is an absorbing film with some fine performances. ***.  

FILMS I JUST COULDN'T FINISH ROUND SIX

FILMS I JUST COULDN'T FINISH ROUND SIX. 

As noted previously, these are not reviews, per se, but notes on films that I watched or suffered through until I just gave up on them for one reason or another. Sometimes I skipped to different sections just to get a sense of what was going on or to see if the film became more entertaining. Not all of these pictures are necessarily bad, they just didn't hold my attention. If you see one on the list that you think deserves another look, let me know.

We're Rich Again (1934) deals with a once-wealthy family who are nearly bankrupt because of an upcoming wedding, with a process server camping outside the front door. I had high hopes for this allegedly screwball comedy but even the presence of Edna May Oliver and Billie Burke couldn't wring out any real laughs from this. Buster Crabbe spends most of his time in the swimming pool

The Hardy Boys in the Mystery of Ghost Farm (1957) was actually a serial that appeared on The Mickey Mouse Club. When I saw this on youtube I thought it was a real find, but I wasn't into it very long when I realized that this had little to do with the books I had loved, that the Hardy Boys (Tim Considine and Tommy Kirk) in the serial were borderline obnoxious, and the story was pretty silly and tedious. Although Frank and Joe Hardy already had girlfriends in the classic books, in this Frank has just discovered girls to Joe's dismay -- he just wants to solve mysteries.  If only!  

Edge of Fury (1958) concerns a psychopathic young man who gets involved in the lives of a woman and her two daughters at their beach domicile. This movie had its points of interests but it's one of those low-budget independent pictures that either grabs you or just turns out to be a waste of time. I gave it about forty minutes and gave up. 

Fire Monsters Against the Son of Hercules (1962) was actually an Italian peplum flick originally titled Maciste sontrol i mostri. Several of these dubbed flicks were turned into "Son of Hercules" features with a terrible pop tune playing over the credits. Our hero battles a silly-looking sea monster that has rolling eyes. Even I couldn't stand that much of this! 

The Caretaker (1963), also known as The Guest, is adapted from Harold Pinter's play by Pinter himself. I was impressed by the fine acting of Donald Pleasance and Robert Shaw during the first half hour, but then Alan Bates walked in and started stinking everything up with his obnoxious performance of an odious character (as he did in Butley). Pinter and Bates? I could abide no more! 

Five Golden Dragons (1967), produced by Harry Alan Towers, concerns an American (Bob Cummings) in Hong Kong who gets involved with the titular criminal cult. In his last film, Cummings -- still playing the aging epicene bumbling playboy like he did in Love That Bob! -- is completely out of place in a kind of dull euro-thriller that fails to hold the attention. The "dragons" are played by Chris Lee, George Raft, Dan Duryea, and Brian Dunlevy in unnecessary cameos that at least netted  them a trip to Hong Kong. Terrible! 

Leaving Las Vegas (1995). I had wanted to see this for years, but after about half an hour I was already bored with the lives of these pathetic losers. I don't like spending time with people like this in real life, so why should I spend over two hours with them in a movie? Yes, I know the film is acclaimed and Nicolas Cage won an Oscar, and I'm certainly not saying that it's bad, but with so many other choices to watch this just didn't grip my attention.  

Perry Mason: The Case of the Jealous Jokester (1995 telefilm). After Raymond Burr's death, the producers of the TV movies decided to continue the franchise with Hal Holbrook playing not Perry Mason, but a lawyer known as Wild Bill McKenzie who was a friend of Mason's. This is the second and last of two films featuring Holbrook. Burr's absence makes the entire enterprise seem pointless but while I did try to get into this, I found it tedious. 

Antlers (2021) starts out promisingly and has a classy look, but this story of odd doings in a mine and a strange creature that haunts a young boy is so slow-paced and has such little energy that after awhile I skipped to the finale and found it to be just more of the same in monster flick terms. Very disappointing, although there is some decent acting and slick cinematography. 

Death on the Nile (2022). Although I enjoyed Kenneth Branagh's remake of Murder on the Orient Express, I was less impressed with this rather plodding remake of Death on the Nile. Part of the problem, for me at least, is my familiarity with the storyline and the various twists created by Agatha Christie. But while the cinematography is first-rate I found this production to be somewhat listless. Once the main murder occurred, I knew what was coming and I wasn't sufficiently energized to see how Branagh would handle the very same events. Maybe there were differences in this version, I don't know and I just didn't care. For some reason the whole thing reminded me of a 1930's musical. The prologue relating how and why Poirot grew his famous mustache is unnecessary, to say the least.  

THE FOG (1980)

THE FOG (1980). Director: John Carpenter.

As the California coastal town of Antonia Bay prepares for its centennial, most of the town's citizens are unaware of its truly tragic origin. The town's founders, learning that a wealthy man was planning to build a leper colony near the town, deliberately sank the schooner that the lepers were sailing on and took the wealthy man's gold for themselves. Now it's one hundred years later and the ghosts of the lepers want revenge. Noticing the glowing fog at sea, along with some other strange occurrences, are several townspeople, including: Stevie (Adrienne Barbeau), who runs the local radio station out of a lighthouse; hitchhiker Elizabeth (Jamie Lee Curtis) and the fisherman, Nick (Tom Atkins), who gives her a lift; the tippling Father Malone (Hal Holbook), whose grandfather was one of the town's founders; and Mrs. Williams (Janet Leigh), who tries to stay in charge of the ceremonies even as she deals with the fact that her husband is missing.

Adrienne Barbeau

This was the second theatrical film after Halloween for both director Carpenter and Jamie Lee Curtis, who has a supporting part in this. I was not all that impressed with The Fog when it was released, and it hasn't grown on me, although it is by no means a terrible picture, especially when compared to some of the horror schlock released at the same time. The main problem with the film is its too-deliberate pacing, which should at least give the movie time to develop its characters but doesn't. The main premise is quite good, but Carpenter, who co-scripted, just doesn't do enough with it, and viewers often get the impression that the movie is over just when it starts to get really interesting -- although to be fair there are some eerie sequences and a couple of startling moments. It also has some mood and atmosphere, and Dean Cundey's cinematography is notable. The picture cries out for a much better score than the one that composer Carpenter has provided, however. Janet Leigh gives a very obvious performance, but Barbeau [Two Evil Eyes] is better, along with most of the other cast members. Barbeau and John Carpenter were married at the time; their marriage lasted five years. I found it hard to believe that Barbeau's character would stay at the radio station instead of going to her little boy's rescue. Remade in 2005.

Verdict: If you like movies with creepy things in the fog, watch The Crawling Eye instead. **1/2.

MURDER BY NATURAL CAUSES

Katherine Ross and Barry Bostwick

MURDER BY NATURAL CAUSES (1979 telefilm). Director: Robert Day.

Arthur Sinclair (Hal Holbrook) is a famous "mentalist" who claims psychic powers that may or may not be real. His younger wife, Alison (Katharine Ross), is having an affair with the struggling actor, Gil Weston (Barry Bostwick), and she urges him to help her carry out a plot to kill Arthur. Of course nothing runs smoothly, but there are other players in the drama who may have their own schemes at work ... Murder By Natural Causes has a typically twisty and satisfying plot by Richard Levinson and William Link, and boasts top performances by Holbook and Bostwick, who really score in a cat and mouse sequence inside Arthur's imposing mansion. Ross [Games] and Richard Anderson [The Night Strangler], who plays the Sinclairs' lawyer, are competent and effective but a cut below the other two. In addition to many other mystery scripts, Levinson and Link also wrote That Certain Summer, which also starred Holbrook.

Verdict: This pic won't make you "mental." ***.

CAPRICORN ONE

Sam Waterston, O. J. Simpson, James Brolin

CAPRICORN ONE (1978). Director: Peter Hyams.

Astronauts Brubaker (James Brolin), Willis (Sam Waterston) and Walker (O. J. Simpson) are about to go off on a flight to Mars when they are told by Dr. James Kelloway (Hal Holbrook) that the mission is scrubbed because of a faulty life support system. Kelloway is afraid the space program will lose its funding. so he and his associates decide to film the astronauts on a sound stage and make the world believe they have actually landed on Mars. Brubaker and the others are appalled by what they've participated in, but they really get worried when it is announced that the three "died" during re-entry. Then the chase is on ... Capricorn One has an utterly absurd premise (inspired by the notion that the Moon landing was staged), but it holds the attention and has a terrific, suspenseful climax where a suspicious reporter (Elliot Gould) tries to save Brubaker, and an old-fashioned bi-plane is engaged in a dogfight with two sinister helicopters. As for the acting, Holbrook walks off with the movie, particularly in a long monologue when he tells the three men what's happened and the reason for the hoax they're about to perpetrate. The three lead actors are okay but give perfunctory performances (considering what has happened to them), even Waterston, although he has some good moments out in the desert. Brenda Vaccaro as Brubaker's wife plays the role of "widow" a little too jovially. The script lacks depth but that may be because no one had any real faith in the premise.

Verdict: If you ignore the sheer preposterousness of the premise, the movie is fun. ***.

THE FIRM

Gene Hackman and Tom Cruise

THE FIRM (1993), Director: Sydney Pollack.

Mitch McDeere (Tom Cruise) is signed up with the law firm of Bendini, Lambert and Locke at a six figure salary with lots of percs. He and his wife, Abby (Jeanne Tripplehorn), are ecstatic, but there's a serpent in paradise. Partners in the firm seem to die on a regular basis, and Mitch realizes there's something not quite kosher about the outfit. Before long he finds himself between a rock and a hard place where his employers and interested agents of the FBI are concerned. Can he manage to help the agents without getting himself killed? Years ago there used to be thrillers that lasted maybe 80 or 90 minutes, included lots of plot twists and turns, and even at times a bit of characterization. The Firm clocks in at over two and a half hours, doesn't really have enough plot to sustain it, doesn't retain a grip on the suspense, and doesn't even include that much characterization. One problem is that the vastly overrated Sydney Pollack couldn't direct a true thriller if his life depended on it, and his attempts in that area always fail. The movie starts off quite well and sets up an interesting situation, but then it just plods along its dreary course until you lose interest in the proceedings. Cruise isn't bad, although he sort of just walks through it looking "concerned." Tripplehorn is better, and Gene Hackman [The French Connection] really steals the picture as a conflicted associate of Mitch's as well as his mentor. There are also nice turns by Gary Busey [A Star is Born] as a private eye, Holly Hunter as his secretary-lover (the murder scene involving both of these characters is one of the best things in the movie); Hal Holbrook as a law partner; Ed Harris as an FBI agent; David Strathairn as Mitch's convict brother; Steven Hill as another agent; and John Beal [The Vampire] as another of the partners.

Verdict: Too many characters and detours eventually add up to tedium. **1/2.

THAT CERTAIN SUMMER

Hal Holbrook and Martin Sheen

THAT CERTAIN SUMMER (1972 telefilm). Director: Lamont Johnson. Written by Richard Levinson and William Link.

Contractor Doug Salter (Hal Holbrook) has divorced his wife and is in a relationship with musician Gary McClain (Martin Sheen). When his teenage son, Nick (Scott Jacoby) comes for a visit, he has to deal -- although he doesn't want to -- with the boy's eventual realization of his father's sexual orientation. This was the first made-for-TV movie to deal fairly positively with the subject of gay relationships. The focus is perhaps more on the father-son relationship than it is with the lovers, although they are portrayed as normal human beings and not losers or freaks. It is likely that Broadcast Standards and Practices (the TV censors of the time) probably imposed a speech in which Doug wonders if homosexuality is a "sickness" and says "if I had a choice it's not what I would choose for myself." In spite of this, the gay relationship is in no way presented as being abnormal, and it is made clear that Doug is much more conservative than the younger and more liberated Gary. The entire cast gives excellent performances, including Hope Lange [Peyton Place] as Doug's ex-wife; Jan Shepard [Attack of the Giant Leeches] as Gary's sister; Joe Don Baker [Criminal Law] as his brother-in-law; and Marlyn Mason as a client of Doug's who has romantic feelings for him.

Verdict: Whatever its flaws -- and it has them -- this frank, mostly intelligent film was certainly a step in the right direction. ***.