3 FOR BEDROOM C

Gloria Swanson and James Warren

3 FOR BEDROOM C (aka Three for Bedroom C/1952. Director: Milton H. Bren. 

Movie star Ann Haven (Gloria Swanson), who has just won an Oscar, discovers there are no compartments available for her and her daughter, Barbara (Janine Perreau), and she must take a train to Hollywood in a hurry. She simply takes over a compartment and is lucky enough to discover that the true occupant, chemist Dr. Oliver Thrumm (James Warren), finds the two ladies charming. As other arrangements are made with the help of steward Fred (Ernest Anderson), Ann and Oliver find themselves falling for one another. But there are complications when Oliver finds out who Ann is, as well as interference from her manager, Johnny (Fred Clark of White Heat), the press agent Jack Bleck (Hans Conreid of The Twonky) and a declasse theater person, Conde Marlowe (Steve Brodie of Desperate), who is heading for Hollywood. Will the romance between Ann and Ollie run smoothly?                

Conreid, Clark, Brodie

Despite her performance in Sunset Boulevard, Gloria Swanson found herself with few movie offers (or turned them down) after her triumph in that picture. Unfortunately, her choice of this light -- very light -- comedy was not a good one. Her choice of leading man was also odd, as you have to wonder why she didn't go after someone with more box office clout. A former star of low-budget westerns, James Warren was handsome and competent enough, but he was no Cary Grant (who would certainly have turned this script down). Swanson herself is quite good, as are the supporting cast members already mentioned, and there are slightly amusing cameos from Margaret Dumont (who certainly doesn't get enough to do) and Percy Helton. 

As for Ernest Anderson, he plays the role of the intelligent, wise and educated steward with dignity. Anderson also had a good part in In This Our Life. Swanson had only two more theatrical films in her future -- a foreign comedy about Nero and Airport 1975 -- along with a host of TV show guest spots. She did her best to constantly reinvent herself and stay in the public eye. Janine Perreau, another member of the Perreau acting family, is more annoying than cute. 

Verdict: Labored comedy that is easy enough to take but never really gets off the ground. **. 

THE AFFAIRS OF DOBIE GILLIS

Bobby Van and Debbie Reynolds

THE AFFAIRS OF DOBIE GILLIS (1953). Director: Don Weis.

Dobie Gillis (Bobby Van) has enrolled in college but he doesn't seem to have much on his mind academically. He is much more interested in girls, especially Pansy Hammer (Debbie Reynolds), who is initially resistant. Pansy's parents, especially her grumpy father (Hanley Stafford), rarely approve of her boyfriends and Dobie is no exception. Further complicating the matter is that Dobie's pal and roommate, Charlie (Bob Fosse), goes for Lorna (Barbara Ruick), who only has eyes for Dobie. Then Dobie manages to get into trouble over and over again, and it seems as if he and Pansy are to be separated forever.

Roomies: Bob Fosse and Bobby Van

The Affairs of Dobie Gillis is a trifle, but what a charming and entertaining trifle it is, with a great cast of talented performers giving their utmost. Bobby Van [The Navy vs the Night Monsters], while not traditionally handsome, proves an adept leading man with both singing and dancing skills, a pleasant, outgoing personality, and plenty of exuberance and charisma. The same could be said for Bob Fosse, who is both cute (if not on a Tab Hunter level) and appealing, but chose to work primarily behind the scenes as a top choreographer in later years. Debbie Reynolds [Singin' in the Rain] is also cute and perky and while this is mostly Van's show, gives him her best in support. Barbara Ruick, who was in the film version of Carousel as well as Rodgers and Hammerstein's Cinderella, scores as the love-sick gal who adores her disinterested Dobie and is given at least one snappy number. 

Reynolds, Van, Freeman

As for the supporting cast, Hans Conreid, as a stuffy professor, reminds one of Mr. Livermore on I Love Lucy. Kathleen Freeman certainly adds to the fun as the comical leader of an all-girl band. Percy Helton shows up as a shop owner, Charles Lane is well-cast as a -- what else? -- grouchy chemistry professor, and there are bits by Alvy Moore,  Almira Sessions, and John Smith. Lurene Tuttle is Debbie's mother, and is fine, but Hanley Stafford as her father is all bluster and no laughs. The songs include "All I Do is Dream of You," "I'm Through with Love;" and "Can't Do Wrong If It's Right," which features some fancy footwork from Van and Fosse. The somewhat episodic film reminds one a bit of a sitcom at times, and indeed it wasn't long before The Many Loves of Dobie Gillis was being telecast every week, although with a completely different cast.

Verdict: Lots of fun, good tunes, and fancy footwork. ***. 

THE BARKLEYS OF BROADWAY

Ginger Rogers, Oscar Levant, Fred Astaire

THE BARKLEYS OF BROADWAY (1949). Director: Charles Walters.

Josh and Dinah Barkley (Fred Astaire and Ginger Rogers) have been a top team on Broadway for several years, but all is not rosy in their lives backstage. Secretly Dinah is a bit tired of her husband's Svengali-like attitude and his criticisms, as well as the feeling he has that he "made" her. When a very handsome playwright named Jacques Barredout (Jacques Francois) insists that Dinah has great and untapped dramatic talent, she decides to try her hand at playing Sarah Bernhardt in his new play. Will she fall on her face, and how will Josh feel if she does? Barkleys presents Astaire and Rogers in absolute top form, and this is one of their most winning movies. As their friend and collaborator, Oscar Levant [The Cobweb] offers one of his better performances, although the device of pairing him off with one beautiful woman after another becomes tiresome. Levant was an oddity -- he couldn't sing or dance, and certainly wasn't good-looking -- but his sardonic delivery often works, and he is allowed to play the piano on excerpts from two pieces, Gershwin's "Rhapsody in Blue" and Tchaikovsky's "Piano Concerto No. 1." If Barkleys falls down in one respect it's that the new songs by Harry Warren and Ira Gershwin aren't up to the standard set by Ira and George Gershwin -- the only melodic bright spot is Gershwin's old tune "They Can't Take That Away from Me." Astaire's smooth elegant dancing is much on display, especially in a number when he trips the light fantastic with dozens of pairs of animated dancing shoes. The supporting cast includes Billie Burke [Three Husbands], who is wasted as a talkative patroness of the arts; Hans Conreid [Juke Box Rhythm] as an avant garde artist who draws Dinah as if she were a pancake (!); and George Zucco, who appears on stage during the Sarah Bernhardt sequence. Clinton Sundberg and Gale Robbins also appear, with Robbins playing Dinah's excitable Southern understudy; she's swell. Jacques Francois is now little-known except for this picture, but he amassed 150 credits, mostly in French productions, and he makes a good impression in this.

I believe this was the last time Astaire and Rogers were teamed in a movie, There was actually a ten year gap between Barkleys and their previous film, The Story of Vernon and Irene Castle. Lest one wonder if the real Rogers felt like Dinah does in this movie, we must remember that Rogers had already proven her dramatic acting chops in several previous films -- and she won the Best Actress Oscar for Kitty Foyle in 1941 -- so this was not a case of art imitating life.

Verdict: Delightful musical with the inimitable team of Rogers and Astaire. ***. 

THE MONSTER THAT CHALLENGED THE WORLD

THE MONSTER THAT CHALLENGED THE WORLD (1957). Director: Arnold Laven.

In the Salton Sea prehistoric mollusks -- or "krakens" -- that resemble giant caterpillars and suck all the fluid out of their victims arise from a new fissure and present quite a problem. Commander Twillinger (Tim Holt) of Naval Intelligence is assigned to hunt down and eradicate the beasts even as he carries on a romance with a pretty widow and lab secretary named Gail (Audrey Dalton). Hans Conreid is oddly cast as a scientist and Gail's boss, although he is quite effective, as are Holt and Dalton. The cadaverous Milton Parsons shows up as an historian named Lewis Clark Dobbs. The creatures are very well-designed mechanical beasties who perform better than you might imagine, and there's a creepy climax in the lab when one breaks out of its container and pursues Gail and her little daughter. The script is flavored with some interesting characters and touches.

Verdict: One of the better creature features of the period. ***.

THE SHAGGY D.A.

THE SHAGGY D.A. (1976). Director: Robert Stevenson.

In this sequel to The Shaggy Dog, Wilby Daniels -- the young man who turned into a sheepdog in the first film -- has grown up and is now played by Dean Jones. Running for office, he finds himself turning into a dog at very inopportune moments. Although Fred MacMurray is sorely missed, this has a great cast that includes Suzanne Pleshette, Keenan Wynn, Hans Conreid, Iris Adrian, and especially Tim Conway as an ice cream vendor whose dog is the one that switches places and brains with Wilby. This is a cute picture, if no world-beater, and the best sequence has a bunch of dogs in a pound who all talk with the voices of such famous actors as Peter Lorre, Mae West, Bogart, and Edward G. Robinson!

Verdict: If you liked the original you might get a minor kick out of this. **1/2.

THE TWONKY

THE TWONKY (1953). Director: Arch Obeler. 

"Individualism is the basis of all great art." 

Cary West (Hans Conreid) discovers that a TV set that has been delivered to him is a robot from the future than can even walk around when it wants to. This was probably meant to be an allegory on how television was taking over everyone's lives in the fifties (and beyond) but the problem with the movie is that while it's a little crazy, it's never especially funny. The exception is the amusing Coach Trout, played by Billy Lynn, who also appeared in The Outcasts of Poker Flat. Conreid's performance is fine, but the material he's been given to play is mediocre. A few minor chuckles along the way. Evelyn Beresford is fun as an old woman who gives Conreid a ride, and the hapless Gloria Blondell appears as a woman from a collection agency. 

Verdict: Have some twinkies instead of a twonky. *1/2

JUKE BOX RHYTHM

JUKE BOX RHYTHM (1959). Director: Arthur Dreifuss.

So Princess Ann (Jo Morrow) has come to New York to find a coronation gown and she winds up getting into a wild swing thing with handsome Riff Manton (Jack Jones, son of Allan Jones). Riff is the son of down-on-his-luck Broadway producer George Manton (Brian Donlevy), who is keeping time not with Riff's mother (Marjorie Reynolds) but with a hotter blonde (Karin Booth) -- for shame. Then we mustn't forget former junk man Balenko (Hans Conreid) who fancies himself the greatest fashion designer in the world. He thinks Riff and the princess are "just like that" and asks him to somehow get Her Highness to look at his designs. But will the princess' uppity Aunt Margaret (Freida Inescort) allow it?

So let's see. We've got Freida Inescort of Return of the Vampire, Brian Donlevy of the Quatermass films, "Mr. Livermore" of I Love Lucy (Hans Conreid), Edgar Barrier of The Giant Claw, Fritz Feld of a zillion features (almost always playing the same role and doing it well) and the son of Allan Jones -- all in the same movie!

Jack Jones [dig that groovy haircut!] can act and has a pleasing personality, so it's a wonder his movie career didn't go further. Jo Morrow (who also appeared in 13 Ghosts) is decorative [she's the ginchiest!] and competent. Donlevy and Conred are fine, which is to be expected. Inescort adds a touch of class to the proceedings, which are perfectly amiable and utterly forgettable.

Low point: George Jessel shows up, tells bad jokes, and sings -- very badly!

Verdict: You probably won't dig it the most but some might think Jones is "the most"! **.