SAMSON AND DELILAH

Hedy Lamarr and Victor |Mature

SAMSON AND DELILAH (1949). Produced and directed by Cecil B. DeMille.

In Gaza in 1000 B.C. the Danite Samson (Victor Mature), who is a hero to his people, dares to fall in love with Semadar (Angela Lansbury), even though she is a Philistine. Semadar's younger sister, Delilah (Hedy Lamarr) wants Samson for herself, and she is embittered over his rejection of her. When Samson's wedding to Semadar doesn't quite come off, it leads to violence and bloodshed, and Delilah vows to have her revenge.

Lamarr as Delilah

Samson and Delilah is an entertaining movie, but for most of its length it's curiously flat. Some of the minor supporting actors speak their lines as if they were in an old Republic serial and even for 1949 the whole production has an old-fashioned, even cheesy, tone to it. Neither Victor Mature nor even the beautiful Lamarr are especially well-cast. Their performances are good enough by old Hollywood standards, but there are other actors who could have done much, much more with the roles. (Mature would do more costume dramas such as The Robe in the future and his work in them would greatly improve.) Supporting players such as Lansbury; Henry Wilcoxon (as Ahtur, another of Semadar's suitors); Fay Holden as Samson's mother; Olive Deering [Caged] as Miriam, who loves Samson unrequitedly; Julia Faye as the maid Hisham; little Russ Tamblyn [Tom Thumb] as young Saul; and most notably, George Sanders as the Saran of Gaza, come off much better, with Sanders pretty much stealing the show.

The best acting comes from George Sanders

However, Samson and Delilah is worth the price of admission for no other reason than the last ten minutes, in which a humiliated Samson gathers his strength (why did the Dagon-worshipping Philistines let him grow his hair back?) and manages to literally bring the house down on the Philistines. Well-directed and edited, with good FX work, this sequence is a stunner even today. If only the whole movie had been on this level! Victor Young's score is disappointing, but the Oscar-winning costume designs by Edith Head and others are exquisite. The art direction also won an Oscar.

Others in the huge cast include Tom Tyler, Nils Asther, Claire Du Brey, Dorothy Adams, and -- of course --Pierre Watkin. George Reeves shows up as an injured messenger and is good, but he looks so different that I didn't even think this was the same actor who would play Superman a few years later. DeMille himself does the pompous narration that opens the film.

Verdict: Wait -- and wait -- for that great temple sequence! **3/4. 

JOHNNY DOUGHBOY

Jane Withers

JOHNNY DOUGHBOY (1942). Director: John H. Auer.

16-year-old Ann Winters (Jane Withers) is sick and tired of playing 12-year-olds in her movies, and runs off to be a woman. She winds up staying at the home of playwright Oliver Lawrence (Henry Wilcoxon of Cleopatra), and gets the wrong idea about his feelings for her. Meanwhile Penelope Ryan (also Jane Withers), the winner of an Ann Winters lookalike contest, comes to visit Ann and is importuned to temporarily replace her by Ann's manager, Harry (Willam Demarest). A group of has-been child actors, played mostly by, well, has-been child actors, want the real Ann to take part in a show they want to do for soldiers; they've been told that they can only go on if a "real" star also participates. Penelope tries to appeal to the spoiled Ann's better nature to get her to do the show, but it may be a losing battle.

Alfalfa, Jack Boyle Jr, and Spanky McFarland

Johnny Doughboy was one of several pictures Jane Withers did for Republic studios as a teen lead when her long run as a child star was over. Nowadays most baby boomers remember Withers, who is still alive, as Josephine the Plumber in many commercials for Comet cleanser (which is also still around), while she may be completely unknown to younger people (aside from film buffs), especially Millennials. Johnny Doughboy is a pleasant minor musical with some snappy tunes in it, including "Baby's a Big Girl Now;" "You Better Not (With Somebody Else);" and "A Guy Like I." An amusing but also strangely sobering number, "All Through," has several former child stars, including Bobby Breen, Baby Sandy, Spanky and Alfalfa, essentially singing about how they're washed up in Hollywood, a song with built-in pathos when you consider the fate of some of these young actors. (Actually Carl "Alfalfa" Switzer was not washed up, appearing in a few Gas House Kids comedies as well as other movies and shows for several years afterward.)

Carl "Alfalfa" Switzer does his singing routine

Three other cast members of Johnny Doughboy are of note. Jack Boyle Jr. (billed as "Patrick Brook") makes an impression as the handsome singing actor Johnny Kelley and does a great dance routine with Withers, but he had very few credits. Ruth Donnelly [The Family Next Door] is as adroitly acerbic as ever as Miss Biggsworth, who looks after Ann; and Etta McDaniel, sister of the more famous Hattie, is amiable as Oliver Lawrence's housekeeper, Mammy.  "Alfalfa" reprises his funny tone-deaf singing routines from Little Rascals.

Verdict: Another amiable Republic musical. **1/2. 

THE PRESIDENT'S MYSTERY

THE PRESIDENT'S MYSTERY (1936). Director: Phil Rosen.

Lawyer James Blake (Henry Wilcoxon) goes fishing in a small town and runs into a young lady named Charlotte (Betty Furness of Magnificent Obsession). Charlotte is one of many who are trying to reopen the Springvale Cannery, so the townspeople can have jobs. Blake, who had never had much feeling for the common people or for labor, is ashamed of his feelings and returns home determined to do something about it. He cooks up a ridiculous scheme which amounts to him faking his own death, changing his name, and running back to Charlotte and Springvale. Poor Franklin D. Roosevelt got the blame for this terrible picture because he asked writers if they could come up with a way that a man could disappear yet retain his personal fortune. The result appeared in Liberty magazine, which Blake actually consults before he disappears. Meanwhile his wife, Ilka (Evelyn Brent) is accidentally killed and Blake is blamed for her murder. At one point we see him conveniently acquiring a corpse from a man in a basement for money (it does not appear to be a morgue or a hospital) so he can use it as his own dead body, but this aspect (not to mention its sheer criminality) is completely glossed over. The President's Mystery is so overwhelmingly preposterous, improbable, and stupid that it's sheer libel to blame this mess on FDR! The first half of the picture has some interest, but then it simply falls apart, a lousy mystery posing as a "message film." Sidney Blackmer is fine, as usual, as George Sartos, who is out to stop the cannery from reopening, and Wilcoxon is okay even if his British accent keeps coming and going. At one point Charlotte asks Blake if he's around fifty -- which is what he looks -- and he tells her that he's barely forty. In actuality, Wilcoxon  [Cleopatra] was only thirty-one (according to official bios) but looks considerably older even without the mustache he wears earlier in the picture. The prolific Phil Rosen directed a number of Charlie Chan features, of which The Scarlet Clue is one of the best. Wilcoxon was married to that "big-faced" gal Joan Woodbury for 31 years but the marriage ended in divorce.

Verdict: There are so many holes in this it's like a Swiss cheese! *.

CLEOPATRA

Wilcoxon and Colbert

CLEOPATRA (1934). Director: Cecil B. DeMille.

"I am dying, Egypt, dying."

In 48 B.C. Egyptian princess Cleopatra (Claudette Colbert) first falls in love with Julius Caesar (Warren William) and then feels even more passion for the magnetic Marc Antony (Henry Wilcoxon). In the meantime, there is a lot of  jockeying for power and all sorts of heinous betrayal from many quarters. This is an opulent, totally absorbing bit of "Hollywood" history that is remarkably entertaining from start to finish. Colbert gives one of her finest performances, matched by florid William and studly Wilcoxon as her paramours. Other stand-outs in a fine supporting cast include Ian Keith as Octavian and Joseph Schildkraut as King Herod. This film also has the bit with Cleo wrapped up in a rug that was featured in the inferior remake with Elizabeth Taylor. One of the film's highlights is the detailed, briskly-edited montage of the war between Rome and Egypt, with a smitten Antony desperately fighting against his own countrymen out of love for Cleo. Fascinating, handsomely produced, and well-directed -- and ultimately moving.

Verdict: DeMille and Colbert at the height of their power. ****.