SOMETHING WILD (1961)

Carroll Baker and Ralph Meeker

SOMETHING WILD (1961). Director/co-screenplay: Jack Garfein.

Mary Ann Robinson (Carroll Baker of Bridge to the Sun) walks home from work one evening, and is pulled into the bushes and raped. This traumatic experience leads into a series of strange actions, such as her leaving home without telling her mother (Mildred Dunnock) or stepfather (Charles Watts), taking a job in a five and dime store in another neighborhood, and moving into a cramped "apartment" about the size of a closet. One afternoon on the Brooklyn Bridge she tries to throw herself into the river, but she is stopped by the intervention of a worker named Mike (Ralph Meeker). But this apparently kind stranger may have even more problems than Mary Ann does and she finds herself locked in his apartment ...

Carroll Baker

Something Wild was based on a novel named Mary Ann and directed (and co-written) by theater man Jack Garfein, who was married to Carroll Baker at the time. Baker is deglamourized in this and generally gives a good performance, as does Meeker, although both are given rather impossible characters to play. I believe the film is trying to say that two damaged individuals can find love with each other, but there's a big difference in being a (rape) victim and being (in essence) someone who commits criminal actions like holding someone against their will, so turning this into a "love" story -- and yes the film does try to make us believe this has a happy and romantic ending -- would be almost as ludicrous as having Mary Ann fall in love with her rapist (who never shows up after the opening sequence). Apologists for the film -- and there are many -- try to suggest that Mike only locked Mary Ann in because he didn't want her killing herself, but she could just have easily killed herself in the apartment and his motives for keeping her a prisoner aren't nearly so noble.

Cinematography by Eugene Shufftan

The shame of it is that this hopelessly muddled, even offensive film has a lot going for it. In addition to the leads we have notable work by Mildred Dunnock as the concerned if ineffectual mother; Jean Stapleton as a slatternly neighbor of Mary Ann's; Doris Roberts as a co-worker at the five and dime who is put off by what she perceives as Mary Ann's stuck-up attitude; Martin Kosleck [The Flesh Eaters] as the somewhat sleazy landlord; and others. The film has a highly interesting score by no less than Aaron Copland [The Heiress], and is strikingly photographed in black and white by Eugen Shufftan, who makes the most of some very familiar New York City locations. Shufftan gives the film a very grim and intense atmosphere throughout. Garfield's direction is good if imperfect. He only directed one other movie, The Strange One. 

Despite all the notable aspects, Something Wild is done in by its contrivances. One suspects the plot was concocted before the characters were conceived, and -- in the film, at least -- they are never developed all that well.

Verdict: Should these two sick individuals get married? Where is Dr. Phil when you need him? **. 

DAMN YANKEES

Whatever Lola Wants: Tab Hunter and Gwen Verdon

DAMN YANKEES (1958). Produced and directed by George Abbott and Stanley Donen.

"I was the ugliest woman in Providence, Rhode Island." -- Lola, remarking upon her origins

Joe Boyd (Robert Shafer) is a manic fan of the Washington Senators baseball team. The Devil -- in the form of a man named Applegate (Ray Walston) offers him a chance to become young and play for his favorite team against the "damned Yankees," even offering him an out. As "Joe Hardy" (Tab Hunter), Boyd becomes a star player with many fans, but he can't quite forget the wife, Meg (Shannon Bolin), he left behind. But will 172-year-old vamp Lola (Gwen Verdon) be able to keep Hardy in line? With its highly theatrical premise, this Broadway hit should not have worked as a movie but it does, mostly due to its performances and its recreation of some excellent production numbers. With the exception of Tab Hunter, most of the Broadway cast was transplanted to the big screen, a wise decision, especially in the case of Verdon. Although Verdon may not have been seen as a truly formidable sexpot, she is a highly talented performer with great dancing and acting skills and a really killer figure. Walston is as delightful as ever, and Hunter [Island of Desire] -- while not in the same class as the others -- does an okay job as the rather shy Hardy who wants to stay faithful to his wife. He briefly attempts some dancing as well and manages to pull it off. Rae Allen and Jean Stapleton [Dead Man's Folly], both of whom also appeared in the Broadway show, are snappy as, respectively, the inquiring reporter, Gloria Thorpe, and the likable neighbor, Sister Miller. Shafer and Bolin were primarily stage performers, and the former appeared in just this one picture. The score by Adler and Ross boasts some tunes that have become standards: "Whatever Lola Wants:" and the spirited "You Gotta Have Heart," but there's also Joe's nice farewell to his sleeping wife ("Goodbye Old Girl"); a snappy Mambo number; and the knock-out production number for Verdon and Hunter's "Two Lost Souls." Bob Fosse [Cabaret] did the choreography for both show and film; he and Verdon were married two years later. There's lots of dark humor and a poignant conclusion.

Verdict: One of the very best of the hit Broadway show film adaptations. ***1/2.

DEAD MAN'S FOLLY

DEAD MAN'S FOLLY (1986 telefilm). Director: Clive Donner.

"Hattie is a completely self-absorbed person. She wouldn't think of sending cough drops to Camille."

Hercule Poirot (Peter Ustinov) is invited by mystery writer Ariadne Oliver (Jean Stapleton) to a fete with a murder game at the estate of Sir George Stubbs (Tim Pigott-Smith) and his dumb, decorative wife Hattie (Nicolette Sheridan), plus a variety of suspicious guests and staff. When the "victim" of the murder game is actually murdered, Inspector Bland (Kenneth Cranham) is called in -- but of course he's no match for Poirot when it comes to solving homicides. Cherubic Ustinov is not as perfect for the role as is David Suchet, but he's still quite good and very entertaining as the Belgian detective. About to get into a boat, he tells Arthur Hastings (Jonathan Cecil) to "Get in first -- Tell me if it's dangerous!" Jean Stapleton is also fine as Oliver, who is turned into an American author ("Ariadne Oliver" was actually an in-joke by Christie meant to be very British Agatha Christie herself). Constance Cummings scores as Mrs. Folliat, who used to own the estate and now lives in (a pretty luxurious) guest cottage. The rest of the large cast is more than competent. This adaptation of one of Christie's best mysteries is at times much too comic in tone, but it is absorbing and generally well-made. In the novel Christie withheld the solution practically until the last paragraph; there was no scene with Poirot gathering together all the suspects, which this telefilm includes for dramatic purposes. Good score by John Addison.

Verdict: The book is better but this is creditable. ***.