ROPE OF SAND

Burt Lancaster and Peter Lorre

ROPE OF SAND (1949). Director: William Dieterle. Colorized. 

Mike Davis (Burt Lancaster) is an African guide whose charge, Ingram (Hayden Rourke), goes off into forbidden diamond territory while he's sleeping. When Davis finds him, Ingram is near-death, clutching a load of diamonds. Davis leaves the diamonds and tries to get Ingram out of the desert. When police guards, led by Commandant Paul Vogel (Paul Henreid), come upon the pair, Ingram is dead and Davis is tortured, but refuses to tell where the diamonds are located. Two years later Davis is back in the territory, where diamond mogul Martingale (Claude Rains), who pretends to like Vogel but secretly despises him, decides to use a beautiful refuge, Suzanne (Corinne Calvet of Flight to Tangier), to get the location of the diamonds from Davis. A battle of wills ensues between Davis and Vogel as they fight it out for both diamonds and lady, with Martingale manipulating everyone behind the scenes and Toady (Peter Lorre) hoping to score as well. Meanwhile, Davis has decided to go for the gems come hell or highwater ... 

Claude Rains and Corinne Calvet

Rope of Sand is a seriously flawed film, but it is entertaining and well-acted enough to prove a good watch. There seems to be so much missing of the characters' back stories that while you're watching it you think it must be based on a long novel, not all of which made it onto the screen, but this is not the case. This was supposed to be a follow-up to Casablanca with Bogart and Bergman in the Lancaster and Calvet roles, but producer Hal Wallis had to be satisfied with three of the supporting cast of that film. John Bromfield (of The Big Bluff) has a smaller role as one of Henreid's officers. Dieterle's direction is assured, the performances -- especially Rains' -- are uniformly good, there is outstanding cinematography from Charles Lang [Wild is the Wind]  and an exciting score by Franz Waxman, but you may find it hard to tell if there's more -- or less -- here than meets the eye. Lancaster and Henreid have a nifty fist fight at one point. 

Verdict: Certainly it's not boring. ***.  

PAID IN FULL

Bob Cummings and Lizabeth Scott

PAID IN FULL (1950). Director: William Dieterle.  

"Youth should be a blessing, not an apology." 

Jane Langley (Lizabeth Scott) makes continual sacrifices for her spoiled sister, Nancy (Diana Lynn), and even steps aside when both women fall in love with the same man, Bill Prentice (Robert Cummings). Bill and Nancy get married but he soon realizes that he got hitched to the wrong sister. Nancy is too selfish and immature to make a good wife or mother, but both Jane and Bill are too dumb to see it. When a tragedy involving a child occurs, no one seems to be held responsible for it. Meanwhile Dean Martin sings "You're Wonderful" on the soundtrack and Eve Arden, playing an arch gal named "Tommy," delivers her advice in her usual sardonic style. 

Cummings with Diana Lynn

Paid in Full is somewhat absorbing romantic schlock with generally credible performances. Others in the cast include Ray Collins of Perry Mason as a doctor, John Bromfield and Dorothy Adams, as well as Charles Bradstreet and Carol Channing in bits. Lizabeth Scott [I Walk Alone] delivers each and every line in a beatific style that makes her come off like the biggest sap on the planet. Shot by Leo Tover and with a score by Victor Young. William Dieterle also directed Dark City with Scott.

Verdict: Not one of the great classics of Hollywood. **1/4. 

EASY TO LOVE

EASY TO LOVE (1953). Director: Charles Walters.

In Cypress Gardens, Julie Hallerton (Esther Williams of Raw Wind in Eden) works for Ray Lloyd (Van Johnson) as a highly successful swimming spokes model for various products and he's not about to let her go. Julie keeps hoping that Ray, a slave driver who rarely lets her have any time off, will propose to her, but just in case she has a handsome boyfriend, also a model, named Hank (John Bromfield of Crime Against Joe). "I bet you've never even seen him with his clothes on," Ray tells Julie. If that weren't enough, Julie meets crooner Barry Gordon (Tony Martin of Casbah) while on assignment in New York and dares to stay up late the night before a gig to have a wonderful romantic date with him. Back in Florida, Julie finds herself pursued by Hank and Barry even as she keeps pursuing Ray in her own way. The question is why? Most sensible women would quickly throw off the unpleasant, recalcitrant Ray (whose unlikable character isn't even redeemed by his being played by the likable Johnson) and take up with one of the two hunks who are dying for her hand in marriage. But Johnson was the bigger star so he gets the girl. Easy to Love is easy to take and just as easy to forget, although the performances are fine (Bromfield in particular makes a nice impression) and there are some pleasant song numbers, a smashing ballet on water skis, a romantic swim between Williams and Bromfield, a charming number with Tony Martin and some elderly ladies, and for good measure a brief appearance by pre-stardom Carroll Baker as one of Ray's jealous girlfriends. Production numbers designed and directed by Busby Berkeley. 

Verdict: Can't stop that Esther when she's wet! **1/2.

RING OF FEAR

Mickey Spillane falls asleep during the movie

RING OF FEAR (1954). Director: James Edward Grant.

Dublin O'Malley (Sean McClory of Valley of the Dragons), a former ring director for Clyde Beatty's circus, escapes from prison and commits murder while on his way back to the circus. Clyde Beatty (playing himself) decides to rehire O'Malley, who not only has a grudge against Beatty but is still carrying a torch for high-wire performer Valerie (Marian Carr of Indestructible Man), who now has a husband named Armand (John Bromfield). Fearing his circus is jinxed, Beatty asks Mickey Spillane (also playing himself) to investigate, along with an undercover cop named Jack Stang (also playing himself). Two other characters are a stereotypically stupid Latino named Pedro Gonzales (played, believe it or not, by Pedro Gonzalez Gonzalez) and a hand named Twitchy (Emmet Lynn), who is a little too fond of the bottle. Ring of Fear seems to be a 90 minute ad for both Clyde Beatty's circus and Mickey Spillane's novels, as there's no other reason for it to exist. There are some splendid acts in the circus, especially those extremely well-trained elephants, but there isn't much of a plot, little suspense, hardly any excitement, and absolutely no surprises. Nine years later, Spillane played his creation, Mike Hammer, in The Girl Hunters, but he is only passable playing himself. He played a lawyer in Mommy (and its sequel) in 1995. Clyde Beatty played himself years earlier in the serial The Lost Jungle. The best performance is by Emmet Lynn.

Verdict: Almost as bad as Circus of Fear. **.

HOT CARS

John Bromfield and Joi Lansing

HOT CARS (1956). Director: Donald McDougall.

Nick Dunn (John Bromfield) is a used car salesman with a wife, Jane (Carol Shannon), and a young son. When he learns that his new boss, Arthur Markel (Ralph Clanton), is dealing in stolen cars, Nick decides he wants out -- until his son gets sick and he wonders how to pay the hospital bills. Nick goes back to Markel, but a cop named Davenport (Dabbs Greer) comes in one afternoon and wants to buy -- a hot car. Hot Cars is a typically cheap Bel-Air production but it benefits from location filming, some good performances, and a climactic battle inside a rushing roller coaster car. Mark Dana also makes an impression as the dangerous hood, Smiley Ward, while Joi Lansing [The Atomic Submarine], as the "niece" of Markel, is primarily decorative but certainly fills out her evening gown. Bromfield and Greer [Young and Dangerous] give solid performances. Bromfield [Crime Against Joe], who usually played sexy bad boys, doesn't get much lovin' in this, although Lansing gives him a hot smooch or two.

Verdict: Minor meller but fast-paced and well-acted. **1/2.

THE SHERIFF OF COCHISE / UNITED STATES MARSHALL

John Bromfield

THE SHERIFF OF COCHISE (1956 - 1958)/ UNITED STATES MARSHALL (1958 - 1959).

The Sheriff of Cochise was a modern-day "detective" show that metamorphosed in its second season into United States Marshall [aka U. S. Marshall) when the main character went from being a sheriff in Cochise County, Arizona to a Marshall in Tucson. John Bromfield stars as Frank Morgan, a no-nonsense lawman who was also a veteran of the Korean War. About a dozen or so episodes of the series are available on DVD or on youtube. In "Lynching Party" James Best is accused of murder when he is confronted by his girlfriend, Gloria Talbott's, angry old man. In "Trigger Happy," Martin Milner is accused of murdering the man he was sent to arrest; Jean Allison and Donna Douglas are also in the cast and are notable, as is Milner. Charles Bronson is vivid as a soldier who goes on the warpath in the well-done "Pursuit," with Abbie Shelton and Robert Fuller. "Helldorado" finds the sheriff protecting gambler Robert Horton during an annual celebration week, with Frank Ferguson as an excitable old codger who lost a lot of money. Other guest stars on the show include Joan Taylor, Jack Lord [in a fine turn as a hard-bitten killer], Kathryn Card from I Love Lucy, Michael Landon, Michael Connors, and Ric Vallin. In movies such as Three Bad Sisters and The Big Bluff, handsome star Bromfield was usually a sleazy, sexy character who was busy lovin' up and two-timing the women. In this series he's the good guy, stalwart and brave, and he's fine, but the character is humorless -- and dateless. The producers should have brought in a few femme fatales for Bromfield to fool around with and vice versa -- it might have made the show more interesting and more fun. It's as if the part were created for Broderick Crawford, the homely star of Highway Patrol! The show was produced by Desilu.

Verdict: Standard but reasonably entertaining intrigue. **1/2.  

THE BIG BLUFF

John Bromfield

THE BIG BLUFF (1955). Director: W. Lee Wilder.

Valerie Bancroft (Martha Vickers) doesn't know that her doctor (whom I wouldn't trust to diagnose a dog!)  has told her secretary-companion, Marsha (Eve Miller), that she has a weak heart and only a few months to live. While Marsha bonds with Valerie's new doctor, Peter Kirk (Robert Hutton), Valerie is quite taken with a sexy dark-haired fellow named Ricardo De Villa (John Bromfield), who is already involved with an attractive dancer named Fritzie (Rosemarie Stack). Ric romances the very wealthy widow Valerie even as he keeps time with Fritzie and tries to avoid the latter's jealous husband, Don (Eddie Bee). Then he cooks up a scheme to get his hands on all that loot with a smitten Fritzie's help ... The Big Bluff is not a world-beater but it holds the attention and Bromfield and Stack give flavorful performances. Vickers' performance is mediocre, but Miller and Hutton are better. The ending is ironic if unconvincing. Robert Bice is the original doctor who makes the fatal diagnosis. Handsome Bromfield usually starred in movies like this and Curucu, Beast of the Amazon, but he also appeared in The Furies with Barbara Stanwyck and other better-known films in smaller roles. Stack, originally known as Rosemarie Bowe (as she's billed in this picture), married Robert Stack the following year, but she didn't use his last name professionally until the 70's. Vickers was better in Alimony.

Verdict: Like an extended TV mystery but it's fun. **1/2.

CURUCU, BEAST OF THE AMAZON

CURUCU, BEAST OF THE AMAZON (1956). Writer/director: Curt Siodmak.

"Like Nothing Your Eyes Have Ever Seen Before!" -- poster copy.

"She can't get a man so she gets a career!" -- dumb Rock

Egotistical adventurer Rock Dean (John Bromfield) and Dr. Andrea Romar (Beverly Garland), a cancer researcher,  travel down the Amazon, he to investigate reports of a legendary monster scaring the natives, and she to find a drug that natives use to shrink heads in the hopes it can shrink tumors as well. Packaged as a monster movie, Curucu is bound to disappoint fans of creature features, as it's really a romantic adventure film, shot in Brazil, with colorful looks at the waters of the Amazon, filled with crocs and piranha, and surrounding areas. The secret behind Curucu is revealed fifty or so minutes into the film, leaving our protagonists, falling in love, to deal with other dangers, but there's a great final surprise. Bromfield is competent, Garland as zesty as ever, and Tom Payne is fine as the native guide Tupanico. Some great scenery, and a flavorful score by Raoul Kraushaar. The film has its dopey moments, and it's accuracy as to the natives and wild life of Brazil during the fifties is debatable, but it's fun. One native guy feels up Garland to make sure that she's female!  [There are two versions of the film, one in color and one in black and white; this review is for the color version.]

Verdict: The movie isn't as good as its poster but it certainly has its good points. ***.

THE FURIES

Gilbert Roland and Barbara Stanwyck

THE FURIES (1950). Director: Anthony Mann.

Vance Jeffords (Barbara Stanwyck), daughter of rancher T.J. Jeffords (Walter Huston) on a ranch called the Furies in 1870, certainly has her problems. She's in love with swaggering banker Rip Darrow (Wendell Corey, not exactly the swaggering type, but not bad), who'd rather have her father's money. Her friend Juan Herrera (Gilbert Roland), one of a family of squatters, is in love with her but he doesn't quite make her engine rumble. Worst of all, daddy has brought home a strong, conniving lady named Flo (Judith Anderson), who threatens Vance's status on the ranch -- watch for those fireworks! Anderson, Huston and Stanwyck are splendid in this fascinating sex-western dealing with the [nearly incestuous] love and hatred between equally strong father and daughter. As Juan's sharp-shooting mother, Blanche Yurka is nearly as vengeful in this as she was in A Tale of Two Cities. Albert Dekker of Dr. Cyclops shows up briefly and Beulah Bondi has a small but effective bit late in the picture. John Bromfield has one of his more significant roles as Stanwyck's brother, Clay, although his character is never developed that much. Franz Waxman's excellent score, and Victor Milner and Lee Garmes' striking widescreen photography make this a pleasure to look at as well as to hear. Although some scenes, such as a hanging in which the victim goes meekly to the rope, don't quite come off, The Furies is consistently absorbing and -- best of all -- unpredictable. Written by Charles Schnee from a novel by Niven Busch.

Verdict: Highly satisfying western melodrama. ***1/2.

REVENGE OF THE CREATURE

REVENGE OF THE CREATURE (1955). Director: Jack Arnold.

In this sequel to Creature from the Black Lagoon, the Gill Man is captured at his lagoon in the Amazon and brought to an Oceanarium in Florida where he becomes a star attraction. Professor Clete Ferguson (John Agar) is a scientist who takes a leave of absence from his school just so he can study the creature, while Joe Hayes, (John Bromfield) is one of the men who captured the monster. Helen Dobson (Lori Nelson) is a pretty student who's along for the ride, and gets more than she bargained for when the creature runs off with her. Frankly, Revenge is not nearly as good as the original, although it holds the attention. Nestor Paiva, Neil the adorable chimp, and a young Clint Eastwood all make brief appearances. Taken out of his native habitat, the creature is truly a fish out of water, although the latter half of the film has him undewater for a couple of sequences. The acting is okay for the most part but Lori Nelson seems devoid of any genuine talent. Bromfield also appeared in Three Bad Sisters.

Verdict: Not quite a revenge on the audience. **.

CRIME AGAINST JOE

CRIME AGAINST JOE (1956). Director: Lee Sholem. A Bel-Air Production.

Joe Manning (John Bromfield, pictured) is an unsuccessful painter who's basically supported by his understanding mother, Nora (Frances Morris). One night he goes off on a drunk and encounters a sleepwalking beauty and her father, who refuses to alibi him when a woman is found dead with Joe's school pin at her side. The main suspect, Manning, and Frances (Julie London) a pretty car hop who's in love with him, set about to figure out which guy who's missing the same class pin could be the real culprit. There are some interesting elements in this, but it's given a typically Grade C TV-type Bel-Air treatment. In fact, it's less entertaining than other Bel-Air productions. Bromfield was also in Manfish and Three Bad Sisters, another Bel-Air "mess"terpiece. Bromfield is adequate if unspectacular, and London just doesn't have enough oomph. It's easy to see why she did much more television work than film. Nothing much here, all told.

Verdict: Slight murder mystery. **.

MANFISH

MANFISH (1956). Director: W. Lee Wilder.

Brannigan (John Bromfield), the captain of the turtle boat Manfish, has a decidedly uneasy alliance with "the professor" (Victor Jory), who can lead him to a chest of treasure collected by the pirate Lafitte. Swede (Lon Chaney Jr. in what really amounts to a supporting role) is the mate who seems to love the Manfish even more than the Captain does. Tessa Prendagast is the sexy native girl Alita, and Barbara Nichols was "introduced" in the film as Mimi, the singing sometime girlfriend of the captain's. Manfish isn't terrible or terribly boring, it just throws together different elements -- treasure hunts, jealousy, babes and pirates -- that never really jell. Supposedly based on two Edgar Allan Poe stories, the movie has absolutely nothing to do with Poe. Jory gives probably his strangest ever performance. Bromfield and the gals are vital enough, and Chaney is typically mediocre. Bromfield was also in Revenge of the Creature, Three Bad Sisters, and The Furies.

Verdict: Only for the curious. **.

THREE BAD SISTERS

THREE BAD SISTERS (1956). Director: Gilbert Kay.

A millionaire goes berserk during a plane trip and causes a crash in which he’s killed. His sister blames the pilot, a handsome lug named Jim (John Bromfield) who becomes involved with the dead man’s three daughters. Lorna (Sara Shane) actually isn’t so bad, although even she doesn’t seem so put out by her father’s demise. Vicki (Marla English) is the sexy youngster who comes afoul of her beautiful older sister Valerie (the truly beauteous Kathleen Hughes), as the two have a really nifty, rather sadistic "cat fight" which leads to tragedy. Brett Halsey appears briefly as one of Vicki’s cast-off boyfriends, and Madge Kennedy is fun as the sisters’ gun-totin’ Aunt Martha, who tries to shoot Jim. A hilarious moment occurs afterward when Lorna says to Jim as they prepare to go back into the mansion where Aunt Martha lives: "If Aunt Martha isn’t cordial, please overlook it." Cordial? In the previous scene she tried to murder the guy (nobody calls the police and has her arrested for this, even though it’s clearly a case of attempted homicide)! Okay, this is a dumb, badly acted, silly movie, but it holds the attention and Gerald Drayson Adams’ script has some interesting facets, such as the business with the sisters daring each other to dive off a cliff at just the right second when the tide comes in and the water is deep enough to survive. From Bel-Air, which was not exactly MGM.

Verdict: Amusing trash. **1/2.