SUMMER AND SMOKE

Geraldine Page and Laurence Harvey

SUMMER AND SMOKE (1961). Directed by Peter Glenville.

"Ask for all -- and be prepared to get nothing." -- Alma.

In a small Southern town around the turn of the century, Alma Winemiller (Geraldine Page) has been in love with her next door neighbor, doctor's son John Buchanan Jr. (Laurence Harvey), since they were children. Alma would prefer a more spiritual romance with John, while the lusty and somewhat wild and free-wheeling John would prefer just the opposite. Alma's father (John McIntire) is the town preacher and her mother is mentally disturbed, having had a breakdown years before. John's father is incredibly stern, which perhaps leads his son to take up with the daughter (Rita Moreno) of the owner of the local gambling den. Alma eventually commits what John deems a betrayal, but the bond between them still exists, until both realize that the tables have turned ... This very odd "romance" is based on the 1948 play by Tennessee Williams (revised some years later as Eccentricities of a Nightingale); Page played the part in a 1950's revival. Page, who received an Oscar nomination, gives a very strong performance, although at times she seems overly theatrical. Harvey is good but not in her league.  Una Merkel [Destry Rides Again] also received an Oscar nomination for her notable performance as Alma's mother. Earl Holliman does some nice work as a traveling salesman that Alma encounters at the finale. Pamela Tiffin [The Fifth Cord] was "introduced" in this film as the daughter of a madame played zestfully by Lee Patrick [Caged]; Tiffin never developed into a major star.

Geraldine Page as Alma

I basically think Summer and Smoke is an absorbing and interesting picture with a good storyline, but it does have some problems. Page and Harvey were both in their thirties at the time, perhaps a little too old for their roles; Page was nearly forty, in fact. Younger actors -- assuming they were good actors -- might have added a certain degree of veracity. Considering the obsession that Alma has had for John over the years, I thought her reaction at a development at the end of the film is a bit too subdued. But the film has a good score by Elmer Bernstein (which even adds suspense to the proceedings). some lively and poignant sequences, moves quickly, and boasts an essentially fine performance by Page. Her scene when she finally declares her love for John is superb.

Verdict: Star-crossed, touching romance with some wonderful acting. ***. 

I'VE LIVED BEFORE

Jock Mahoney

I'VE LIVED BEFORE (1956). Director: Richard Bartlett.

Airline pilot John Bolen (Jock Mahoney of Three Blondes in His Life) basically has a meltdown as his plane is coming in for a landing, and imagines that he is a WW1 flier being pursued by enemy aircraft in France. John's co-pilot, Russell (Jerry Paris), saves the day by knocking him out, but when he wakes up he's convinced he's a man named Peter Stevens, who died in 1918. Once he's himself again, John decides to find out if he truly has any connection to this man who died before he was born by finding a woman who was on the plane, whom he recognized from somewhere, and whom he feels may be responsible in some way for his nearly deadly flashback. I've Lived Before is an interesting if minor-league look at the possibility of reincarnation, although telepathy is also mentioned as a possibility by Dr. Bryant (John McIntire). Mahoney gives an okay performance, and while he was never exactly a Jimmy Stewart, doesn't work up much a sweat delineating the mental torment that John must be undergoing. No one ever suggests a complete set of medical and psychological tests for John, nor is it mentioned that -- reincarnation or no -- he will likely be grounded forever. Leigh Snowden [The Creature Walks Among Us] makes a pleasant impression as John's fiancee, Lois, and has an especially good scene when she talks earnestly to Jane Stone (Ann Harding), a woman who was once engaged to Peter Stevens. Harding [The Animal Kingdom] is a little breathless and slightly affected in the role, but she is also very effective and classes up the picture. The script was co-written by actor William Talman of Perry Mason fame. he and director Bartlett, a former actor himself, worked on several movies starring Mahoney.

Verdict: Won't convince most people either way but it's absorbing enough. **1/2. 

WORLD IN MY CORNER

Audie Murphy and Jeff Morrow

WORLD IN MY CORNER (1956). Director: Jesse Hibbs.

Tommy Shea (Audie Murphy of Bad Boy) is a hot-tempered guy from the wrong side of the tracks who has a chip on his shoulder and a desire to make good. He goes to work for wealthy Robert Mallinson (Jeff Morrow) and trains for the ring with Mallinson's employee, Dave Bernstein (John McIntire). Tommy has a couple of fights, but his friend, Ray (Tommy Rall), gets him involved with crooked fight promoter Harry Cram (Howard St. John of Strait-Jacket);Tommy refuses to take a dive, however. Meanwhile he and Mallinson's daughter, Dorothy (Barbara Rush of Flight to Hong Kong), are falling in love. Dorothy hates the fight game as much as she hates her father, but she is still rooting for her boyfriend during the climactic bout. World in My Corner makes use of the familiar boxing cliches, but it has an interesting script, some well-written dialogue (by Jack Sher), fairly exciting fight scenes, and some very good acting. Audie Murphy had just starred in the film version of his autobiography, To Hell and Back, which was also directed by Jesse Hibbs, and he is more than competent in this picture, and very charming, with an easy, casual manner, a good way with a line, and a convincingly "bitter" persona. Rush is wonderful in the movie, as is Morrow. McIntire, St. John and a highly personable Tommy Rall also have their moments.Tragically, after all he went through during the war, Murphy died in a plane crash before his 46th birthday.

Verdict: Creditable if minor boxing saga with interesting aspects and a very likable Murphy. ***.

A LION IS IN THE STREETS

Barbara Hale and James Cagney

A LION IS IN THE STREETS (1953). Director: Raoul Walsh.

In the Louisiana backwoods, Hank Martin (James Cagney) drives his truck around selling all manner of goods to his neighbors. He meets and marries schoolteacher Verity (Barbara Hale) and takes her to his shack -- but he doesn't intend to stay there for long. Hank is convinced that Robert Castleberry (Larry Keating) is short-weighting the cotton brought to his plant and cheating the farmers, a charge strongly denied by Castleberry, creating an incident that leads to more than one death. Then Hank gets it into his head to run for governor, and makes a deal with the devil. Meanwhile his pregnant wife is unaware that Hank has turned the young woman with a crush on him, Flamingo (Anne Francis), into his mistress. This will not end well. In fact, the ending to the movie is the best thing about the picture (literally and figuratively) and perhaps Cagney's only really good acting in the film. It almost seems as if Cagney thinks that if he hollers, blusters and rages enough it will make the audience forget how utterly unconvincing the film is as a whole. A rage that might be appropriate for a gangster doesn't work at all for Hank Martin, and it's one of Cagney's rare forgettable performances. On the other hand, Barbara Hale [Perry Mason] is lovely and convincing as Verity, and Anne Francis also shines as Flamingo, and there are notable turns from Keating [When Worlds Collide]; John McIntire [Shadow on the Wall] as Jeb; and Warner Anderson as Jules. Also in the cast are Cagney's sister, Jeanne, as Jeb's wife; Lon Chaney Jr.; Ellen Corby; Onslow Stevens as a lawyer; and Sara Haden, although I didn't spot her and she seems to have no lines. The wildest scene in the movie has Flamingo trying to feed Verity to a pack of alligators out of jealousy! Franz Waxman's discordant score seems to fit, but can't help, this oddball and unmemorable movie. Apparently Walsh cut out the last third of Luthor Davis' screenplay and came up with a new finale. You also sense that several scenes, especially those pertaining to the relationship between Hank and Flamingo, were left on the cutting room floor. Similar material was already covered in the 1949 All the King's Men.

Verdict: Cagney, shamelessly chewing the scenery, is almost a parody of himself in this. **.

SHADOW ON THE WALL

SHADOW ON THE WALL (1950). Director: Patrick Jackson.

Early in Shadow On the Wall we learn that Celia (Kristine Miller), the wife of David Starrling (Zachary Scott), is having an affair with her own sister's fiance, Crane Weymouth (Tom Helmore). When sister Dell (Ann Sothern) learns of this ultimate betrayal, all of her pent-up sibling rage spills out and she shoots her sister dead; she then lets David take the rap. When she learns that David's young daughter Susan (Gigi Perreau) might have seen her commit the murder, she comes to the conclusion that the child must follow her stepmother into the grave. In the hands of a Hitchcock or any superior director, Shadow on the Wall might have been a nail-biting suspense item, but not only is it flaccid but it never quite recovers from its many improbabilities. For instance, little Susan is not an idiot and she's not that young, so she probably would have known her aunt Dell was responsible for the murder all along. And it's hard to believe that David would get the death penalty for a crime of passion that most likely would have been pled out as voluntary manslaughter. But at least the story holds your attention and the performances are good, including Nancy Davis-Reagan [East Side, West Side] as a child psychologist whose methods are bizarre to say the least, and John McIntire as her associate. Little Jimmy Hunt [Pitfall] has an amusing scene with Perreau [Journey to the Center of Time] where he covets a glass of chocolate milk she refuses to drink.A bathtub resuscitation sequence that is shot strictly from the victim's point of view in two shots and closeups is one of the more effective moments in the picture.

Verdict: Psychologically dubious. **.

PETER GUNN Season 2

Peter Gunn asks questions of waitress with obvious assets

PETER GUNN. Season two. 1959. 38 half-hour episodes.

The first episode of the second season of Peter Gunn is very similar to the first episode of the initial season, in that Gunn's hang-out and "office," Mother's waterfront nightclub, is smashed up, only this time the damage is so extensive that Mother has to completely remodel the joint, making it more open and chic. Another change is that Mother is now played by Minerva Urecal instead of Hope Emerson, and she brings a little more flavor to the role. Also back, alas, is Gunn's admittedly decorative girlfriend, Edie (Lola Albright), as bland a singer as ever. Worse, the allegedly romantic scenes between Edie and Gunn (Craig Stevens) always seem forced and tacked on and are generally dull; Peter just isn't a very romantic fellow. [You have to wonder if Stevens' wife, Alexis Smith, who was herself quite luscious, objected to too many smooching scenes between him and Albright, because Gunn never seems all that lusty toward the woman.]

Among the more memorable episodes: "The Game," an especially well-directed (by Boris Sagal)  story of  an insurance racket, with Peter showing up beaten at his surprise party and falling face first into his cake; "See No Evil," in which a hood is after a blind witness, and Peter is attacked by Tor Johnson in a padded cell; "Sing a Song of Murder," in which guest star Diahann Carroll, who gives a first-rate performance, has deadly husband trouble, and when she sings a number blows "Edie" out of the water; "Deadly Proposition," about a dying man and a murder pact; "The Dummy," in which a ventriloquist is murdered and the dummy is a little living man; the amusing "Slight Touch of Homicide," in which a mild-mannered fellow (Howard McNear) literally blows up the mob; "Ways of an Angel," in which Peter escorts a convict to his daughter's wedding and the fellow escapes; "Best Laid Plans" [a plot to assassinate the governor -- or is it?]; "Semi-Private Eye," in which an amateur detective goes after a dangerous wanted felon; "Letter of the Law," in which a prosecutor is accused of murder; and "Crossbow," featuring a series of killings-by-crossbow, another story influenced by Agatha Christie's "ABC Murders" and guest-starring Henry Daniell.

The two best episodes were probably: Jack Arnold's "The Hunt," in which a hired hitman plays cat and mouse with Peter in the desert at an abandoned mine; and especially "Fill the Cup," in which John McIntire gives the performance of a lifetime as a nearly hopeless alcoholic who hires Gunn to keep him sober overnight to meet his daughter the next day, and which features a startling depiction of the D.T.s in the opening segment.

Verdict: Well-written crime show with some excellent stories. ***.