THE BIG CIRCUS

THE BIG CIRCUS (1959). Produced by Irwin Allen. Directed by Joseph M. Newman. 

Circus owner Hank Whirling (Victor Mature) has just split off from his former partner and is determined to make a go of it on his own. Randy Sherman (Red Buttons) is assigned by the bank that loaned him money to keep him on the financial straight and narrow and also hired a public relations woman named Helen (Rhonda Fleming). For reasons that are never quite explained, Hank objects to having a woman doing publicity for him, and the two come to figurative blows almost immediately. A bigger problem is that an unknown person working with Hank's former partner is committing dangerous acts of sabotage. A variety of problems seem to be working against the circus' success as the bank keeps threatening to foreclose ... 

Red Buttons and Victor Mature

Producer Irwin Allen later became famous for his disaster flicks but The Big Circus is no disaster. The film is well-paced and quite entertaining, with some very satisfying performances. Red Buttons and Gilbert Roland as a first-class high-wire aerialist, come off best, along with Kathryn Grant, saucy and sexy, as Hank's sister. Mature saunters through the movie with his usual aplomb and Fleming is also appealing as his very feminine combatant. Vincent Price is adept if under-utilized as the ringmaster, and David Nelson [The Remarkable Mr. Pennypacker], although he has little to do until the climax, plays a role very different from his part on The Adventures of Ozzie and Harriet. Peter Lorre is as lovable as ever as a clown in greasepaint. Although the process work isn't always great, the best and most suspenseful scene has to do with Roland's thrilling walk on a cable across the entire length of Niagara Falls! 

Verdict: This is superior to Jumbo and The Greatest Show on Earth. ***. 

TWENTY PLUS TWO

TWENTY PLUS TWO (1961). Joseph M. Newman.

When Richard Diamond, Private Detective wound up its four season run, star David Janssen played a man who looks for missing people in Twenty Plus Two. Tom Alder (Janssen) has always been interested in the case of a girl who completely vanished 12 years ago when she was 16. At the same time, movie star Leroy Dane (Brad Dexter) discovers that the woman who answered his fan mail has been murdered. Jacques Pleshette (Jacques Aubuchon) then hires Alder to look into the disappearance of his brother, Auguste. Are these cases all connected in some way? Meandering through the story are three women: former love Linda (Jeanne Crain), who sent him a "Dear John" letter; hostess turned socialite, Nicki (Dina Merrill), whom Tom met in a post-war Tokyo; and Eleanor Delaney (Agnes Moorehead), the mother of the missing girl. Twenty Plus Two is fairly unpredictable and reasonably absorbing, but it ultimately adds up to nothing. It's one of those movies in which characters spend years covering up a "murder" that was clearly self-defense and yet never bother getting a good lawyer. Janssen is fine and the other actors are okay, but the picture is stolen by Moorehead, especially in a scene with Janssen when the two look at photos of the missing 16-year-old and realize that she's already turned into a woman. An unintentionally funny scene has teenage girls screaming over Brad Dexter [99 River Street] as if he were Troy Donahue! William Demarest [The Perils of Pauline] gives a superb performance as a bitter and drunken ex-reporter, walking off with the movie in one brief sequence.

Verdict: Like an extended Richard Diamond episode in CinemaScope. **1/2.

KING OF THE ROARING 20'S

KING OF THE ROARING 20'S (1961). Director: Joseph M. Newman.

Arnold Rothstein (David Janssen) grows up to become a mob boss in 1920's New York. He fixes races and runs bookie operations with his old pal Johnny Burke (Mickey Rooney). Rothstein marries an entertainer named Carolyn (Dianne Foster) but she becomes tired of being left alone, his crooked deals, and his cold-blooded attitude. The "true" story of Rothstein, aka "The Brain," should have made a much, much more interesting picture than this concoction. True, Rothstein tried to run his operations like a business instead of employing a typical violent mob approach, but even so the picture could have used a lot more excitement, and the facts of his life would have been more compelling than fiction. Janssen [Richard Diamond, Private Detective] is okay as Rothstein, but his essentially small-screen persona only fits the basic and cheap TV tone of the whole production. Foster [The Brothers Rico] is quite good, as is Mickey Rooney, and there are also notable performances from Robert Ellenstein [Too Much, Too Soon] , Dan O'Herlihy, Mickey Shaughnessy, Jimmy Baird (as Arnold as a boy), and especially Joseph Schildkraut as Rothstein's father.

Verdict: Strictly mediocre TV-type fare. **.

THE GEORGE RAFT STORY

THE GEORGE RAFT STORY (1961). Director: Joseph M. Newman.

Dancer George Raft (Ray Danton) meets gals, entertainers and hoodlums in New York City nightclubs. Then it is suggested that he take off for Los Angeles and try his luck in the movies. He treats women like dirt, punches out people at the slightest provocation, gets a swell head, becomes a has-been, appears in Some Like It Hot as a kind of comeback, and in general acts like a major asshole. Oddly Raft -- who could have sued for defamation of character -- was still alive in 1961, so one supposes he actually liked that image as well as the fact that "Bugsy" or Benny Siegel (Brad Dexter of 99 River Street) was one of his best friends. Danton is an odd choice to play Raft, especially as he's much better looking and arguably much more talented than the real George Raft, who seemed to be a passable dancer and little else. Danton does an okay job of faking the fancy footwork with lots of coaching, but there's no genius there a la Fred Astaire. Jayne Mansfield, of all people, gives a more than credible performance as a fictional character who may or may not be Raft's bosomy wife. Neville Brand [Eaten Alive] is memorable as Al Capone, and Robert H. Harris makes a sympathetic if  exasperated producer, and there are other bits and supporting performances from Julie London as a singer; Margo Moore as a hat check girl; Barrie Chase as the actress, June; Barbara Nichols as a dubbed Texas Guinan; Frank Gorshin as a Raft associate; and Hershel Bernardi as Raft's much-maligned manager. The movie comes to a dead halt during a lengthy performance of a deadly song-and-comedy team. The cliches in the film -- and there are many -- include Raft earnestly complaining that he "can't say these lines!" (-- maybe because he can't act!) No matter what poor Danton played, he always came off as a low-life; he was equally sleazy in Too Much, Too Soon and other films.

Verdict: Poor biopic of someone hardly worth mentioning. **.

FLIGHT TO HONG KONG

FLIGHT TO HONG KONG (1956). Director: Joseph M. Newman.

"When a man makes a mistake, all of his friends suffer."

Tony Dumont (Rory Calhoun of The Colossus of Rhodes) has been living well ever since he got in with hood Michael Quisto (Paul Picerni), to the consternation of his fiancee, Jean (Delores Donlon). Tony's rationale is that he was afraid to say no to Quisto. On a flight to Hong Kong Tony meets writer/socialite Pamela Vincent (Barbara Rush) and the two are attracted to each other; the flight is hijacked to assist in the theft of a fortune in industrial diamonds, a theft that Dumont has actually had a hand in. As Pamela pursues Tony -- his fiancee be damned -- Tony's associates Nicco (Pat Conway) and Lobero (Aram Katcher) try to betray Quisto with unpleasant results. But then, drawn to Pamela, Tony makes up his mind to do the same thing ... Flight to Hong Kong is a flavorful, unpredictable crime drama with interesting settings from Hong Kong to Macao, good photography (Ellis W. Carter), and a suspenseful final quarter. Other cast members include Werner Klemperer, Carleton Young and Mel Welles [The Little Shop of Horrors] but the best performances are from Barbara Rush [Bigger Than Life] and Soo Yong as Tony's friend, Mama Lin. Nice score by Albert Glasser.

Verdict: Not bad at all. ***.

THIS ISLAND EARTH

THIS ISLAND EARTH (1955). Director: Joseph M. Newman. 

"Ruth, don't tell me that, as a woman, you're not curious about our destination?" 

Scientist Cal Meacham (Rex Reason) is sent instructions on how to build an "interocitor," an amazing machine through which he is contacted by an odd, white-haired man named Exeter (Jeff Morrow). Apparently Meacham has passed a test just by being able to build the machine, and before long he's being flown through fog to an isolated mansion where he finds other scientists working on behalf of Exeter, including Dr. Ruth Adams (Faith Domergue). It will probably come as no surprise to anyone that Exeter is from another planet, Metaluna, in fact, where the climax of the film takes place [as well as in outer space]. While the movie never rises above a comic book level in all matters, on that level it is very entertaining and fast-moving. The scenic design of Metaluna is still quite effective, and it's a neat touch that the planet's cities are located beneath a layer of upper crust. The big insectoid mutants with their grappling hook hands are also neat. Reason is competent, Domergue is lively and sexy as usual, and Morrow, although one could call him hammy at times, plays the material with just the right note. A fifties sensibility to be sure, but colorful and fun. Newman's direction is serviceable but little more. 

Verdict: All systems go! ***.

THE OUTCASTS OF POKER FLAT (1952)

THE OUTCASTS OF POKER FLAT (1952). Director: Joseph M. Newman.

The film begins with a tense, well-executed bank robbery in the town of Poker Flats, but then goes downhill from there. This is the third of several film versions of Bret Harte's famous short story, and is a very loose adaptation. After the robbery the town decides to turn loose certain immoral elements and several people are told to get out or be hanged. A gambler, John Oakhurst (Dale Robertson) suggests they go to a cabin he knows of; they are joined by a young couple about to have a baby. Not only is there a storm on the way and no food, but along comes bank robber Ryker (Cameron Mitchell) looking for his wife Cal (Anne Baxter), who's developed a tender feeling for Oakhurst. Miriam Hopkins is apparently the town's madam. What might have been developed as a strong drama turns into a mediocre melodrama that wastes most of its cast. The main problem is that the characters aren't developed enough for us to give a hoot about them. Generally well-acted, although Robertson is a bit of a lightweight compared to the others.

Verdict: Lost in a snow storm all right. **.