THE MAN IN THE IRON MASK

Warren William, Hayward, Joan Bennett, Hayward

THE MAN IN THE IRON MASK (1939). Director: James Whale. Based on the novel by Alexandre Dumas pere.

When it is discovered that the queen has given birth to two identical boys, it is decided one will have to be sent away to be raised by a foster father, D'Artagnan (Warren William), to avoid the in-fighting and sibling rivalry that would undoubtedly result. Alas, things don't work out as planned when the foppish and cruel Louis XIV (Louis Hayward) discovers that he has a twin in Philippe of Gascony (also Hayward), who. along with his "father," D'Artagnan, objects to the salt tax. D'Artagnan and his fellow musketeers are rounded up and put in prison, but it amuses Louis to seemingly allow Philippe the run of the palace (an unlikely development, considering). Philippe takes advantage of Louis' absence to free his father and musketeers and work other wiles. Eventually, however, Louis wises up and imprisons his brother, forcing him to wear an iron mask and hoping his growing beard will eventually suffocate him. But Louis is wrong in thinking that this is the end of his twin just as Philippe is wrong in underestimating his brother. The Man in the Iron Mask had been filmed both before and after this version -- Dumas' story has been filmed many times, in fact -- but this may be the best-known version. At times the verisimilitude of the film is about on the level of an Abbott and Costello feature, but whatever the picture's flaws, it boasts a remarkable lead performance from Louis Hayward [Midnight Intruder], who is superb as he successfully limns two distinct characterizations. There is also fine work from the ever-florid Warren William; from William Royle [Drums of Fu Manchu] as the Commandant of the Bastille; and especially from the marvelous Joseph Schildkraut [Cleopatra] as the utterly loathsome Fouquet, a former tutor who "advises" his majesty. Joan Bennett is a little out-classed in this (not to mention Marion Martin as Louis' French mistress!), as costume dramas were not her forte. There's a very good score by Lucien Moraweck. Albert Dekker, Dwight Frye, and Peter Cushing (in his film debut) are also in the picture, but don't blink or you might miss them!

Verdict: A superb lead performance -- or rather two of them -- is the chief distinction of the picture. **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. **.

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. ****.

SHOW BOAT (1929)

SHOW BOAT (1929). Director: Harry A. Pollard.

This first film version of Show Boat is actually based on Edna Ferber's novel, and not on the stage musical, although there is some singing late in the picture (in scenes where the characters would sing naturally, such as when performing). The photography is excellent, and the strong, sensitive performances of the two leads -- Laura La Plante as Magnolia and Joseph Schildkraut as Gaylord Ravenal -- are what really put this over. Alma Rubens is also fine as Julie; in this version she is apparently not a mulatto. Stepin Fetchit is Joe; Otis Harlan is Captain Andy; and Emily Fitzroy plays his wife as a sneering termagant. This was filmed part silent and part sound; the sound for many of the latter sections are lost. Shown on TCM.

Verdict: Has it charms -- and fine actors. ***