PEYTON PLACE

PEYTON PLACE (1957). Director: Mark Robson.

This is a surprisingly entertaining film version of Grace Metalious' once-notorious novel with a screenplay by John Michael Hayes. Constance MacKenzie (Lana Turner), who has a secret and a "past," is afraid that her daughter Allison (Diane Varsi) will follow in her footsteps and become like the town "bad girl" Betty (Terry Moore). "Roddy liked flashy girls so that's what I became," Betty says. Alison's friend Selena (Hope Lange) is raped by her step-father and the town seems to blame her. Norman (Russ Tamblyn) has a domineering mother and may have been intended to be a stereotypical gay character. School teacher Elsie Thornton (Mildred Natwick) is passed over in her hoped-for promotion to principal when the town hires much younger Michael Rossi (Lee Philips) instead. (This sub-plot, unfortunately, isn't developed.) Along with Natwick, Varsi, Lange, and Moore come off best, with nice turns by Arthur Kennedy, Lloyd Nolan, little Scotty Morrow as Joseph, and Lorne Greene as a prosecutor. Contrived at times; admirably frank at others. Beautifully photographed by William Mellor, and Franz Waxman's theme music is a classic. The only problem with the movie is that it's supposed to take place pre-WW 2, but it hardly has any late 30's period atmosphere at all.

Verdict: Sex and suffering soaked in classy sounds and images. ***

WEEKEND AT THE WALDORF

Lana Turner and Van Johnson

WEEKEND AT THE WALDORF (aka Week-End at the Waldorf/1945). Director: Robert Z. Leonard. Colorized. 

The stories of several guests at New York's Waldorf-Astoria Hotel are presented, occurring over one fateful weekend, in this semi-musical remake of Grand Hotel. The two main love stories concern: lonely movie star Irene Malvern (Ginger Rogers), who longs for a normal home life and marriage, and war correspondent Chip Collyer (Walter Pidgeon); and stenographer Bunny Smith (Lana Turner of These Glamour Girls) and Captain Hollis (Van Johnson of The Bottom of the Bottle), who may or may not survive a required operation. 

Ginger Rogers and Walter Pidgeon

In the original Grand Hotel a ballerina had to deal with an impoverished baron who wants to steal her jewels, but in this version Irene merely mistakes Chip for a thief, but he carries on the joke a little too far (for her and for the audience). At one point Irene even exclaims: "That's straight out of the picture Grand Hotel!" Other changes make this a movie only loosely based on Vicki Baum's novel, the source material for the original picture. Frankly, this would have been a much more entertaining movie if they had thrown out everything else -- including a sub-plot with Edward Arnold [Crime and Punishment] trying to fleece a mid-Eastern potentate (George Zucco) -- and strictly focused on the touching love story of Bunny and the captain. Turner and Johnson both give lovely and adept performances in this, and the picture really only comes alive when they are on -- although I must admit Xavier Cugat is likable and does a couple of bouncy numbers (he actually was playing the rooftop at the Waldorf at the time). 

Verdict: One half of a good movie. **1/2. 

BY LOVE POSSESSED

Lana Turner and Efrem Zimbalist, Jr. 

BY LOVE POSSESSED (1961). Director: John Sturges.

Two law partners in a small town have personal problems to go with legal ones. Arthur Winner (Efrem Zimbalist, Jr.) is afraid that his wife, Clarissa (Barbara Bel Geddes) and son Warren (George Hamilton) feel completely disconnected from him. Julius Penrose (Jason Robards of Philadelphia) is afraid to get close to his tippling wife, Marjorie (Lana Turner), because of physical problems which undoubtedly include impotency. Meanwhile Arthur's father-in-law, Noah Tuttle (Thomas Mitchell), the head of the firm, seems to be senile and may have even committed embezzlement. Just as Arthur and Marjorie draw closer for an illicit relationship, Warren is accused of rape by the town tramp, Veronica (Yvonne Craig), with his girlfriend, Helen (Susan Kohner of The Gene Krupa Story) waiting in the wings.

Jason Robards (Jr.) and Lana Turner

Although her part is not even that large, Lana Turner was obviously cast and headlined so that the public would think they had another Peyton Place on their hands, which is not the case. Despite all the heavy breathing (especially on Hamilton's part) and other goings-on, By Love Possessed is neither strong drama nor even a trashy guilty pleasure. Zimbalist, who has the biggest part, is adequate and smooth but as bland and pedestrian as ever. He and Turner and some other cast members give overly earnest line readings as if they thought they were reciting something profound. Sometimes there is some interesting dialogue, such as when Veronica tells Warren "If I get drunk and pass out it's no fun for me, and if you get drunk and pass out it's no fun for me." Later Arthur tells his son: "Your generation doesn't have a monopoly on sex, legal or otherwise -- you just talk about it more."

Unrequited: George Hamilton with Susan Kohner

Jason Robards seems a mite uncomfortable acting with Lana, and his performance is actually only adequate. Bel Geddes [Caught] is playing the wise, warm and womanly role years before she enacted same on Dallas but she does it in a rather bland fashion. Old pros Mitchell and Everett Sloane as a doctor are more impressive, and the younger generation of Hamilton, Kohner, and Craig are also on the money. Jean Willes has a small role as a former prostitute suing her late paramour's estate, and she is fine. As for the story, everything with both couples is neatly resolved by the finale, but Warren's fate in the rape trial is left unrevealed, although it's hard to believe anyone would find Veronica -- who always refers to herself in the third person -- a creditable witness. The audience is supposed to be devastated by the sad fate of Helen, but we never get to know her well enough to feel anything for her. Elmer Bernstein's musical score has a few nice moments, but is also a bit sappy, which is no more than the picture deserves.

Verdict: This talky flick would have been more fun if it were just a blatant trash wallow. **. 

MR. IMPERIUM

Ezio Pinza as the prince

MR. IMPERIUM (1951). Director: Don Hartman.

Showgirl Fredda Barlo (Lana Turner) is performing in a nightclub in Italy when she encounters a dashing stranger named Mr. Imperium (Ezio Pinza). Imperium is actually Prince Alexis, heir to the throne of an unspecified nation, as well as the widowed father of a twelve-year-old boy. Alexis' father dies and he is called to duty. Several years later, Alexis makes plans to abdicate and  reunites with Fredda, who is now a famous movie star, in Palm Springs. They stay in separate rooms at an inn run by Mrs. Cabot (Marjorie Main) and her niece, Gwen (Debbie Reynolds). But just as the two lovers are planning their film-making future together, they get a visitor from the dour prime minister (Sir Cedric Hardwicke) with bad news ...

Pinza ands Lana Turner

Mr. Imperium was a starring vehicle for famous Metropolitan opera bass Ezio Pinza, who had also conquered Broadway with his role in South Pacific (he died the same year the film version was released). Pinza and Lana Turner, while obviously not the perfect pairing, still play well together, and both give good performances, as do the other actors in the film, including Barry Sullivan as Lana's producer and would-be lover. A more subdued Marjorie Main and a very young Debbie Reynolds are also notable. One problem with the picture is that in the earlier part of the film the prince nearly comes off as a kind of creepy stalker, overly confident of his somewhat oily charm and appeal. The situation at the end has its moving aspects, but the script is a bit too superficial to make this more than a reasonably pleasant time-passer. Pinza gets to sing some nice songs, including "Let Me Look at You" and "Andiamo," a duet with a dubbed Turner. Has the usual MGM gloss but it doesn't look like this had a tremendous budget.

Verdict: Always a pleasure to hear Pinza sing. **3/4. 

LANA: THE LIFE AND LOVES OF LANA TURNER

LANA: THE LIFE AND LOVES OF LANA TURNER. Jane Ellen Wayne. St. Martin's; 1995.

This fairly short, readable volume provides an overview of the life and career of Lana Turner, whose acting talents were always questioned (in spite of giving some effective performances in certain films such as These Glamour Girls and A Life of Her Own), and whose troubled marriages and love life were widely reported on in the press. Lana, who apparently was always "Lana Turner," seemed to marry men who were less interested in the woman herself and more in her beauty, fame and money. She is a perfect example of someone who seems to have everything but whose personal life provides only heartbreak and emotional turmoil. The biggest scandal in La Turner's life was when her daughter, Cheryl Crane, stabbed Lana's brute of a lover, Johnny Stompanato, to death -- Crane wrote her own book, but questions still remain about this incident, which was turned into the book and movie Where Love Has Gone with Susan Hayward in the Lana role. Lana documents virtually every affair Turner had, as well as most of her movies, medical issues, and later years which were undeniably difficult for an aging glamour queen. One of Turner's ex-husbands, actor Stephen Crane, appeared in Cry of the Werewolf. Jane Ellen Wayne also wrote Stanwyck.

Verdict: Page turner for Turner fans and movie star enthusiasts in general. ***.

THE SEA CHASE

THE SEA CHASE (1955). Producer/director: John Farrow.

How's this for perfect casting? In The Sea Chase John Wayne plays Karl Erlich, the Captain of a German freighter (the Ergenstrasse), who supports his country but is no fan of Hitler. Lana Turner is cast as Elsa Keller, a kind of Mata Hari German spy who winds up as the only female passenger among a bunch of horny sailors. While it can't be said that Wayne and Turner have great chemistry, the odd thing is that the movie actually works and both stars are more than adequate in their roles. Erlich sets sail from Sidney just as war is declared, and an old friend, the British officer, Jeff Napier (David Farrar of The Echo Murders) -- he was one of Elsa's many conquests -- doggedly pursues him. Complications ensue when Chief Officer Kirchner (Lyle Bettger) takes it upon himself to murder some innocent fishermen who are shipwrecked on a supply island, making Erlich and his crew not only murderers but wanted war criminals. Erlich also has a conflict with Schlieter (James Arness) who has a chip on his shoulder and hates taking orders from his captain. Not only is The Sea Chase suspenseful, but you get caught up in the unusual storyline and begin to care about what happens to the characters and their ultimate fate. Bettger [No Man of Her Own] is especially good as Kirchner, and there's also excellent work from Farrar and from John Qualen [Dark Waters] as Chief Engineer Schmidt. Richard Davalos, Tab Hunter, Paul Fix, Arness, and Claude Akins (whose name is misspelled as "Akin" in the credits) also have some fine moments. Clearly this picture would not have been made just a few years earlier. In WarnerColor.

Verdict: Memorable "forgotten" Wayne film with an intriguing and different plot. ***.

THE PRODIGAL

Edmund Purdom and Lana Turner

THE PRODIGAL (1955). Director: Richard Thorpe.

Micah (Edmund Purdom) of Joppa is betrothed to Ruth (Audrey Dalton), but on a trip to Damascus he takes one look at High Priestess Samarra (Lana Turner) and is instantly smitten. He asks his father for his inheritance so he can go off and claim this woman, who worships pagan gods such as Astarte and Baal, and his father gives him the money but says he is now "dead to him". But getting to Samarra as a bearded "interloper" might be a bit of a problem. MGM has taken a simple Biblical parable and "fleshed" it out with a story that is pure Hollywood, but quite entertaining on that level. Purdom is fine as Micah, but Turner, besides being a bit too old, seems to have no clue as to the inner thoughts and feelings of the (admittedly underwritten) character she's playing -- she's just saying lines. There's a host of good character actors in the film, including Cecil Kellaway, seen briefly as the governor; Neville Brand [Eaten Alive] as an evil and sadistic soldier, Rhakim; Henry Daniell as the slave, Ramadi; Jay Novello as a merchant; John Dehner as Micah's brother; and Joseph Wiseman as another slave and instigator. Louis Calhern as the High Priest Nahreeb offers one of his rare indifferent performances, as costume dramas aren't his cup of java. "You hunger for [freed slave Asham] as a pig for husks," Micah tells Nahreeb, and even Samarra tells her High Priest that she doesn't like what he does to his slaves. Francis L. Sullivan [Hell's Island] is better as the portly Bosra. Although Paul Cavanagh is listed in the cast, I couldn't spot him. Although he hasn't a line of dialogue as the mute Asham, who comes to work for Micah, James Mitchell is effective; most of his credits were on TV and All My Children. Little Sandy Descher [Them] plays the strange little girl, Jasmin, but she's not very memorable. Highlights of the film include Micah's battle with a determined vulture in a pit of skeletons and a man who sacrifices himself for Baal by throwing himself into a pool of fire. The film's religiosity never becomes overbearing.

Vwerdict: Not exactly the bible, but worth a look. *** out of 4.

PORTRAIT IN BLACK

PORTRAIT IN BLACK (1960). Director: Michael Gordon. Produced by Ross Hunter.

Sheila Cabot (Lana Turner) is a beautiful woman married to a sick and seemingly hateful old man named Matthew (Lloyd Nolan). One day Sheila's lover, David (Anthony Quinn), who happens to be her husband's doctor, tells her how easy it would be to get rid of him. When Matthew conveniently kicks off, Sheila and David think they are above suspicion. But then a certain insinuating letter arrives ... Portrait in Black is an exhilarating suspense film whose chief strength is a superb performance from Quinn and an excellent score by Frank Skinner [Back Street] that helps keep viewers on the edge of their seats as all the various twists and turns of the plot -- and there are many -- skillfully unfold in a screenplay by Ivan Goff and Ben Roberts (based on their stage play). Michael Gordon's direction at least keeps things moving at a brisk pace, and there is some fine photography of San Francisco settings by Russell Metty [Miracle in the Rain]. While Turner and Quinn [Wild is the Wind] may not seem to have that much chemistry, Quinn's passion simply enfolds Turner and helps empower her more than competent performance. As for the rest of the cast: Lloyd Nolan; Sandra Dee as Turner's step-daughter; John Saxon as Dee's boyfriend; Richard Basehart as a scheming associate; Dennis Kohler as young Peter, Dee's step-brother; Virginia Grey as a secretary; and Ray Walston as a chauffeur who may know too much are all quite good, and for extra added measure we get Anna May Wong, of all people, playing the maid. Paul Birch shows up very briefly as a detective. This picture, now forgotten by most, was quite famous in its day, and is certainly worth a look. Producer Ross Hunter insures that the film has that certain Hunter gloss. The ad campaign for the pic seems to summon up images of Lana Turner, her daughter, and Johnny Stompanato which was turned into Where Love Has Gone with Susan Hayward in the Turner part.

Verdict: Very entertaining melodrama that isn't boring for an instant. ***.

ZEIGFELD GIRL

HIGH CAMP: Judy Garland on top of poles

ZIEGFELD GIRL (1941). Director: Robert Z. Leonard.

Three young ladies are chosen to join Ziegfeld's Follies (Ziegfeld himself is never seen): Sandra (Hedy Lamarr), who is married to a jealous, out-of-work violinist, Franz (Philip Dorn) but is courted by the handsome singer, Frank (Tony Martin); Sheila (Lana Turner), who has a truck-driving boyfriend, Gil (James Stewart) but who is drawn to the wealthy Geoffrey (Ian Hunter); and Susan (Judy Garland), who has been working for years with her has-been father, "Pop" Gallagher (Charles Winninger), who is afraid he'll be nothing without her. Pop tries to get Susan to sing in a hokey, super-fast, old-fashioned style -- as the director, John (Paul Kelly) puts it "they quit beating a song to death ten years ago" -- but when she delivers "I'm Always Chasing Rainbows" as a ballad the whole audience is moved. (Of course, it makes little sense that the diminutive Garland would ever have been hired as a showgirl, and in one scene in fact she is told that she is not a showgirl, so I'm not certain what she was supposed to be doing before her singing talent was discovered.) This is one of probably dozens of films that look at the trials and tribulations of three women hoping for success in show business -- you can even include Valley of the Dolls in the bunch, for that matter -- and while the melodramatics are cliched and not that interesting, the picture is still quite entertaining. Busby Berkeley put together the production numbers, the best of which is Garland's "Minnie from Trinidad," which definitely turns into high-camp when Garland is lifted high above the stage atop poles at the finale! Garland is swell, Lamarr is beautiful and effective, and Turner isn't quite up to her more dramatic scenes, in which she tends to over-act, to put it mildly. Turner is chosen to be the gal who nearly winds up in the gutter, but even when she becomes a drunk she still looks glamorous! Jimmy Stewart is miscast and somewhat perfunctory in this, although he gets plenty of scenes. Eve Arden shows up once or twice doing her usual schtick; Fay Holden appears briefly as Lana's mother ("I didn't raise my boy to be a Ziegfeld girl," she says to Jackie Cooper when he imitates his sister); Paul Kelly orders the show girls around but isn't really given a character to play; and Tony Martin has a handsome face, a beautiful voice, and is charmingly smarmy as Frank. There are notable if quite small, supporting performances from Rose Hobart as Martin's neglected wife, and Renie Riano [Nancy Drew -- Detective]  as Annie, Lana's wise-cracking maid. I've no doubt Ziegfeld gals, especially the more popular ones, were paid comparatively well, but Lana's apartment looks like something a major film star like Joan Crawford might have lived in! But that's the movies! NOTE: Not to be confused with The Great Ziegfeld in which the great Ziegfeld actually appeared.

Verdict: Likable musical with attractive players. *** out of 4.

SEAN CONNERY Christopher Bray

SEAN CONNERY A Biography. Christopher Bray. Pegasus; 2011.

Less a biography than a career study -- Bray had virtually no access to either Connery or any close associates -- this book looks at how Connery became a star as 007, came to hate his close association with the role, then reinvented himself as a leading man and character actor as he got older. Connery played Lana Turner's love interest in Another Time, Another Place, the male lead in Hichcock's excellent Marnie, and did a few more Bond movies such as Never Say, Never Again before taking off his wig and playing several characters who were actually older than he was in real life. Bray is critical of Connery's acting in the early years, and doesn't seem to think much of James Bond movies, and there are times when he seems to be playing curmudgeon more than he is honest film critic, but the book is very readable. The book could be dismissed as one man's ruminations on his "man crush," but Bray does provide interesting and often cogent analysis of Connery's movies and performances in everything from Goldfinger to Outland to the awful Zardoz. Bray looks at Connery's unsuccessful first marriage to actress Diane Cilento, but there's almost nothing abut his relationship with his younger brother, Neil, who tried to make it in spy movies like Operation Kid Brother.

Verdict: Not the last word, perhaps, but an entertaining look at a highly intriguing actor and sex symbol. ***.

ANOTHER TIME, ANOTHER PLACE

Sean Connery and Lana Turner as lovers

ANOTHER TIME, ANOTHER PLACE (1958). Director: Lewis Allen.

"Odd, how the presence of someone you love can make a whole place beautiful."

In 1945 London reporter Sara Scott (Lana Turner) falls in love with BBC journalist Mark Trevor (Sean Connery). Unfortunately, Mark tells Sara that he is already married. Sara will never find out if Mark would have stayed with Sara or gone back to his wife, Kay (Glynis Johns), because he's killed in a plane crash shortly after his disclosure. After some time recuperating from her grief in a sanitarium, Sara travels to Cornwall where Mark lived and in a rather contrived development winds up meeting, and then living with, Mark's widow and his young son, Brian (Martin Stephens). The plot is pure soap opera, but it does present an intriguing situation, if only the characters were more dimensional (especially Sara) and if the script rose above its fairly trite level. Turner is okay, but she only indicates whatever her character is feeling without really exploring it, but Glynis Johns [The Vault of Horror] is excellent as Mark's widow. Although Sean Connery [Marnie] was "introduced"in this film, he'd appeared in several movies before this, and gives a more than satisfactory performance as Mark, convincingly making love to Turner, who was ten years or so older at the time. Barry Sullivan [Night Gallery] has the thankless role of Sara's boss, who has been in love with Sara for some time, and was even engaged to her before she met and fell in love with Mark. Sullivan is meant to be a stoic type who keeps his emotions to himself, but he adds no nuances or complexities to his performance, albeit his part is also underwritten. Johns and Connery come off the best, with a nod to little Martin Stephens, who is very good and charming as Brian.

Verdict: "Another Movie" -- or script --  might have helped, but this has its moments. **1/2.

LOVE FINDS ANDY HARDY

LOVE FINDS ANDY HARDY (1938). Director: George B. Seitz.

"Really, we're getting much too old for that sort of thing, hugging and kissing!" -- Polly

"Christmas -- with Andy Hardy next door!" -- Betsy

When Polly Benedict (Ann Rutherford) goes away for the holidays, Andy's (Mickey Rooney) pal Beezy (George P. Breakston) importunes him to date girlfriend Cynthia (Lana Turner) to keep the other guys away from her while he's on vacation. An added complication is Betsy Booth (Judy Garland), who is visiting her grandmother next door and develops a big crush on Andy despite him seeing her as "a child." Betsy, who despairs that she has "no glamour, no glamour at all" sings the cute number "In-Between" and proves that Garland was a great singer even at that tender age; Rooney and Garland both give especially outstanding performances in this and are a simply wonderful team. Meanwhile Polly comes back unexpectedly and is jealous of Cynthia, whom she calls "That awful red-headed creature!" In other developments the Hardy grandmother has a stroke and Mrs. Hardy (Fay Holden) has to go off to take care of her while cook Augusta (Marie Blake) complains about Marion's "mud" or coffee. Marion (Cecelia Parker), as flighty and immature as ever, finally breaks up with a still-unseen Wayne and Betty Ross Clarke again temporarily replaces Sara Haden as Aunt Millie as she did in Judge Hardy's Children. Communicating with Mrs. Hardy over ham radio, Judge Hardy acts as if he'd discovered the iphone. There is an excellent scene when the Judge (Lewis Stone) and Andy talk about the possibility of the much older man dying. Turner is a lot of fun as Cynthia, although she does seem to be out of Rooney's league. Don Castle [Roses are Red] plays a handsome bandleader who turns out to be Polly's cousin. Followed by Out West with the Hardys. 

Verdict: A nice combination of good humor and honest sentiment. ***.

DANCING CO-ED

Lana Turner and Richard Carlson

DANCING CO-ED (1939). Director: S. Sylvan Simon.

"She stinks!"

Just when the Dancing Tobins are to begin a new film, Toddy Tobin (a barely-seen Mary Beth Hughes) gets pregnant, and the search is on for someone to co-star with her husband, Freddy (Lee Bowman sans mustache). Learning that the studio is to conduct a talent search on college campuses, Freddy protests that he needs a professional, so it is decided to fix the contest, send talented Patty Marlowe (Lana Turner) to one of the institutions, and make damn certain that she is the winner. Patty gets involved with the editor of the school paper, "Pug" Braddock (Richard Carlson), who figures there has to be a "plant" and decides to ferret out who she is even as Patty assists him as a way of hiding the truth. Will Patty go to Hollywood, or will her scheme come undone? The movie begins well, but the fun peters out halfway through or earlier, and you'll find that you couldn't care less how it comes out. The script lets down the players, who are game and enthusiastic throughout, with Turner [Love Has Many Faces] and Carlson [All I Desire] swell in the leads, Ann Rutherford perky as a secretary who helps Patty, Leon Errol his usual fun self as Patty's father, and Thurston Hall and Monty Woolley also briefly on hand as well. I think I spotted drummer Buddy Rich a couple of times. Band leader Artie Shaw, playing himself, is third-billed but only gets one line of dialogue! He must have impressed Lana Turner, however, because she married him the following year [he also married Ava Gardner and Evelyn Keyes, among others]. Hal Le Sueur, Joan Crawford's brother, plays a handsome college student but has no lines. S. Sylvan Simon also directed the far superior The Fuller Brush Man.

Verdict: Picture could have been cute but it turns into a stink bomb.**

LOVE HAS MANY FACES

LOVE HAS MANY FACES (1965). Director: Alexander Singer.

Wealthy Kit Jordan (Lana Turner) is living in Acapulco and married to ex-beach bum, Pete (Cliff Robertson of Obsession). When an old flame of hers, another beach bum named Billy, washes up dead on the shore, it causes tension in her marriage, a situation that isn't helped by the arrival of Carol (Stefanie Powers of Die, Die My Darling), who once cared for Billy, and who attracts the attentions of Pete. Meanwhile half-naked hustler Hank (Hugh O'Brian) and his buddy, Chuck (Ron Husmann), zero in on two middle-aged tourists, Margot (Ruth Roman) and Irene (Virginia Grey). Although the movie is in general well-acted [by Hollywood standards] -- with an especially noteworthy and reptilian O'Brian -- the actors still aren't brilliant enough to make these stereotypes come to life. Marguerite Roberts' thrice-removed screenplay moves the characters around in allegedly interesting tableaux but nothing of consequence ever happens, and the dialogue is as empty as the people. The sub-plot with O'Brian and the ladies really goes nowhere.

Verdict: Go to the beach instead -- or Acapulco! *1/2.

THESE GLAMOUR GIRLS

Lana Turner and Lew Ayres

THESE GLAMOUR GIRLS (1939). Director: S. Sylvan Simon.

"Darling, I'm in the most awful man-jam!"

Upper-crust Philip (Lew Ayres) sort of has a fiancee, but when he's inebriated he invites a dance hall girl, Jane (Lana Turner), to the big dance on campus over the weekend. It's a little awkward when she actually shows up where she has to deal with all the college snobs. Other characters include man-hungry Daphne (Anita Louise); stalwart Carol (Jane Bryan); chatty Mary Rose (Ann Rutherford); Jane's roommate, Mavis (Dennie Moore); Betty (Marsha Hunt), who hangs around college in desperate fashion even though she's older than the rest; and Joe (Richard Carlson), who isn't too proud to be a waiter in the dining hall. The movie leads into highly melodramatic developments concerning the character of Betty. Most of the performances are good, with Turner, Hunt [Raw Deal], and Moore getting top honors. Rutherford [Fighting Marines] basically plays Polly Benedict in college -- where's Andy? Simon also directed The Fuller Brush Man and many others.

Verdict: This glamor you can keep. **.

FALCON CREST Season 3

FALCON CREST Season 3. 1983. CBS-TV.

This nighttime soap opera continued to be very entertaining for its third season, and netted star Jane Wyman a well-deserved Emmy for her role of ruthless, if somewhat human, Angela Channing. This season introduced two new major characters, only one of whom would prove long-lasting: Cliff Robertson was brought in to play Chase Gioberti's cousin, Michael, and Laura Johnson was cast as Maggie Gioberti's younger trouble-making sister and ex-call girl, Terry. Many scenes were devoted to the [literal] trials and tribulations of Angela's daughter, Julia (Abby Dalton), both in and out of prison, and a battle over a race track that Richard Channing (David Selby) wants to build. The sinister secret organization, the Cartel, rears its ugly head and makes trouble for Richard and his new personal assistant, Pamela (Sarah Douglas), and there's an ugly custody battle for little Joseph, the son of Cole (Billy Moses) and Melissa (Ana Alicia). Although more "moral" than his half-brother Richard, Chase (Robert Foxworth) proves to be a bit priggish  and hypocritical, and at times almost as "it's my way or the highway" in his attitude as his Aunt Angela, while both he and Maggie (Susan Sullivan) develop serious health issues [all of which are dispensed with rather quickly]. Terry and Angela's likable if odd daughter Emma (Margaret Ladd) struggle for Michael's love, but it's really no contest. In other developments Angela's lawyer Philip (Mel Ferrer) has quite a few tricks up his sleeve, and handsome sheriff Dan Robbins (Joe Lambie) gets more to do than in previous seasons, as does Chao Li-Chi as Angela's very helpful manservant. There's skulduggery regarding the late Jacqueline Perrault's (Lana Turner) will and rather hateful background, and more intrigue surrounding Chase's doctor, played by Ron Rifkin of Alias. Other guest-stars include Pat Crowley as an anesthesiologist, Ken Tobey as a family court judge, Geoffrey Lewis as a boyfriend of Julia's, and Whit Bissell as a businessman who is threatened by the loathsome Lance (Lorenzo Lamas) during the custody hearing. The most hilarious scene has the nutty Julia going to confession [talk about the blind leading the blind!] and the most tiresome storyline has to do with a kidnapping late in the season. The performances are all pretty solid, with Robertson doing a good job as Michael, but Wyman as Angela definitely rules the roost. Dalton is okay delineating the twists and turns of her weird character, but ultimately she's just not that impressive.

Verdict: This soaper continues to be much fun. ***.

THE POSTMAN ALWAYS RINGS TWICE (1946)

Garfield and Turner

THE POSTMAN ALWAYS RINGS TWICE (1946). Director: Tay Garnett.

Cora Smith (Lana Turner) and her husband Nick (Cecil Kellaway) run a combination gas station and cafe, but their placid lives become unsettled when Nick hires a drifter named Frank (John Garfield) to help around the place. Cora and Frank are attracted to one another, and suddenly she can't see herself spending the rest of her life with her much older and unattractive husband, especially when he abruptly tells her that they're selling the restaurant (for which Cora had a lot of plans), moving in with his sister, and Cora will have to be nursemaid for the paralyzed woman for the rest of her life. (In other words, Nick is almost begging to be killed. His complete disregard for his wife's feelings makes him quite unsympathetic). What happens next is a black comedy of errors, accusations, recriminations -- and murder. Although Lana Turner gave some good performances in later years, such as in A Life of Her Own, she's a little too unseasoned to make the most of Cora, although she isn't terrible. Garfield and Kellaway come off much better, of course (although they're hardly as pretty!) and they have some solid support from the likes of Leon Ames as a D.A., Hume Cronyn as a lawyer, and Audrey Totter as a gal who briefly dallies with Frank. The Postman Always Rings Twice is a good, entertaining picture -- much better than the dreadful remake with Jessica Lange and Jack Nicholson -- but somehow it's not quite a classic like the superior Double Indemnity, which was also taken from a James M. Cain novel. This Hollywood version takes a lot of liberties with the plot and characters, the usual case with Cain. For instance, in the novel the lovers were practically kids.

Verdict: Not the best adaptation of a Cain novel, but certainly not without merit. ***.

FALCON CREST SEASON 2

The cast of Falcon Crest

FALCON CREST Season Two. 

Jane Wyman is back as the ruthless matriarch and vineyard owner Angela Channing in the second season of the night-time serial Falcon Crest. This season introduces Richard Channing (David Selby), who is the illegitimate son of Angela's late husband, and who comes to the valley to pretty much get even with everyone, and take over a newspaper. Meanwhile there's some question as to the paternity of the child being carried by Melissa (Ana Alicia), who is married to Angela's grandson, Lance (Lorenzo Lamas), but who slept with Angela's nephew, Cole (Billy Moses). Cole's parents, Chase (Robert Foxworth) and Maggie (Susan Sullivan), develop problems after Cole is accused of murder and Maggie works on a screenplay with a Lothario producer played by Bradford Dillman. Lana Turner makes a few appearances as Chase's continental mother and old foe of Angela's, whose two daughters -- Julie (Abby Dalton) and Emma  (Margaret Ladd ) -- have serious issues of their own, while Chase's daughter, Vicki (Jamie Rose), gets involved with a married man played by Roy Thinnes [The Invaders]. Frankly, the first half of the season isn't as entertaining as season one, but it picks up in the second half when the gang seems to be stalked by a ruthless killer who wants to get rid of anyone who might uncover his or her identity [which does indeed turn out to be a shocking surprise]. Some of the revelations and character reversals during the season finale are kind of suspect and silly, but the cliffhanger is a classic of its kind. Wyman is marvelous, never descending into chewing the scenery [a la Joan Collins on Dynasty, albeit she did it entertainingly], and most of the other cast members are swell. Guest stars include E. G. Marshall in a fine turn as Richard's adopted father, Joanna Cassidy as an older woman who falls for Cole, and Anne Jeffreys as a married girlfriend of Angela's lawyer, Phillip (Mel Ferrer). During their arguments Chase often throws Maggie's turn as a screenwriter in her face -- you wish just once she'd remind him of how the entire family was uprooted so he could pursue his dream of owning a winery, so what's the problem if she wants to pursue her own dream of writing a screenplay? It's amusing the way Richard imagines he'll be accepted by Angela when he's her husband's bastard. Choa Li Chi (who plays the similarly named servant Choa Li-Chi) is given more to do this season.

Verdict: Occasionally ridiculous, but a well-mounted and generally absorbing soaper. ***

FALCON CREST SEASON 1

FALCON CREST CBS Television series 1981 - 1990. Created by Earl Hamner Jr. NOTE: Out of several writers, Hamner wrote the most episodes.

The complete first season of Falcon Crest is available on DVD, and the show is quite entertaining. Airline pilot Chase Gioberti (Robert Foxworth) learns that his father, Jason, has passed away in an accident, and flies to California with his wife, Maggie (Susan Sullivan), to attend the funeral. There he learns that he has inherited a small 50 acre portion of the huge Falcon Crest vineyard, 500 acres of which belong to his aunt Angela Channing (Jane Wyman). Chase doesn't realize that his father didn't really die in a drunk driving accident, and that Angela has covered up the facts of his death because she would have to turn over far more of Falcon Crest to her nephew. Chase regrets that he never got to know his father very well, and decides to stay in California and try to make a go of his 50 acres, although the members of his family are very conflicted as to his decision. This includes his daughter Vicki (Jamie Rose) and son Cole (Billy R. Moses).

But the Channing family is in worse shape than the Gioberti's. Angela's daughter Emma (Margaret Ladd), never too stable to begin with, is positively bonkers since her Uncle Jason's death. Her sister, Julia (Abby Dalton), is a virtual slave to her mother's whims, and sees the same thing happening to her more resistant son, Lance (Lorenzo Lamas). Other characters include -- as the season progresses -- Angela's ex-husband (Stephen Elliot); Chase's mother (Lana Turner); Melissa Agretti (Ana Alicia), who comes between Cole and Lance; Julia's ex-husband Tony (John Saxon); Chase's right-hand man Gus (Nick Ramos); and his son, Mario (Mario Marcelino), who becomes Vicki's boyfriend.

Angela, superbly played by Wyman, is a ruthless person who cares more for the land of Falcon Crest than she does for members of her family, although she always believes she's doing the right thing. She prevents Emma from getting the psychiatric treatment she clearly needs because she's afraid Emma will inadvertently reveal the truth about Jason's death. [Although very well played by Margaret Ladd, who is an excellent actress, Emma's nutso act does become a bit of a bore.] As the first season progresses, Chase and Maggie are eventually clued in to Angela's duplicity, although why they continue to talk to her and attend her parties after her perfidy has been revealed is a big question.

The other cast members, especially Foxworth, Sullivan and Dalton, acquit themselves quite nicely. John Saxon and Lana Turner score in one episode apiece, although they returned for more appearances in later seasons. Marcelino is memorable as the appealing Mario, as is Mel Ferrer as Angela's very sly lawyer.

Falcon Crest lasted for nine seasons, and these episodes indicate why the drama -- which became more firmly ensconced in the soap opera category as it developed -- was such a guilty pleasure. Cast members in future seasons would include Rod Taylor, Mariska Hargitay, Robert Stack, Gina Lollobrigida, Ron Rifkin, Appolonia Kotero, Morgan Fairchild [in a very nice turn as a victim of incest] and many others.

Bill Conti's excellent theme music is a decided plus.

Verdict: Perfect to watch with a glass of wine! ***.