THE NEW INTERNS

Dean Jones and Stefanie Powers

THE NEW INTERNS (1964).  Director: John Rich. Colorized. 

This sequel to The Interns has Alec (Michael Callan of Mysterious Island) returning to New North Hospital to complete his internship. Phil (George Furth) tries to hide his wife, Madeline (Ellie Wood Walker), in the dorm, which is presided over by the no-nonsense Mrs. Hitchcock (Lee Patrick). The marriage of Dr. Worship (Dean Jones) hits a snag when his wife, Gloria (Stefanie Powers), learns that he can't have children. Nurse Laura (Barbara Eden) fears that Alec will never be able to settle down, and Dr. Parelli (George Segal) gets involved with a social worker, Nancy (Inger Stevens), whose life turns into a tragedy after she is gang-raped. Meanwhile Dr. Riccio (Telly Savalas) becomes the new administrator and wants to batten down the fiscal hatches. 

George Segal and Inger Stevens

The New Interns is a fast-paced, slick, well-acted comedy-drama that puts the emphasis much more on romance than it does on medicine, although babies are born, worried people die, and there are the very occasional discussions on medical business and hospital policies. George Segal is "introduced" in this film although he had already appeared in The Young Doctors and other films and TV shows. Others in the cast include Greg Morris (Mission: Impossible), Alan Reed Jr., Dawn Wells, Michael Fox, and James Mathers, the brother of Jerry ("the Beaver") Mathers, as young Freddie. Michael Vandever is quite vivid as the miserable rapist, "Beep." The sub-plot with Jones and Powers is resolved in a nicely sentimental and touching fashion. 

Verdict: Enjoyable "doctor" picture. ***.  

VISIT TO A SMALL PLANET

Jerry Lewis

VISIT TO A SMALL PLANET (1960). Director: Norman Taurog.  

Intergalactic visitor Kreton (Jerry Lewis of The Patsy) has a fascination with Earth and attaches himself to a family that consists of businessman Roger Spelding (Fred Clark), wife Rheba (Lee Patrick), and daughter Ellen (Joan Blackman), whose horny boyfriend is Conrad (Earl Holliman of Hot Spell). Apparently Kreton's race has given up sex eons ago so he is fascinated whenever Ellen and Conrad make out. Roger has a neighbor named Mayberry (Gale Gordon), who is convinced the earth is being visited by flying saucers and extraterrestrials, which Roger thinks is utter poppycock until Kreton shows off his abilities. For one thing, whenever Roger or anyone else tries to tell anyone the truth about their visitor, all that comes out of their mouths is "Mary Had a Little lamb." Despite the irritation that Kreton may cause him, Roger appreciates it when he helps him with his boss, Abercrombie (Jerome Cowan). But it isn't long before the authorities take an interest in Kreton ... 

Lee Patrick, Jerry Lewis, and Fred Clark

Visit to a Small Planet is suggested by a play by Gore Vidal, who satirized McCarthyism. All that has been jettisoned to make way for the comedic style of Lewis, which actually fits the basic plot pretty well. Lewis is fine as the lovably dopey Kreton, although he gets competition from Lee Patrick, who is also lovably dopey. Clark, Gordon, Cowan and Holliman are all as professional as ever. Joan Blackman was introduced in this movie although she had already had a few credits; she later did a couple of films with Elvis. Ever-dignified John Williams (of Midnight Lace) is bizarre and perfect casting as Delton, the head of the extraterrestrials, and Ellen Corby is fun as Gordon's wife. Barbara Bostock makes a positive impression as Desdemona, who sings a weird ditty and dances with Lewis in a beatnik coffee shop scene. 

Verdict: Highly imperfect and often silly, but cute and well-acted as well. **3/4. 

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. ***. 

THE FULLER BRUSH GIRL

Eddie Albert and Lucille Ball

THE FULLER BRUSH GIRL (1950). Director: Lloyd Bacon. Written by Frank Tashlin.

Sally Elliott (Lucille Ball) is engaged to co-worker Humphrey Briggs (Eddie Albert), and the two have their eye on a home they can't afford. After a spectacular accident at work involving an exploding switchboard, Sally is fired and tries her hand at selling cosmetics as a Fuller Brush girl (she hasn't actually got the job yet, but is kind of "auditioning"). She and Humphrey wind up in the midst of a murder mystery, on the run both from police and from the real killer, winding up on a ship at sea with a bomb aboard! Red Skelton's The Fuller Brush Man was a success, so it was only natural for there to be a Fuller Brush Girl, and Lucy was an inspired choice as star, as she's wonderful in this. Franklin Tashlin's funny script (he also co-wrote Fuller Brush Man), has lots of thrills and laughs, and is full of his trademark inventive "cartoon-style" comedy, such as a great scene when Lucy, wearing several round life preservers, goes rapidly rolling around the deck of the ship and almost goes kerplunk into the ocean. Albert [On Your Toes] provides fine support for Lucy, and there are good performances from Jerome Cowan [Have Rocket, Will Travel] as her boss; Lee Patrick as his wife; Gail Robbins as dancer Ruby Rawlings; Arthur Space as Inspector Rogers; and Jeff Donnell [Night Editor] as Sally's friend, Jane. Red Skelton has a cameo playing himself and a potential customer -- he sells some items to Lucy instead of the other way around! There's a lot of clever stuff in this and the two parrots on the ship (voiced by Mel Blanc) are a scream.

Verdict: Cute picture with lots of laughs and a resplendent Lucy! ***.

CAGED

Formidable Hope Emerson towers over the tough Betty Garde

CAGED (1950). Director: John Cromwell.

'If it weren't for men, we wouldn't be in here."

"If you stay in here too long, you don't think of guys at all -- you just get out of the habit."

A 19-year-old named Marie (Eleanor Parker), who may or may not have participated in an armed robbery with her now-dead husband, is sent up the river for one to fifteen. While having her baby, Marie is introduced to a motley crew of pretty tough career criminals of the female gender: Kitty Stark (Betty Garde), who wants to get Marie into the rackets; Elvira Powell (Lee Patrick), the super-hard queen of vice; June (Olive Deering), who is desperate to get paroled; Georgia (Gertrude Michael), who thinks she comes from society and is losing her mind; elderly Millie (Gertrude Hoffman) a lifer who'll think nothing of taking out a hated matron if she has to; spacey Emma (Ellen Corby) who finally murdered her husband after four previous attempts;  and others. Speaking of matrons, we have the relatively kindly head of the isolation ward, played by Jane Darwell, and the fat, sadistic and highly formidable Harper, played by Hope Emerson. Harper and Kitty are, in particular, major antagonists and sooner or later something will blow ... Caged has been dismissed in some quarters as camp (sometimes because of the not very subtle lesbian inferences), which is completely unfair, as the movie is a powerful, completely absorbing drama with excellent performances and one compelling scene after another: a disappointed inmates' suicide; the jailhouse riot over a kitten; the physical and psychological battles between Harper and Stark; and the compassionate warden, Ruth Benton (Agnes Moorehead), having to deal with the infuriatingly disinterested and misogynous parole board and other dumb-headed politicians. Caged doesn't say that most of these women don't belong where they are, only that their imprisonment is punishment enough and abusive behavior among the matrons should be prohibited. Parker, who was nominated for a Best Actress Oscar and should have won, is superb, as are Hope Emerson (nominated for Best Supporting Actress) and Betty Garde; and there is notable work from Moorehead and hard-boiled Patrick, as well as Taylor Holmes as clueless Senator Donnelly. John Cromwell's direction helps give the film a major dramatic punch after 66 years, and Max Steiner's score is subdued but effective. Caged engendered several inferior imitations -- Women's Prison, Blonde Bait, House of Women, a nominal remake with absurd situations not in the original, Betrayed Women -- and practically created a new sub-genre still going today. However realistic Caged may or may not be regarding conditions in women's prisons then or now, the story still packs a wallop.

Verdict: Perhaps Parker's finest hour -- as well as Emerson's and Garde's. ****.

AUNTIE MAME

Rosalind Russell as Auntie Mame

AUNTIE MAME (1958). Director: Morton DaCosta.

In 1928 little Patrick Dennis (Jan Handzlik) enters a whole new world when his father dies and he is turned over to his free-spirited Auntie Mame (Rosalind Russell), who is best friends with dipsomaniac actress Vera Charles (Coral Browne) and believes in unconventional teaching methods. Mame has a love of life and craves new experiences, which she shares with Patrick. But when an older Patrick (Roger Smith) gets engaged to a young lady from a narrow-minded family, will Mame be able to show her nephew the error of his ways? Auntie Mame is a delightful, very well-acted comedy with a message of accepting the unconventional that's delivered without hitting the audience over the head. Russell and Brown take the acting honors -- Russell is especially superb -- and there are also fine performances from little Handzlik, Smith, Forrest Tucker, Peggy Cass as Agnes Gooch, Connie Gilchrist as Mame's housekeeper (who sort of disappears when Gooch arrives), Joanna Barnes [The Parent Trap] as Patrick's weird fiancee, Lee Patrick as her mother, and Pippa Scott [As Young As We Are] as Pegeen, who comes to work for Mame. We also have the versatile Henry Brandon [Babes in Toyland] as Patrick's strange teacher. [Frankly, nowadays most sensible people would have a problem with the school Brandon runs.] In addition to some great dialogue and very funny scenes, the movie has a sub-text of exposing and denouncing prejudice. Based on a very successful stage play, this was turned into the musical, Mame, which was also filmed.

NOTE: Just found out that there may be another remake of this picture with the rather androgynous Tilda Swinton playing Mame [!?].

Verdict: Great and classic comedy. ****.

GEORGE WASHINGTON SLEPT HERE

GEORGE WASHINGTON SLEPT HERE (1942). Director: William Keighley. Based on the stage play by Kaufman and Hart.

Bill Fuller (Jack Benny) is a harried husband whose wife, Connie (Ann Sheridan), wants to move to the country, a situation which does not sit well with Bill and even less with the opinionated maid, Hester (Hattie McDaniel), who threatens to resign at any second. The house Connie buys on the sly is a dilapidated wreck that is falling down around them, but Connie is impressed with the story that George Washington may have once stayed there. Unfortunately, Mr. Kimber (Percy Kilbride, playing a role similar to his "Pa Kettle" in The Egg and I  five years later), can't seem to find water in the well; neighbor Mr. Prescott (Charles Dingle) gets them into a legal hassle involving property lines; and unwelcome visitors include scamp nephew Raymond (Douglas Croft of Batman), free-loading Uncle William (Charles Coburn). and a cow who walks in through a hole in the wall of the kitchen. And wait'll you get a load of the seventy-year-locusts! In addition to these great cast members , we have John Emery and Lee Patrick as a couple who stop by during a storm, and the ever-delightful Franklin Pangborn as the manager of the Fuller's apartment house. Joyce Reynolds plays Connie's younger sister, Madge; Harvey Stephens is a helpful neighbor; and William Tracy is Madge's beau. Kaufman and Hart also wrote The Man Who Came to Dinner and You Can't Take It With You.

Verdict: A very, very funny movie. ***1/2.

PILLOW TALK

Hudson and Day

PILLOW TALK (1959). Director: Michael Gordon.

"It's like being around a pot belly stove on a frosty morning."

Interior decorator Jan Morrow (Doris Day) shares a party line with playboy and composer Brad Allen (Rock Hudson) and has conniptions trying to get him off the line -- he's usually giving the same old palaver to one woman or another -- when she needs to use the phone. Brad finally meets Jan and likes what he sees, but pretends to be a shy Texan so she won't know who he really is, leading to amusing complications. The two leads are very good and have fine support from the likes of Tony Randall (a friend of Brad's who loves Jan) and Thelma Ritter (Pam's tippling maid). Hayden Rourke, Nick Adams, Lee Patrick and Allen Jenkins also have smaller roles. At one point Brad, in his own identity, suggests that the out-of-town Texan Jan is dating [himself, of course] is a "mama's boy" [read gay], which must have made Hudson a little uncomfortable [besides being decidedly dated]. Generally, however, this is a good-natured, funny movie and the first of several films made by the odd but effective pairing of Day and Hudson. Produced by Ross Hunter, who first brought Hudson to the big time in Magnificent Obsession, this is full of suggestive scenes and lines that must have made it seem daring in its day.

Verdict: You wouldn't think this would work, but it does. ***.

A NIGHT TO REMEMBER (1942)

A NIGHT TO REMEMBER (1942). Director: Richard Wallace.

Writer Jeff Troy (Brian Aherne) and his wife, Nancy (Loretta Young), movie into an apartment at 13 Gay Street in Greenwich Village in a building that was once a speakeasy. Nancy hopes it will provide the right atmosphere for his new book, but they get more than they bargained for. Troy has an altercation with a guy at a nearby restaurant (presided over by Lee Patrick), and the fellow winds up dead as a doornail on their patio the next morning. Sidney Toler of Charlie Chan fame plays the detective assigned to the case. A very large turtle that Jeff knew as a boy wanders around the apartment. Gale Sondergaard, James Burke and Blanche Yurka are in the cast. There are some laughs, Aherne and Young are okay doing the "cutesy" bit, but the film is not that memorable.

Verdict: A bit too precious. **1/2.

MILLION DOLLAR BABY

MILLION DOLLAR BABY (1941). Director: Curtis Bernhardt.

When wealthy Cornelia Wheelwright (May Robson) discovers that her late father cheated his partner out of $700,000 she decides to do right by the man's only living heir, a salesgirl named Pam (Priscilla Lane). She moves into the boarding house where the young lady lives to check her out, meets her boyfriend Pete (Ronald Reagan) and the other residents, and winds up giving Pam a check for one million dollars -- and that's when the trouble starts. The movie is charming and entertaining for the most part, bolstered by some fine old character actors, and even Reagan and Lane are quite good (this is more Lane's meat than, say, Saboteur), but .... STOP READING IF YOU HAVEN'T SEEN THE FILM.

The trouble with the movie is the characterization of Pam's boyfriend, Pete, who is a complete jackass. He can't deal with the windfall -- or rather the fact that his gal has more money than he does (although he claims is has to do with earning something and all that) -- so what does he do? He walks out on her! Packs up, moves out, leaves town with a band, and never gets in touch with her again. So what does she do? She conspires to win him back. Why, for Pete's sake [pun intended]?! Even more ridiculous she gives away all of the money. Yes, she doesn't even set aside any for her possible children's education or for emergencies. And the jackass approves. Sheesh

Lee Patrick and Helen Westley are fun as the ever-battling Miss La Rue and the landlady Mrs. Galloway, and George Barbier scores as Miss Wheelwright's bemused lawyer. Flora Robson, of course, is the best thing in the movie.

Verdict: Cute and entertaining, but oh boy -- what a dumb ending! **1/2.

JITTERBUGS

JITTERBUGS (1943). Director: Malcolm St. Clair.

Laurel and Hardy are on the road with their two-man Original Zoot Suit Band when they encounter Chester (Robert Bailey), a fellow who says his gas pill can turn water into gasoline. The three of them run into Susan (Vivian Blaine), whose mother was cheated out of ten thousand dollars by swindlers. Chester decides to use all of his con man experience to get the money back from the swindlers with the "help" of Laurel and Hardy. This amusing movie has Ollie pretending to be a Colonel of the Old South while Laurel is in disguise as Susan's wealthy aunt -- he's a scream as a dowager. Lee Patrick plays a con woman who makes a play for both boys. Blaine sings the snappy number "I gotta see for myself," but her other songs are forgettable.

Verdict: Lots of fun for L&H enthusiasts. ***.