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. ***

THE SPELL

Lee Grant

THE SPELL (1977 telefilm). Director: Lee Philips.

Rita Matchett (Susan Myers) is a slightly overweight 15-year-old girl who is cruelly taunted by the mean girls in her class. One of the meanest is in gym class when she falls off a rope doing a trick and breaks her neck. Rita has a younger sister, Kristina (Helen Hunt), a father, Glenn (James Olson of Crescendo), who's rather cold to her, and a mother, Marilyn (Lee Grant), with whom she seems to share a special bond. As more strange things begin to occur, Glenn wants to pack Rita off to a special school in London and Marilyn resists suggestions that Rita is not only different but dangerous ... The Spell is one of a long line of films made in the wake of Carrie, although this picture drops the strange-girl-vs-mean-girls storyline pretty early and turns into a domestic drama of sorts with two comparatively ineffectual parents trying to deal with their strange and rebellious daughter. Nothing much supernatural or especially weird happens until a friend and neighbor of the Mattchetts literally burns up from the inside out and becomes a ghastly corpse halfway through the movie, a literal cooked sausage. For the finale, the picture winds up back in Carrie territory. The Spell presents some intriguing situations, an interesting young heroine, and has a couple of twists, but it's also a little disjointed and confusing (one suspects scenes were left on the cutting room floor to make way for the commercial breaks), and there's no particular flair to the direction. If the film works at all it's because of the acting, with Lee Grant splendid as the mother, emoting with complete conviction as if she were in a serious drama and not a semi-schlocky made-for-TV suspense film. James Olsen and Susan Myers are also excellent, and a very young Helen Hunt already shows signs of the abilities that would eventually net her an Oscar. Brian Taggert, who also scripted the Lee Grant starrer Visiting Hours as well as a TV remake of What Ever Happened to Baby Jane? with the Redgrave sisters, seems to have grafted a not completely convincing horror story onto a tale of teenage angst in which the heroine discovers that she not only doesn't mind being "different" but actually prefers it. Director Lee Philips, who also helmed the interesting telefilm The Girl Most Likely To ..., was originally an actor in such films as Peyton Place and others. Years later Grant and Helen Hunt would both appear in Dr. T and The Women.

Verdict: Grant makes the most of a script that doesn't quite call for her talents. **1/2.

NOTE: This review is part of the "Lovely Lee Grant" blogathon co-hosted by Chris of Angelman's Place and Gill of Realweegiemidget Reviews. 

THE GIRL MOST LIKELY TO ...

Ugly Duckling: Stockard Channing

THE GIRL MOST LIKELY TO ... (1973 telefilm). Director: Lee Philips. Co-written by Joan Rivers.

Miriam Knight (Stockard Channing) is a bright, energetic young woman with a great sense of humor who has, unfortunately, committed the crime of being unattractive. She is cruelly taunted by men and women alike, but when a twist of fate offers her an opportunity to become good-looking, she uses her new appearance to take revenge on her tormentors. The Girl Most Likely To ... is a black comedy that greatly benefits from the performance of an excellent Channing [The Truth About Jane], who continued to show off her acting chops in role after role on screen and on stage later on. As the movie is played for laughs and is often quite funny, one can ignore the fact that Miriam becomes slightly sociopathic and doesn't seem to care about any innocents who may become embroiled in her schemes, but it's fun, frankly, to see her abusers get their just desserts and then some. Ed Asner [Gunn] is also terrific as a cop investigating the murders, and Susanne Zenor makes an impression as Miriam's roommate, who has a horrendous voice to go along with her bosomy blondness. Warren Berlinger, Fred Grandy, Ruth McDevitt, Larry Wilcox, and Joe Flynn, among others, also have nice turns in the pic. The film scores points for making trenchant observations about the dark side of human nature in a humorous fashion that never quite disguises the understandable bitterness underneath,. Director Lee Philips was also an actor [Peyton Place]; most of his acting and directorial assignments were for television.

Verdict: The worm turns ... ***.

DADDY O [LOST PILOT]

Lee Philips and Don DeFore

DADDY-O (unsold pilot/1961). Director/producer: Rod Amateau.

Daddy-O was a situation comedy with a fairly unusual premise. Ben (Don DeFore of Killer Bait) is a carpenter who is working on a house for TV producer Albert Shapian (Lee Philips). For some reason, never explained, Albert thinks Ben would make a good actor, and the fellow winds up in a show called Daddy-O, produced by Shapian, wherein he plays a hapless family man in slapstick situations. The show-within-the-show is a big hit, but despite all the money Ben is dissatisfied. He thinks his work is frivolous whereas before he was helping to build homes and thereby helping the nation. He wants to quit Daddy-O, but Shapian won't think of it. At a hospital where Ben's wife Polly (Jean Byron) volunteers, he meets an elderly female patient who tells him how much the show means to her and other lonely people of all ages, to whom it has given a family. Ben decides to stay with Daddy O, not realizing that the old lady was an actress paid by Shavian, although she tells the producer that she actually meant every word. Other characters in the show include Ben's two teenaged sons, and Shavian's dumb brunette but sexy secretary. In the opening sequence -- a scene from Daddy O -- Sheila James from Dobie Gillis plays his daughter. Shavian seems to have a bit of a thing for Polly.

This pilot was apparently aired but wasn't turned into a series. The actors are fine -- even bland DeFore -- but perhaps it was too critical of dumb sitcoms for its own good, and without delivering the major laughs that any good sitcom requires. A surprising scene has Shapian and his colleagues adjusting the laugh track on an episode  -- the fact that sitcoms used laugh tracks was generally downplayed in this era. Still Daddy-O is amiable and has a few chuckles in it. Had this gone to series it might have developed into a memorable show. Philips at least gives the project a little sex appeal, as does his uncredited secretary. Created and written by Max Shulman. DeFore wound up in the long-running Hazel with Shirley Booth.

Verdict: Had possibilities. **1/2.