TEN LITTLE INDIANS (1965)

Hugh O'Brian and Shirley Eaton

TEN LITTLE INDIANS (1965). Director: George Pollock. 

Ten people, including two servants, are given invitations to work or play at an isolated estate located high atop a mountain and accessible only by cable car. They discover the strange nursery rhyme about "ten little Indians" in each of their rooms The mysterious voice (Christopher Lee) of their unseen host declares that they have each gotten away with killing someone, and now it is time to pay the piper. The first to go is singer Mike Raven (Fabian), who ran over two people and barely got a slap on the wrist -- he dies by arsenic -- and then more murders occur, somehow each corresponding to the method of death mentioned in the rhyme. Will anyone be left alive? 

Leon Genn and most of the group

George Pollock had previously directed four Agatha Christie "Miss Marple" adaptations, and he does a good job adapting her "And Then There Were None/Ten Little Indians" to the screen. While I might have preferred a little more tension, this is not quite as "cutesy" -- for lack of a better word -- as the forties film And Then There Were None. Hugh O'Brian pretty much smirks his way through the movie, as if he were above it all (which he isn't), but his performance is adequate, although the other cast members are more on target. Stanley Holloway, Shirley Eaton, Dennis Price, Leo Genn, and Mario Adorf (as the houseman) deliver adept performances, while Fabian gets an "A" for effort and Wilfrid Hyde White seems to think he's back in that forties adaptation and can best be described as annoyingly impish. Surprisingly Daliah Lavi has a very good turn as the high-maintenance actress Ilona Bergen, and comes through in her scene when she admits all about her past. As the cook and housekeeper Marianne Hoppe is, perhaps, a bit too hysterical. 

Dennis Price and Wilfrid Hyde White

This version transplants the story from an island to a mountaintop and two of the murders center on falls from great heights, one in a cable car whose cable snaps, and the other while a character attempts a climb down the mountain to get help; these are well-handled, and the film has genuine suspense. O'Brian and Eaton are given a love scene that seems a bit out of place. Malcolm Lockyer's jazzy score does little for the picture, but the lensing is sharp thanks to cinematographer Ernest Stewart. This was George Pollock's last theatrical feature. 

Verdict: Very entertaining Christie picture with some fine performances. ***, 

AFFAIR IN MONTE CARLO

Merle Oberon

AFFAIR IN MONTE CARLO  (1952). Director: Victor Saville.

Novelist Robert Stirling (Leo Genn of Personal Affair) tells a group of casual friends and tourists the story of a woman he knew, Linda Venning (Merle Oberon of The Price of Fear), who fell in frantic love with an unnamed young man (Richard Todd of The Hasty Heart) who loses all of his money in the casino. Linda is afraid that he is going to commit suicide and tries to help him. Although his personality is such that is hard at first to imagine why she is drawn to him despite his attractiveness, something about him eventually wins her over, even after he confesses that he bankrolled his trip by "borrowing" a necklace from an aunt. The two have an idyllic day together, but then comes the time when Linda must decide if she is going to pursue this relationship or not. But will she be able to live with her decision?

Star-crossed lovers: Todd and Oberon

Based on a novel by Stefan Zweig (as was Letter from an Unknown Woman), Affair in Monte Carlo is a lovely little picture that boasts a wonderful and sensitive performance from Oberon, an interesting musical score by Robert Gill and Philip Green, and an unexpected and satisfying conclusion. Stirling is convinced that Linda was genuinely in love with the young gambler, and not just infatuated, but the feelings can be equally mesmeric in either case. Genn is good; Todd effective if not as good as Oberon. IMDB lists the film as being 75 minutes long but the only print I can find -- on Amazon Prime and on youtube -- is ten minutes shorter, and there is an obvious gap when Oberon seems done with Todd but then there's an abrupt cut to a scene when they seem perfectly at ease with each other in a carriage.

Richard Todd

In any case, Affair in Monte Carlo is a pleasant surprise. It examines those quick but intense relationships that spring up unexpectedly and mean something to the participants even though they don't know each other very well. It also delves into those situations in which people want to dive head first into a romantic relationship even while realizing that it's probably a terrible mistake to do so. And then there's the bittersweet - sometimes awful -- knowledge of the ultimate fate of someone that you once even thought, however crazy, that you might spend your life with.

Verdict: For romantic souls only. ***. 

THE DEATH RAY MIRROR OF DR. MABUSE

Dead or only resting? Dr. Mabuse

THE DEATH RAY MIRROR OF DR. MABUSE (aka Die Todesstrahlen des Dr. Mabuse/The Death Ray of Dr. Mabuse/1964). Director: Hugo Fregonese.

Following the events of Dr. Mabuse vs. Scotland Yard, Professor Pohland (Walter Rilla) claims that he was forced to do his evil deeds detailed in the last film by the spirit of Dr. Mabuse. There seems to be a new Dr. Mabuse in town, and his adversary this time is Major Bob Anders (Peter van Eyck, who played a different character in the previous film but is basically in the same role as agent). Anders is sent to Malta to protect Professor Larsen (O. E. Hasse), who has invented a deadly "death ray mirror" that is coveted by Mabuse. Anders brings along an old, rather dumb girlfriend named Judy (Rika Dialyna) for cover, and also dallies with Larsen's daughter, Gilda (Yvonne Furneaux), and the Oriental beauty, Mercedes (Yoko Tanio). Other characters are Director Botani (Claudio Gora), the eye-patched Admiral Quency (Leo Genn of Personal Affair), and Gilda's boyfriend, Mario (Gustavo Rojo of Tarzan and the Mermaids), one of whom may be the evil Mabuse. While Death Ray Mirror is better than Scotland Yard, it's still a far cry from a good movie. Like the other sixties Mabuse films, this one is an ersatz Eurospy movie, with all of the usual elements but without the budget and elan to make them come alive in any really entertaining fashion. The "death ray mirror" never really comes into play and has little to do with anything. Peter van Eyck handles the derring do as well as anyone. This is the last of the sixties German Mabuse series, but not the last outing for the bad German doctor.

Verdict: Mabuse deserves better. **.

QVO VADIS

The grandeur that was Rome courtesy of MGM

QVO VADIS (aka Quo Vadis/1951). Director: Mervyn LeRoy.

Marcus Vinicius (Robert Taylor) fights for the glory of Rome and its emperor, Nero (Peter Ustinov). He meets a woman named Lygia (Deborah Kerr) and the attraction is instant. Unfortunately, Lygia is a Christian and can't forget Vinicius' cruel soldier ways. Marcus then decides to enact an old Roman law that has Lygia forcibly taken away from her adoptive parents and brought to Nero's harem, where Marcus knows Nero has agreed to make a gift of her for him. But when Nero decides to blame the Christians for the burning of Rome, Marcus must decide on whose side he is really on, and if love will out. You can certainly quibble about certain aspects of Qvo Vadis, but as simple good story-telling and adept movie making, the picture is really a wonder to behold. Robert Surtees' cinematography is excellent, as are the scenic design, costuming, and matte paintings that make Rome seem even larger than it is. Miklos Rozsa also contributed an evocative score. As for the acting, Peter Ustinov gets the highest honors for his fascinating portrait of the petulant and often child-like, highly neurotic Nero. Kerr comes next, with her usual sensitive thesping, and even Robert Taylor, although certainly not on the level of those two, gives a good performance as Marcus. Leo Genn is fine as Marcus' uncle, although he is too perfunctory during his suicide scene. There are other notable performances from Patricia Laffan [Devil Girl from Mars] as Nero's nasty wife, Poppaea; Abraham Sofaer [Captain Sindbad] as Paul; Rosalie Crutchley [Blood from the Mummy's Tomb] as Acte, who loves Nero and runs his harem for him; Marina Berti as Eunice, a slave who adores her master, Marcus' uncle (the two have a moving death scene together); little Peter Miles [Roseanna McCoy] as young Nazarius, whose mother is killed when Rome burns to the ground; among others. Highlights of the well-directed film are the aforementioned burning of Rome; and the horrifying scenes of Christians being fed to the lions. There is a pre-Ben-Hur chariot battle, as well. Historians are still arguing over how accurate the assessments of Nero have been, so this picture must be taken with a grain of salt on that score.

Verdict: Almost as magnificent as Rome itself, and with its flaws as well, but this is splendid movie-making. ****.

DIE SCREAMING MARIANNE

DIE SCREAMING MARIANNE (1971). Director: Pete Walker.

Marianne Evans (Susan George) is supposed to be marrying Sebastian (Christopher Sandford) when she finds out that someone stupidly filled in the name of their friend, Eli (Barry Evans), on the marriage certificate -- and it's legal. Sebastian only wanted to marry Marianne because he knows that she's heir to a fortune which is coveted by her father (Leo Genn), and half-sister, Hildegarde (Judy Huxtable). Hildegarde unaccountably has a hankering for the unattractive father, but all of the characters in this are a little weird -- without being terribly interesting. They all wind up on the father's estate where unpleasant things occur. Director Pete Walker normally put together horror items like House of Whipcord but this is more of an un-thrilling thriller with a very low-grade production. George is unlikable as both actress and character, Huxtable is adequate, Evans is somewhat appealing, and Genn [Personal Affair] was probably wondering how he wound up in this mess.

Verdict: Not worth a single scream. *1/2.

THE VELVET TOUCH

Sydney Greenstreet and Rosalind Russell

THE VELVET TOUCH (1948). Director: John Gage (Jack Gage).

"You've produced so many bad plays you're beginning to believe them."

Broadway actress Valerie Stanton (Rosalind Russell) wants to break away from her usual producer, Gordon Dunning (Leon Ames) and the treacle he has her appear in, and try "Hedda Gabler," but he only laughs at her. Dunning, who refuses to let her go and is carrying a torch for her as well,  threatens her, and during a struggle Valerie bops him on the head and kills him. This is followed by a long flashback during which Valerie meets new love Michael Morrell (Leo Genn of Personal Affair), who is not only unimpressed by her status but is positively condescending -- and unattractive to boot; nevertheless Valerie falls for him. The third part of the film brings in Sydney Greenstreet as the corpulent Captain Danbury, who is a fan of Val's and is investigating the murder. The front runner in suspects is not Val but Marian Webster (Claire Trevor), who has been pining for Dunning for years, hates Val, and is incredibly bitter. Will Valerie come clean about what happened, or let Marian take the rap? The Velvet Touch is no All About Eve -- made two years later -- but it is a very entertaining backstage drama with an outstanding performance by Russell and fine support from Trevor [The High and the Mighty], Ames, and Greenstreet. Irving Bacon scores as a chatty waiter at Sardi's, and Lex Barker is also in the cast as a young actor.

Verdict: Strangely compelling. ***.

THE SNAKE PIT

Olivia De Havilland as the troubled Virginia

THE SNAKE PIT (1948). Director: Anatole Litvak.

Virginia (Olivia de Havilland) is a troubled woman who has been committed to a psychiatric institution. Dr. Kik (Leo Genn) interviews her confused but loving husband, Robert (Mark Stevens), and tries to figure out what is responsible for Virginia's fragile mental state. Flashbacks show her life with Robert, as well as the earlier years before she met him. It's all rather psychologically dubious, but the film is generally well-acted and entertaining. Fellow patients in the institution, some of whom are crazier than others, include Beulah Bondi as a haughty old lady with delusions, Betsy Blair as the delicate Hester, as well as Lee Patrick, Celia Lovsky, Barbara Pepper, Minerva Urecal, Marie Blake (Blossom Rock), and others, most of whom just have bits. Mary Treen, Glenn Langan, and Ann Doran are on the staff; Helen Craig gives a terribly unsubtle performance as the evil Nurse Davis. Natalie Schafer is cast as Virginia's mother and Lora Lee Michel plays her as a child; both are quite good. While The Snake Pit is an uncertain mixture of sentiment and silly moments, and is a bit on the exploitative side, it does have some undeniably effective scenes, such as the poignant climax when Laura (Jan Clayton, who was Julie Jordan in the original Broadway production of Carousel) sings "Going Home" at the dance. Alfred Newman's score and Leo Tover's cinematography are also assets. Arthur Laurents, among others, worked on the screenplay and disavowed this in his memoirs. Seven years later, The Shrike was a somewhat grittier look at life inside a mental ward. Litvak also directed This Above All and many others.

Verdict: Hardly the final word on the subject but not without its merits. ***.