SAY ONE FOR ME

Debbie Reynolds and Robert Wagner

SAY ONE FOR ME (1959). Produced and directed by Frank Tashlin. 

Father Conroy (Bing Crosby) has a parish in the middle of the theater district and holds services at two in the morning. When one parishioner, Harry (Les Tremayne), falls ill and can't work, his daughter, Holly (Debbie Reynolds), takes up the slack. Harry and Father Conroy think she's working as a secretary, but Holly is actually appearing in a nightclub with her smooth and handsome partner and boss, Tony Vincent (Robert Wagner). Now the trick is to keep that wolf Tony at bay while both of them jockey for stardom. When Father Conroy gets a chance to put together a TV special, Tony thinks he's In Like Flynn -- but is he?

Ray Walston with Der Bingle

Say One for Me is artificial from the first frame to the last, and comes off more like something out of the 1930s than the 1950s. Bing doesn't strain too much to put over his familiar portrayal of Father Conroy, and Reynolds and Wagner are perfectly professional. Wagner sings and dances in this, but he's no threat to Fred Astaire. The supporting cast is perhaps of more interest: In addition to Tremayne, we've got Connie Gilchrist as the priest's cook and housekeeper; Joe Besser -- "Stinky" on The Abbott and Costello Show -- as Tony's manager; and especially Ray Walston in a terrific turn as an alcoholic associate of Tony's. Father Conroy cures the man of his addiction overnight! 

Judy Harriet as June January

There are a few songs by Cahn and Van Heusen, most of which are forgettable, with the exception of Bing's "I Couldn't Care Less" and "Christmas All Year Through." Judy Harriet plays a girl who is rejected for the nightclub by Tony and tells him in a year she'll be a star, which happens at the end of the movie as she warbles her hit record, "The Night Rock n Roll Died" -- also forgettable. The best music in the movie is actually the theme music by Lionel Newman. If the movie weren't treacly enough, it also throws in a baby and an unwed mother. Sebastian Cabot shows  up briefly as a fat Monsignor, and Herb Alpert is the sexy trumpet player in the background of one of the numbers.

Verdict: You can stand this for about an hour but unfortunately it's two hours long! **.   

THE PERFECT FURLOUGH

Janet Leigh and Tony Curtis

THE PERFECT FURLOUGH (1958). Director: Blake Edwards.

104 lonely men are stationed at an Arctic outpost and a notion is advanced to raise morale. One man will be chosen to go on a "perfect furlough," which is decided will be three weeks in Paris with the sexy movie queen Sandra Roca (Linda Cristal). Manipulating everyone behind the scenes, Corporal Paul Hodges (Tony Curtis) manages to become the winner. But when Colonel Leland (Les Tremayne) discovers that Hodges is an incurable skirt-chaser, he insists that his aide Major Collins (King Donovan) and Army psychologist Lt. Vicki Loren (Janet Leigh), who came up with the idea of the furlough, go along to keep Hodges out of trouble. But when Hodges gets a load of Sandra, this assignment may be more difficult than anyone imagines.

Elaine Stritch with Leigh

The Perfect Furlough could have been a smirking dirty joke but it's generally tasteful and consistently amusing. There are a lot of laughs in watching Hodges' efforts to escape from the MPs so he can hook up with Sandra -- who has a few surprises of her own -- as well as in the interplay between Hodges and a disapproving, yet attracted, Vicki. This is the perfect material for Curtis, who understandably has great chemistry with Leigh as the two were married at the time (1951 - 1962). While no comedian, Leigh is fine in the role, and there are excellent supporting performances from Elaine Stritch as Sandra's keeper; Tremayne and Donovan; Keenan Wynn as Sandra's manager; Alvy Moore as Private Brewer, who almost gets to go to Paris; and Gordon Jones as an MP. 

Argentinian actress Linda Cristal is cute, curvaceous and charming as Sandra, but she had her biggest success on television, starring in The High Chaparrral for several seasons. Troy Donahue [A Summer Place], playing a sergeant who accompanies Donovan and Leigh, is in the background in several scenes but has no dialogue. Another cast member who should be mentioned is the wonderful Jay Novello [The Mad Magician], who plays a French winemaker and lives with his father (Marcel Dalio), who hopes he'll get married. Lilyan Chauvin [Lost, Lonely and Vicious] shows up very briefly as a nurse. 

Verdict: Well-acted and funny fifties service comedy. ***. 

THE FORTUNE COOKIE

THE FORTUNE COOKIE (1966). Produced and directed by Billy Wilder.   

When cameraman Harry Hinkle (Jack Lemmon) is knocked over by Cleveland Braves player Boom Boom Jackson (Ron Rich) during a football game, his brother-in-law, Whiplash Willie (Walter Matthau), importunes him to pretend his injuries are far worse than they really are for a huge cash payout. At first Harry is appalled by the very suggestion, but when Willie intimates that Harry's ex-wife, Sandy (Judi West), may come back to him out of sympathy, he agrees. Meanwhile a very guilty Boom Boom, who practically becomes Harry's servant, finds his own life spiraling out of control. Yet Harry's essential humanity may put paid to Willie's audacious and avaricious plan.

The Fortune Cookie is an excellent comedy-drama which begins as an amusing dark farce and midway turns a bit more serious. The performances are superb, with Matthau master of all he surveys, Lemmon on target throughout, Ron Rich sympathetic and appealing, and Judi West, introduced in this picture, scoring as Harry's ex, a singer who dreams of a shot at the big time in New York's Persian Room. Cliff Osmond also makes an impression as private eye, Purkey, although Lurene Tuttle overdoes it a bit as Harry's hysterical mother. There are other good character actors in the cast such as Les Tremayne. Although highly exaggerated, the characters come off more or less as real people, although many of the situations are not realistic and are not meant to be. I won't give anything away, but the ending strikes a blow for Civil Rights in a way that is unusual for a sixties movie (although one might wonder how anyone could be certain of Harry's reaction). Handsome and talented, this was the first big role for Rich, but he had only a few credits after this. Similarly, Judi West, who actually had a couple of TV credits before this film, had only a few subsequent credits as well. Joseph LaShelle's cinematography is first-rate.

Verdict: Imperfect at times, but a very entertaining black comedy with outstanding performances. ***1/2.                                                             

THE UNGUARDED MOMENT

George Nader, Esther Williams, John Saxon 

THE UNGUARDED MOMENT (1956). Director: Harry Keller.

High school music teacher Lois Conway (Esther Williams) receives insolent mash notes from an unknown young admirer who later nearly assaults her and breaks into her house. When she learns his identity, the young man, Leonard (John Saxon of The Unforgiven), accuses Lois of coming on to him and the school board seems to agree. Lt. Harry Graham (George Nader of Carnival Story) thinks Leonard is a creep who needs to be arrested -- and may even be responsible for a series of rape-murders in town -- but the naive Lois still thinks of this 18-year-old man as an innocent "boy." It's a question if Lois will lose her job or maybe her life before everything is resolved.

John Saxon

In these "me too" days, The Unguarded Moment is still a relevant and timely picture, especially in the way it turns the perpetrator into a victim. (It's interesting that even today some people call this early study of sexual harassment "trashy." Why?) This was Williams' first dramatic role after appearing in many musical comedies with diminishing returns, and she's fine, and plays well with George Nader, whose character starts falling in love with her and vice versa. This was not John Saxon's first movie but he received a play-up in this, with him being singled out at the end as a "new personality." His performance is good, although he isn't quite up to the more emotional moments. Edward Andrews, an actor who somehow always exudes a negative aura no matter what part he's playing, is excellent as Saxon's woman-hating father, whose wife ran off years before. Les Tremayne, Eleanor Audley, Jack Albertson and Ed Platt are all credible in supporting roles. Not a great suspense film, but this holds the attention and isn't entirely predictable. It does sort of gloss over Leonard's inappropriate behavior a bit too much. Esther Williams followed this up with the lamentable Raw Wind in Eden. Although she did not do the finished screenplay, the story for this film was co-written by no less than Rosalind Russell.  

Verdict: Interesting cast and a still timely theme. ***. 

SUSAN SLEPT HERE

Dick Powell

SUSAN SLEPT HERE (1954). Director: Frank Tashlin.

Screenwriter and bachelor Mark Christopher (Dick Powell of Pitfall) finds himself with an unusual Christmas "present." Two cops of his acquaintance want him to babysit a 17-year-old girl, Susan (Debbie Reynolds), over the holiday so they won't have to actually book her for some minor offense on Christmas Day. Mark reluctantly agrees but this causes problems for his sort of fiancee Isabella (Anne Francis), and upsets his household, which consists of secretary Maude (Glenda Farrell) and his old Navy buddy, Virgil (Alvy Moore). But is the middle-aged author more drawn to lovely, very young Susan than he would care to admit?

Farrell, Moore and Reynolds

One thing this comedy has going for it is some excellent performances. Debbie Reynolds, who was actually twenty-two at the time, is simply outstanding. Powell --fifty playing thirty-five but not getting away with it -- is no slouch, either. Farrell uses all she learned about acting since the thirties to make a distinct impression, and Moore manages to emerge an almost poignant figure, although his chief function is to get more laughs. Anne Francis also scores in the thankless role of the fiancee who is treated rather badly but whom Mark apparently never took seriously to begin with. Maidie Norman [What Ever Happened to Baby Jane?] and Les Tremayne [The Monolith Monsters] are also good as, respectively, Mark's maid and lawyer.

The characters at least seem a little more dimensional than in most comedies of this type, but that may be due to the performances. The picture goes on about twenty minutes too long, and there is a very tedious dream sequence in which Susan imagines Annabella literally snaring Mark in her web. (You would think that Powell and Reynolds would actually dance together, but they never really do.) Red Skelton has a funny cameo. This was Dick Powell's last theatrical film; he appeared strictly on television thereafter.

Verdict: Strangely appealing May-December romantic comedy that shouldn't work but does. ***. 

THE ANGRY RED PLANET

THE ANGRY RED PLANET (1959). Director: Ib Melchior. 

A space flight to Mars returns with half the crew dead or missing, and one with a weird parasitic infection. Only the female member of the group, biologist Iris Ryan (Nora Hayden), is able to answer questions, and she barely remembers anything. Most of the movie is a flashback to the spaceship landing on Mars, encountering its weird life forms -- including man-eating plants and a marvelous rat-bat-spider (pictured) which stands very tall on crab-like tree trunk legs. Gerald Mohr as Colonel O'Bannion comes off as a hokey make-out artist -- or used car salesman -- while Hayden seems more like a Las Vegas show girl than a scientist. Les Tremayne is more on the mark as Professor Gettell. Effectively weird score by Paul Dunlap, whose closing credit music is fun. Second best scene [after the bat-rat-spider]: Chief warrant officer Sam (Jack Kruschen) gets digested by a giant amoeba. Director Melchior wrote the screenplay for Reptilicus. 

Verdict: Fun -- and in cinemagic, too! ***.

THE MONOLITH MONSTERS

THE MONOLITH MONSTERS (1957). Director: John Sherwood. 

Sheriff Dave Miller (Grant Williams) has a serious problem. There are these silicon-based black rocks scattered all over his town, and anyone who comes into contact with them is headed for trouble. His deputy is found dead, in a petrified state, and another family suffers the same fate after their house is crushed. The one survivor, a little girl, has an arm that is slowly turning to stone. What's worse, Miller learns that these weird "rocks" have the power to expand, multiply, and grow to staggering heights whenever they touch water, falling over and crushing everything underfoot when they grow too large. And a rainstorm is on the way ... While big rocks are obviously not as compelling as giant insects or dinosaurs on the rampage, The Monolith Monsters holds the attention and works up some minor suspense. It doesn't hurt that the dramatic score from Deadly Mantis embellishes each scene. Grant Williams is the low-key star; it's easy to see why this handsome actor never jumped into the big leagues (perhaps with the exception of The Incredible Shrinking Man) although he's competent enough. Lola Albright is an appealing leading lady, and Les Tremayne is fine as the dissatisfied newspaper man. Richard H. Cutting, who plays Dr. Reynolds, had a small role in Monster on the Campus and was also in Attack of the Crab Monsters. 

Verdict: You don't have to have rocks in your head to watch this. **1/2.