SMALL TOWN GIRL

Farley Granger and Jane Powell

SMALL TOWN GIRL (1953). Director: Leslie (Laszlo) Kardos.

Rich and patronizing playboy Richard Livingstone III (Farley Granger) speeds through the small town of Duck Creek, sasses Judge Kimbell (Robert Keith), and winds up thrown in jail for thirty days. Richard importunes the judge's daughter, Cindy (Jane Powell), to let him out one night for his "mother's" birthday. Richard has a jealous if unfaithful fiancee in Broadway star Lisa Bellmount (Ann Miller), but during a night in New York he and Cindy start to fall in love. How will the judge react when he is apprised of this situation?

Jane Powell

Small Town Girl is the perfect example of a well-turned out MGM musical. The players are fine and enthusiastic (Granger is much better than you might imagine); the TechniColor is vivid and beautiful; there are a couple of more than pleasant tunes ("Small Towns;" "The Fellow I Follow"); some excellent production numbers; and an essentially amiable if lightweight veneer that puts over the slight but entertaining storyline. Jane Powell [Seven Brides for Seven Brothers] again proves an adept leading lady with a lovely voice and good delivery. And besides Granger, Powell has a host of excellent supporting players and character actors to back her up.

Bobby Van 

First among these is Bobby Van [Lost Horizon], who plays Ludwig Schlemmer, the boy next door who has Broadway aspirations. Van is by no means handsome in Hollywood terms, but he is so irrepressible and talented that it doesn't matter; he has a kind of Al Jolson delight in performing. The most famous highlight of Small Town Girl is when Van literally hops his way across town in sheer spirited excitement, a well-choreographed (Busby Berkeley) sequence that was filmed with only a few cuts. When Ludwig meets Ann Miller and tells her his name, she says "Well, keep it quiet and no one will notice." Ludwig's father is played by "Cuddles" Sakall, whose character in this seems more grumpy and unpleasant than lovable.

Miller struts her stuff

Then there's Ann Miller [Carolina Blues]. There may well have been better female dancers in Hollywood musicals, but in this Miller stars in a zesty production number, "Feel That Beat," wherein the members of the band are hidden behind walls and under the floor, with only their arms and instruments protruding. As for the rest of the players, Robert Keith is fine as the judge, as is an uncredited Chill Wills as the friendly sheriff, Happy. Fay Wray is the judge's wife; Billie Burke is her dithery self as Richard's society mother; William Campbell is a reporter; Marie Blake is a shop customer; and Beverly Wills, the daughter of Joan Davis, plays Ludwig's sister, Deidre. Nat King Cole also sings a number, "Burn Low." Photographed by Joseph Ruttenberg.

Verdict: Delightful MGM musical. ***.   

THE MAN WHO TURNED TO STONE

THE MAN WHO TURNED TO STONE (1957). Director: Leslie Kardos.

Flat, uninspired direction is the main problem of this otherwise intriguing horror film set in a girls’ reformatory. A couple of female administrators can’t help but notice how many of the young women are dying of heart failure, and that the deaths occur the day after screams are heard in the night. William Hudson of Attack of the Fifty Foot Woman and Amazing Colossal Man fame plays a psychiatrist who’s called in and winds up spearheading an investigation into the problem. SPOILER ALERT: The people who run the school are all over two hundred years old, and use an electrical process to take life energy from one person (it works best with nubile women – don’t ask) and give it to another. The shame of it is that Victory Jory and some of the other actors give excellent performances, with Paul Cavanaugh a stand-out, especially during a scene when he’s told by the others that he is not going to receive another "treatment" but will be allowed to die. One of the sinister group is a hulking mute who grabs the girls in the night but is beginning to be more trouble than he’s worth. Some interesting notions in this film, but the pace is too slow and everything is presented in a dull matter-of-fact way that doesn’t exactly pull you into the story, which needed a lot of fine-tuning in the first place. Ann Doran (It, The Terror from Beyond Space) plays a bitchy headmistress (and one of the 200 + club) but she really isn’t very good. The title refers to the fact that the skin of the "old folk" starts to turn rock hard just before they need another treatment.

Verdict: Interesting ideas, mediocre execution. **.