THE KILLING

Marie Windsor and Vince Edwards

THE KILLING (1956). Director, co-screenplay: Stanley Kubrick.

Ex-con Johnny Clay (Sterling Hayden) has gathered together a motley group to rob a race track: bartender Mike (Joe Sawyer); cop Randy (Ted de Corsia of The Big Combo); sniper Nicky (Timothy Carey); front man Marvin (Jay C. Flippen), muscular Maurice (professional wrestler Kola Kwariani); and track employee George (Elisha Cook, Jr.). But George, who wants to participate so he can buy things for his unfaithful wife, Sherry (Marie Windsor), is unaware that she has taken a lover, Val (Vince Edwards), and when these two learn about the robbery they cook up their own plans ...

Elisha Cook Jr. and Marie Windsor

The Killing is Kubrick's third theatrical film (aside from some documentaries), and it is one of his best. He managed to get excellent performances from the cast, with Windsor being a stand-out along with Elisha Cook, Jr., [House on Haunted Hill] who here is given one of the best roles of his career and runs with it. The other cast members are all on the mark, including Dorothy Adams as Mike's bedridden wife, Ruthie. Colleen Gray gets only a few moments as Johnny's girlfriend, but she's fine, and Carey makes a weird and effective Nicky, who literally shoots horses. Lucien Ballard's cinematography is first-class, and Gerald Fried's musical score adds to the film's taut and suspenseful atmosphere.

Sterling Hayden with Jay C. Flippen 

Jim Thompson's dialogue is occasionally forgettable ("she has a dollar sign where her heart should be"), but there's also an interesting interchange between Marvin and Johnny in which the former tells the latter that he practically thinks of him as a son, but then virtually suggests that they run away together, although the implications of this go unexplored. The film has an ironic, knock-out ending that really delivers a wallop. The movie is generally filmed in long cuts and the tension would have been increased with sharper editing. As good as this is, I would have loved to see what this would have been like had Hitchcock directed it. Another interesting Kubrick film is Eyes Wide Shut.

Verdict: One of the best caper movies ever made. ***1/2. 

DOUBLE DEAL

Richard Denning and Marie Windsor

DOUBLE DEAL (1950). Director: Abby Berlin.

Buzz Doyle (Richard Denning), a new arrival in town, almost immediately winds up embroiled with two warring women. Terry (Marie Windsor) wants Buzz to work with her and her friend Reno (Carleton Young) on an oil well that she hopes will turn into a gusher. Meanwhile, Reno's sister, Lily (Fay Baker), who hates her brother because she feels he was responsible for her lover's death, tries to lure Buzz over to her side and work against the others. Then there's a murder or two, and the surprise unveiling of the killer. Double Deal is distinctly minor, but it features some likable players, and there's especially zesty work from Baker [The Star], Taylor Holmes [Caged] as the drunken if helpful, "Corpus" and James Griffith [The Amazing Transparent Man] as the slimy Walter Karnes, Lily's plaything. Thomas Browne Henry plays the cop on the case.

Verdict: Ho hum meller that doesn't even have a decent "cat fight" between the ladies. **.

SONG OF THE THIN MAN

William Bishop, Myrna Loy, William Powell

SONG OF THE THIN MAN (1947). Director: Edward Buzzell.

The gambling ship, S. S. Fortune, is the sight of the murder of band leader Tommy Drake (Phillip Reed). Suspects include songstress Fran (Gloria Grahame); her ex-boyfriend Buddy (Don Taylor of The Girls of Pleasure Island); gangster Al Amboy (William Bishop); Mr. and Mrs. Talbin (Leon Ames; Patricia Morison); and Phil Brant (Bruce Cowling), whom the police are after for the crime. His fiancee, Janet (Jayne Meadows of Enchantment), comes to Nick Charles (William Powell) for help, and he digs into the case with his usual jaunty style. Nora (Myrna Loy) tags along to no great purpose, while their cute little boy Nick Jr. (Dean Stockwell of The Werewolf of Washington) is left in the charge of Asta and the housekeeper, Bertha (Connie Gilchrist). Song of the Thin Man is not one of the better entries in the series -- in fact it was the last --  although it does have a lively and quite amusing finale. Gloria Grahame is completely wasted in her very small role as Fran, as is Marie Windsor, playing the gangster's wife in just one sequence. This has one of the dumbest murderers ever. The catchy song "You're not so easy to forget" is pleasantly warbled by whoever is dubbing Grahame. Ralph Morgan is Janet's grumpy father, and Morris Ankrum is the police inspector.

Verdict: Talky and dull with few bright spots. **.

NO MAN'S WOMAN

Richard Crane and Marie Windsor

NO MAN'S WOMAN (1955). Director: Franklin Adreon.

Harlow Grant (John Archer) wants a divorce from his hateful wife, Carolyn (Marie Windsor), so that he can marry his sweetheart, Louise (Nancy Gates of World Without End). But everyone seems to hate Carolyn, including her father-in-law, Philip (Douglas Wood); her assistant, Betty (Jil Jarmyn), whose sexy boyfriend she tries to steal; said boyfriend, Dick Sawyer (Richard Crane), who owns his own fishing boat; and even Carolyn's own boyfriend, Wayne Vincent (Patric Knowles of Five Came Back), who is in the art business with her. Then the movie turns into a lesser Perry Mason episode without Perry Mason when one person is murdered, as expected. No Man's Woman is well acted and entertaining -- Windsor [Swamp Women] is as much fun to watch doing her slimy "bad girl" act as ever -- but the solution to this mystery holds absolutely no surprises. John Gallaudet, who later played a judge on the aforementioned Perry Mason, and Morris Ankrum are police officers, and Great Old Movies favorite Percy Helton is a caretaker. From Republic studios.

Verdict: A good role but not a great vehicle for Windsor. **1/2.

HELL'S HALF ACRE

HELL'S HALF ACRE (1954). Director: John H. Auer.

Donna Williams (Evelyn Keyes) has always thought that her husband of a short time died during the war. But then she sees a story about a man named Chet Chester (Wendell Corey) who has been arrested for murder in Hawaii and who greatly resembles the dead man. Chester is a deserter, black marketeer, and shady criminal, and when Donna confronts him he insists that he is not her husband. Can Donna get the man she apparently still loves to tell the truth? Meanwhile her poking her nose into Chet's business is bringing her to the attention of assorted nefarious elements. "Hell's Half Acre" refers to a dangerous, crime-infested section of Honolulu where much of the action takes place. While the movie has an intriguing premise, Hell's Half Acre isn't very good. Knowing what she knows about "Chet," it seems incredible that she wouldn't just walk away from the creep, especially when she finds out he was a deserter. The scenes between Donna and Chet don't work because the two actors just walk through their roles, perhaps because even they weren't convinced by the script. Philip Ahn plays a gangster who slaps around Marie Windsor, and Elsa Lanchester [Les Miserables] is a spirited lady cab driver. Keye Luke is the police chief, and Jesse White, annoying and unimpressive as ever, plays another hood who comes to a bad end. Windsor [Swamp Women] probably comes off the best with her typically vital portrayal. John H. Auer also directed The Crime of Dr. Crespi and quite a few melodramas and musicals.

Verdict: Not half as interesting as it sounds. **.

THE OUTFIT

Tom Reese and Duvall with Karen Black in the background

THE OUTFIT (1973). Director: John Flynn.

Earl Macklin (Robert Duvall) gets out of prison to discover that his brother was murdered. It seems the two of them knocked off a bank that was owned by the crime cartel, the "Outfit." Macklin decides to pay back and wage war on the Outfit by carrying out heists -- with his pal, Jack (Joe Don Baker) -- that will hit the Outfit where they live. His main antagonist is Outfit bigwig Mailer (Robert Ryan), who lives in a big mansion with bodyguards and has a fairly disinterested wife (Joanna Cassidy). The Outfit is loosely based on the third "Parker" novel by Richard Stark (Donald Westlake), a series of books in which a career criminal is the protagonist. [Another Parker adaptation was The Split.] Frankly, the book is much more entertaining than this indifferently directed "thriller" in which only Robert Ryan gives an especially memorable performance. Baker isn't bad, Karen Black [Trilogy of Terror] has her moments as Macklin's girl, and Duvall is Duvall. Sheree North [Mardi Gras] also has some flavorful moments as the wife of an associate, but Jane Greer isn't very good as Macklin's sister-in-law. Richard Jaeckal, Marie Windsor, and Henry Jones aren't on screen long enough to register much but are all effective. John Flynn also directed The Sergeant.

Verdict: Indifferent adaptation of a gritty Parker novel. **.

SWAMP WOMEN

SWAMP WOMEN (1956). Director: Roger Corman.

An undercover policewoman, Lt. Lee Hampton (Carole Matthews), poses as a convict in order to find out where the female Nardo gang hid a fortune in diamonds. Put in the same cell as the three tough members of the gang  -- Josie (Marie Windsor), Vera (Beverly Garland), and Billie (Jill Jarmyn) -- Hampton breaks them all out and they head for the diamonds -- secreted in the Louisiana bayou! Along the way the ladies pick up two hostages, spoiled heiress Marie (Susan Cummings) and her supposed boyfriend Bob (Touch Conners, later to be known as Mike Connors). This is actually a fast-paced and very entertaining melodrama bolstered by Corman's brisk direction, some good performances (especially from Beverly Garland as the biggest bitch in the bunch), a few very zesty female-female fight scenes (okay, cat fights!), and lots of swampy atmosphere. A good showcase for "B" movie queens Garland and Windsor, and Jill Jarmyn also makes an impression as the resident sexpot. Matthews isn't bad, but Connors does little else but look good in his rolled-up sleeves. Jonathan Haze of The Little Shop of Horrors has a nice cameo as a pickpocket who pretends to be drunker than he is.

Verdict: This one is a lot of fun and has some suspense to boot. ***. 

PERRY MASON SEASON 7

Raymond Burr

PERRY MASON Season 7.

This seemingly unstoppable show was back for a 7th season in 1963. It had more than its share of excellent episodes. "Nebulous Nephew," with Hugh Marlowe, Arthur Space and Beulah Bondi, answers the question of whether or not a man is really a missing relative. "Reluctant Model," in which Lt. Tragg appears, deals with a forged painting and a handsome bearded artist played by Robert Brown. A woman leaves one million dollars to her nurse in "Festive Felon" and an elevator murder is featured in "Wednesday Woman" with a noteworthy Marie Windsor. A boy discovers that a famous actress is his mother in "Simple Simon" with an excellent Virginia Field and Victor Buono. In "Careless Kidnapper" with Mimsy Farmer, in which a doctor treating an alcoholic patient is blackmailed, Perry takes Della dancing until dawn! "The Drifting Drop Out "has a young man accused of murdering his criminal uncle's business partner. "The Bouncing Boomerang" features a wonderful Diana Whelan as a duplicitous wife with a secret partner in a land and insurance fraud.

Other notable episodes include: "Decadent Dean" with an excellent Lloyd Corrigan; "Bigamous Spouse;" "Bountiful Beauty" with Ryan O'Neal; "Nervous Neighbors" with Katherine Squire and Jeanne Cooper;  "Fifty Million Frenchmen" with everyone from David McCallum and Jacques Bergerac to Arthur Franz and Jackie Cooper; "Frightened Fisherman;" "Arrogant Arsonist;" Garrulous Go-Between;" "Illicit Illusion" with Ron Randell and Keith Andes; and "Antic Angel."

These were the two most outstanding episodes: "Deadly Verdict" begins with Perry's client being found guilty and sentenced to death! The story has to do with an old woman who may have been murdered by one of several heirs, including Julie Adams. This episode is particularly well-directed [Jesse Hibbs], creepy, and suspenseful." The Devious Delinquent," with Otto Kruger and an especially notable Virginia Christine, deals with a troubled young man accused of killing a blackmailing punk "friend." Robb White wrote the script, which has a great surprise ending.

Verdict: Still one of the best TV shows ever. ***1/2.

HIDDEN WORLD

HIDDEN WORLD (1958). Director: Bert I. Gordon.

This lost, unreleased film is sort of an unofficial sequel to "Mr. B.I.G." s [Bert I. Gordon] 1957 monsterpiece The Cyclops. Marie Windsor, Henny Youngman (surprisingly good in a dramatic part), Richard Crane, Lynn Bari, and Noah Beery Jr. play members of an expedition who take a copter into the unmapped Mexican jungle to search for a lost treasure. At one point references are made to a "lost flier named Bruce who grew into a giant in this valley," stories which are discounted by most of the characters. Once the copter lands, Hidden World turns into a mini-Journey to the Center of the Earth as the expedition enters a tunnel that leads deep down into an enormous cavern filled with out-sized man-eating frogs and forty-foot giant men [who try to roast Henny on a spit at one point.] Henny tries to joke his way out of his predicament by saying to one of the giants "Take my wife -- please!" Whiny Katherine Squire plays a normal-sized tribeswoman who is constantly screeching at the giants to "destroy the invaders." The best scene has Squire picked up by a disgruntled big guy who bites her head off. The sequence with the expedition members surrounded by hungry, roaring toads with long, snapping tongues is also amazing. The film was unfinished but an upcoming DVD release uses stills to fill in for the missing footage.

Verdict: If you loved The Cyclops ... ***.

THE JUNGLE

THE JUNGLE (1952). Director: William Berke.

Princess Sita (Marie Windsor), daughter of a progressive maharajah who is ill, returns to India to learn that villages are being decimated by sudden and inexplicable elephant stampedes. Rama Singh (Cesar Romero) her advisor, has hired a famous hunter Steve Bentley (Rod Cameron) to find out what's going on, but he reports that the elephants are being spooked by huge animals that appear to be prehistoric woolly mammoths or some hybrid breed thereof. The Princess and Rama, whose brother was killed by these creatures, travel to the affected areas to see if Benton's incredible story is true. "Filmed entirely in India," The Jungle offers a nice travelogue of the country along with an intermittently interesting storyline. The picture has its zany aspects, along with some clumsy editing, and so many singing natives that at times it almost seems like a musical! Presented in sepia tone.

Verdict: Not as terrible as it sounds but not so great either. **1/2.

CAT-WOMEN OF THE MOON

CAT-WOMEN OF THE MOON (1953). Director: Arthur Hilton. 

When a group travels to the moon in a spaceship, the only female member of the team, Helen (Marie Windsor), begins receiving psychic input from someone named Alpha (Carol Brewster). It seems that there's a race of women on the moon who want to kill the earth men and take over their spaceship -- or something like that. They even influenced Helen to fall for the ship's commander, Laird (Sonny Tufts) instead of the man she really loves, Kip (Victor Jory), because Laird had a lot more technical information. There's also a giant fake spider that wiggles about and emits high-pitched noises. Some of the cat-women are man-friendly and disagree with Alpha. This was much more entertaining when it was remade six years later as Missile to the Moon. After the terrible Queen of Outer Space, this is probably the worst of the bunch of "space babe" movies that were made in the fifties. The actors all do their best, however. 

Verdict: Watch Fire Maidens of Outer Space instead. **.

THE SNIPER

THE SNIPER (1952). Director: Edward Dmytryk.

Eddie Miller (Arthur Franz) is a delivery man for a cleaning service and has a problem with women. When one of his customers, a singer named Jean (Marie Windsor) innocently excites him but sends him away when her boyfriend shows up, he begins a spree of shooting women, with Jean the first victim. Franz, who is excellent, is the perfect choice for the title role, with his clean cut features and appealing presence in stark contrast to the terrible crimes he's committing. The movie certainly has an interesting cast. Adolphe Menjou is the head cop on the case, Lt. Frank Kafka, and Richard Kiley, that Man of La Mancha himself, is a police psychologist. He gives disturbing statistics about sexual predators (the situation has obviously gotten much worse since 1952). Frank Faylen and Gerald Mohr are also cast as policemen. Miller's landlady is played by Mabel Paige, who sold Lucy and Ethel her dress shop in a classic I Love Lucy episode. Jay Novello, who also appeared on I Love Lucy, turns up in another amazing characterization as Pete, the owner of the bar where Jean sings for her supper. The movie is well made and completely absorbing, but it does give rather short shrift to the victims.

Verdict: Probably Franz' finest hour. ***.

ABBOTT AND COSTELLO MEET THE MUMMY

ABBOTT AND COSTELLO MEET THE MUMMY (1955). Director: Charles Lamont.

Silly but amusing trifle has Bud and Lou dealing with a sinister cult in Egypt, as well as a tough dame named Madame Rontru (Marie Windsor) and a walking mummy named "Klaris." Lou has accidentally swallowed an important medallion and the madame is perfectly willing to cut it out of him if need be. Richard Deacon plays a cult leader and Peggy King is the delectable vocalist who delivers a number in a saucy style in a nightclub sequence. As the sexy if hard-bitten bad girl, Windsor plays the material with just the right touch. Inside the tombs Lou briefly encounters a giant lizard that looks as if it wandered in from One Million B.C. Zany but cute.

Verdict: Fun for the boys' many fans. **1/2.

THE DAY MARS INVADED EARTH

THE DAY MARS INVADED EARTH (1962). Director: Maury Dexter. NOTE: One important plot point is revealed in this review.

Ever since I was a kid I'd been hoping to catch a glimpse of this little-seen [it's not even in Bill Warren's Keep Watching the Skies] sci fi movie from the early sixties. Be careful what you wish for ... Apparently somebody had this big empty estate with large rooms and beautiful gardens and long pathways that was just perfect for filming. Unfortunately, instead of making a haunted house film or thriller which would have been more appropriate, they instead made a tacky science fiction film with a minimum of FX work. Kent Taylor is a scientist who has sent a probe to Mars. Back with his family for a long overdue visit, Taylor discovers that Martians have landed on Earth as energy forms and have duplicated the bodies of himself and his family. There's a lot of aimless wide-screen wandering around through this pretty estate as Taylor, his wife (Marie Windsor) and their two children see their doppelgängers in the distance and either chase, or are chased by, them. The very downbeat ending, which packs a small wallop – we see the ashes of the bodies of Taylor and his family being washed away after their duplicates replace them – is the only thing of interest about the movie. Richard La Salle fashioned a full-fledged romantic score of a minor variety for the picture with some suitably eerie passages when required. Harry Spalding's script never really catches fire despite some attempts at characterization. The actors do what they can with insufficiently developed material.

Verdict: Not worth the time to track it down. **.