PYRO

Barry Sullivan and Martha Hyer

PYRO (aka Feuge aka Pyro ... The Thing Without a Face/1964). Director: Julio Coli.

"I won't rest until you and all of your family are dead ... my breath on your back will be like a cold wind from Hell." -- Vance.

Vance Pierson (Barry Sullivan of Suspense) travels to Spain with his wife, Verna (Sherry Moreland of Fury of the Congo) and their daughter so he can work on a special project with his associate, Julio (Fernando Hilbeck). Unfortunately, Vance meets up with Laura Blanco (Martha Hyer) when he goes to see a house -- resulting in a very strange and awkward sequence -- and the two begin an affair. Vance admits that he'd marry Laura if only he didn't already have a family. Supposedly wracked with guilt -- although with the cool, disaffected Sullivan it's hard to tell -- Vance breaks off the affair, but Laura is not the type to take no for an answer, leading to more than one tragedy ... Pyro is misnamed, because while there are fires and arxonists aplenty in the movie, there are no genuine pyromaniacs. Pyro has an interesting plot so it holds the attention, but it's not that well-produced or directed, sometimes has the appearance of a travelogue, has a too-weird musical score, and never becomes the fascinating nail-biter it might have been with a master director at the helm and a much better script. As well, certain aspects of the story line defy credibility. Sullivan and Hyer are both competent -- Sullivan is at times better than that -- but Hyer lacks the real acting chops to make her portrayal anything more than another vicious kitten as she was in Picture Mommy Dead. A Spanish film, this was picked up for US release by American International, but it was not a success.

Verdict: This had real possibilities ... **1/2.

PICTURE MOMMY DEAD

Martha Hyer and Don Ameche

PICTURE MOMMY DEAD (1966). Director: Bert I. Gordon.

Young Susan Shelley (Susan Gordon) gets out of a "convent" for the mentally disturbed three years after the death of her mother, Jessica (Zsa Zsa Gabor), in a fire in their mansion. Her father, Edward (Don Ameche), has been traveling the world with his new viper-like wife, the former governess, Francine (Martha Hyer), and now they are nearly broke. Another member of this highly dysfunctional household is Jessica's cousin, Anthony (Maxwell Reed), who was disfigured in the fire and will inherit money if both Edward and his daughter should happen to die, something which Francine is also happily aware of. But the murder victim may be more unexpected than you imagine. Picture Mommy Dead  -- one of a number of thrillers made by director Gordon, who had previously specialized in movies about giant people and monsters -- isn't that good, but it has a fairly interesting script that just misses the mark. A big problem with the picture is that Susan Gordon, the director's daughter, is too inexperienced (despite 25 previous credits!) to handle such a difficult and demanding role, although she gets an E for Effort. Zsa Zsa appears in a few flashbacks and isn't given anything too demanding to do, while Hyer plays her bitchy part with a little zest but little real skill. Ameche [Slightly French] comes off better, but Maxwell Reed of Daybreak is only somewhat effective. Wendell Corey delivers the goods in his one scene, playing a lawyer who is so tactlessly blunt with everyone that it's a wonder nobody murders him right then and there.

Verdict: Not terrible, but Gordon probably should not have cast his daughter. **1/2.

ROUGHSHOD

Gloria Grahame and Robert Sterling

ROUGHSHOD (1949). Director: Mark Robson.

Four ladies of ill repute have been thrown out of Aspen when they encounter Clay Phillips (Robert Sterling) and his younger brother, Steve (Claude Jarman, Jr.) on the road after their wagon breaks down. Clay agrees to take the ladies part of the way, but has to concentrate on taking some horses to his ranch in Sonora. Adding to Clay's woes is the fact that an enemy named Lednov (John Ireland) has escaped from prison with two pals and is gunning for him. Clay also can't quite disguise his disapproval of Mary (Gloria Grahame) and the rest of her companions. Roughshod is an engaging and entertaining picture with some fine performances, especially from Grahame and young Jarman, Jr., both of whom share top billing with Sterling [Bunco Squad], most famous for the TV show Topper, who gives a better performance than expected. (Sterling was handsome and talented enough to have been developed into a major movie star, but his primary credits were on television; maybe he just lacked that certain oomph.) Grahame is as delightful and adept as ever, and Jarman [Intruder in the Dust] proves to be one of the most talented child actors in Hollywood. Ireland offers a chilling portrait of the determined killer, Lednov, and there's nice work from Myrna Dell, Jeff Donnell, and Martha Hyer as the three other "show girls" in the group. Sara Haden, James Bell [Back from the Dead], and Jeff Corey score in smaller roles. There are many affecting scenes in the movie, and a highly satisfying wind-up. Joseph Biroc's cinematography is typically outstanding, and there's a flavorful score by Roy Webb.

Verdict: An  unheralded gem with some fine performances. ***.

CRY VENGEANCE

CRY VENGEANCE (1954). Director: Mark Stevens.

Former cop Vic Barron (Mark Sevens) comes to Alaska in search of mobster Tino Morelli (Douglas Kennedy), whom Barron feels is responsible for the death of his wife and child as well as his own facial disfigurement. Searching for the man and plotting his revenge, he encounters bar owner Peggy Harding (Martha Hyer) and old girlfriend, Lily (Joan Vohs). Barron is so understandably intent on getting even that he even contemplates harming Morelli's little girl, Marie (Cheryl Callaway). But before he can get to Morelli, he has to deal with a nasty blond hit man named Roxey (Skip Homeier). Homeier [Stark Fear], Hyer and Vohs [Lure of the Swamp] give the best performances in this; striving for a depiction of single-minded intensity, Stevens, who also directed, plays it all in one note. Mort Mills, the cop in Psycho, has a small role, as does Richard Deacon [The Birds] as a bartender.

Verdict: Acceptable if minor-league film noir. **1/2.

ABBOTT AND COSTELLO GO TO MARS

Mari Blanchard and Lou Costello

ABBOTT AND COSTELLO GO TO MARS (1953). Director: Charles Lamont.

"He looks worse standing up than he does lying down" -- Allura, referring to Lou

Orville (Lou Costello), a handyman at an orphanage, winds up at a missile base and is mistaken for a professor of aeronautical science, although janitor Lester (Bud Abbott) isn't fooled. The bumbling pair look around Dr. Wilson's (Robert Paige) rocket ship and accidentally take off, landing near New Orleans during Mardi Gras where they think the celebrants are Martians. Two ex-cons rob a bank and stowaway on the ship, hoping Orville and Lester, whom they think are Martians, will take them back to their planet and away from the law. This time the rocket ship winds up on Venus, where the man-hating Queen Allura (Mari Blanchard of Twice-Told Tales) makes Orville her king to please her man-hungry subjects. There's a giant dog, but otherwise a dearth of special effects, except for when the rocket is flying through the Lincoln Tunnel and making the Statue of Liberty dodge and duck. One Venusian vehicle seems to have been borrowed from Forbidden Planet but that movie was made three years later! After the queen puts a curse on Lou, who dares to be attracted to other women, his kiss turns one young lovely into a wrinkled old crone! Martha Hyer is Dr. Wilson's secretary and girlfriend, Jean Willes is one of the queen's entourage, and while Anita Ekberg of Screaming Mimi should certainly stand out even in a crowd of moonlighting beauty queens, her presence in the picture as a guard isn't immediately evident. Abbott and Costello Go to Mars may come off like a spoof of such space-babe movies as Queen of Outer Space, which also takes place on Venus, but it actually pre-dates all of them [the first, Cat-Women of the Moon, was released the same year]. Were A & C starting a trend instead of following one, as they did with Abbott and Costello Meet Frankenstein? Whatever the case, this is not in the league of that movie, but it does have its amusing moments and the cast has fun. There's too much of those ex-cons, however, and the boys never do wind up on Mars.

Verdict: Amiable nonsense. **1/2.

FRESH FROM PARIS

FRESH FROM PARIS (aka Paris Follies of 1956/1955). Director: Leslie Goodwins.

"If I thought there was any other woman, I'd leave you and the show as flat as yesterday's pancakes."

Dan Bradley (Forrest Tucker) has high hopes for his new supper club, Moulin Rouge in Hollywood, but he has two major problems: First, his lead singer, Margaret (Margaret Whiting) is threatening to walk out if she catches him with another woman and he's just proposed to his lady love, Ruth (Martha Hyer); Second, the fellow who is backing the club (Lloyd Corrigan) is not a wealthy entrepreneur but a loony with no money. Filmed at the actual Moulin Rouge nightclub this film hasn't much plot but it manages to be entertaining in spite of it and has some pleasant song numbers. Tucker, who you wouldn't think would be a good fit for this type of material, is at his most amiable; Hyer is pretty and competent; and Whiting -- although certainly devoid of Hollywood-style beauty -- is a very good singer. Other acts include the Sportsmen and a talented tenor named Frank Parker. Perky Barbara Whiting, Margaret Whiting's sister, also plays her sister in this movie. [The sisters later co-starred on the summer replacement sitcom Those Whiting Girls.] Goodwins directed everything from The Mummy"s Curse to Mexican Spitfire at Sea, one of the best of that series.

Verdict: Not as much fun as Tucker's The Cosmic Monsters, but not terrible. **1/2.

FIRST MEN IN THE MOON

FIRST MEN IN THE MOON (1964). Director: Nathan Juran. 

20th century astronauts make it to the moon, only to discover a British flag draped over a rock along with a note. Apparently people from the 19th century somehow managed to get there first. The rest of the movie tells us how this happened, as scientist Joseph Cavor (Lionel Jeffries) invents a compound that blocks gravity and hurls him and two other passengers -- Arnold Bedford (Edward Judd) and his girlfriend, Kate (Martha Hyer) -- through outer space in 1899. This loose adaptation of H. G. Wells' novel begins with an excellent, highly dramatic theme by composer Laurie Johnson that pulls you in and excites you, then fumbles the ball with a moronic, unbearably silly screenplay that makes the first half of the movie an effort to sit through [it takes a long 47 minutes for the cast to finally start off for the moon]. Worse, the normally reliable Jeffries' over-the-top, excruciatingly awful performance is cringe-inducing [Hyer and Judd are much better]. Ironically, Jeffries' character is much more intelligent and thoughtful as he watches, appalled, as the xenophobic Bedford introduces earth violence to the moon's insectoid inhabitants. The movie's second half is much more watchable and entertaining, introducing giant moon calves animated by Ray Harryhausen, as well a huge pit and gigantic caverns inside the moon and their weird inhabitants; the special effects throughout are fine. The ironic ending is a nice touch. 

Verdict: Once it finally gets going it's a lot of fun. ***.

RIDERS TO THE STARS

RIDERS TO THE STARS (1954). Director: Richard Carlson.

"Gordon's d-d-disintegrated!"

We're a far cry from Queen of Outer Space with this picture. A scientific team which includes Dr. Stanton (Herbert Marshall) and Dr. Flynn (Martha Hyer) assembles a group of bachelors for physical and psychological tests. Turns out they are looking for men who can fly a spaceship in order to see if man can survive in space; their assignment will be to catch a meteor in flight. James Best of Killer Shrews is one of the candidates, and Michael Fox (not to be confused with Michael J. Fox), who appeared in everything from The Beast from 20,000 Fathoms to The Bold and the Beautiful, is the psychiatrist. Three men played by Richard Carlson (who also directed), pretty-boy William Lundigan, and busy actor Robert Karnes are chosen for the mission. For the most part Riders to the Stars is dry but reasonably interesting, although even such a "serious" sci fi flick is not above some exploitation elements. After one spaceship disintegrates, Carlson sees the corpse of the pilot floating by, only a skeleton (inexplicably) inside the space suit; an early "shock" scene to be sure. Carlson is very good, and the rest of the cast, Hyer included, are more than efficient.

Verdict: A somewhat interesting curiosity. **1/2.

DESIRE IN THE DUST

DESIRE IN THE DUST (1960). Director: William F. Claxton.

Lonnie Wilson (Ken Scott) gets out of prison after six years and comes home to find out the woman who promised to wait for him -- for a very good reason -- Melinda Marquand (Martha Hyer), has gotten married in the meantime. That doesn't stop her from fooling around with Wilson (see photo), but the latter tells her husband (Brett Halsey) what she's up to when he finds out about the marriage, and Melinda suddenly cries "Rape!" Then there's Melinda's father, Colonel Ben (Raymond Burr) who wants to run for governor, and her mother (Joan Bennett) who became unhinged after her little boy David was supposedly run over by Lonnie and thinks the child is still alive. And why does Melinda call her father by his first name? Hints of incest, anyone?

This is example of what happens when much less talented people try to take on a kind of Tennessee Williams "twisted" Southern family plot but lack the great playwright's brilliance, sensitivity and poetic feeling. With a better script, better acting and certainly better direction, Desire in the Dust might have amounted to some powerful stuff, but it wears out its welcome long before the not-so-melodramatic wind-up. When it comes to playing overbearing patriarchs, Raymond Burr proves no Burl Ives, and Joan Bennett doesn't seem at all sure of what she's doing. Ken Scott is beefy and sexy enough for the role of Lonnie, but while he isn't bad, he generally seems too reigned in throughout the movie. There are some effective enough character turns but the two actors who make the most impression are Douglas Fowley as Lonnie's aged father, and -- surprise -- Martha Hyer as the lamentable, slutty Melinda.

Verdict: Not half as entertaining as Claxton's giant killer bunny rabbit movie Night of the Lepus. **.