HOLIDAY IN HAVANA

Mary Hatcher, Desi Arnaz

HOLIDAY IN HAVANA (1949). Director: Jean Yarbrough.

Bus boy turned bandleader Carlos Estrada (Desi Arnaz of Cuban Pete) wants to sign up singer Lolita Valdez (Mary Hatcher) to be a vocalist with his group. Talking to what he thinks is Lolita through a hotel room door, Carlos is highly insulted by the gal's termagant mother, Mama Valdez (Minerva Urecal of That Other Woman). Hating Lolita for "her" remarks, Carlos attempts to find a new singer with which to enter a competition at a carnival in Havana. Through a sequence of events, Lolita winds up accompanying Carlos and his band to Havana, but he thinks she is a woman named "Delores." Meanwhile two opposing agents, Marge (Ann Doran of Violent Road) and Sam (Ray Walker), are both anxious to sign Lolita to a contract that will bring her to New York. 

Ray Walker, Minerva Urecal, Ann Doran

I asked myself while watching "why is Holiday in Havana so dull?" Desi Arnaz is charming and talented -- I was never crazy about his voice but he does know how to put over a song -- as is his leading lady, Mary Hatcher, and there is fine back up from Urecal, Doran, and Steven Geray and Sig Arno as members of the band. There are also some snappy song numbers -- Hatcher scores with the lovely "I'll Take Romance" while Desi does "The Straw Hat Song" (which he reprised on Lucy) and that exciting bongo-rhumba finale. But then there's everything in-between, silly situations with no real laughs even though the cast is more than game. The movie runs a little over an hour but it seems three times as long. Mercifully, Arnaz found gainful employment, and showcased his considerable talent, on I Love Lucy two years later. Despite her ability, Mary Hatcher's film career -- after only a handful of credits -- was over that same year. Hatcher had a beautiful near-operatic voice and did some Broadway musical productions in addition to film assignments. 

Verdict: Desi has energy to spare but he needs a better script. **1/2. 

DOUBLE JEOPARDY

Robert Armstrong and Gale Robbins

DOUBLE JEOPARDY (1955). Director: R. G. Springsteen.

Marge (Gale Robbins of Three Little Words) is married to the drunken Sam Baggott (Robert Armstrong), who has trouble coming up with the rent money. Marge gets some comfort from the handsome used car salesman, Jeff (Jack Kelly), and when they discover Sam is getting blackmail payoffs, figure they should get themselves some of the loot. Sam's victim is wealthy Emmett Devery (John Litel), whose daughter, Barbara (Allison Hayes), is dating attorney Mark Hill (Rod Cameron) and who can sense something's up with her father. Then somebody dies ... Double Jeopardy is well-acted for the most part, especially by Armstrong [Sky Raiders] and Litel, and Hayes offers a lovely and sympathetic portrayal for a change, but Robbins is just a bit superficial as the femme fatale and Cameron is as stiff as a board. Minerva Urecal [Who's Guilty?] adds some spice in her portrayal of a disapproving landlady. There are a couple of tense sequences but the script lets the audience down in the long run. There's some suspense but no surprises. From Republic studios.

Verdict: Armstrong steals the show. **1/2.

ONE MYSTERIOUS NIGHT

Richard Lane as Inspector Farraday

ONE MYSTERIOUS NIGHT (1944). Director: Budd Boetticher.

When the famous Blue Star of the Nile diamond is stolen, Boston Blackie (Chester Morris) becomes a suspect. In an unexpected development considering their past relationship, Inspector Farraday (Richard Lane) deputizes Boston because he thinks he can solve the crime. He even says " From now on, no matter what happens, I'll never misjudge you again." Unfortunately, this is the only unusual or interesting thing that happens in the movie, which is saved primarily by the acting. Morris [Pursuit]  makes an excellent Blackie, and does a few impersonations, and the supporting cast includes Janis Carter [Slightly French] as reporter Dorothy Anderson; Mark Roberts (aka Robert E. Scott) as store employee George Daley; an utterly unrecognizable Dorothy Malone (in her brunette phase) as George's sister, Eileen; and William Wright, who would later play the Lone Wolf in one picture, as bad guy Paul Martens. The best performances seem to come from bit players: (Ms.) Early Cantrell as a switchboard operator; Anne Loos as a newsstand clerk; and Minerva Urecal [Gobs and Gals] as a clerk at a women's hotel. There's a quick laugh involving a Murphy bed in which Boston and the Runt (George E. Stone) are secreted. Like many of these programmers, this one has no real suspense or surprises.

Verdict: Not nearly "mysterious" enough. **.

THE LOST MOMENT

Robert Cummings and Susan Hayward

THE LOST MOMENT (1947). Director: Martin Gabel.

"It's only being with people that makes one lonely."

Publisher Lewis Venable (Robert Cummings) comes to Venice hoping to obtain letters written by the late poet Jeffrey Ashton to the now-aged Julianna Borderau (Agnes Moorehead). Lewis pretends to be an author seeking an atmospheric place to write his novel, and pays an exorbitant fee for rooms in the manor owned by Julianna, who lives with her niece, Tina (Susan Hayward). Both women seem to be keeping secrets regarding Ashton, who simply disappeared many years ago. The Lost Moment sort of uses the basic framework for Henry James' novella "The Ashton Papers," but is turned into an unconvincing psychological mystery with an expected resolution. Cummings [Saboteur] is okay, but not well-cast, and Hayward [I'll Cry Tomorrow] is better as a woman undergoing an identity crisis, while an unrecognizable Moorehead [Dark Passage] certainly scores as the crone-like Julianna. Joan Lorring, Minerva Urecal and Eduardo Ciannelli offer flavorful supporting performances.

Verdict: This dies a slow death long before the conclusion. **.

GOBS AND GALS

Robert Hutton and Florence Marly

GOBS AND GALS (1952). Director: R. G. Springsteen.

At an isolated military base Sparks (George Bernard) and Salty (Bert Bernard) have cooked up a scheme in which they use their captain's picture to get women to send him what today we would call "care packages." Captain Smith (Robert Hutton of The Vulture) has no idea of this, nor of the fact that the two buddies have opened a store at camp to sell all of the goodies the ladies think they're sending Smith. When the men all return to the U.S., Smith finds himself mobbed at the dock by dozens of lustful ladies who plaster him with hugs and kisses as his fiancee, Betty (Cathy Downs of The Dark Corner), watches in dismay. Now while Smith is nice-looking, he is not a famous singer or matinee idol, so you'd think that Cathy would understand that something strange is going on, maybe a practical joke, but instead she instantly cancels their engagement. Smith pursues Cathy to a train upon which she and her father, a senator (Emory Parnell), are travelling and tries to mend fences with her even as Sparks and Salty, the men responsible for all of his troubles, are supposed to guard a trunk of papers that are also on board. During the ride they encounter a beautiful Russian spy, Sonya (Florence Marly of Queen of Blood); a cute little kid and trouble maker named Bertram (Tommy Rettig); a termagant (Minerva Urecal) who thinks CPO Donovan (Gordon Jones) keeps stealing her purse; not to mention the peppery and dithery conductor (Olin Howlin). Gobs and Gals is a silly but often amusing movie with some good performances and a highly interesting cast. Brothers George Bernard and Bert Bernard were an American comedy team who never rose to any particular prominence -- they appeared in only four films --  and while they aren't bad, the movie could have used the presence of Bud and Lou or Lewis and Martin. Jean Willes, Donald MacBride, and Marie Blake are also in the movie in smaller roles. Marly is rather reminiscent of "Natasha" of the Rocky and Bullwinkle cartoon show which debuted several years later.

Verdict: Amiable train farce. **1/2.

ARKANSAS JUDGE

ARKANSAS JUDGE (1941). Director: Frank McDonald.

Tom Martel (Roy Rogers, who is not the star but heads the supporting cast) comes back to Peaceful Valley, Arkansas where two women are waiting for him: "Nice girl" Maggie (Pauline Moore), daughter of the judge, and the much sexier Hettie (Veda Ann Borg of Jungle Raiders). However, there's bigger trouble when old Widow Smithers (Elly Malyon) insists that $50 was stolen from her flour barrel by Mary Shoemaker (Spring Byington of On Their Own), who does cleaning for all the ladies in town. Before long the whole community is torn apart, and Hettie's father, August (Frank M. Thomas), who heads the church council, wants everyone to shun Mary but has suspicions about his own daughter. In the meantime Tom and Hettie grow closer, much to Maggie's consternation. The members of Maggie's family are played by Leon, Frank and June Weaver, who had formed a hillbilly singing group called "The Weaver Brothers and Elviry." As Cicero, Frank just whistles a la Harpo Marx. Minerva Urecal has a small role as one of the town biddies. Arkansas Judge is a good comedy-drama with pleasant songs, good performances, and an unpredictable story line. And Roy! Pauline Moore appeared in three Charlie Chan movies, the best of which is Charlie Chan at Treasure Island.

Verdict: Nice picture. ***.

DANGEROUS BLONDES

Jane gives Miss Ralston a wolf whistle

DANGEROUS BLONDES (1943). Director: Leigh Jason.

Former actress Jane Craig (Evelyn Keyes) is married to popular mystery writer Barry Craig (Allyn Joslyn). Jane's friend Julie (Anita Louise) comes to her with a tale of someone trying to chloroform her in a dark room at the studio where she works, and news of a murder plot during the filming of a commercial later in the evening. Before long Jane and Barry are embroiled in two mysterious killings, which Inspector Clinton (Frank Craven) thinks he has the solution for. Of course it remains for Barry to really explain who the killer is ... Dangerous Blondes is snappy and amusing, if minor, and didn't result in a series about the Craigs, although Keyes and Joslyn are fine in the parts. Others in the cast include Edmund Lowe [Hot Pepper] as an advertising man, William Demarest as a cop, and Ann Savage as Erika McCormick. John Abbott [Deception] makes an impression as the nervous secretary Roland X. Smith, as does Hobart Cavanaugh as Philpot, the elevator attendant. Minerva Urecal appears as a housekeeper and is, as they say, swell. Craven is typically excellent. An interesting scene has Jane giving pretty model Miss Ralston (Lynn Merrick) a wolf whistle.  Leigh Jason also directed Lost Honeymoon.

Verdict: Nothing special but easy to take with quite a few funny moments. **1/2.

PETER GUNN Season 2

Peter Gunn asks questions of waitress with obvious assets

PETER GUNN. Season two. 1959. 38 half-hour episodes.

The first episode of the second season of Peter Gunn is very similar to the first episode of the initial season, in that Gunn's hang-out and "office," Mother's waterfront nightclub, is smashed up, only this time the damage is so extensive that Mother has to completely remodel the joint, making it more open and chic. Another change is that Mother is now played by Minerva Urecal instead of Hope Emerson, and she brings a little more flavor to the role. Also back, alas, is Gunn's admittedly decorative girlfriend, Edie (Lola Albright), as bland a singer as ever. Worse, the allegedly romantic scenes between Edie and Gunn (Craig Stevens) always seem forced and tacked on and are generally dull; Peter just isn't a very romantic fellow. [You have to wonder if Stevens' wife, Alexis Smith, who was herself quite luscious, objected to too many smooching scenes between him and Albright, because Gunn never seems all that lusty toward the woman.]

Among the more memorable episodes: "The Game," an especially well-directed (by Boris Sagal)  story of  an insurance racket, with Peter showing up beaten at his surprise party and falling face first into his cake; "See No Evil," in which a hood is after a blind witness, and Peter is attacked by Tor Johnson in a padded cell; "Sing a Song of Murder," in which guest star Diahann Carroll, who gives a first-rate performance, has deadly husband trouble, and when she sings a number blows "Edie" out of the water; "Deadly Proposition," about a dying man and a murder pact; "The Dummy," in which a ventriloquist is murdered and the dummy is a little living man; the amusing "Slight Touch of Homicide," in which a mild-mannered fellow (Howard McNear) literally blows up the mob; "Ways of an Angel," in which Peter escorts a convict to his daughter's wedding and the fellow escapes; "Best Laid Plans" [a plot to assassinate the governor -- or is it?]; "Semi-Private Eye," in which an amateur detective goes after a dangerous wanted felon; "Letter of the Law," in which a prosecutor is accused of murder; and "Crossbow," featuring a series of killings-by-crossbow, another story influenced by Agatha Christie's "ABC Murders" and guest-starring Henry Daniell.

The two best episodes were probably: Jack Arnold's "The Hunt," in which a hired hitman plays cat and mouse with Peter in the desert at an abandoned mine; and especially "Fill the Cup," in which John McIntire gives the performance of a lifetime as a nearly hopeless alcoholic who hires Gunn to keep him sober overnight to meet his daughter the next day, and which features a startling depiction of the D.T.s in the opening segment.

Verdict: Well-written crime show with some excellent stories. ***.

PERRY MASON SEASON 8

Raymond Burr

PERRY MASON Season 8. 1965.

Perry (Raymond Burr) and the gang are back for another season of this highly popular courtroom drama -- one of the best seasons in the series' long history. Phyllis Hill and Robert Brown give outstanding performances in "The Case of the Sleepy Slayer," a clever story in which a woman must live with her hated uncle. "Wooden Nickles" with Will Kuluva features skulduggery over a valuable confederate coin. "Ruinous Road" examines the hoopla over tearing a house down to build a needed thoroughfare. Joyce Meadows [Brain from Planet Arous] and Gary Crosby appear in "Frustrated Folksinger," about a show biz dilettante accused of murdering an exploitative agent. "Thermal Thief," in which a woman tries to honor her late husband despite complications, features fine performances from Joyce Van Patten and Barry Sullivan [Queen Bee]. Jeanne Bal scores as a viciously scheming woman in "Tell Tale Tap." Minerva Urecal [Who's Guilty?] shows up in "Lover's Gamble" about a doctor with romantic issues. "Murderous Mermaid" has an Esther Williams-type dealing with a show biz hopeful and a strange publicity plot. In "Careless Kitten," in which there is no trial or even a courtroom sequence, Perry investigates whether or not a man missing for ten years is still alive, and confronts suspects in a living room; Percy Helton and an excellent Louise Latham [Marnie] are in the cast. In the season's most bizarre moment, Perry faces down a big ape in "Grinning Gorilla" with Victor Buono [Hush ... Hush, Sweet Charlotte] and Lurene Tuttle [The Manitou]. And there were many other memorable episodes.

Verdict: Still one of the most enjoyable and well-acted programs ever made. ***1/2.

THE TRAP

THE TRAP (1946). Director: Howard Bretherton. 

Charlie Chan (Sidney Toler) is called in when one of a traveling group of show girls is found strangled -- then there are more murders which Chan can't prevent. This was the last time Toler played Chan, but as usual, he does it well. Rita Quigley is the hysterical Clementine [she was to make only one more movie] and Anne Nagel, who plays the bitchy Marcia, was also in The Secret Code and other serials, as well as The Invisible Woman and Man Made Monster. Minerva Urecal of the prune face plays the unpleasant landlady Mrs. Weebles. Mantan Moreland is as wonderful as ever as Birmingham Brown.; Victor Sen Yung reprises the role of Jimmy Chan. Kirk Alyn, who appeared in many serials including Superman, plays Sergeant Reynolds, but I confess I didn't even recognize him. This is another suspenseful and entertaining Monogram Chan pic available as part of the new TCM Spotlight Charlie Chan Collection from Warner Home Video. 

Verdict: Toler's farewell appearance. **1/2.

WHO'S GUILTY?

WHO'S GUILTY? (1945). 15 chapter Columbia serial. Directors: Howard Bretherton and Wallace Grissell.

Henry Calvert is murdered and there are numerous suspects, including the creepy housekeeper Mrs. Gill (Minerva Urecal), his sister Sarah (Belle Mitchell), his lawyer Horace Black (Sam Flint) and even the butler Patton (Charles Middleton, famous as "Ming the Merciless"), among others. Meanwhile there's a hunt for family treasure in a mine, and eventually a hooded figure shows up to cause more mischief. Bob Stewart (Robert Kent) from the State Board of Investigation, "aided" by comedy relief reporter Duke Ellis (Tim Ryan), tries to ferret out the guilty party while bickering with pretty and mysterious Ruth Allen (Amelita Ward), who won't tell exactly what she has to do with the Calverts. Who's Guilty?, alas, is not one of the more memorable chapterplays, and after awhile you won't really care who's guilty or much of anything else. Ryan gives a good performance, and Urecal is fun as the mouthiest and most disagreeable housekeeper on record. The versatile Charles Middleton is fine but wasted in the small role of the butler, even if Patton isn't exactly a typical domestic.

Verdict: Guilty of being just a bit boring. **.

THE APE MAN

THE APE MAN (1943). Directed by William Beaudine.

Bela Lugosi manages to give a good performance in this pretty poor horror film about a man who injects himself with – well, I guess you could call it "essence of ape" – for no discernible reason. He becomes ape-like, all covered in fur and with a loping gait. (It never occurs to the man that he could cut most of the hair off of his face and easily achieve a more normal appearance – it’s that kind of picture.) Bela gets the idea that injecting spinal fluid into himself will reverse the effects of his moronic ape experiment and for a while it does, but he keeps having to kill innocent people with the aid of a big gorilla to keep from reverting. The gorilla is funny, especially when he and Lugosi are busy slapping at one another like a crazy comic duo. (It makes absolutely no sense that Bela should have to sleep in the cage with the ape!) To be fair, it’s obvious that this isn’t meant to be taken seriously, especially when the alleged screenwriter shows up on camera at the end to poke fun at his own zany story. Minerva Urecal is great as Lugosi’s sister, who expresses great concern for him and isn’t above pointing a gun at a doctor friend to force him to inject Lugosi with more spinal fluid. Louise Currie is merely annoying as a perky photographer who runs around with a dopey reporter.

Verdict: Watch at your own risk! **.