MURDER AT THE VANITIES

MURDER AT THE VANITIES (1934). Director: Mitchell Leisen.

On opening night at Earl Carroll's Broadway revue, the Vanities, a dead body is found far up above the stage dripping blood on chorus girls. Lt. Murdock (Victor McLaglen) investigates while producer Jack Oakie throws a panic. Kitty Carlisle is the star of the show, Ann Ware, who's engaged to the European import -- and her co-star -- Eric Lander (Carl Brisson). Jessie Ralph is the wardrobe mistress-with-a-secret, and Gertrude Michael is the supremely bitchy performer, Rita Ross (she does a lively number on "Marijuana!") Even Charles Middleton -- Ming the Merciless of the Flash Gordon serials -- shows up as another member of the cast. At one point his orchestra playing Liszt is hijacked by a swing/jazz band and he gets even by firing a (prop) machine gun at everyone on stage. Dorothy Stickney, who years later would play the Queen in the Julie Andrews version of Cinderella, steals the show as Norma, Rita's long-suffering maid and punching bag. Danish Brisson was a former boxer who should have stayed with that profession -- his singing voice is grating on the ears (especially in duet with Carlisle's beautiful tones) and he only made a half dozen or so movies. He had a pleasant enough personality and some little acting ability, but major star material he was not.

Verdict: Not exactly murder to sit through but no world-beater, either. **.

MARKHAM

Milland as Markham with Macdonald Carey on Suspicion

Markham 1959 television series.

"As a man of obvious breeding, Mr. Markham, I'm surprised you would ask such a crude question."

The character of private detective Roy Markham (Ray Milland of So Evil My Love) first appeared (in what was the pilot for the resulting series) on the anthology program Suspicion, in an hour-long story entitled "Eye for Eye."  In this a divorce lawyer (Macdonald Carey) takes a pro bono case to help get a battered wife (Kathleen Crowley) away from her husband (Andrew Duggan.) When the husband kidnaps the lawyer's wife, he wants to make an exchange, but his own wife is terrified to go near him. With the help of private eye Markham, the frightened lady is importuned to go along with the plan, and Markham eventually saves the day. Well-acted by all, with an especially noteworthy performance from Kathleen Crowley, this was an auspicious debut and the show was picked up by CBS (even though Suspicion was telecast on rival NBC). In the meantime Macdonald Carey got his own show, Lock Up, although he played a different character.

Markham only lasted one season in 1959, but it amassed 59 episodes (nowadays we're lucky if a series has twenty or even fewer episodes per season). For the first eight episodes Simon Scott played Markham's friend and colleague John Riggs. What distinguishes this private eye series, aside from the international flavor,  is the fact that Roy Markham is played by no less than Oscar-winner Ray Milland [Bulldog Drummond Escapes], who adds a certain class and distinction to the series. (Milland won for The Lost Weekend.) As well, Markham is what you might call an intellectual private eye, a much smarter and much more cultured specimen than, say, Mike Hammer.  I've seen about half of the episodes of the show, most of which were good, many excellent, and I wish all of the rest were available.

A designer's wife is involved in the murder of a blackmailer in "Vendetta in Venice," which features such players as Paula Raymond, Robert Lowery, and Allison Hayes. "Escorts a la Carte" has Markham in Rome where a friend has supposedly committed suicide, and which leads him to a sinister escort service that employs an escort played by Suzanne Lloyd. Gale Robbins plays a famous singer in The Bad Spell," who comes to Markham for help when someone keeps trying to blow her up and succeeds in killing her husband.  "The Searing Flame" is a weird story in which Markham searches for a young lady painter who has disappeared in Paris and nearly winds up burned to death in a provincial cabin. In "Three Steps to Murder" a series of inexplicable bombings of abandoned buildings leads to a genuine murder of a hoodlum. Of the episodes I've seen, arguably the best is "Strange Visitor," in which kidnappers bring an heiress (played by Louise Fletcher) to Markham's apartment where tragedy ensues. This is a taut and suspenseful episode with a touch of pathos. Another outstanding episode is "A Cry from the Penthouse," in which a slimy blackmailer (Jack Weston) locks Markham out on his balcony with its shatter-proof doors in freezing cold weather and nearly kills him in the process. Also notable are "The Last Bullet" wherein Nita Talbot is one of the suspects when a wealthy man's suicide turns out to be murder and a million dollars goes missing; "We Are All Suspect" with June Vincent excellent as a wife whose husband disappears when he simply goes out to walk the dog; and "The Long Search," a shipboard story of intrigue over a stolen ancient scroll, with Katherine Squire as one of the suspects.

Other episodes include "The Cruelest Thief," where dogs are used in a smuggling racket; "Round Trip to Mozambique," about a pretty moll with a young son; "The Human Factor," in which a client Markham can't stand is accused of assaulting a woman; "Sing a Song of Murder," in which a little boy witnesses a hit; and "The Young Conspirator," in which a paperboy tells Markham someone is trying to kill him. Locales for the stories included everyplace from Guatemala ("The Other Side of the Wall"); Hollywood ("Deadline Date" with Peggie Castle); Mexico ("The Bay of the Dead"); Istanbul ("No Flies on Friday" with Henry Daniell); and Paris ({Paris Encounter" with Colleen Gray). Guest stars on the show, along with those already mentioned, included Walter Woolf King ("Coercion"); Phillip Terry ("Incident in Bel Air"); Betty Lynn ("The Marble Face")' Sebastian Cabot ("Forty-Two on a Rope");' and Robert H Harris, who was wonderful as a former mob lawyer in "The Seamark" and as a jealous and murderous sculptor in "Image of Love."

Markham episodes were directed by such notable people as Mitchell Leisen [No Man of Her Own] and Robert Florey [The Beast with Five Fingers]. The show was sponsored by Schlitz, "the beer that made Milwaukee famous."

Verdict: Quite good private eye show with a degree of sophistication and some wonderful guest stars. ***. 

FRENCHMAN'S CREEK

FRENCHMAN'S CREEK (1944). Director: Mitchell Leisen.

Dona St. Columb (Joan Fontaine) is tired of the way her witless husband Harry (Ralph Forbes of Convicts at Large) keeps throwing her at the slimy Lord Rockingham (Basil Rathbone) -- who keeps making passes -- so she takes off with the children to a summer retreat where she finds the cuddly old servant, William (Cecil Kellaway), waiting for her. She also finds a notorious pirate named Jean Aubrey (Arturo de Cordova) who claims he's really not such a bad guy as pirate's go. It isn't long before Dona is smitten with Jean and vice versa and longing for a romantic and adventurous life at sea. But can she forsake her children to go off with the man who has so aroused her fiery passion ...? Fontaine, as good as ever, has probably never looked more gorgeous and indeed the whole movie is expertly filmed in especially ravishing technicolor by George Barnes. Rathbone sparkles in his scenes as Rockingham, and the film's highlight is a rousing battle he has on a staircase not with Jean but with a desperate Dona. Mexican actor Arturo de Cordova is not terrible, but this part needed a sexier fellow, like maybe Errol Flynn, to make it believable; de Cordova was a major star in Mexico and South America, however. Victor Young's score sounds like ersatz Debussy. Based on a novel by Daphne Du Maurier.

Verdict: Stick to Rebecca. **.

NO MAN OF HER OWN

NO MAN OF HER OWN (1950). Director:Mitchell Leisen.

Based on Cornell Woolrich's novel "I Married a Dead Man" this stars Barbara Stanwyck as Helen Ferguson, who is pregnant and abandoned by her faithless lover Steve (Lyle Bettger). She meets a lovely young newlywed couple (Richard Denning and Phyllis Thaxter) on a train, but after a train crash finds herself a victim -- or lucky recipient -- of mistaken identity. Taken in by a family who thinks she's someone else, she wonders how long she can pull off the deception. She falls for Bill Harkness (John Lund) and then the scummy Steve shows up ... This is not the great suspense film it might have been had Hitchcock been at the helm, but it is quite entertaining and full of interesting twists courtesy of Woolrich. Stanwyck gives yet another terrific performance, and there is a solid supporting cast, including Jane Cowl as Bill's mother. Leisen doesn't do that much with the more tense sequences in the film and Lund is only adequate, but Stanwyck's performance puts this over if nothing else. The novel was adapted on other occasions, being the basis for a French version and the much lighter Mrs. Winterbourne with Ricki Lake. I believe there was also another American version under a different title.

Verdict: Another example of Stanwyck's superb thespian ability. ***.

EASY LIVING (1937)

EASY LIVING (1937). Director: Mitchell Leisen.

Shop girl Mary Smith (Jean Arthur) is on her way to work and minding her own business when a sable coat drops out of the sky and lands on her head. Before long everyone is convinced that she is the mistress of J. B. Ball (Edward Arnold), the married millionaire who threw the coat off the roof because his wife's spending was out of control. Hotelier Louis Louis (Luis Alberni) invites her to stay in his magnificent Imperial Suite (with five reception rooms and an incredible shower-bath) for $7 a week (all she can afford) but when she finds nothing in the refrigerator she heads for the automat. There she meets Ball's son John (Ray Milland), who's trying to earn his own way in the world, but instead causes a riot when he tries to get Mary a free meat pie. While this isn't necessarily a laugh-a-minute comedy, it has some very amusing sequences (such as the automat riot), interesting characters, and a cute situation. Good performances, especially from Alberni and the incomparable Franklin Pangborn as a shop owner. Esther Dale is also great as Arnold's no-nonsense secretary, who doesn't take any guff from him.

Verdict: Minor-league but fun. **1/2.

DEATH TAKES A HOLIDAY

DEATH TAKES A HOLIDAY (1934). Director: Mitchell Leisen. NOTE: Some plot points are revealed.

Death decides to find out why mortals fear him so and turns up in the guise of Prince Sirki at an Italian estate. [If Death wanted to find out about Life, he probably shouldn't have hung out with the idle rich.] Unfortunately, Sirki/Death falls in love with the beautiful Grazia (Evelyn Venable), who ultimately decides to, in effect, commit suicide so she can spend eternity with him. The point of the film is that “Love is stronger than Death.” Gladys Lehman and Maxwell Anderson adapted an Italian play but what they've come up with, despite a great premise, is muddled and pretentious, although the picture is well-acted (Fredric March is excellent as Death), well-directed by Leisen, and holds the attention. Much more successful than Between Two Worlds, in other words.

Verdict: Worth a look. **1/2.