THE WORLD WAS HIS JURY

Paul Birch 

THE WORLD WAS HIS JURY (1958). Director: Fred F. Sears. Colorized. 

During the party for the last night of the voyage of a luxury liner, Captain Barrett (Robert McQueeney) is accidentally struck on the head and appears drunk when he staggers onto the bridge. A fire causes much loss of life and serious injuries, and the ship sinks as well. Barrett then finds himself accused of dozens of charges of manslaughter, not just facing the loss of his career but decades in prison. Assisted by private eye Tony Armand (John Beradino), attorney David Carson (Edmond O'Brien of The Bigamist) decides to defend Barrett, something which even his wife, Robin (Mona Freeman of That Brennan Girl) -- who thinks he has been defending far too many creepy guilty people -- is against. Carson will discover that it will be an uphill battle to prove that his client isn't guilty of criminal negligence, and the damaging testimony of officer Martin Ranker (Paul Birch of Not of This Earth) certainly won't help.

Mona Freeman and Edmond O'Brien

The World Was His Jury not only has an interesting and completely absorbing storyline, but it features fine performances from (as expected) O'Brien but also from the rest of the cast. Paul Birch is outstanding and riveting as Ranker, who is forced to give negative testimony despite his alleged friendship with the defendant. Richard H. Cutting (of Seven Were Saved) and Harvey Stephens (of The Flight that Disappeared) score respectively as the prosecuting attorney and the no-nonsense judge. There's also nice work from McQueeney, Mona Freeman and  Karin Booth as the captain's wife. Director Sears [Earth vs the Flying Saucers] passed away before the film was released, and this was Freeman's last movie, although she frequently appeared on television afterwards. McQueeney was primarily a television actor. 

Verdict: Highly interesting drama with an excellent cast -- and Paul Birch makes the grade! ***.

THAT BRENNAN GIRL

Mona Freeman

THAT BRENNAN GIRL (1946). Produced and directed by Alfred Santell.

"Who you calling as cold as an igloo? You're not exactly a heatwave yourself!"

Ziggy (Mona Freeman of Angel Face) is an attractive if somewhat hard-boiled young woman  whose mother, Natalie (June Duprez), pretends to be her older sister. Ziggy gets in with a con artist named Denny (James Dunn of It's a Great Life) who has her working for him, but falls for a handsome sailor, Martin (William Marshall of Belle of the Yukon), whom she marries. Martin's wartime death leaves Ziggy with a baby girl and little life of her own, while Denny goes off to jail. Will these two highly imperfect individuals find their way back to each other, and will Ziggy get to keep her baby? 

Freeman with William Marshall

That Brennan Girl is an interesting study of two not entirely admirable or even likable people who turn out to have qualities that ultimately redeem them. Freeman gives a strong lead performance, and she gets excellent support from the pleasant and competent Dunn -- who makes his character more palatable than he could have been -- and a very charming and adept Marshall. June Duprez makes her mark as the mother who set her daughter on the wrong course right from the start, and Dorothy Vaughan is lovely as Denny's very loving Irish mother. Duprez, who reminds one a bit of Linda Darnell, was in everything from The Thief of Bagdad  to the serial Don Winslow of the Coast Guard and had many other credits as well. Watch for the cute sequence when a little baby boy slowly climbs backwards down the staircase!

Verdict: An oddball romance with very good performances. ***. 

DEAR WIFE

DEAR WIFE (1949). Director: Richard Haydn.

In this sequel to Dear Ruth, Bill Seacroft (William Holden) is happily married to Ruth (Joan Caulfield) and living with his in-laws in their big house in New York. Bill's young, naive, but politically active sister-in-law, Miriam (Mona Freeman), doesn't like the current administration in her town and rallies against it before she discovers that her father, Judge Wilkins (Edward Arnold), is going to run for state Senate. Worse, Miriam has started a petition nominating Bill for the same seat! At first Bill, a bank clerk, has no interest in running, but when he learns that a new airport will leave many people homeless, he decides to challenge the judge, a situation which becomes increasingly awkward and threatens his marriage. Dear Wife is predicated on an amusing and interesting situation and builds upon it with its funny script and some fine acting. Holden [Executive Suite] makes the perfect leading man in this, Caulfield [The Unsuspected] is fine, and Arnold and Mary Philips as her parents are wonderful. Mona Freeman plays her part with perhaps too much self-conscious cuteness, but Billy De Wolfe positively walks off with the movie with his irresistible portrayal of Bill's boss and love rival, Albert. There are also memorable bits from Irving Bacon, Harry von Zell, amiable and adept William Murphy, Arleen Whelan, Raymond Roe, and Ida Moore [The Egg and I] as a drunken old lady in court. The best cameo is a sleepy neighbor played by Richard Haydn, who also directed the film.

Verdict: Cute and funny picture with some great performances. ***.

TOGETHER AGAIN

Charles Boyer and Irene Dunne

TOGETHER AGAIN (1944). Director: Charles Vidor.

"You're a big shot in the office, and a non-entity at home!"

After making Love Affair in 1939, Irene Dunne and Charles Boyer were "together again" five years later in this slightly screwball comedy. Anne Crandell (Dunne) has been mayor of a small town in Vermont ever since the death of her husband and lives with her father-in-law, Jonathan (Charles Coburn) and neurotic stepdaughter Diana (Mona Freeman of Angel Face). Jonathan wants Anne to have more of a life, to forget his son [oddly] and her attachment to him and to the town they were happy in. When her late husband's statue is beheaded by a bolt of lightning, Jonathan sees this as a sign, but Anne only travels to Manhattan to meet with a prominent sculptor named George Corday (Boyer). After misadventures, including being mistaken for a stripper in a nightclub raid, Anne returns home convinced that George is not the right man for the job. But George follows Anne home and is determined to win her, if only he can get her to unbend ... Together Again basically gets by on the charm and abilities of its leads. A luminescent Dunne offers one of her best comic portrayals and is in absolutely top form throughout, Boyer is sauve and smooth as ever, and Coburn a delight as usual. Unfortunately, the material is second-rate, although there are a few amusing moments. Carl "Alfafa" Switzer has a funny cameo as an elevator boy, and Jerome Courtland [Sunny Side of the Street] scores as a young man who is dating the difficult Diana and often wishes that he weren't. Vidor also directed Rhapsody and many others.

Verdict: Great leads who need stronger material. **1/2.

ANGEL FACE

Jean Simmons and Robert Mitchum

ANGEL FACE (1952). Producer/director: Otto Preminger.

"If you want to play with matches, that's your business, but not in gas-filled rooms."

Ambulance driver Frank Jessup (Robert Mitchum) goes out on a call to a California estate where Mrs. Tremayne (Barbara O'Neil of Stella Dallas) has had a close call with a gas jet in her room. Frank meets the woman's step-daughter, Diane (Jean Simmons), and the two begin a sort of romance, despite the fact that Frank has a steady and reliable gal in Mary (Mona Freeman). Diane loves her father (Herbert Marshall of Girls' Dormitory), a writer who is down on his luck and living off of his wife, whom Diane loathes. Then there's a horrendous accident in which two deaths occur ... how much did Diane have to do with it? Angel Face is a very entertaining melodrama with very good performances from the entire cast, which includes Leon Ames as a defense lawyer and Kenneth  Tobey as another ambulance driver with an eye for Mary. There are two incredible car crash sequences, a knock-out ending, and a fine score by Dimitri Tiomkin. For my money this is superior to Preminger's Laura. Some people find similarities in this to Leave Her to Heaven, made in 1945, and they probably aren't wrong.

Verdict: Zesty, absorbing film noir with some bite to it. ***1/2.