FRANKIE AND JOHNNY

Harry Morgan, Elvis, Nancy Kovacks

FRANKIE AND JOHNNY (1966). Director: Frederick De Cordova. 

Frankie (Donna Douglas) and Johnny (Elvis Presley) are entertainers on the riverboat-casino S. S. Mississippi Queen. Frankie's jealousy is ignited when a gypsy fortune teller tells Johnny that a redhead will bring him good fortune, so he zeroes in on Nellie Bly (Nancy Kovak of Jason and the Argonauts). All he wants from Nellie is for her to accompany him when he gambles, but both Frankie, and Nellie's boyfriend -- also Johnny's boss -- Braden (Anthony Eisley), get the wrong idea. Things come to a head when Frankie, Nellie, and showgirl Mitzi (Sue Ane Langdon) all dress up as Madame Pompadour for a masquerade ball, and Braden's associate Blackie (Robert Strauss) comes up with a criminal way of eliminating Johnny as a rival during a rendition of the title tune. 

Sue Ane Langdon and Donna Douglas

Frankie and Johnny could have been a really interesting look at the riverboat scene of the 19th century as well as a trenchant observation of what unruly passions can lead to, but instead it's just an Elvis Presley Picture, although on that level it's fun and entertaining. Elvis doesn't so much act as exude personality, and Donna Douglas -- who just can't eliminate that Elly Mae Beverly Hillbillies accent entirely -- while adequate, pretty much shows why she made no further theatrical movies after this one. On the other hand Nancy Kovack is classy and sexy as Nellie, Langdon is a lot of fun as Mitzi, who also loves Braden, and Harry Morgan [All My Sons] and Audrey Christie [Splendor in the Grass] score as Cully and Peg, a married couple who are friends and co-workers of the title duo. Anthony Eisley of Hawaiian Eye is also very good as boss Braden, and Joyce Jameson has an excellent turn as a drunken redhead whom Johnny thinks might temporarily substitute for Nellie. 

Douglas with Nancy Kovack

Frankie and Johnny comes pretty close to being a bona fide musical -- as opposed to just an Elvis Presley Musical -- because its score has quite a variety of music. The classic title tune is reinterpreted and there's a fine version of When the Saints Go Marching In. Elvis does a superlative job delivering such memorable ballads as Please Don't Stop Loving Me and Angel at My Side. He also has a charming number with a harmonica-playing shoeshine boy, Hard Luck, and a bouncy piece called Look Out, Broadway. (Jerome Cowan appears uncredited as a Broadway producer who likes F and J's act.) Except for Elvis, everyone's singing voice seems to be dubbed. Forget the gorgeous gowns of the ladies, Elvis himself wears one striking and beautiful ensemble after another! 

Verdict: The plot gets a bit bogged down and slightly tiresome, but it's hard to dislike the flick and even harder to dislike Elvis. ***. 

THE OUTLAWS IS COMING

Adam West and the Stooges: DeRitas, Howard and Fine

THE OUTLAWS IS COMING (1965). Director: Norman Maurer.

In 1871 a group of outlaws want to slaughter the buffalo to send the Indians on the warpath for their own nefarious purposes. Kenneth Cabot (Adam West of Batman) is sent out to Wyoming with three associates (Larry Fine, Moe Howard, and Joe DeRita) to save the Buffalo from extinction. There they run into Annie Oakley (Nancy Kovack of Diary of a Madman), who actually does the shootin' attributed to Kenneth, as well as bad guys Rance Rodan (Don Lamond) and Trigger Mortis (Mort Mills of The Name of the Game is Kill), who make Kenneth the sheriff and the Stooges his deputies -- with the average life expectancy of about a day. The Outlaws is Coming is pretty silly stuff, geared primarily to children despite its violence and gun play, but it does have some inspired moments. There's the bit when the Stooges are forced to drink a Tarantula Fizz (Tiny Brauer is amusing as their bartender), and a clever business when the boys pour glue into the guns and holsters of all of the outlaws as they sleep, hoping to head off their own slaughter. DeRita and Fine make comical drag queens when they accidentally enter the room of some show gals instead of the outlaws. Annie Oakley has a cat fight with Calamity Jane, and Henry Gibson plays an Indian, but he isn't especially funny, no surprise there. Emil Sitka is also not funny as an Indian chief. At 88 minutes the picture is too long.

Verdict: Elvis the skunk is in this too! **.

SYLVIA

SYLVIA (1965). Director: Gordon Douglas.

"Before you can save the soul, you gotta feed the body."

Frederic Summers (Peter Lawford) hires private eye Alan "Mack" Macklin (George Maharis) to investigate the background of his fiancee, Sylvia (Carroll Baker). As Mack tracks down the woman's past, he learns about how she was raped by her stepfather, became a prostitute, then a poet, and has favorably impressed many of the people she met along her journey. This includes the librarian, Irma (Viveca Lindfors) and a former "hostess" named Jane (Joanne Dru), whose hospital bills were paid by Sylvia. Mack finally catches up with Sylvia herself, and is drawn to her -- but what will happen when she discovers the truth about him? At first Sylvia seems that it might have serious possibilities, and doesn't just seem like a tawdry exercise despite the subject matter, but as the film proceeds it's clear that it's pretty much junk that isn't lurid enough. The two leads are okay, but small-scale, and hardly give great performances. There is better acting from Lindfors (whose character has often been considered a lesbian although there's nothing in this to indicate it); Dru; and especially Ann Sothern [A Letter to Three Wives] as a slatternly former co-worker of Sylvia's. There are also nice turns by Nancy Kovack as a stripper, Jay Novello as a priest, Edmond O'Brian [Backfire] as a former client of Sylvia's, Connie Gilchrist as a madame, and especially Paul Gilbert [So This is Paris] as a drag queen entertainer/club owner known as "Lola." Lawford is actually quite good and there are appearances by Aldo Ray, Lloyd Bochner, and Majel Barrett, among other familiar faces, as well. Although the story bounces around from Mexico to New York and other places, there is never any sense of time or location, as if everything exists in that certain soap opera void that only Hollywood could produce.

Verdict: There's a reason why certain movies are completely forgotten. **.

TARZAN AND THE VALLEY OF GOLD

Mike Henry as Tarzan

TARZAN AND THE VALLEY OF GOLD (1966). Director: Robert Day.

"A couple of animals and a half-naked wild man against Vinero?"

This widescreen, technicolor Tarzan adventure starts out like a Eurospy movie with Tarzan (Mike Henry) in suit and tie attacked by a sniper in an empty stadium -- it's actually an excellent sequence. Tarzan then strips down to his loincloth -- giving even Gordon Scott a run for his money in the body department -- to take on the evil Augustus Vinero (David Opatoshu), who hopes to loot a hidden city of its treasure of gold. Vinero is a thoroughly nasty character who affixes a medallion with a bomb on it to his ex-girlfriend (Nancy Kovack of Diary of a Madman) and tells her if she moves just an inch she'll explode! Tarzan goes to the city with his pals, a chimp named Dinky, a trained lion named Major, and a little boy from this "lost" city named Ramel (Manuel Padilla Jr.). The villain gets a very ironic and satisfying comeuppance. Arguably the sexiest of all the Tarzans, Henry plays the strong, silent type and is perfectly okay in that mode. This appears to take place in South America and not in Africa, as the later Tarzan films often placed the ape man in other countries. Val Alexander's jazzy musical theme is completely inappropriate, as this really isn't a Eurospy film. Aside from the lead players, the film is dubbed, primarily by the busy Paul Frees [The War of the Worlds]. Robert Day also directed She with Ursula Andress.

Verdict: Entertaining sixties Tarzan adventure. ***.

DIARY OF A MADMAN

Vincent Price

DIARY OF A MADMAN  (1963). Director: Reginald Le Borg.

"I don't know if I'm innocent of guilt or guilty of innocence." -- Odette

Magistrate Simon Cordier (Vincent Price) speaks to a condemned murderer, Louis Girot (Harvey Stephens), in his cell, wherein Girot says he only killed people because he was possessed by a spirit called a Horla. Cordier learns to his dismay that Girot was telling the truth, when said Horla reveals its presence and its terrible intentions. Cordier, who mourns his wife and child, falls for a very pretty model named Odette (Nancy Kovack), who already has a husband in poor painter Paul (Chris Warfield). A sculpted bust that Cordier makes of Odette is later used for a very grisly purpose. Loosely based on stories by Guy de Maupassant, Diary of a Madman has an excellent story and features a wonderful performance by Nancy Kovack -- its main problem is Vincent Price, who offers his customary charm but otherwise walks through the movie and its horrific events as if all he were thinking of was using his paycheck to acquire more artwork, which was probably the case. Cordier is a terrific role for any actor, but almost always Price just goes through the motions, maintaining that certain image that, unfortunately, often undermined his thesping. Most of the other actors, however, including Ian Wolfe [Games] as Simon's butler, are more on the mark. Price does not ruin the film's entertainment value, but he was more than capable of being so much better if director Le Borg had insisted upon it.

Verdict: Creditable horror flick. ***.