VISIT TO A SMALL PLANET

Jerry Lewis

VISIT TO A SMALL PLANET (1960). Director: Norman Taurog.  

Intergalactic visitor Kreton (Jerry Lewis of The Patsy) has a fascination with Earth and attaches himself to a family that consists of businessman Roger Spelding (Fred Clark), wife Rheba (Lee Patrick), and daughter Ellen (Joan Blackman), whose horny boyfriend is Conrad (Earl Holliman of Hot Spell). Apparently Kreton's race has given up sex eons ago so he is fascinated whenever Ellen and Conrad make out. Roger has a neighbor named Mayberry (Gale Gordon), who is convinced the earth is being visited by flying saucers and extraterrestrials, which Roger thinks is utter poppycock until Kreton shows off his abilities. For one thing, whenever Roger or anyone else tries to tell anyone the truth about their visitor, all that comes out of their mouths is "Mary Had a Little lamb." Despite the irritation that Kreton may cause him, Roger appreciates it when he helps him with his boss, Abercrombie (Jerome Cowan). But it isn't long before the authorities take an interest in Kreton ... 

Lee Patrick, Jerry Lewis, and Fred Clark

Visit to a Small Planet is suggested by a play by Gore Vidal, who satirized McCarthyism. All that has been jettisoned to make way for the comedic style of Lewis, which actually fits the basic plot pretty well. Lewis is fine as the lovably dopey Kreton, although he gets competition from Lee Patrick, who is also lovably dopey. Clark, Gordon, Cowan and Holliman are all as professional as ever. Joan Blackman was introduced in this movie although she had already had a few credits; she later did a couple of films with Elvis. Ever-dignified John Williams (of Midnight Lace) is bizarre and perfect casting as Delton, the head of the extraterrestrials, and Ellen Corby is fun as Gordon's wife. Barbara Bostock makes a positive impression as Desdemona, who sings a weird ditty and dances with Lewis in a beatnik coffee shop scene. 

Verdict: Highly imperfect and often silly, but cute and well-acted as well. **3/4. 

PALM SPRINGS WEEKEND

Owen Orr, Dorothy Green, Stephanie Powers, Troy Donahue

PALM SPRINGS WEEKEND  (1963). Director: Norman Taurog. 

The members of a college basketball team hightail it by bus to Palm Springs for Easter vacation, unaware that their dyspeptic Coach Campbell (Jack Weston) is along for the ride. A gaggle of gals are also on vacation and before you can say "Where the Boys Are" -- an earlier film that clearly was the inspiration for this one -- the sexes are intertwining in both comedic and light dramatic fashion. Naturally some of these young couples will think they're in love -- after a weekend!

Eric (Conrad) and Jim (Donahue) speak frankly

Of the lead "youngsters" -- none of whom are that young -- Robert Conrad (of The Wild, Wild West) offers the best performance as spoiled rich kid Eric Dean, a Palm Springs resident whose neglectful unseen daddy is off on one of his frequent honeymoons. Eric sets his sights on perky Gayle Lewis (Connie Stevens) who claims to be from Hawaii even though she isn't. She gets caught between Eric and hunky Texan and Hollywood stuntman "Stretch" (Ty Hardin of Wall of Noise). Meanwhile nice boy Jim Munroe (Troy Donahue) is smitten with record shop clerk Bunny Dixon (Stephanie Powers), who is the daughter of the Chief of Police (Andrew Duggan). Biff Roberts, played by typical college student Jerry Van Dyke, is at first put off by the tomboyish Amanda (Zeme North), but once Gayle helps her with her make up ... ! 

Jerry Van Dyke, Zeme North, Troy Donahue

The comedy has to do with such things as the pool turning into a bubble bath due to the accidental introduction of detergent, as well as the antics of Boom Boom (Billy Mumy of Twilight Zone's "It's a Good Life"), the adorable little monster who belongs to the hotel's proprietor, Naomi Yates (a spirited Carole Cook). The dramatic scenes have to do with a fight sequence when some lowlifes invade a party, and Eric taking after Stretch in his car and causing an accident after the latter has prevented Eric from sexually assaulting Gayle. 

In love after two days: Stephanie Powers with Donahue

Troy Donahue had to make this picture whether he wanted to or not, and was so zonked on drugs and alcohol during filming that it's a wonder he gives any kind of performance, although he gets by. In some shots you can already see the effect this is having on his looks, a certain puffiness, although the attractive sensitivity of his features is unaffected. Zeme North had appeared on Broadway in Take Me Along but had limited film and TV credits, retiring in the late sixties, which is too bad as she's quite appealing in this picture. As usual, little Billy Mumy nearly steals the movie. A small role is played by Owen Orr, AKA Greg Benedict, who was Donahue's college roommate and best friend. 

Verdict: Amiable if forgettable teen movie with hardly any teenagers in sight! **1/2. 

G. I. BLUES

Elvis with a not-quite-regulation haircut

G. I. BLUES (1960). Director: Norman Taurog.

Soldier Tulsa McLean (Elvis Presley) and his buddies Cookie (Robert Ivers) and Rick (James Douglas) have a combo and hope to raise money to open their own nightclub back in the states. In Frankfurt Tulsa is importuned to try and win some money by taking part in a bet: he has to thaw out an ice maiden, a dancer named Lily (Juliet Prowse) and "be alone with her." Reluctantly, Tulsa begins romancing Lily, but he finds her so charming and attractive that guilt sets in. As Cookie and Rick deal with their own lovely ladies, Tina (Leticia Roman of The Spy in the Green Hat) and Marla (Sigrid Maier), Tulsa debates whether or not to break it off with Lily. But is he falling in love? 

Juliet Prowse and Robert Ivers

While it is true that G. I. Blues is one of Presley's formula musicals, it is so well done and so entertaining that I can see why it was popular with both Elvis fans and many others. The songs, not all of which are rock numbers, are snappy and engaging; these include the title tune, "The Frankfurt Special," "Midsummer Night's Dream," "Wooden Heart," "Rainbow" and others. I wouldn't be surprised if the soundtrack album sold like hot cakes. Presley delivers all of these songs with his trademark swagger and charisma as well as total command of his performing abilities.  

Elvis sings a lullaby for adorable baby

As for his supporting players, Prowse is excellent, displaying not only gorgeous legs and figure but wonderful dancing  skills, which she shows off in two nightclub numbers. Robert Ivers was "introduced" in Short Cut to Hell (James Cagney's only directorial credit) playing a hit man, the lead role, but he only had a brief career in movies. James Douglas was best-known as Steven Cord on TV's Peyton Place. Arch Johnson is fine as Tulsa's often disgruntled sergeant. Edson Stroll and Jeremy Brett are introduced early on as rivals in the bet concerning Lily, but the former is sent to Alaska, and Brett simply disappears! Bill Hudson, Beach Dickerson, Britt Ekland, and Ron Starr have much smaller roles. Bill's interplay with Rick's infant son, whom he babysits, is funny, and an utterly charming moment occurs when Elvis sings a lullaby to put the baby boy to sleep! The basic premise of G. I. Blues is taken from such movies as The Fleet's In and others. 

Verdict: Why the public kept flocking to Elvis Presley musicals. ***. 

THE FUZZY PINK NIGHTGOWN

Jane Russell and Ralph Meeker

THE FUZZY PINK NIGHTGOWN (1957). Director: Norman Taurog.

Movie star Laurel Stevens (Jane Russell of Foxfire) is planning to attend the premiere of her new film The Kidnapped Bride, when she's actually kidnapped by two, fortunately, nice guys named Mike (Ralph Meeker) and Dandy (Keenan Wynn). Mike spent four years in prison for a crime he didn't commit, which makes Laurel feel sympathetic towards him. It also doesn't hurt that he's a rather sexy man. While Laurel's assistant Bertha (Una Merkel) and agent (Robert H. Harris) try frantically to find her, studio head Arthur Martin (Adolphe  Menjou) wants to keep it out of the papers, afraid it is -- or at least everyone will think it is -- nothing more than a publicity stunt. If Laurel admits she was kidnapped Mike could go to jail, but if she doesn't, her public could turn on her.

Adolphe Menjou, Una Merkel, Robert H. Harris

The Fuzzy Pink Nightgown has an interesting premise and holds the attention, but the movie could only have worked if it was a riotous farce, which it isn't; the picture has only a few chuckles. Yet a scene wherein Laurel and Mike drive off in a police car is so ridiculous that even Ralph Meeker looks irritated. The performances are good enough on one level -- although Meeker would never make a deft comedian -- but the leads take a back seat to Robert Harris, who is quite funny as the agent. Although Russell did appear in a few more movies, this was her last starring role, and her age was beginning to show -- it didn't help that Fuzzy was a flop. Ralph Meeker [Jeopardy] was seen to good advantage in Paths of Glory that same year.

Verdict: Ironically, Jane Russell's swan song as a major movie star. **1/2. 

WORDS AND MUSIC

Mickey as Lorenz Hart and Judy as herself

WORDS AND MUSIC (1948). Director: Norman Taurog.

"... strange places with strange people ..."

Richard Rodgers (Tom Drake) and Lorenz Hart (Mickey Rooney) become a highly popular song-writing duo and a theatrical force to be reckoned with. This is a heavily fictionalized biography that completely suppresses Hart's homosexuality and alcoholism, and instead makes the man unlucky in love. The highlights of the film are the musical interludes: Judy Garland, playing herself, singing "I Wish I Were In Love Again" with Mickey; and doing a solo on "Johnny One-Note." Lena Horne scores with "Where or When? " and "The Lady is a Tramp,"  and Mel Torme does "Blue Moon." Then there's the excellent "Slaughter on Tenth Avenue" from On Your Toes with Gene Kelly at the top of his game. Rooney is as superb as ever, Drake [Betrayed Women] is fine as Rodgers, and Marshall Thompson plays associate Herbert Fields. Perry Como plays a fictional character in the film, and while his acting isn't bad, his singing style (at that time) apes Bing Crosby shamelessly. Janet Leigh has a nice turn as Rodgers' wife, as does Ann Sothern as Joyce, but the best one can say about Betty Garrett is that she's utterly unexciting. The picture is very handsomely produced, but the narration is unnecessary. To cap it all off we've got "With a Song in My Heart," one of Rodgers most beautiful melodies.

Verdict: Not the real story but colorful and entertaining. ***.

DR. GOLDFOOT AND THE BIKINI MACHINE

DR. GOLDFOOT AND THE BIKINI MACHINE (1965). Director: Norman Taurog.

Dr. Goldfoot (Vincent Price) uses robot versions of beautiful women to seduce and marry wealthy men so that the not-so-good doctor can enrich his coffers. His best robot, no. 11 or Diane (Susan Hart), mistakenly pursues agent 001/4 Craig Gamble (Frankie Avalon) of SIC (Secret Intelligence Committee, or something like that), until she realizes she's really after the rich Todd Armstrong (Dwayne Hickman). Craig has trouble convincing his boss and uncle, D. J. (Fred Clark of Hollywood Story), about the despicable plot even as Diane gets Todd to sign over virtually all of his assets. This spy spoof is bolstered by a fine and amusing performance by Vincent Price, as well as a smart and sexy one by Susan Hart [War-Gods of the Deep] -- Fred Clark is also good and Avalon and Hickman aren't bad, either. However, despite a few good laughs -- a funny bit involving a piece of ice and a woman's panties in a restaurant; a cameo by Annette Funicello -- the movie is way too silly and has a lengthy and tedious chase sequence at the end. Shots and sets from Price's Pit and the Pendulum are used for a sequence in which Goldfoot tries to kill Todd. The Supremes (!) sing a snappy title tune, but it's unlikely it ever turned up on a "best of" CD.

Verdict: Five laugh-out-loud moments but that's not nearly enough. **.

PRESENTING LILY MARS

PRESENTING LILY MARS (1943). Director: Norman Taurog.

"Peter Pan! Macbeth! The Follies!"

Lily Mars (Judy Garland) is a talented singer, but for some reason she decides to audition for Broadway producer John Thornway (Van Heflin) -- who comes from the same small town and whose father delivered her -- by doing a scene from Shakespeare, in which she stinks. Lily follows Thornway to New York, where he's staging a new show starring Isobel Rekay (Marta or Martha Eggerth). Is Lily a desperate and naive amateur or a coldly calculating, rather pushy worldling who knows full well what she's doing? In this simplistic movie in which the key to Broadway stardom is to become an annoying pest and vamp the producer, we're supposed to believe the former, but I'm not so sure. In any case, things don't work out so smoothly for Lily until the Hollywood happy ending. Presenting Lily Mars was originally a novel by that fine American writer Booth Tarkington, whose books Alice Adams and The Magnificent Ambersons, among others, were turned into pretty good movies. While I've read the first two excellent novels, I've not read Presenting Lily Mars, but it had to be better than this treacle, which is simply a standard Judy Garland Movie when it could have been a whole lot more. That being said, Lily Mars is by no means a bad movie, with Garland in her reasonably effective cutesy mode between child and adult, and Van Heflin, as good as ever, managing to play quite well with her.

The movie has many charming elements. The brother (Douglas Croft of the Batman serial) who steals and collects doorbells. The younger sisters who sob along with Judy/Lily whenever she's upset [they are a cute bunch]. In an early development Judy does a scene outside Thornway's home which causes some of his associates to think he knocked her up and abandoned her, and there's the eyebrow-raising scene when Thornway has playwright Owen Vail (Richard Carlson) stand in for Isobel in a love scene. When Owen keeps it up after the scene is over Thornway tells him to stop kidding around. "Who's kidding?" says Owen, in a scene meant as a joke but which probably caused some fluttering among nervous censors. [Lily watches all this wide-eyed and confused.] Connie Gilchrist [A Woman's Face] makes her mark as an ex-actress who does a number with Judy, who also nails "Tom the Piper" and "When I Look at You." My favorite scene has Isobel giving her black maid, Rosa (Lillian Yarbo of Between Us Girls), a hat that she no longer wants because Lily wears a copy of it. When Isobel sees the maid wearing it, she commands her to throw it out. Later both of them see a chimp wearing the hat, which infuriates Isobel even as the maid, having the last laugh, smiles behind her back.

Spring Byington is wonderful as Lily's mother, as is Ray McDonald as her boyfriend, whom she discards early on. Fay Bainter is also notable if a bit wasted as Thornway's mom. Bob Crosby and Tommy Dorsey also make appearances. Despite a fairly nice if unspectacular voice, Eggerth doesn't make much of an impression, which may be why she was hired -- this, after all, is a Judy Garland Movie and nobody better get more attention than her.

Verdict: Silly but enthusiastic twaddle with a dignified Heflin and energetic Garland. **1/2.