WHEN JOHNNY COMES MARCHING HOME

WHEN JOHNNY COMES MARCHING HOME (1942). Director: Charles Lamont.

War hero Johnny Kovacs (Allan Jones) is feted when he comes home on leave, but most of his musician buddies only know him as Johnny O'Rourke. Therefore when police come searching for him so he can fulfill some obligations, his pals assume he's a deserter from the army. Two women fall instantly in love with Johnny -- Joyce (Jane Frazee) and Marilyn (Gloria Jean) -- while Dusty (Peggy Ryan) can't even score with Frankie (Donald O'Connor). This has virtually no plot to speak of, but there are some well-delivered songs, such as the duets "This is It," "Romance," and "You and the Night and the Music." Jones has a very nice voice, but even in his day his style was a little too precious, and nowadays he seems just a bit hokey. Olin Howlin has a larger role than usual as a liaison, and a black dance group called the Four Step Brothers are full of verve. O'Connor is as good and as likable as ever, although his numbers with the frankly unfunny Ryan are nothing to sing about. Ryan made a better impression in Chip Off the Old Block, which starred O'Connor. Frazee was in Buck Privates and Gloria Jean in Copacabana.

Verdict: By the numbers -- but at least the numbers are good. **1/2.

THE BLOB

THE BLOB (1958). Director: Irvin S. Yeaworth, Jr.

An old man (Olin Howlin/Howland) finds a piece of meteor that has fallen near his cabin and discovers it is filled with a flesh-eating substance that quickly begins engulfing his arm. He is picked up off the roadway by two "teens:" Steve (Steve McQueen of The Towering Inferno); and his kind of drippy date, Jane (Aneta Corsaut of The Toolbox Murders), who initially thinks he's just a masher. Alerted to the danger represented by the blob, they try to warn the police and the town as the creature floats through suburbia and finally enters a movie theater during its midnight matinee. The Blob isn't well-directed and isn't the fright classic it could have been, but it has enough creepy moments and tense sequences, such as a bit with a meat locker and the climax in a diner completely covered by the blob, to make an effective enough monster movie. The two leads offer more than competent performances, although you might not have guessed that major stardom was in the cards for McQueen. The Blob itself seems to be brought to life in certain sequences with stop-motion, and its a neat touch how it often transforms into a kind of slithering tongue or powerful club. Slow-paced for the most part, this is a Teen Thriller decked out in widescreen and TechniColor. A crazy scene has a doctor persistently asking Steve what's wrong with the old man's arm instead of simply taking off the jacket the arm is wrapped in and seeing for himself. This was remade thirty years later but it was not that big an improvement. Followed by Beware! The Blob. This was undoubtedly inspired by The Creeping Unknown even as it influenced Caltiki, the Immortal Monster. Yeaworth also directed 4D Man; he made few films. For more on this and other monster movies see Creature Features: Nature Turned Nasty in the Movies.

Verdict: Not bad, but not nearly as much fun as Attack of the 50 Foot Woman. ***.

ELLERY QUEEN AND THE MURDER RING

Blanche Yurka and Ralph Bellamy

ELLERY QUEEN AND THE MURDER RING (1941). Director: James P. Hogan.

Augusta Stack (Blanche Yurka) is a nasty old lady who runs a hospital, senses chicanery everywhere, and treats her own children like crap. We learn early on that son John (Leon Ames) is plotting murder with the help of two bumbling confederates. But when the termagant kicks off, are the conspirators actually responsible for her death? Then there are more murders. Writer/amateur sleuth Ellery Queen (Ralph Bellamy) investigates with the help of his cop father, Inspector Queen (Charlie Grapewin), and Ellery's secretary, Nikki (Margaret Lindsay). Ellery has a very condescending attitude toward Nikki, who also seems to be his girlfriend, but she also seems a lot smarter than he is. Notable cast members include George Zucco [The Mad Monster] as a doctor suspected of assorted bad things; James Burke as a cop; Olin Howland (Howlin) as another, rather merry doctor; and especially Mona Barrie [King of Burlesque] in a vivid turn as nurse Marian Tracy, who is involved with John. Dennis Moore has a small role as another doctor, and wouldn't you know Pierre Watkin shows up as lawyer Crothers and is as bland and minor as ever. The basic plot is workable, but there is too much unfunny "comedy" relief surrounding the hit men, and the movie becomes fairly tedious before too long. Characterization is minimal; there's no attempt to explain why Mrs. Stack has such a bad relationship with her children, for instance. The Spanish Cape Mystery, with Donald Cook playing Ellery Queen, was better than this. This was Bellamy's last appearance as Queen.

Verdict: Some people like this picture; they're welcome to it. *1/2.

CAN'T HELP SINGING

Deanna Durbin and some spectacular scenery

CAN'T HELP SINGING (1944). Director: Frank Ryan.

When Caroline (Deanna Durbin),  a senator's daughter, learns that he disapproves of the man she loves and hopes to marry -- the opportunistic Lt. Robert Latham (David Bruce) -- she runs off into the wild west after him. Along the way she runs into some colorful characters, as well as a new romantic interest in the form of Lawlor (Robert Paige). Can't Help Singing has some pleasant tunes by composer Jerome Kern (especially the title tune), and Durbin and Paige [Fired Wife] make a very good team. Durbin, whose voice seemed to get even better as she got older, also became a bit double-chinned and puffy, but was still attractive. The handsome production boasts beautiful photography [Elwood Bredell and W. Howard Greene], and some good performances from the leads, along with Ray Collins [Hideout] as Durbin's father; Akim  Tamiroff (out west!) and Olin Howlin/Howland as two likable scoundrels; Bruce as the lieutenant; and Jay Novello [Atlantis, the Lost Continent] as a "sucker."

Verdict: One of the better Deanna Durbin musicals. ***.

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.

THE STRANGE LOVE OF MARTHA IVERS

Heflin, Scott and Stanwyck

THE STRANGE LOVE OF MARTHA IVERS (1946). Director: Lewis Milestone. Screenplay by Robert Rossen. 

"You still look like a scared little kid to me." -- Sam to Walter.

Martha (Barbara Stanwyck), Walter (Kirk Douglas) and Sam (Van Heflin) are childhood friends caught up in melodrama when -- early in the film -- Martha clubs her nasty aunt (Judith Anderson) and kills her right after said Aunt batters Martha's cat with her walking stick. Given Martha's age at the time, and her aunt's actions, probably nothing much would have happened to Martha, but in this movie she marries the witness, Walter, who grows up to become an alcoholic district attorney, and tries to pay off Sam [whom she thinks also witnessed the aunt's death] when he shows up back in town on a trip and chooses a very odd moment to kiss her. The trouble is, Martha and Walter framed an innocent man for the crime and he got the chair. Stanwyck and Heflin are excellent, and in his debut film, Douglas almost steals the film with his intense portrayal of Walter. His odd, clenched-teeth way of speaking takes a little getting used to, but it obviously didn't prevent him from becoming a major star. Lizabeth Scott, who plays an overaged urchin who's been told to get out of town but is befriended by Sam, gives a very odd performance, perhaps because she was trying to play younger than she really was [although she was hardly old at 24]. This was Scott's second film, but she was seen to better advantage in such films as Desert Fury and especially Too Late for Tears/Killer Bait. Well-directed by Milestone and with a nice score by Miklos Rozsa. Familiar faces include Olin Howlin and Ann Doran.

Verdict: Fascinating meller with intense performances from Heflin and Stanwyck and a star turn from Douglas. ***. 

STELLA DALLAS

Anne Shirley and Barbara Stanwyck

STELLA DALLAS (1937). Director: King Vidor.

Stella is a young woman in a family of mill hands who wants a better life for herself and gets it when she contrives to meet an executive at the mill, Stephen Dallas (John Boles). But although she lands the guy, Stella is a vulgar and unsympathetic person in many ways, and the two soon separate. However, Stella is redeemed by the sincere love she feels for her daughter, Laurel (Anne Shirley). But as the girl grows and bonds with her father and the new lady in his life, the widow Helen Morrison (Barbara O'Neil), Stella comes to realize that her rather declasse status may do her daughter more harm than good. Some aspects of Stella Dallas have to be taken with a grain of salt. It's one of those movies where people are terrible to other people that they love because they think they need "to be cruel to be kind" [along the lines of the guy who discovers he's going to be permanently crippled telling the woman who adores him that he hates her so she can be "free."] Once you accept that somewhat dated convention, it is easy to focus on the film's major strengths, which include Stanwyck's utterly superb performance [one of her finest in a career of excellent performances], as well as sterling work by Shirley, John Boles, boisterous Alan Hale as a friend of Stella's, O'Neill, Ann Shoemaker, Marjorie Main, and others. [Even Olin  Howlin/Howland from The Blob --years in his future -- shows up!] One of the best scenes is a very moving encounter between Stella and Helen, and the ending -- if slightly contrived and "dramatic" -- is lovely and poignant. Hattie McDaniel, Jimmy Butler, and Tim Holt also have small roles. All this and an excellent score by Alfred Newman as well.

Verdict: Stanwyck and a general air of classiness lift this out of the soap opera level, but it's definitely a classic tearjerker. ****.

HENRY AND DIZZY

HENRY AND DIZZY (1942). Director: Hugh Bennett.

"I guess I'm just a misfit."

Henry Aldrich (Jimmy Lydon) wrecks a boat that he borrowed when the store owner stepped away, and is told he either has to pay for a new boat or go to jail. In a hilarious sequence Henry and his pal Dizzy (Charles Smith) "clean" -- or rather destroy -- a house that belongs to principle Bradley (Vaughan Glaser; Maude Eburne is fun as his horrified wife). Trevor Bardette and Carl "Alfafa" Switzer play a father and son who compete in a contest with Henry and Mr. Aldrich (John Litel), and Dizzy and his dad (Olin Howlin). Noel Neill of Superman fame appears briefly as a girl that Henry tries to impress with his [lack of] boating skills. Mary Anderson seems a little too old and sex-sophisticated -- not to mention too tall -- to be teenager Henry's girlfriend, but Henry doesn't seem to mind. Litel and the other cast members are great, and Lydon is a very charming performer. This is his second appearance as Henry after Henry Aldrich for President.

Verdict: Another cute picture. ***

THE RETURN OF THE WHISTLER

THE RETURN OF THE WHISTLER (1948). Director: D. Ross Lederman. 

Ted Nichols (Michael Duane) leaves his fiancee Alice (Lenore Aubert) in a hotel, then learns that she ran out during the night and disappeared. There's a private eye named Gaylord Traynor (Richard Lane) and Olin Howlin/Howland of The Blob and Them plays the hotel desk clerk. The story is initially suspenseful, but once you learn what's really going on about halfway through, it just peters out. This might have made an effective half hour mystery program, but it's certainly no great shakes as a movie -- or a mystery. Ann Shoemaker plays a sinister older woman, and Ann Doran of It! The Terror from Beyond Space has a brief bit as a bad girl. Aubert was also in I Wonder Who's Kissing Her Now and Abbott and Costello Meet Frankenstein as the evil Dr. Aubrey, who gets thrown through a castle window by the Monster. Narrated, sort of, by the shadowy "Whistler" of radio fame. 

Verdict: Just passable. **.

CHAD HANNA

CHAD HANNA (1940). Director: Henry King.

"Why don't you go back to your pigs -- and stay there!"

In 1841 young Chad Hanna (Henry Fonda) runs off with a small, struggling circus to avoid a sheriff and to court pretty bare back rider Albany Yates (Dorothy Lamour). Caroline (Linda Darnell) also joins the circus to get away from her hateful father (Olin Howlin in a bigger role than usual) and winds up falling for Chad. However, this isn't the usual triangle as both women seem to like and respect one another and there is no stereotypical "bitchiness" between them. Chad Hanna is an amiable comedy-drama detailing the assorted tribulations of the circus as Chad tries to figure out whom he's in love with. Guy Kibbee and Jane Darwell are amusing and excellent as the owner and his wife. Lamour is solid, Darnell gives a lovely performance, and Fonda plays Chad as if the young man were slightly "touched" in the head. Ted North, John Carradine, and Frank Conlon are also notable. Charles Middleton isn't given enough to do as the barely-seen sheriff. Very pleasant and absorbing, and with a memorable score by David Buttolph. Funniest bit has a very hefty Darwell sizing up an elephant and saying "If he ever develops a taste for meat ..."

Verdict: Charming and different. ***.

CRIME DOCTOR'S MAN HUNT

CRIME DOCTOR'S MAN HUNT (1946). Director: William Castle. 

A man is stabbed to death and a woman at a shooting gallery at the carnival seems to know more about it than she's telling. The victim walks into a certain house and then seemingly vanishes. Can Dr. Ordway, the Crime Doctor (Warner Baxter) get to the bottom of it? This is an acceptable mystery (with a somewhat obvious solution) that is greatly abetted by the participation of William "Fred Mertz" Frawley and the ever-delightful and unique -- and uncredited -- Olin Howlin (pictured) as Marcus LeBlaine. Howlin, of course, had interesting roles in Them and The Blob (first victim), among others. Ellen Drew also has an interesting role. Verdict: 

Passable minor mystery. **1/2.