THE CHRISTINE JORGENSEN STORY

John Hansen 

THE CHRISTINE JORGENSEN STORY (1970). Director: Irving Rapper.

From his early childhood on, George Jorgensen (John Hansen) has felt like he was different, and identified much more as a girl than as a boy. Mistaken for being gay, he decides to discover more on his "condition" and is told that he has an excess of estrogen. George travels to Denmark where he is given permission to have what today we would call sexual realignment surgery. His story makes headlines in the New York Daily News ("Ex-GI Becomes Beautiful Blonde") and both he and his family have to deal with the fall-out of the disclosure. Christine Jorgensen was a true pioneer, and this fictionalized version of her story is interesting, but not all that well done, with a cheap look and tedious exposition. John Hansen is an effective lead, portraying both George and Christine equally well, although at times he's somewhat amateurish. Quinn K. Redeker (of The Young and the Restless) plays a reporter who falls for Christine and gives her her first kiss (which is actually a male-male kiss since Hansen was only playing a woman); Pamelyn Ferdin [The Beguiled] is George's sympathetic sister as a child; Elaine Joyce is a bitchy, homophobic model; Joyce Meadows [The Girl in Lovers Lane] is another, friendlier model; Joan Tompkins is George's ahead-of-her time Aunt Thora; and Will Kuluva [To Trap a Spy] is Professor Estabrook, who sets George on the correct path.

Another character is George's boss, Jess (Rod McCary), who turns out to be gay and gets angry when George denies his homosexuality. Jess nearly winds up assaulting George. A scene that could have been positive, showing a bond between two sexual minorities (however different), is instead thrown away for a bit of ugly, almost homophobic sensationalism. It's especially egregious because Jess is a likable character who tells George of many well-known gay men throughout history.

Irving Rapper also directed another famous movie about an amazing transformation: Bette Davis' Now, Voyager.

NOTE: Chistine Jorgensen's operation was not the first of its kind, but the first that was heavily publicized. There were some differences from earlier operations, and I've no doubt attitudes towards transsexualism and its origins have changed since this film was made nearly fifty years ago.

Verdict: Compelling at first, with a sensitive lead performance, but it drags a bit and, surprisingly, lacks dramatic intensity. **1/2.

THE BEGUILED

Geraldine Page, Clint Eastwood, Elizabeth Hartman

THE BEGUILED (1971). Director: Don Siegel.

During the civil war a wounded Union soldier, John (Clint Eastwood), winds up at a Southern girls school run by Martha (Geraldine Page) and her assistant, Edwina (Elizabeth Hartman). These two women and a couple of the nubile students are mightily intrigued by this Yankee, and agree to keep him hidden in the school until he's recovered, as they are afraid in his condition he might die in a rebel prison. With survival uppermost in his mind, John romances the two ladies, tells them anything they want to hear, and unsuccessfully fends off the advances of sexy student, Carol (Jo Ann Harris). Finally one night he gets an invitation from all three women, but whose bed should he go to, and what will the consequences be if he makes the wrong choice ...? The Beguiled is more about sexual tension than about anything else, and on that level it succeeds, although it could be argued that it's somewhat sexist and even rather silly at times. In spite of that the movie has a certain fascination. Eastwood [Revenge of the Creature] is more than adequate, although he's out-acted by his two powerhouse co-stars, with Page [Sweet Bird of Youth] convincing as the headmistress with her pansexual fantasies, and Hartman excellent as the virginal spinster who's come to see John as her escape. Harris, Pamelyn Ferdin [The Mephisto Waltz] as 13-year-old Amy, and Mae Mercer as the black servant, Hallie, are also notable. Siegel also directed the classic Invasion of the Body Snatchers.

Verdict: Obvious but entertaining and nearly a classic. ***.

WHAT'S THE MATTER WITH HELEN?

WHAT'S THE MATTER WITH HELEN? (1971). Director: Curtis Harrington.

In the 1930's two women whose sons are convicted of murder move to Los Angeles to start new lives and open a school for budding Shirley Temples. Adelle (Debbie Reynolds) is a pretty dancer with high hopes for the future while Helen (Shelley Winters) is a religious type who's haunted by the gruesome death of her husband. As Adelle becomes romantically involved with the father (Dennis Weaver) of one of the moppets, Helen becomes increasingly unhinged, leading to violent complications. Written by Henry Farell (Baby Jane; Hush ... Hush, Sweet Charlotte) Helen has an excellent premise that isn't developed as well as it could have been, and Harrington's uninspired direction is no help at all. The trouble is that the "horror" stuff has to happen to justify the film's existence (despite it's already interesting plot line) and it just isn't as convincing as, say, Hush ... Hush. The two lead actresses are fine, however, even if Reynolds falls a little short during the more dramatic moments. Weaver and Agnes Moorehead as a greedy evangelist are on the money. Micheal (sic) MacLiammoir seems to be doing a Sidney Greenstreet impersonation as Hamilton Starr, the school's vocal and dramatic teacher, but he's a lot of fun, and there's some humor generated in regards to the tykes -- one of whom is Pamelyn Ferdin -- and their mothers -- one of whom is Yvette Vickers (Mrs. Barker)! While much of the movie is predictable, Farrell still manages to stick in a minor twist or two. The little girl who does the "You Big Bad Man" number is terrific!

Verdict: Interesting failure. **1/2.

THE MEPHISTO WALTZ

THE MEPHISTO WALTZ (1971). Director: Paul Wendkos.

Based on a novel by Fred Mustard Stewart, this was one of a slew of big-studio supernatural films that were released in the wake of Rosemary's Baby. Miles, a journalist (Alan Alda) is given a chance to interview the reclusive pianist genius Duncan Ely (Curt Jurgens), who remarks upon Alda's hands as being “the hands of a great pianist.” After Ely's death, Alda, who inherits most of the man's fortune, himself becomes a great pianist while Alda's wife, Jacqueline Bisset, develops the perhaps not-so-paranoid delusion that Ely, a Satan worshiper, is inhabiting her husband's body. But what is she going to do about it? The idea is terrific, but the execution is mediocre and much of the acting insufficient; the film hasn't a single outstanding sequence and isn't memorable. Alda from Mash isn't bad as the journalist Miles, and Jurgens is at once authentically sinister and charming. Bradford Dillman, Kathleen Widdoes, and Pamelyn Ferdin also appear, the last as the young couple's likable doomed daughter. Barbara Parkins plays Jurgens' daughter/lover. Jerry Goldsmith's score is a bit too loud and jangling, although it makes good use of Lizst's fascinating piece "The Mephisto Waltz."

Verdict: Not so hot. **.