DOCTORS WIVES

DOCTORS' WIVES (1971). Director: George Schaefer.

"I don't appreciate your sleeping with your wife." 

Lorrie Dellman (Dyan Cannon) announces to a group of friends, all of whom are married to doctors as she is, that she intends to sleep with all of their husbands, and has already gotten to two of them. The next day Lorrie is caught in bed with a doctor and shot to death by her husband as everyone wonders which man (who survived the shooting and is fighting for his life in the hospital) was her lover. And this is just in the first ten minutes!

WIVES: McCargo, Williams, Cannon, Rule, Roberts

Unfortunately, anyone hoping for a serious film or just a trash wallow will be disappointed, as Doctors Wives is not a very good picture and sadly isn't quite bad enough to be much fun either. Judging from this movie, doctors, nurses and interns spend almost as much of their time having affairs as they do tending to patients. The wives in the picture consist of Amy (Janice Rule of The Swimmer) who is married to Peter (Richard Crenna), who is having an affair with his head nurse Helen (Diana Sands), whose little boy has an aneurysm. Then there's Della (Rachel Roberts of When a Stranger Calls) who is married to Dave (Gene Hackman) and confesses to him that she also had sex with lusty Lorrie. Maggie (Cara Williams) is separated from Joe (Carroll O'Connor) and drinks too much, while neglected Elaine (Marian McCargo aka Marian Moses) beds an intern-stud named Mike (Anthony Costello) even as her hubby Paul (George Gaynes of One Touch of Venus) is similarly occupied elsewhere. You need a scorecard. (If this makes you want to rush out and buy the DVD, be forewarned.) 

DOCTORS: Gaynes, Hackman, Colicos, O'Connor, Crenna

Others have noted that Doctors Wives comes off more as a racy and frank nighttime TV soap opera than a theatrical movie, and having the competent but bland, strictly small-screen Crenna in the lead doesn't help. Otherwise the cast is game with Roberts, Sands, Cannon and Williams making the best impression. And John Colicos is especially notable as the very cool, near-sociopathic wife killer who  schemes to get out of police custody when he's called to operate on Helen's son, and there are also good turns from Richard Anderson as the D.A. and Ralph Bellamy as Cannon's father. Anthony Costello also scores -- literally as well as figuratively -- as the horny and busy intern. The business with a gal named Sybil recording all of her sexual episodes is stupid, however, as is much of the movie. Several plot elements go unresolved but at least there wasn't a sequel! 

Verdict: For those anxious to see close-up shots of open heart surgery only! Some good performances but otherwise not worthwhile at all. **. 

WHEN A STRANGER CALLS (1979)

Carol Kane

WHEN A STRANGER CALLS (1979). Director/co-writer: Fred Walton.

Babysitter Jill Johnson (Carol Kane of The Mafu Cage) is terrorized by a caller who keeps asking her if she's checked on the kids. When the police manage to trace the call Jill gets an unpleasant surprise. Years later John Clifford (Charles Durning), a former cop on the case, is hired by the children's father to find Curt Duncan (Tony Beckley), the psychopath who turned his life upside down and who has escaped from an asylum. Clifford tracks Duncan down, but can he stop him permanently before he goes after the terrified babysitter, Jill, who is now a grown woman with children of her own?

Charles Durning

I believe that When a Stranger Calls was expanded from a short film, The Sitter, which comprised only the chilling opening sequence of this movie. The middle section of this film stills holds interest, as it focuses on Duncan, his interactions with barfly (but not drunken) Tracy (Colleen Dewhurst of Annie Hall), and Clifford's efforts to track down Duncan, whom he intends to murder. (A powerful scene has Clifford telling Tracy exactly how Duncan killed two innocent young children.) The final section of the film is another chilling sequence with Duncan, Jill, and her family. In fact the climax may outdo the prologue in creepiness.

Colleen Dewhurst and Tony Beckley

When a Stranger Calls manages to sustain tension via generally good direction and Dana Kaproff's simple but very effective musical score. There are also solid performances, with Beckley and Dewhurst as standouts, although there is very good work from Durning [Sisters] and a mush-mouthed Carol Kane. Rachel Roberts has one scene as a psychiatrist in the institution that Duncan escaped from, and Ron O'Neal is on the mark as a cop colleague of Clifford's. The atmospheric photography is by Don Peterson. One wishes that there was more character development, however, both of the psycho and of Tracy. What little we learn of the latter is due chiefly to Dewhurst's performance. This was busy British actor Tony Beckley's last film; he died the following year.

A very good sequel, When a Stranger Calls Back, came out in 1993. And there was a remake in 2006.

Verdict: Absorbing horror-suspense film. ***. 

FATAL CHARM: THE LIFE OF REX HARRISON

FATAL CHARM: THE LIFE OF REX HARRISON. Alexander Walker. St. Martin's; 1992.

This superb biography takes a thorough, exhaustive look at the life and career of Rex Harrison, highlighting his enormous talent and good points while unsparingly detailing his less admirable traits, which were many. Walker covers Harrison's early British films and stage work, his coming to America to appear in Anna and the King of Siam with Irene Dunne, his triumph in both the Broadway and movie versions of My Fair Lady, and his many marriages to the likes of Collette Thomas, Elizabeth Rees, Lilli Palmer, and Rachel Roberts, among others. Roberts was a particular handful, an alcoholic whose behavior in public was often disgusting, and who even after her divorce from Harrison and his subsequent remarriage never stopped trying to get him back. Then there are the numerous affairs, the most publicized of which were with Carole Landis (who committed suicide over him) and Kay Kendall [Les Girls], whom Harrison married, divorcing Palmer, after learning Kendall had only a couple of years to live. Walker's biography maintains a balance between Harrison's career and personal life, analyzing his performances, and is bolstered by many interviews and comments from friends and co-workers.

Verdict: A damned good show! ****.

MURDER ON THE ORIENT EXPRESS

Albert Finney as Hercule Poirot

MURDER ON THE ORIENT EXPRESS (1974). Director: Sidney Lumet.

Famous Belgian detective Hercule Poirot (Albert Finney of Tom Jones) takes over the investigation after a man using an assumed name is murdered, and there turns out to be a whole train load of suspects. In her novel, Agatha Christie's starting off point was the murder of the Lindbergh baby, and the victim was involved in the kidnapping of the child, herein named Daisy Armstrong. In both book and movie Poirot perhaps doesn't exhibit quite as much incredulity as he might have when he learns at least two people on the train just happen to have had ties to the victim (as well as others whose deaths were a direct result of little Daisy's murder). And then things get even stranger, but there's a method to Christie's madness ... This was the first of the big-budget, all-star adaptations of the works of Christie, and it's entertaining if unspectacular. Oscar winner for Best Actor, Finney is nothing like Poirot, but if this is a "stunt" performance, I must say it's an excellent one, although he isn't as good as David Suchet, who later made the role his own. Wendy Hiller gives a positively weird, and one assumes, intentionally comic performance as the aged Princess Dragomiroff. Ingrid Bergman is fine but her very small role hardly deserved the supporting Oscar she received. Similarly, Sir John Gielgud is wonderful, but he's on-screen for only a few minutes; he won a BAFTA award. (Surely Oscars should be reserved for actors who are very much outside their comfort zone, which Finney definitely was). In a terrible performance, Anthony Perkins literally twitches all over the place as the secretary to the dead man; Sean Connery has one strong scene explaining himself to Poirot; Rachel Roberts scores as the princess' maid; Richard Widmark is fine as the victim; Vanessa Redgrave [Camelot] is perfect and lovely as Connery's paramour; and Martin Balsam is a delight as a representative of the train line and a personal friend of Poirot's. Richard Rodney Bennett provided the pastiche Porter score, which lacks the suspense this type of picture requires. Many of the cast members, especially Lauren Bacall as the loud American lady, seem self-conscious.

In addition to the 2017 remake, there have been other adaptations of the famous story. Alfred Molina played Poirot in a 2001 television version. David Suchet again essayed Poirot in a 2010 TV movie  which added a prologue, with an adulteress being stoned to death, that was not in the novel, and an epilogue wherein Poirot expresses moral outrage over the murder on the train which he does not express in the book; later he softens his attitude due to the murder of that woman at the opening. Suchet is especially excellent in this and it's amusing to see Hugh Bonneville of Downton Abbey playing a mere valet. Finally, a Japanese mini-series based on the novel appeared in 2015.

Verdict: Take this train ride or not -- it's up to you. **1/2.

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