THE CABINET OF CALIGARI

Constance Ford, Daniel O'Herlihy, Glynis Johns

THE CABINET OF CALIGARI (1962). Director: Roger Kay. 

When her car breaks down, Jane Lindstrom (Glynis Johns of The Vault of Horror) seeks shelter at a sanitarium run by Dr. Caligari (Daniel O'Herlihy of Invasion U.S.A.). But her gratitude turns to fear and outrage when she discovers that there's no apparent way out of the establishment and she is being kept prisoner. The other "guests" don't seem to be much help: old Ruth (Estelle Winwood); romantic young Mark (Richard Davalos); friendly Vivian (Doreen Lang of The Wrong Man); firm and deceptively helpful Christine (Constance Ford); and others. When Jane sees Ruth being assaulted by one of the other patients as the others calmly watch, she determines to find her way out of this nuthouse no matter what she might have to do ... 
 

Johns is "helped" by Constance Ford

Robert Bloch wrote the screenplay for this mess, and it's proof that the man could turn out solid scripts as well as ones that should never see the light of day. This is one of three theatrical films for director Roger Kay, who mostly toiled in television, and he's unable to do much with this terrible story. Heroine Glynis Johns, with her squeaky voice and munchkin-like appearance, seems all wrong for this kind of movie, although one could argue that she is the ultimate masochist. Johns gives a good and committed performance, however, although there must have been times when she and the other actors wished they'd chosen a better project. Daniel O'Herlihy is effective in a supposedly dual role, and the others named are all better than the picture deserves. This is a remake of the silent classic The Cabinet of Dr. Caligari in name only, although some shots try to ape the expressionistic sets of the original. There is  an explanation for the strange goings-on, but the movie is so utterly tedious that you probably won't want to wait until the ending to find out. There are some interesting touches -- Caligari has a revolving door into his office, and there's a glass panel above Johns' bathtub into which people can peek as she bathes -- but they aren't enough to save this from the scrapheap.

Verdict: A waste of talent and celluloid. *1/2. 

THE SEA CHASE

THE SEA CHASE (1955). Producer/director: John Farrow.

How's this for perfect casting? In The Sea Chase John Wayne plays Karl Erlich, the Captain of a German freighter (the Ergenstrasse), who supports his country but is no fan of Hitler. Lana Turner is cast as Elsa Keller, a kind of Mata Hari German spy who winds up as the only female passenger among a bunch of horny sailors. While it can't be said that Wayne and Turner have great chemistry, the odd thing is that the movie actually works and both stars are more than adequate in their roles. Erlich sets sail from Sidney just as war is declared, and an old friend, the British officer, Jeff Napier (David Farrar of The Echo Murders) -- he was one of Elsa's many conquests -- doggedly pursues him. Complications ensue when Chief Officer Kirchner (Lyle Bettger) takes it upon himself to murder some innocent fishermen who are shipwrecked on a supply island, making Erlich and his crew not only murderers but wanted war criminals. Erlich also has a conflict with Schlieter (James Arness) who has a chip on his shoulder and hates taking orders from his captain. Not only is The Sea Chase suspenseful, but you get caught up in the unusual storyline and begin to care about what happens to the characters and their ultimate fate. Bettger [No Man of Her Own] is especially good as Kirchner, and there's also excellent work from Farrar and from John Qualen [Dark Waters] as Chief Engineer Schmidt. Richard Davalos, Tab Hunter, Paul Fix, Arness, and Claude Akins (whose name is misspelled as "Akin" in the credits) also have some fine moments. Clearly this picture would not have been made just a few years earlier. In WarnerColor.

Verdict: Memorable "forgotten" Wayne film with an intriguing and different plot. ***.

EAST OF EDEN

EAST OF EDEN (1955). Director: Elia Kazan.

"You kept on forgiving us, but you never really loved us."

"It's awful not to be loved. It's the worst thing in the world."

In  1917 Monterey, Adam Trask (Raymond Massey), with his sons Caleb (James Dean) and Aron (Richard Davalos), try to make a killing with lettuce kept fresh with ice, but they have bigger problems than hoping this new business will succeed. Aron has always planned to marry Abra (Julie Harris), but there is a growing attraction between her and Cal, who never feels he had his father's love. In the meantime Cal discovers that his supposedly dead mother, Kate (Jo Van Fleet) is actually running a brothel not too far away, something his brother is unaware of. Then there are tensions created by the advent of WW1, and Aron's initial decision to stay out of the fighting. First of all, anyone expecting a literal transcription of John Steinbeck's novelistic take on Cain and Abel must look elsewhere, because this movie only concerns a portion of a very long book, and it makes changes to the plot and characterizations. Taken on it's own terms, however, East of Eden is still a masterpiece, with a wonderful, committed cast, fine direction from Kazan, high-grade cinematography from Ted McCord, and an interesting score by Leonard Rosenman. Whatever impression Dean may have made off-screen, the camera certainly loves him, and this movie probably showcases his mystique the best of his three movies; he is excellent. Although Dean got the lion's share of the attention, Davalos is also compelling as his brother, and there is also some fine work from Van Fleet, Harris and Massey. Burl Ives and Albert Dekker have significant roles and are also good, as is Barbara Baxley as an unpleasant nurse who shows up late in the picture. Yes, there are scenes that are too stagy, dialogue that is too obvious [Dekker unnecessarily bringing up Cain and Abel, as if the audience is too stupid to get it], but the picture is totally absorbing and has a deeply moving wind-up.

Verdict: Hollywood at its best. ****.