RECKLESS

RECKLESS (1935). Director: Victor Fleming.

By the time agent Ned Riley (William Powell) realizes he's really in love with his client, singer-dancer Mona Leslie (Jean Harlow), Mona is being swept off her feet by the wealthy Bob Harrison Jr. (Franchot Tone). Harrison even goes so far as to buy out every seat for a performance of the show Mona is in. Mona's wise old grandmother (May Robson) scolds and gives sage advice in equal measure. Rosalind Russell turns up as Harrison's kind of forgotten fiancee, Henry Stephenson is his concerned father, and little Mickey Rooney is his usual charming self as an enterprising youngster befriended by Ned (perhaps the film's most touching sequence has Rooney trying to help out Ned when he thinks he's down and out). If that cast weren't enough, we've also got Allan Jones singing a romantic ballad in his inimitable way, Leon Ames turning up both with and without his mustache, Charles "Ming the Merciless" Middleton playing a district attorney, and Margaret Dumont showing up for one line as a heckler in the theater! Powell, Harlow, and Tone are all just marvelous, and Robson almost manages to steal every scene she's in. The story veers in unfortunately melodramatic directions, but the film still manages to be quite entertaining. And that cast! 

Verdict: Crazy script but a feast of fine actors! ***.

THE UNGUARDED MOMENT

George Nader, Esther Williams, John Saxon 

THE UNGUARDED MOMENT (1956). Director: Harry Keller.

High school music teacher Lois Conway (Esther Williams) receives insolent mash notes from an unknown young admirer who later nearly assaults her and breaks into her house. When she learns his identity, the young man, Leonard (John Saxon of The Unforgiven), accuses Lois of coming on to him and the school board seems to agree. Lt. Harry Graham (George Nader of Carnival Story) thinks Leonard is a creep who needs to be arrested -- and may even be responsible for a series of rape-murders in town -- but the naive Lois still thinks of this 18-year-old man as an innocent "boy." It's a question if Lois will lose her job or maybe her life before everything is resolved.

John Saxon

In these "me too" days, The Unguarded Moment is still a relevant and timely picture, especially in the way it turns the perpetrator into a victim. (It's interesting that even today some people call this early study of sexual harassment "trashy." Why?) This was Williams' first dramatic role after appearing in many musical comedies with diminishing returns, and she's fine, and plays well with George Nader, whose character starts falling in love with her and vice versa. This was not John Saxon's first movie but he received a play-up in this, with him being singled out at the end as a "new personality." His performance is good, although he isn't quite up to the more emotional moments. Edward Andrews, an actor who somehow always exudes a negative aura no matter what part he's playing, is excellent as Saxon's woman-hating father, whose wife ran off years before. Les Tremayne, Eleanor Audley, Jack Albertson and Ed Platt are all credible in supporting roles. Not a great suspense film, but this holds the attention and isn't entirely predictable. It does sort of gloss over Leonard's inappropriate behavior a bit too much. Esther Williams followed this up with the lamentable Raw Wind in Eden. Although she did not do the finished screenplay, the story for this film was co-written by no less than Rosalind Russell.  

Verdict: Interesting cast and a still timely theme. ***. 

PICNIC

An iconic image from Picnic by James Wong Howe

PICNIC (1956). Director: Joshua Logan. NOTE: Logan also directed the stage play. This review gives away some important plot points.

Hal Carter (William Holden) is a drifter and failed, wannabee actor who winds up in Kansas where he looks up an old buddy named Alan (Cliff Robertson), hoping to find work. Alan's father gives Hal a job, but things are complicated at the Labor Day picnic when Hal and Alan's fiancee, Madge (Kim Novak), find themselves attracted to one another. Alan is furious, but Madge's mother (Betty Field) is horrified at the fate in store for her daughter if she runs off with Hal. Meanwhile Madge's younger sister, Millie (Susan Strasberg), is suffering growing pains, and their border, spinster schoolteacher Rosemary (Rosalind Russell), is having a crisis of her own.

William Holden and Kim Novak

Picnic is based on the Pulitzer prize-winning stage play by William Inge, and screenwriter Daniel Taradash has intelligently opened up the drama without apparently losing much of the original's meat. Both of the two leads, Holden and Novak, are too old for their roles -- Novak was twenty-three and Holden thirty-eight looking older -- and Holden is really not the right type for Hal at all, but he still manages to give quite a good performance, as does Novak, whom I've always believed could be quite accomplished with the right role and director. Betty Field and Susan Strasberg score as mother and younger daughter, and Rosalind Russell, while she tends to overplay in some sequences, has a terrific moment when she's begging her steady beau, Howard (Arthur O'Connell, carried over from the stage version), to marry her. Cliff Robertson gives one of his best performances as Alan, a nice guy who is treated badly even as he treats Hal badly out of jealousy. There are also nice turns by Verna Felton (the tough maid on I Love Lucy) as a very sympathetic neighbor who takes to Hal right off the bat, and Reta Shaw and Phyllis Newman in smaller roles.

William Holden

Just as straight writers composed stories that revolved around female objects of desire, some gay writers did the same thing with male figures as the centerpiece. Tennessee Williams comes to mind with his "Orpheus Descending," which debuted on the stage four years after Picnic (although Williams' first version, "Band of Angels," dates back to 1940. Meanwhile "Orpheus" was filmed as The Fugitive Kind with Marlon Brando three years after Picnic hit screens.) Both Picnic and Fugitive Kind deal with sexy bad boys and drifters who burst into town and inflame passions among women; the plays and movies were too soon before Stonewall to deal upfront with any gay influences. This is not to say that the characters were all meant to be male.

Rosalind Russell and William Holden

However, both plays have more on their minds than just virile rough trade. Picnic is basically a study of small-town desperation and loneliness; the film has persistent undercurrents of both. It is made clear that Hal is just as lonely in his own way as Rosemary is, culminating in a painful sequence when Rosemary humiliates Hal after he, in her mind, rejects her advances. The film also looks at the pain of growing older and the anguished jealousy it can engender when a middle-aged person is confronted by someone with youth and promise and more overt attractiveness and sensuality.

Cliff Robertson and William Holden

Picnic has many memorable sequences. There is the amusing montage of scenes at the picnic, with crying babies, cute dogs, and silly games, and -- in contrast -- the sort of sexy slow dance that Hal and Madge do together on the bandstand. James Wong Howe's cinematography is outstanding, and George Duning has contributed a sensitive score. Picnic has to be considered an anti-romantic film. Playwright Inge probably meant the ending to indicate that Madge is giving full range to her feelings and taking a chance on life and love and perhaps getting away from a stifling small-town environment, but in the bittersweet conclusion she's also going off with a man she has known for only one day. (Paging Dr. Phil!) And does anyone really think the relationship between Rosemary and Howard will work?

The play starred Ralph Meeker as Hal, Paul Newman as Alan, Janice Rule as Madge, Eileen Heckart as Rosemary, and Arthur O'Connell as Howard. Aron Copeland's beautiful opera The Tender Land, which debuted around the same time as the stage version of Picnic, also dealt with a young woman who falls in love overnight with a drifter and wants to run away with him.

Verdict: Despite some problems, this is an excellent picture. ***1/2. 

MY SISTER EILEEN (1942)

Rosalind Russell and Janet Blair

MY SISTER EILEEN (1942). Director: Alexander Hall.

Ruth Sherwood (Rosalind Russell) and her younger and prettier sister, Eileen (Janet Blair), feel that they'll get nowhere fast if they stay in small town Ohio, so the gals head for New York City with the encouragement of their grandmother (Elizabeth Patterson) and to the dismay of their father (Grant Mitchell). They manage to find an apartment in Greenwich Village, but soon discover that they're blasting for a new subway tunnel right underneath their feet. Ruth tries to sell her writing to a magazine edited by Bob Baker (Brian Aherne) while Eileen hopes to become an actress. As their money runs out they meet an assortment of characters who live in the building on Barrow Street. These include "Wreck" Loomis (Gordon Jones) and his jealous wife, Helen (Miss Jeff Donnell); the fortune teller Effie (June Havoc), who used to live in the apartment; drug store owner Frank Lippincott (Richard Quine); and slimy reporter Chic Clark (Allyn Joslyn).

Richard Quine with Blair and Russell

My Sister Eileen is based on a play by Joseph Fields and Jerome Chodorov, who also did the screenplay. The movie boasts some very adept performances and is consistently amusing and amiable. Although she was never quite the comic genius that Lucille Ball was, Rosalind Russell is still a fine actress who can not only do comedy well but can reveal the dramatic nuances under the laughs; she's wonderful. Blair is very effective as the not-so-naive Eileen, and once you get used to his blustering over-acting early on, Aherne makes a good foil for Russell. In addition to the others named above, there is also good work from Donald MacBride as a blithering cop; Chick Chandler as a friend of Effie's and an air raid warden; George Tobias as the landlord and wannabee painter, Apoppolous;.and Arnold Stang as the annoying copy boy, Jimmy. There are also the group of handsome Portuguese merchant marines who form a conga line in the village, a delightful sequence. And you must not miss the hilarious cameo by the Three Stooges!

The Fleet's In 

My Sister Eileen was turned into the Broadway musical Wonderful Town -- with a score by no less than Leonard Bernstein -- in 1953. Russell, who had already been a little old for the part in the film, and who couldn't really sing, was cast as Ruth yet again, and the show was a big hit, eventually being televised. In 1955 Columbia did a color and widescreen remake of My Sister Eileen with Janet Leigh and Batty Garrett. This was directed and co-written by Richard Quine [Sunny Side of the Street] , who plays Lippincott. To date there has been no theatrical film version of Wonderful Town, which is rarely revived.


Verdict: Fun movie with a terrific and talented cast. ***. 

WONDERFUL TOWN

"Why did I ever leave Ohio?"  McKeever and Russell

WONDERFUL TOWN (1958 telefilm). Director: Mel Ferber. Directed for the stage by Herbert Ross.

Ruth (Rosalind Russell) and her prettier younger sister, Eileen (Jacquelyn McKeever) come from Ohio to Greenwich Village to find fame and fortune and instead find a apartment house full of characters and the explosive booms from a new subway line below them. They also get involved with a variety of men, chief among them magazine editor Robert Baker (Sydney Chaplin). Despite her many suitors Eileen finds herself falling for Bob without realizing that Ruth has feelings for the fellow as well. Then there's the fact that if they don't get good jobs soon they will have to return to Ohio in disgrace ...

"It's Love!" Rosalind Russell and Sidney Chaplin

Rosalind Russell had already played Ruth in the film My Sister Eileen when she was tapped to star in a musical version for Broadway with music by Leonard Bernstein and lyrics by Comden and Green. Since the musical's producers wanted too much money for the film rights, the studio came out with their own musical version, also called My Sister Eileen, with a totally different score by Jules Styne. Wonderful Town was never filmed, but it was shown on television, nearly intact, although at least one song ('Pass That Football") was dropped. Reprising her role, Russell is as "wonderful" as ever, and McKeever, who has a very nice if imperfect voice, also makes her mark as Eileen. Chaplin, who has a good if not great voice, plays Baker very ably and with charm.

"I Love a Quiet Girl:" Sidney Chaplin

Wonderful Town may not be one of the really great musicals, but it has more than its share of delights, including the score, which includes such standards as "Little Bit in Love" and "It's Love!" as well as the pretty "I Love a Quiet Girl," the plaintive "(Why Did I Ever Leave) Ohio," the Irish ditty "Pretty Eileen," sung by the cops to the young lady, as well as a bouncy conga, a couple of lively jazz numbers, and the snappy "Greenwich Village." The other supporting roles are well cast by enthusiastic performers. McKeever was essentially a stage actress and had only a few other TV credits. Chaplin, the son of Charlie Chaplin, amassed 37 film and TV credits, but his greatest successes were on the stage.

NOTE: There have been at least four audio recordings of this musical. There is the original mono cast recording of the show with Russell and George Gaynes. Then a stereo studio set with Russell and the cast of this TV production was released, with all of the songs included. There is a London cast version that I have not yet heard, and a studio version conducted by Simon Rattle. The stars of this version are the ubiquitous Audra McDonald as Eileen, Kim Criswell (whose voice isn't that much better than Roz Russell's) as Ruth, and no less than operatic baritone Thomas Hampson as Bob Baker. His rendition of "I Love a Quiet Girl" (sung with quite strength and not at all over-done) is this album's highlight. Comden and Green's lyrics are comparatively trite but most of Bernstein's music is memorable if not on the level of, say, West Side Story.

Verdict: Tuneful and bouncy TV adaptation of a hit Broadway musical. ***. 

LIFE IS A BANQUET: ROSALIND RUSSELL

LIFE IS A BANQUET: ROSALIND RUSSELL. Rosalind Russell with Chris Chase. Random House; 1977.

Published posthumously, Rosalind Russell's autobiography, very well-written by Chris Chase, has an affecting introduction by her widower, the producer Frederick Brisson. Russell writes of her comparatively privileged upbringing, her two sisters (one of whom was to remind her of Auntie Mame), her first stabs at acting, her long-lived marriage to Brisson, and her many famous roles, especially Mame, which she played both on Broadway and in the film adaptation. Her other notable film roles included Sister Kenny, Gypsy, Craig's Wife,  along with a few stinkers, such as What a Woman, which she declines to even mention. She does not relate that many backstage or behind-the-scenes stories, and is generally kind to her co-stars, although she does excoriate some unnamed film directors who have no idea of what they're doing and can not work with actors at all. Russell reveals that Hayley Mills was extremely unpleasant to work with when she appeared in The Trouble with Angels, as well as the fact that Russell and her husband were close, lifelong friends with Frank Sinatra, who took over and completely handled what sounds like an incredible 25th anniversary party for the couple. Russell indulges in some perfectly understandable name-dropping along the way, including people who were not in the film business. In later years, she worked hard to help people who suffered from arthritis, as she did. Russell always felt that she was not quite "of" Hollywood, that she wasn't one of those stars who was so devoted to her career and so obsessed with becoming a top-ranked star that she neglected everything else in her life, and it sounds like she was all the better for it. Russell insists that she was not dubbed at all for her singing in Gypsy, but it's very clear in the movie that she begins to sing a number until Lisa Kirk takes over; Russell never mentions her and seems to have a delusion about her true vocal contribution. Russell gives an excellent performance in the movie, however.

Verdict: Excellent film memoir is engaging and well-written, although not very "dishy." ***1/2. 

FIVE FINGER EXERCISE

FIVE FINGER EXERCISE (1962). Director: Daniel Mann. From the stage play by Peter Shaffer.

When Philip Harrington (Richard Beymer) comes home from Harvard, he discovers that his mother, Louise (Rosalind Russell), has hired a German tutor, Walter (Maximilian Schell), for her young daughter, Pamela (Annette Gorman). Louise is pretentious and fancies herself more cultured than she actually is (she shells peas as Walter is giving a piano concert), and finds her husband, Stanley (Jack Hawkins) to be gruff, plodding and unimaginative. Philip is going through his own growing pains, and resists Stanley's attempts to bond with him, even as Stanley continually berates the young man for being too "sensitive" and is angry that his wife seems ungrateful for all he has given her. Louise finds herself becoming romantically and physically drawn to Walter, and it is more than likely that the confused, troubled Philip has developed a crush on Walter as well. Trouble begins when these characters allow their assorted jealousies to get the better of them. Five Finger Exercise was based on a very successful 1958 British play by Peter Shaffer, and the story was transplanted to American shores and watered down, as was usually the case with material too frank for the Hollywood censors. Beymer [Adventures of a Young Man] gives it the old college try and has some good moments, but he's miscast, while an excellent Schell [Return from the Ashes] is more appropriate for his role. Rosalind Russell and Jack Hawkins [She Played with Fire] go together like oil and water, which is perhaps the point -- both give good performances. Philip has a good speech about how he is more than just an extension of his father, but is his own distinct person. An in-joke shows a poster of Russell in Auntie Mame when she walks into a store.

Verdict: Family Values turned upside down. ***.

AUNTIE MAME

Rosalind Russell as Auntie Mame

AUNTIE MAME (1958). Director: Morton DaCosta.

In 1928 little Patrick Dennis (Jan Handzlik) enters a whole new world when his father dies and he is turned over to his free-spirited Auntie Mame (Rosalind Russell), who is best friends with dipsomaniac actress Vera Charles (Coral Browne) and believes in unconventional teaching methods. Mame has a love of life and craves new experiences, which she shares with Patrick. But when an older Patrick (Roger Smith) gets engaged to a young lady from a narrow-minded family, will Mame be able to show her nephew the error of his ways? Auntie Mame is a delightful, very well-acted comedy with a message of accepting the unconventional that's delivered without hitting the audience over the head. Russell and Brown take the acting honors -- Russell is especially superb -- and there are also fine performances from little Handzlik, Smith, Forrest Tucker, Peggy Cass as Agnes Gooch, Connie Gilchrist as Mame's housekeeper (who sort of disappears when Gooch arrives), Joanna Barnes [The Parent Trap] as Patrick's weird fiancee, Lee Patrick as her mother, and Pippa Scott [As Young As We Are] as Pegeen, who comes to work for Mame. We also have the versatile Henry Brandon [Babes in Toyland] as Patrick's strange teacher. [Frankly, nowadays most sensible people would have a problem with the school Brandon runs.] In addition to some great dialogue and very funny scenes, the movie has a sub-text of exposing and denouncing prejudice. Based on a very successful stage play, this was turned into the musical, Mame, which was also filmed.

NOTE: Just found out that there may be another remake of this picture with the rather androgynous Tilda Swinton playing Mame [!?].

Verdict: Great and classic comedy. ****.

THE VELVET TOUCH

Sydney Greenstreet and Rosalind Russell

THE VELVET TOUCH (1948). Director: John Gage (Jack Gage).

"You've produced so many bad plays you're beginning to believe them."

Broadway actress Valerie Stanton (Rosalind Russell) wants to break away from her usual producer, Gordon Dunning (Leon Ames) and the treacle he has her appear in, and try "Hedda Gabler," but he only laughs at her. Dunning, who refuses to let her go and is carrying a torch for her as well,  threatens her, and during a struggle Valerie bops him on the head and kills him. This is followed by a long flashback during which Valerie meets new love Michael Morrell (Leo Genn of Personal Affair), who is not only unimpressed by her status but is positively condescending -- and unattractive to boot; nevertheless Valerie falls for him. The third part of the film brings in Sydney Greenstreet as the corpulent Captain Danbury, who is a fan of Val's and is investigating the murder. The front runner in suspects is not Val but Marian Webster (Claire Trevor), who has been pining for Dunning for years, hates Val, and is incredibly bitter. Will Valerie come clean about what happened, or let Marian take the rap? The Velvet Touch is no All About Eve -- made two years later -- but it is a very entertaining backstage drama with an outstanding performance by Russell and fine support from Trevor [The High and the Mighty], Ames, and Greenstreet. Irving Bacon scores as a chatty waiter at Sardi's, and Lex Barker is also in the cast as a young actor.

Verdict: Strangely compelling. ***.

THE GUILT OF JANET AMES

Rosalind Russell lost in a fantasy

THE GUILT OF JANET AMES (1947). Director: Henry Levin.

Janet Ames (Rosalind Russell) is a war widow whose husband died throwing himself on a grenade, thereby saving the lives of five men. A bitter Janet decides to find out if these five men were worthier of life than her husband, but the problem is the method the film employs to help her do so. Instead of actually meeting these men (aside from one of them) Janet encounters an alcoholic reporter named "Smitty" (Melvyn Douglas) who helps her fantasize about these men in tiresome dream sequences, supposedly inspired by a character in Peter Ibbetson. [One of these men is comic Sid Caesar of Curse of the Black Widow playing, well, a comic.] Smitty has his own dark secret, relating to Janet's husband, and Janet also has to face some harsh truths about her marriage. The premise is excellent, and this is -- or could have been -- strong, adult material, but the screenplay and approach are silly and pull the viewer out of the story despite some interesting developments. Russell and Douglas both give excellent performances, however. Arthur Space [Target Earth], Hugh Beaumont [Murder is My Business], and Harry von Zell are also in the cast.

Verdict: Perhaps well-intentioned, but it just doesn't work. **.

CRAIG'S WIFE

John Boles and Rosalind Russell

CRAIG'S WIFE (1936). Director: Dorothy Arzner.

"If a wife is the right kind of woman, her destiny should be in her own hands, not her husband's."

In the second film version of George Kelly's Pulitzer prize-winning play (after the silent), Rosalind Russell stars as Harriet Craig, whose home and its furnishings are the most important things in her life, much more important than people. Harriet likes things just so, and isn't above running other people's lives when she feels the need to. When a friend of Walter, her husband's (John Boles), murders his wife and commits suicide, Harriet fears their involvement may cause an unwanted wrinkle in their pristine universe. In the meantime, Walter's beloved Aunt Ellen (Alma Kruger of Saboteur) objects to the way her niece-by-marriage keeps everyone out of her home, and is slowly but surely distancing Walter from all of his friends, and has it out with her. "It isn't an opinion I have of you, Harriet," she tells the younger woman. "It's you I have." Harriet's sister is sick, so she has her own niece, Ethel (Dorothy Wilson), stay with her and tries to run her life as well. Craig's Wife is pretty faithful to the play [unlike the remake with Joan Crawford] but the problem is that Kelly's play is rather dated, and by no means can be seen as having a truly feminist perspective despite some of Harriet's cold if sensible attitudes. The performances are all very good, including Billie Burke as the widowed neighbor, Mrs. Frasier, and Jane Darwell as the housekeeper, Mrs. Harold. Arzner also directed Merrily We Go to Hell.

Verdict: Intriguing at times despite its age, and well-acted by all. ***.

THE GIRL RUSH

"

The forgettable "Hillbilly Heart"

THE GIRL RUSH (1955). Director: Robert Pirosh.

Kim Halliday (Rosalind Russell) works at the Providence Historical Society wherein she learns that she co-owns a Las Vegas hotel with an old friend of her father's, Ferguson (James Gleason). Unfortunately, she mistakes the glamorous Flamingo casino, owned by Victor Monte (Fernando Lamas), for the dilapidated, closed place next door that she actually owns. Then she learns that Ferguson gambled the place away to Monte, who will claim it unless they come up with the money Ferguson owes him. A possible savior comes along in the form of hotel man Elliott Atterbury (Eddie Albert), whose father is looking for a property in Vegas. Kim balances both men romantically while her Aunt Clara (Marion Lorne) tries to jitterbug or something with Ferguson. Well ... The Girl Rush is one of those silly old musicals with mostly lousy music and a lead actress whose singing voice sounds like an out-of-tune foghorn; her dancing is slightly better but she can't compare to the chorus boys, who include Don Crichton. Albert and Lamas can sing in tune, however, and both are in fine fettle, especially the latter, whose amiable personality helps the movie no end. When she's not butchering a song, Russell is swell, but hardly anyone could save this third-rate material, which goes for the songs by Martin and Blane, although "Out of Doors" and "Alone" at least have respectable melodies. The film's nadir is the terrible production number "Hillbilly Heart," which even the chorus boys can't save. Gloria DeHaven and Robert Fortier are perky and talented as a dancing brother and sister act. Marion Lorne's "Aunt Clara" is exactly like the Aunt Clara she played years later on Bewitched [without the magic] so one might imagine that her performance in this movie won her that role. Pirosh also directed Valley of the Kings.

Verdict: Makes So This is Paris seem like West Side Story. **.

WHAT A WOMAN

WHAT A WOMAN (1943). Director: Irving Cummings.

"The merriest man-hunt in kisstory" -- advertising tag line.

Carol Ainsley (Rosalind Russell) is handling the film rights for a novel by one "Anthony Street" and for completely inexplicable reasons thinks that the author -- a college professor named Michael Cobb (Willard Parker) could play the lead in the movie -- without even setting eyes on him! Fortunately he turns out to be a good-looking guy who has no acting experience or ability whatsoever. In the meantime a magazine writer named Henry Pepper (Brian Aherne) keeps trying to do an interview with Carol, and there's the usual dated stuff about successful career women being "frigid" and so on [obviously that particular term is not used]. The leads are okay but this is a predictable and formulaic comedy that has hardly any laughs. Ann Savage, Grady Sutton and Ann Shoemaker all have small roles, and Gertrude Hoffmann plays the maid, Hattie.

Verdict: What a movie -- not! **.

SHE WOULDN'T SAY YES

SHE WOULDN'T SAY YES (1945). Director: Alexander Hall.

Dr. Susan Lane (Rosalind Russell) is a psychiatrist who has no time for love or marriage. Her father, the other Dr. Lane (Charles Winninger) has his own reasons for wanting her to marry. Michael Kent (Lee Bowman), a cartoonist, becomes one of Susan's patients, but he's more interested in romancing her. And Allura (Adele Jergens), whose lovers all die, is more interested in romancing Michael. Who cares? This presents an outrageous situation in which a man somehow marries a woman without her even knowing she got married! Percy Kilbride, Sara Haden, and Mary Treen all try to liven things up, but this is pretty much a dated dog. Carl "Alfafa" Switzer is a delivery boy. Mantan Moreland is supposed to be in this, too, but I didn't spot him. The lead performances are more than adequate. At one point Haden thinks that Bowman and Winninger are going to marry each other, with the expected reaction. [Did I say this was dated?]

Verdict: Rosalind doesn't need a man but gets one anyway. **.

MAN-PROOF

MAN-PROOF (1938). Director: Richard Thorpe.

Mimi (Myrna Loy, pictured) is heartbroken when Alan Wythe (Walter Pidgeon), the man she loves, marries Elizabeth (Rosalind Russell) instead, and she swears that she'll never stop wanting him or hoping to land him, even though her wise mother Meg (Nana Bryant) tells her to spend her energies elsewhere, as does her mother's friend -- and Mimi's "dutch uncle" -- Jimmy (Franchot Tone). Mimi does go to work for a newspaper as a commercial artist, and eventually tells Elizabeth that she is over Alan and the two of them can just be friends. Unfortunately, things are not as easy as all that. A familiar, but nonetheless provocative, situation isn't developed with any particular skill, even though some of the dialogue is snappy and the performances good. The whole result may hold your attention but it's ultimately just blah. And very predictable.

Verdict: Not quite a waste of 75 minutes but almost. **.

THE CITADEL

THE CITADEL. (1938) Director: King Vidor.

A doctor tries to do the noble, idealistic thing and help his patients -- poor coal miners who have developed tuberculosis from dust in the mines, among others -- but when his efforts are angrily rejected (to put it mildly) he eventually settles for ministering to wealthy, neurotic hypochondriacs until a tragedy sets him back on course. A glossy, professional, well-acted, workmanlike effort that gets across the basic ideas of the original novel by A.J. Cronin, but to 21st century eyes presents a somewhat artificial elucidation of its theme. It ends on a rather abrupt note after an excellent closing speech by Donat. King Vidor's direction is solid, Donat is strong, Russell, fortunately, more subdued than usual -- it's all just a little pat and superficial. Still, there are some very well-handled scenes, such as when Donat saves a baby's life, and breezily and dismissively chit chats with a kindly restaurant owner who is trying desperately to interest him in the illness of her beloved daughter.

Verdict: Not great but not without interest. **1/2.

NIGHT MUST FALL (1932)

NIGHT MUST FALL (1937). Director: Richard Thorpe.

This first film version of Emlym Williams' play certainly holds the attention and has a very interesting story, but it requires the genius of a Hitchcock to make it really come alive and the pedestrian director Richard Thorpe was never on that level. Robert Montgomery is generally excellent as Danny, who enters the household of the prickly, unlikable old lady (Dame May Whitty) when he becomes romantically entangled with one of her housemaids. Danny is intelligent enough to know exactly how to play the woman, but he can't quite fool the poor relation (Rosalind Russell) who also lives in the house and works for the old woman. Unfortunately, Russell isn't entirely immune to Danny's charm, and slowly begins to fall for him even as she becomes more convinced that he's responsible for a gruesome murder in the neighborhood. Russell isn't really up to the task of exploring all the psychological ramifications of her character, but Whitty is simply superb as the old woman. While most of the film isn't remotely scary and has little atmosphere, the scene when she's left alone in the house is quite eerie and well done, and her subsequent encounter with Montgomery is extremely effective and well-acted. What a shame that this assignment wasn't given to the Master of Suspense – Hitch would have turned this into a nail-biting and psychologically penetrating classic.

Verdict: No classic, but has its moments. **1/2.