THE NEW INTERNS

Dean Jones and Stefanie Powers

THE NEW INTERNS (1964).  Director: John Rich. Colorized. 

This sequel to The Interns has Alec (Michael Callan of Mysterious Island) returning to New North Hospital to complete his internship. Phil (George Furth) tries to hide his wife, Madeline (Ellie Wood Walker), in the dorm, which is presided over by the no-nonsense Mrs. Hitchcock (Lee Patrick). The marriage of Dr. Worship (Dean Jones) hits a snag when his wife, Gloria (Stefanie Powers), learns that he can't have children. Nurse Laura (Barbara Eden) fears that Alec will never be able to settle down, and Dr. Parelli (George Segal) gets involved with a social worker, Nancy (Inger Stevens), whose life turns into a tragedy after she is gang-raped. Meanwhile Dr. Riccio (Telly Savalas) becomes the new administrator and wants to batten down the fiscal hatches. 

George Segal and Inger Stevens

The New Interns is a fast-paced, slick, well-acted comedy-drama that puts the emphasis much more on romance than it does on medicine, although babies are born, worried people die, and there are the very occasional discussions on medical business and hospital policies. George Segal is "introduced" in this film although he had already appeared in The Young Doctors and other films and TV shows. Others in the cast include Greg Morris (Mission: Impossible), Alan Reed Jr., Dawn Wells, Michael Fox, and James Mathers, the brother of Jerry ("the Beaver") Mathers, as young Freddie. Michael Vandever is quite vivid as the miserable rapist, "Beep." The sub-plot with Jones and Powers is resolved in a nicely sentimental and touching fashion. 

Verdict: Enjoyable "doctor" picture. ***.  

EXPERIMENT IN TERROR

Ross Martin

EXPERIMENT IN TERROR (1962). Produced and directed by Blake Edwards.

Kelly Sherwood (Lee Remick) is a bank teller who lives with her teenage sister, Toby (Stefanie Powers of Die, Die, My Darling). One night a stranger named Red Lynch (Ross Martin) sneaks up behind her in her garage and tells her she has to steal $100,000 from her bank or there will be dire consequences for her and her sister. Kelly manages to contact the FBI, and Agent Ripley (Glenn Ford) is assigned to the case, trying both to find and identify Lynch and to protect Kelly and her sister from harm. Eventually it is decided to let Kelly go along with the plot in an effort to trap Lynch, with the climax occurring in a crowded stadium. Experiment in Terror begins well and has a couple of decent sequences, but Blake Edwards is no suspense specialist, and the film becomes meandering, uninvolving, and rather dull. Remick gives a controlled and competent performance but doesn't offer one iota more for her portrayal; Powers is much better as her sister. Ford plays the "G-Man" with a quiet authority that never quite makes him seem like the best man for the job. Anita Loo and Patricia Huston have flavorful supporting roles as two women who were also in Lynch's life, to the former's advantage and the latter's regret. Ross Martin gives the most notable performance as the criminal "mastermind" who seems to have some sympathy for the little son of a woman he knows and whose hospital bills he is paying, but his character is not very well developed; three years later he gained TV fame on The Wild, Wild West and he was also outstanding in the classic TZ episode Death Ship. Henry Mancini's score is at times quite effective, and Philip Lathrop's cinematography of San Francisco and environs is also good.

Verdict: Paging Alfred Hitchcock. **. 

SHE WAS MARKED FOR MURDER

Stefanie Powers and Hunt Block 

SHE WAS MARKED FOR MURDER (1988 telefilm). Directors: Charles and Chris Thomson.

Elena Forrester (Stefanie Powers of Crescendo) is the widowed publisher of a women's lifestyle magazine. Her assistant, Claire (Debrah Farentino), suggests it's time for Elena to start dating again, and she hooks up with a younger man named  Eric Chandler (Hunt Block). The two surprise everyone by getting hitched after just a short period. But before you can say Suspicion, Elena starts discovering alarming things about the husband she barely knows. The generic title should give you a clue as to what's going on. Powers, Block and Farentino all give good performances and there is also nice work from Lloyd Bridges [Deadly Dream] as an old friend of Elena's who is carrying a torch for her. Polly Bergen [Death Cruise] adds some spice as a TV talk show host who hopes to get Elena on camera. The movie is smooth and entertaining just as long as you don't expect any real surprises.

Verdict: Older, wealthy woman and younger man with no visible means of support is always a recipe for disaster. **1/2.

AT MOTHER'S REQUEST

Stefanie Powers

AT MOTHER'S REQUEST (1987 two-part telefilm). Director: Michael Tuchner.

Frances Shreuder (Stefanie Powers) basically tells her son Marc (Doug McKeon) not to bother coming home unless he goes ahead and murders his grandfather (E. G. Marshall). According to Marc's story, he didn't really want to do it, but it's debatable if that's true or not. Frances' mother Berenice (Frances Sternhagen) is appalled at how Marc accuses his mother during her trial, making one wonder if she really doesn't know her daughter was involved or just doesn't care. This is the second telefilm to deal with the real-life murder case that takes place in Utah and New York, and it is inferior to Nutcracker: Money, Murder and Madness. Powers [McLintock!] isn't bad in the role, but for the most part she fails to deliver the showier, dramatic and much more visceral portrayal of Lee Remick. McKeon is also not bad, but somehow a cut below Tate Donovan in the competing film, and Sternhagen [The Mist], while generally a fine actress, is no match for Elizabeth Wilson in the same role. Corey Parker is pretty good as Marc's brother, Larry, who goes off the deep end. With only three hours to work with instead of four and a half, At Mother's Request isn't quite as detailed as Nutcracker, with us not learning much about some characters, such as Frances' father and her two sisters, but the script is still mediocre. This version is not as slick and compelling. The people in this version seem even worse, if that's possible, than the ones in Nutcracker.

Verdict: Major Family Dysfunction -- but stick with Nutcracker and Remick. **1/2.

MCLINTOCK!

Stefanie Powers, Patrick Wayne, and John Wayne

MCLINTOCK! (1963). Director: Andrew V. McLaglen.

G. W. McLintock (John Wayne) is a wealthy cattle baron in a homestead awaiting statehood. His snooty estranged wife, Katherine (Maureen O'Hara), comes back into his life when their daughter, Becky (Stefanie Powers), comes home from college and Katherine is horrified to think that she may live with her hard-drinking father and his cronies. Katherine also isn't too crazy about the fact that G.W. has hired a pretty new live-in cook, Louise (Yvonne De Carlo), the mother of handsome new employee Dev (Patrick Wayne), who likes Becky but finds her a little spoiled like her mother. Meanwhile Becky dallies with nerdy Matt (Jerry Van Dyke) while Dev simmers. Will the situation with the battling McLintocks finally boil over or will true love win out in the end? McLintock! is way too long, but it has some funny sequences -- a mud slide and a drunken bit with a staircase -- although the gags are repeated too much and nothing is exactly on the level of the stateroom scene in A Night at the Opera. Still McLintock!  is basically amiable and entertaining, even if it has a very sixties sensibility and a subtext of sissies threatening to ruin the world [as opposed to big, tough John Wayne]. Wayne, already starting his trend toward ossification, is okay, Powers is quite good, O'Hara is very strong as the insufferable but uncompromising Katherine and gives one of her more memorable performances, De Carlo is fun, and Patrick Wayne proves no great actor but is acceptable. An interesting aspect of the picture -- when you consider that Wayne starred in several cliffhanger serials early in his career -- is that two of Wayne's enemies are played by other serial stars, Gordon Jones (The Green Hornet) and Robert Lowery (Batman and Robin). A sub-plot has to do with a contingent of Comanche Indians who are to be taken to a fort for what they see as charity when they only want the freedom to live and die as men. Although the movie seems to be pro-Indian, the social statements don't really fit comfortably into the piece as a whole. Mari Blanchard has a small role as a saloon  gal/hooker who comes afoul of Katherine.

Verdict: Not exactly a classic but one of Wayne's more palatable latter-day movies. **1/2.

THE ASTRAL FACTOR / INVISIBLE STRANGLER

THE ASTRAL FACTOR (aka Invisible Strangler/1978). Director: John Florea.

Roger Sands (Frank Ashmore) is a psychotic who murdered his unloving, self-absorbed mother and while in prison has developed the ability to enter the astral plane, become invisible, and escape. Once out, he runs about strangling women who remind him of his mother and/or who testified against him. Lt. Charles Barrett (Robert Foxworth of Prophecy) is the chief detective on the case, assisted by Holt (Mark Slade); both do a fairly miserable job of protecting the victims, but the killer is highly unusual. The Astral Factor isn't a very good movie, its chief interest being its bizarre C-list cast: Stefanie Powers is Barrett's nutty girlfriend; Elke Sommer is one of the potential victims; Sue Lyon is Sands' mother; Leslie Parrish [Missile to the Moon] and Marianna Hill are two other victims; and Cesare Danova and  Percy Rodrigues also have small roles.  Elke Sommer [Deadlier Than the Male] actually gives a pretty good account of herself as a nervous lady all alone in a big mansion waiting for Roger to show while the cops stand by. The film meanders terribly but there is some suspense at the end. The scientific/paranormal aspects of the script are pretty much muddled.

Verdict: The poster is much better than the movie. **.

LOVE HAS MANY FACES

LOVE HAS MANY FACES (1965). Director: Alexander Singer.

Wealthy Kit Jordan (Lana Turner) is living in Acapulco and married to ex-beach bum, Pete (Cliff Robertson of Obsession). When an old flame of hers, another beach bum named Billy, washes up dead on the shore, it causes tension in her marriage, a situation that isn't helped by the arrival of Carol (Stefanie Powers of Die, Die My Darling), who once cared for Billy, and who attracts the attentions of Pete. Meanwhile half-naked hustler Hank (Hugh O'Brian) and his buddy, Chuck (Ron Husmann), zero in on two middle-aged tourists, Margot (Ruth Roman) and Irene (Virginia Grey). Although the movie is in general well-acted [by Hollywood standards] -- with an especially noteworthy and reptilian O'Brian -- the actors still aren't brilliant enough to make these stereotypes come to life. Marguerite Roberts' thrice-removed screenplay moves the characters around in allegedly interesting tableaux but nothing of consequence ever happens, and the dialogue is as empty as the people. The sub-plot with O'Brian and the ladies really goes nowhere.

Verdict: Go to the beach instead -- or Acapulco! *1/2.

DIE, DIE, MY DARLING

DIE, DIE MY DARLING (aka Fanatic/1965). Director: Silvio Narizzano.

Patricia Carroll (Stefanie Powers, the Girl from Uncle) is in England with her new fiance, Alan (Maurice Kaufmann) when she decides to pay a courtesy call on the mother, Mrs. Trefoile (Tallulah Bankhead), of her former fiance, Steven, who died in an accident. Unfortunately, the initially welcoming Mrs. Trefoile isn't right in the head, and is such a religious fanatic that she considers Pat to be Steven's wife. When she discovers that Pat is planning to marry someone else, Mrs. Trefoile keeps Pat a prisoner with the aid of a married couple, Harry and Anna (Peter Vaughn, Yootha Joyce), who work for her. This is Bankhead's entry in the "aging actress" horror film sweepstakes and she gives it her all, although it is unfortunate that she sounds like Daffy Duck most of the time. Powers is a bit affected, but she's more than competent as the harried young woman, and Vaughn and Joyce are as professional as ever. Donald Sutherland plays another servant who is mentally deficient, the kinds of roles he specialized in before he was somehow reinvented as an unlikely romantic lead. Die, Die, My Darling holds the attention, and has some very effective moments, but in general the direction is uninspired and the whole production has a kind of cheapjack feel to it. It's ironic that Bankhead, who was certainly a free spirit in real life, plays a woman who is repulsed by sensuality. A Hammer film released by Columbia. Screenplay by Richard Matheson from the novel "Nightmare" by Anne Blaisdell.

Verdict: Tallulah at her naughtiest. ***.