DOCTOR ZHIVAGO

DOCTOR ZHIVAGO (1965). Director: David Lean.

"What happens to a girl like that when a man like you has finished with her?"

It is the 61st anniversary of the release of this epic film by David Lean, based on the novel by Boris Pasternak.

At the beginning we learn that the two main protagonists, Yuri Zhivago (Omar Sharif), a doctor and poet, and Lara (Julie Christie), whose boyfriend is a revolutionary, have had a child. As the film progresses the two are married to other people, so you wonder for quite a while how the couple are ultimately going to get together. Their love story is set upon the background of WW 1 and the Russian revolution and all the chaos that ensued during and afterward.

As an epic, the film is quite effective with some memorable scenes: the dragoons charging on horseback and attacking the marching band of revolutionaries; an officer lecturing to tired, disgusted soldiers who falls into a barrel of water and then is shot dead in an instant; most of all the long, detailed journey that Yuri takes with his family to the country by railroad, dozens crowded into each car that buckle and sway as if any moment they'll fall to pieces.

Omar Sharif and Julie Christie

As a romantic drama, be forewarned that David Lean is no William Wyler, but perhaps the main problem is Maurice Jarre's muscial score. Jarre layers the soundtrack with attractive music (although Lara's theme wears out its welcome pretty quickly) but it doesn't embellish and compliment the emotions of the characters or what's going on on-screen like a score by, say, Max Steiner. Hence, despite all the grim and indeed heart-breaking stuff going on, you may never be especially moved by the proceedings.

The movie is over 3 hours long -- the DVD released on the 45th anniversary has the complete film, which is shown in letterbox format, thank goodness -- but it is never boring because Lean, whatever his deficiencies, keeps things moving, and the plot and characters are always interesting. Of course, like other long films, undoubtedly a lot of important stuff got left on the cutting room floor -- for instance, the scene wherein Yuri's wife and mistress finally meet is only referred to in dialogue [!] -- so the film at times seems a trifle disjointed. It helps to know Russian history to understand fully what's happening, and you may find yourself checking the novel out of the library to fill in some missing details.

Sharif in a contemplative moment

Omar Sharif may never have been considered a great actor, but he's effective enough in the title role, and has a particularly good scene when he looks in the mirror after a harrowing journey and realizes to his horror how much he's aged. Julie Christie is also good -- although neither performer compares to the greats of the golden age. The best acting comes from Ralph Richardson as Alexander, Yuri's father surrogate (and father-in-law); Rod Steiger as the ferocious Victor Komarovsky; and Tom Courtenay as Lara's husband. There is also fine work from Geraldine Chaplin as Yuri's wife; Rita Tushingham as his probable daughter; Alex Guinness as his half-brother; and Klaus Kinski as a mad man on the train. Omar Sharif's young son Tarek plays Yuri as a boy and does it well-- what a great face! Petya, Alexander's servant, is played by Jack MacGowran, who appeared in everything from The Giant Behemoth to The Exorcist. All in all, whatever its flaws, Doctor Zhivago is a very interesting picture. The hard work that went into the film is obvious.

Verdict: Worthwhile historical drama with frustrated romance at its heart. ***

CAMILLE

Greta Garbo and Robert Taylor

CAMILLE (1936). Director: George Cukor. Colorized. 

"I didn't know rich men ever looked like that." 

"Cows and chickens make better friends than I have ever met in Paris."

"Love isn't always selfish, nor goodness dull, nor men faithless."

Marguerite Gautier (Greta Garbo of Mata Hari), a former farm girl, is now an infamous courtesan living in Paris in 1847. One night at the theater she meets two men who will become quite important to her: the very, very rich Baron de Varville (Henry Daniell of The Four Skulls of Jonathan Drake); and the very, very handsome Armand Duval (Robert Taylor of Valley of the Kings). 

Henry Daniell with Garbo

Marguerite allows herself to be taken off by the baron, who sets her up in fancy quarters and takes care of her while she spends and spends and spends. Despite her reputation, Armand is convinced that he is in love with her, and she dares to hope that they might actually have a chance. They retreat to the country, where -- wouldn't you know? -- the baron's utterly magnificent castle (too bad we never get to see the inside of it as Marguerite does) lies just over the hill. However, despite this reminder of her past, the couple are very happy until Armand's father (Lionel Barrymore) visits and tells Marguerite in no uncertain terms how she is essentially ruining Armand's life and chances for real success. She makes a fateful decision ... 

Armand and the Lady of the Camellias 

Camille is a romantic masterwork that excels in just about every element. The performances are wonderful, with Garbo -- despite being a bit mush-mouthed at times -- creating an indelible and poignant portrait of a woman who may be mischievous and clever but certainly not evil. Taylor possibly gives the best performance of his career, up there at Garbo's level throughout the picture. Daniell is as superb and icily cutting as ever. Jessie Ralph as old Nanine, who loves Marguerite like a mother; Laura Hope Crews as the scatterbrained yet shrewd Prudence; Lenore Ulric as the rather catty Olympe; and Rex O'Malley as the boyish yet kindly Gaston, are all on the money. I might have wished for heavier scoring by Herbert Stothart, but the music is pleasant, and the film is very well-directed by George Cukor, famous for his work with actors, and well-photographed by Karl Freund and William Daniels. 

Lovers in the mirror

Camille had been filmed several times before and after, but I feel confident that this is the best version. It is, of course, based on Alexandre Dumas fils famous novel "The Lady of the Camellias," written when he was only 23 and after an affair with a courtesan he based the character on, who died at that same age. Garbo was 31 and Taylor 25; the difference in their ages is obvious but it makes no difference, as Armand clearly doesn't care about his great love's age or occupation. 

Verdict: Near-perfect, and with a genuinely moving finale. ****. 

THESE THREE

THESE THREE (1936). Director: William Wyler.

College friends Karen Wright (Merle Oberon) and Martha Dobie (Miriam Hopkins) decide to open a girl's school together. Into their lives comes a handsome doctor, Joe (Joel McCrea), with whom both fall in love. Joe, however, only has eyes for Karen. (A memorable scene has Martha watching him as he sleeps, with the passage of time indicating that she's done this for hours.) This not being a soap opera, Joe and Martha do not get involved and Martha never makes a play for him. Unfortunately, a nasty little girl named Mary (Bonita Granville) implies that the good doctor spent the night in Martha's room, and forces another child (Marcia May Jones) to confirm it. This leads to disastrous complications.

These Three was based on a play by Lillian Hellman called The Children's Hour. It, too, was about the destructiveness of gossip, but the lie was quite different -- that the two women were lovers (It turned out that Martha was a self-hating lesbian). Naturally Hollywood even in the 30's wouldn't tackle such a subject, so it was toned down and changed to alleged pre-marital sex and infidelity. Years later Wyler filmed the play again (as The Children's Hour) with the original story intact. In that version Miriam Hopkins played Martha's Aunt Lily (played by Catherine Doucet in These Three).

Miriam Hopkins and Merle Oberon

Even in its adulterated version These Three is a powerful story, and the film is well directed and very well played by the entire cast. In addition to those already mentioned, Alma Kruger makes an impression as Mary's grandmother, who starts the word-of-mouth campaign against the two women and their school. Margaret Hamilton plays the woman's stern maid, who can see through Mary, and in perhaps the movie's most satisfying scene, gives her a good slap.

Verdict: Superior, thoughtful drama. ***1/2.

BLITHE SPIRIT

Margaret Rutherford as Madame Arcati

BLITHE SPIRIT (1945). Director: David Lean. Based on the play by Noel Coward, who also produced the film.

To do research for his next book, writer Charles Condomine (Rex Harrison) and his wife Ruth (Constance Cummings) invite well-known psychic Madame Arcati (Margaret Rutherford) to dinner and a seance. Everyone at the dinner party thinks the madame is slightly nuts, and definitely a phony, but to Charles and Ruth's surprise she inadvertently manages to call back the spirit of Elvira (Kay Hammond) -- Charles' first wife, leading to expected -- and a few unexpected -- complications! 

Rex Harrison

One critic called the source material for the movie, the play of the same title by Noel Coward, "a wearying  exhibition of bad taste" and indeed it is the sort of dark comedy/farce in which tragic situations are milked for laughs and characters sort of suppress natural human emotions for the sake of the story. Many will feel there's a definite streak of (probably benign and possibly unintended) misogyny running through the movie as well. Harrison and Cummings are fine as the husband and his second wife, but Kay Hammond -- although her performance isn't bad -- has so affected and unnatural a voice, with its jutting lower lip and distasteful inflections, that she becomes positively repulsive as Elvira. Margaret Rutherford, on the other hand, is as delightful as ever as the medium and steals the movie from everyone else. Blithe Spirit is not exactly a laugh-riot (although any pathos the situations might have had goes unexplored) but it is amusing and entertaining. A bonus on the remastered DVD of the film is an interview with Coward scholar Barry Day, who provides much interesting information  on the background both of the play and movie, and also explores the many differences between the two -- and Coward's reaction to the film as well; Day is marvelous. The play was also turned into the cute if mediocre musical "High Spirits." 

Verdict: Certainly worth a look. ***.

DUKE BLUEBEARD'S CASTLE

Robert Lloyd and Elizabeth Laurence 

DUKE BLUEBEARD'S CASTLE (1988). Director: Leslie Megahey.

The Bluebeard theme has been used in dozens of books, plays, and movies [Bluebeard's Ten Honeymoons, for instance] but it also was the subject of an opera by Bela Bartok, the 20th century masterpiece Duke Bluebeard's Castle. In this film adaptation, Judith (Elizabeth Laurence) comes to Bluebeard's (Robert Lloyd) castle and wants to learn all of his and the castle's secrets. Although Bluebeard warns her not to, Judith goes poking about (like a heroine in a Roger Corman Poe film) opening doors, and discovers things she's rather not have seen until the ultimate secret, and her final fate, are revealed. This film not only offers wonderful music and singing, but is quite visually impressive: white tiles dripping blood; a pool and glittering jewels, the floor of the castle opening to dramatically reveal Bluebeard's whole kingdom beneath Judith's feet; and the bodies of Bluebeard's former wives on display like silent statues in a hidden chamber. This is a very striking, well-sung, and effective film version of Bartok's opera.

Verdict: Very arresting. ***.

THE LATE EDWINA BLACK

Geraldine Fitzgerald and David Farrar

THE LATE EDWINA BLACK aka The Obsessed/1952. Director: Maurice Elvey.

"There's not much of a world for penniless young girls like you. Or lonely old women like me."

Gregory Black (David Farrar) lives beyond his means in a huge home because his wife, Edwina, is wealthy. Gregory's secretary is Elizabeth Grahame (Geraldine Fitzgerald), and the two have fallen in love. When the never-seen Edwina, who is a bedridden invalid, is found dead, Inspector Martin (Roland Culver) tells them that they found arsenic in the dead woman's system. It isn't long before both Gregory and Elizabeth are freaking out, each accusing the other of murder while Edwina's spirit seems to hover over the household. The Late Edwina Black is well-acted, especially by Fitzgerald [So Evil My Love] and Jean Cadell as the housekeeper, Ellen, and the film has genuine suspense. The problem with the picture is that the two main characters are completely unsympathetic, never registering the slightest compassion or understanding for Edwina. We're led to believe that she may be a harridan, but the events that could have led to her becoming that way are glossed over. This is based on a play that was filmed or made for television more than once. Well-photographed by Stephen Dade. Elvey also directed The Tunnel. David Farrar played Sexton Blake in The Echo Murders.

Verdict: Not bad mystery film with a good plot but unlikable characters. **1/2.

THE FAMILY WAY

Wife and son comfort Ezra

THE FAMILY WAY (1966). Producer/Directors: John and Roy Boulting. Note: This review reveals plot elements.

"I can cry if I want, can't I? It's life, lad, life. It might make you laugh at your age, but one day it'll make you bloody cry." -- Ezra Fitton

Arthur Fitton (Hywel Bennett) has married his sweetheart Jenny (Hayley Mills), but the two are ripped off by a travel agency and can't afford a honeymoon. Worse, Arthur and Jenny must stay in his father's house and the lack of privacy and the resulting tension leads to the marriage not being consummated. When father Ezra (John Mills, playing his daughter's father-in-law) says that he thinks there's something "queer" about it, his wife, Lucy (Marjorie Rhodes), reminds him that Ezra actually took his beloved buddy Billy with them on their honeymoon! Situations aren't always what they seem -- or are they? The Family Way is a charming, beautifully-acted movie that has sparked a debate about its true sub-text, not only because of the honeymoon business but because of the ending, when Ezra breaks down in front of his wife and his other son. People either believe that Ezra was in love with Billy, who vanished, or that Billy is actually Arthur's father, but the solution may be even more complex than that.

The Family Way was based on a 1964 play entitled "All in Good Time" by Bill Naughton, who also wrote the screenplay for the film adaptation. I went back to the original source for some clues to the true meaning of the movie and while probably only the late Irish playwright knows for sure, one can make some surmises. Some reviewers have argued that men can form very close friendships without being gay (in truth, there are heterosexual men who much more enjoy the company of other heterosexual men than their own wives), but the whole business with the honeymoon, plus the rhapsodic expression on Ezra's face whenever he talks about the vanished Billy, says volumes. As for Arthur being Billy's son, there are certain unconfirmed hints at this, although this aspect doesn't really come across in the actors' performances. Then there's the question, would both Ezra and Lucy have been unaware of the boy's parentage for all these years when, let's face it, children tend to look like their parents long before they hit twenty-five? Still, "All in Good Time" is called "a comedy," and that alone can make the absurd seem -- no pun intended -- conceivable (including the honeymoon business). Still there's no getting around a certain romantic despair in Ezra at the end and Naughton writes that "he is a more complex person than he would have anyone know."

So what's the answer? There's a good chance it's both. Imagine how Ezra would feel if the boy he raised was actually the son of the man he'd been in love with (although it's unlikely this relationship was ever consummated). Hence the tears at the end. Some have argued that the whole Ezra-Billy business was dragged in just to make a point -- that just because Arthur is impotent with his wife doesn't make him -- nor Ezra or Billy -- gay (and the film doesn't suggest Arthur is), which Lucy basically says at one point -- but it's dwelt upon quite a bit. One bit of lovely dialogue has Lucy saying "It's a father's duty to help an' protect a lad like that -- not turn on him like the mob would, an' tear his self-respect to ribbons, all over somethin' he had no say in." The play has dialogue in which Lucy explains that having a child took Ezra's mind off of Billy, which could be taken as a man (unsuccessfully) shedding his homosexual past and making the best of a married, heterosexual future. In any case, John Mills [The Wrong Box] gives one of the best performances of his career, Marjorie Rhodes [Hands of the Ripper] is sheer perfection, Bennett and Hayley Mills are wonderful, and there's nice work from Murray Head, who later appeared in Sunday, Bloody, Sunday, as Arthur's younger brother, and Barry Foster [Frenzy] as a co-worker who rides Arthur a bit too much.

The Family Way is more of a comedy-drama than an out and out comedy, and that's probably due to the strong performances, as much as the not-always comical situations. Hywell Benett and Hayley Mills also appeared together in Boulting's Twisted Nerve. NOTE: Naughton's play was filmed in 2012 under the original title. Like Family Way, it is an English film but with an East Indian cast, and appears to be an out and out comedy or farce.

Verdict: The vagaries and heartbreak of love indeed. ***.

I AM A CAMERA

Julie Harris, Ron Randell, and Laurence Harvey

I AM A CAMERA (1955). Director: Henry Cornelius.

In 1930's Berlin, writer Christopher Isherwood (Laurence Harvey) tries to make a name for himself while befriending a would-be actress and singer named Sally Bowles (Julie Harris) who has temporarily run out of luck. The two form a fast, platonic friendship and also get to know Natalia (Shelley Winters) and her secretly Jewish boyfriend, Fritz (Anton Diffring). Chris and Sally also become friends with a wealthy man named Clive (Ron Randell) who spends money like it's going out of style and plans on taking both of them on a trip to Hawaii. This is based on a book by the real-life Christopher Isherwood, and also on the play by John Van Druten. Isherwood's homosexuality isn't underscored but despite one scene when he comes on to Sally (who's wise to him and won't have any of it), it's pretty clear what's going on to the viewer (Clive's possible bisexuality is similarly suppressed but hinted at). Harvey's performance is quite good, as is Harris'; the only problem is that her character is so breathless and affected -- some might call her an overbearing "fag hag" -- that after awhile she becomes extremely annoying. Randell [Most Dangerous Man Alive], who certainly had an interesting career even if he never quite achieved stardom, is fine as Clive, and Winters [The Big Knife] and Diffring [The Man Who Could Cheat Death ] are also notable. The title refers to Isherwood's ability to record what he sees and hears like a camera and put it on paper, and the film has a modern-day framework with Isherwood discovering that Sally, whom he has not seen in years, has written a book about her life. The movie, unfortunately, isn't very entertaining and hasn't as much real substance as one might have hoped for. The business with the encroaching Nazis is kept to a minimum and there's only one dramatic scene that deals with it. A ridiculous party scene is meant to be funny but is only a bore. In truth, the musical version, Cabaret, isn't that much better.

Verdict: A little of Sally Bowles goes a long way. I don't think I could have spent five minutes with her. **.

THE LOCAL STIGMATIC

Al Pacino and Paul Guilfoyle

THE LOCAL STIGMATIC  (1990). Director: David F. Wheeler.

Cockney roommates Graham (Al Pacino) and Ray (Paul Guilfoyle) are two borderline sociopaths obsessed with dog races and celebrities. One afternoon the two men go to a pub and encounter actor David (Joseph Maher), whom they are jealous of and whom they brutalize. There isn't much else to The Local Stigmatic, which is based on a short play by Heathcote Williams in which Al Pacino appeared in the sixties. While the characters are unmemorable and one-dimensional, the acting can't be faulted, with both gentlemen giving very good performances; Pacino is especially good as a coolly sinister borderline sociopath, even if his accent was criticized. The Local Sigmatic, less than an hour long, was never officially released but was seen in private screenings before being issued on DVD. Guilfoyle (not to be confused with the unrelated older character actor and director of such films as A Life at Stake) has also been a very, very busy actor throughout his career.

Verdict: A mesmerizing Pacino if nothing else. **1/2.

THE DYING GAUL

Robert clacks away at that keyboard

THE DYING GAUL (2005). Director: Craig Lucas. Screenplay by Craig Lucas from his play.

"You can do anything that you want as long as you don't call it what it is." 

Robert (Peter Sarsgaard), a struggling screenwriter, is inexplicably offered a million dollars for his script called The Dying Gaul, even though the producer, Jeffrey (Campbell Scott), thinks he should rewrite the gay lead characters as a straight couple. Robert takes the money, and doesn't exactly put up much resistance when the closeted "bisexual" Jeffrey comes on to him. Before long the two have entered into an affair behind the back of Jeffrey's wife, Elaine (Patricia Clarkson of Carrie). Elaine, intrigued by Robert, enters a gay web site to chat with him, and then creates a phony identity with which to send him texts and emails, pretending to be his dead lover. Then things get even more warped ... The Dying Gaul has a lot of problems, not the least of which is that Hitchcock himself would have trouble wringing drama out of a movie in which characters seem to spend most of the time clacking away at their keyboards; in fact the movie becomes tedious after awhile. However, the three leads all give good performances, although Sarsgaard's [Blue Jasmine] stereotypical "queeniness" seems to come and go like a bad accent. One scene when he starts crying when he and Jeffrey are having sex borders on camp. An even bigger problem with the movie is that these are not likable people, and the ending makes one of them, no matter how justifiably angry, seem almost psychotic. Lucas could have taken this premise, as contrived as it is, and said something about a lot of things, but this muddled movie doesn't really seem to be saying anything about anything. On the stage, this may have worked, but presented all too literally on the screen it just doesn't.

Verdict: There are times when this almost seems homophobic! **.

PHILOMENA

Judi Dench and Steve Coogan

PHILOMENA (2013). Director: Stephen Frears.

Martin Sixsmith authored a book entitled "The Lost Child of Philomena Lee," which was basically a biography of that child, a gay Republican (who was questioning some of his notions) who died of AIDS named Michael Hess. Hess becomes almost a mere footnote in the film version of the book, in which the main characters become his mother, Philomena (Judi Dench) and Sixsmith himself (Steve Coogan), who has just lost his job with the BBC and needs a new story immediately so he can get back in the game. He encounters an old woman named Philomena, who gave up her child to nuns many years ago and wonders what became of him and if he is still alive. In the mostly fictionalized movie, Sixsmith accompanies Philomena to the United States (a trip she actually never took) to find out what they can about her son so Sixsmith can write about it for the magazine footing the bill. Philomena has old-fashioned notions about gay men, supposedly knowing the very young boy was gay simply because he was "sensitive" and saying "maybe he played the harp -- he was gay, y'know." The movie certainly lets the Catholic Church off the hook when it comes to their antediluvian attitudes toward homosexuality. Frankly a story about Hess and the conflicts he endured would have made a much more interesting movie, and it's almost insulting that his story takes a back seat to the travails of his mother. Oddly, the producers apparently thought a movie about an 80-year-old woman would be more box office than one about a young gay man! That being said, the movie is absorbing enough for most of its length, but becomes less so when she learns about her son. Dench and Coogan give very good performances.

Verdict: Not what it could have been, and rather annoying at times. **1/2.

THOSE WE LOVE

Mary Astor and Kenneth MacKenna

THOSE WE LOVE (1932). Director: Robert Florey.

"It isn't wise to love anything so much that to lose it almost kills you."

Struggling novelist Freddie Williston (Kenneth MacKenna) meets May (Mary Astor) in the crowd during the Armistice Day celebration, and discovers that she's just bought a copy of his book. Before long they are married and a child is on the way, along with a string of bestsellers. Had Those We Love looked at the life of an unsuccessful or fair-to-middling author it might have had more dramatic heft, but once Freddie becomes a rich and famous author, the only complication that can be thrown into the couple's lives comes in the form of Valerie (Lilyan Tashman), a married vamp who has set her cap for Freddie. May jumps to conclusions about Val's relationship with her husband, and inadvertently makes matters worse. Will this family survive this crisis, and will Valerie go on her merry way? Those We Love manages to be entertaining because of the cast. Mary Astor is as wonderful as ever, while MacKenna has charm to spare. Tommy Conlon [The Sign of the Cross] is swell as their son, Ricky, who might be as wise as both of his parents. Virginia Sale [Lovin' the Ladies] scores as the maid Bertha, as does Tashman [One Heavenly Night] as the lynx-like (if not terribly beautiful) man-stealer, Valerie. From the first Freddie seems more interested in making money than in crafting lasting literature, so one can imagine his books are as superficial as he is. Those We Love misses virtually every opportunity to say anything about the writing life, the publishing business, or the creative process, and was adapted from a Broadway play. Florey directed The Beast with Five Fingers and many, many others.

Verdict: Fairly creaky, but the acting puts it over. **1/2.

HOUSE OF CARDS (2013) Season 1

Kevin Spacey as Congressman Francis Underwood

HOUSE OF CARDS (2013 Internet series). Season One. Various directors.

In this re-imagining of the British mini-series, House of Cards (and its two sequels), Francis Urquhart, who becomes prime minister, is replaced by Francis (Frank) Underwood, a Washington congressman who hopes to become vice president and who plots, schemes and murders to achieve his goals. His wife, Claire (Robin Wright of Message in a Bottle), is similarly ruthless in her dealings and is not afraid to go up against her husband when she needs to. The biggest problem with this American version is that the British series' main thrust -- that Urquhart applies the murderous ruthlessness of olde English politics to modern times -- is completely lost, and what you're left with is a fairly typical look at Washington wheeling and dealing with a rather sociopathic lead character. House of Cards takes thirteen episodes to wrap up its first story arc, whereas the original took four, and therefore was more concise, tense and to the point. Whereas Urquhart, as portrayed by the magnificent Ian Richardson, was an almost mythic force of evil, Underwood is more human; Kevin Spacey (Swmming with Sharks) is quite good, but he can't compare to Richardson. A lot of changes have been made due to the change of country and locale, but some things remain: the young female reporter (Kate Mara) who enters into a professional and sexual relationship with Underwood; and the coke and booze-guzzling fellow (Corey Stoll) who is cruelly used by Underwood when the latter backs the former's attempts to become governor [this character was actually a publicity man in the original]. Urquhart's wife didn't appear much or have much to do until the final episodes of the British series, but in this she's front and center from the first. Initially Claire seems like a much warmer person than her husband, but when she has a colleague fire eighteen employees, and then fires her immediately afterward [instead of firing all nineteen of them herself[ you get the sense that something's rotten in this gal as well. The acting is first-rate throughout, and I was particularly impressed by Al Sapienza as a union leader, Constance Zimmer as a reporter, and Gerald McRaney as a billionaire nuclear power plant guy. The sex scenes between Spacey and Kate Mara are kind of gross because Mara generally looks like she's twelve years old. Episode 8 [scripted by Beau Willimon] hints at some homoerotic hanky panky engaged in by Underwood in military school, but it seems dragged in, and somewhat homophobic, as if homosexuality is something you grow out of. If the character is gay or bisexual it isn't explored in the first season.

Verdict: Whatever its flaws, this is undeniably compelling and very well acted. ***.

SUMMER STORM

George Sanders and Linda Darnell

SUMMER STORM (1944). Director: Douglas Sirk.

Based on Anton Chekhov's novel "The Shooting Party" this features George Sanders as a Russian judge and Linda Darnell as a Russian peasant! Despite this miscasting, the two actors play well together in the story of Fedor Petroff (Sanders), who neglects his fiancee, Nadena (Anna Lee), after he meets the beautiful Olga (Darnell), whom he knows is "beneath" him but whom he must possess come hell or highwater. An added complication is Olga's unhappy marriage to Anton (Hugo Haas), whose tragedy this chiefly becomes. Darnell is fine, and Sanders offers his usual good performance, but this is an actor whose forte is coolness, not passion, so he never really gets across his passionate feelings for Olga nor anything else. Haas, who also directed such "B" movies as One Girl's Confession, arguably offers the best performance as the likable but tormented Anton. Edward Everett Horton [Lady on a Train] is as good and as much fun as ever, although he, too, seems highly miscast as a womanizing nobleman of ill repute. Anna Lee [The Crimson Kimono] and Laurie Lane as the maid Clara both make a good impression. The whole sordid business comes to a very satisfactory conclusion, although the ultimate fate of one unhappy character is never disclosed.

Verdict: Intriguing romantic drama with interesting cast. ***.

HARRIET CRAIG

Joan Crawford as Harriet Craig

HARRIET CRAIG (1950). Director: Vincent Sherman.

"I don't like trains. I don't like the feeling of being rushed along in the darkness. Having no control. Having my life completely in someone else's hands" -- Harriet Craig.

This remake of Craig's Wife is actually the third film version of George Kelly's play, which was first made as a silent. In this loose adaptation, Joan Crawford plays Harriet Craig, who likes order and neatness and everything in its place, including her husband, Walter (Wendell Corey of The Big Knife). She and her mother were abandoned by her father, and she needs to be in total control of her life and everyone else's, including her niece, Clare's (K. T. Stevens), who has lived with her and Walter for many years, and whose relationship with Wes (William Bishop of It's a Great Life) she tries to destroy. This version eliminates the character of Walter's aunt, and provides an even stronger motive for Walter's walking out on his wife. Crawford and Corey give very good performances, and the supporting cast, including Lucile Watson, Stevens, Ellen Corby, and Viola Roache, is notable.

Verdict: Crawford in dragon lady mode. ***.

THE LAST OF THE MOBILE HOT SHOTS

Robert Hooks and Lynn Redgrave

THE LAST OF THE MOBILE HOT SHOTS (1970). Director: Sidney Lumet.

"Go home with you? -- but I don't even know you." -- Myrtle

Myrtle Kane (Lynn Redgrave), who once belonged to a group called the "Mobile Hot Shots," gets a stranger, Jeb Thornton (James Coburn), to pretend he's engaged to her so they can win some prizes on a local game show. Unfortunately, the host also wants to marry them on the program. Jeb takes Myrtle back to his dilapidated plantation, Waverly, where he lives with his black half-brother, "Chicken" (Robert Hooks). The dying Jeb agreed that Chicken would have the plantation after his death if he helped him work it, and signed a paper to that effect, but now he sends Myrtle out to get back the paper by any means possible. But Chicken knows something that may make all of Jeb's manipulations unnecessary. Loosely based on Tennessee Williams' play "The Seven Descents of Myrtle," it's a wonder why anyone thought Mobile Hot Shots would make a good movie. Everyone is miscast, and Lumet is certainly the wrong director. The movie can't seem to make up its mind if it's a comedy or not -- there are a couple of chuckles, but that's it, and the final revelation is a pip  -- but its biggest failing is that with all that's going on it's still a bore [even a climactic flood doesn't help much]. Redgrave seems to be channeling Geraldine Page in Sweet Bird of Youth (although her character is completely different), but she makes one of the the least convincing Williams' heroines ever. Coburn makes some effort but gets nowhere, and Hooks comes off best, but in this movie that's not saying much. Still it's hard to play Williams just right, and mediocre Williams is even harder. Gore Vidal's screenplay at one point seems to hint at homosexual incest, but as it comes out of nowhere and is unconvincing anyway, it was probably just to set up a quick, dumb gag late in the movie. The premise of the picture is intriguing but the development is just dismal. With Hooks playing a character who denies his being black, one would have to say Hot Shots is horribly dated as well. [If one wonders why anyone would want to own a property like Waverly in the first place, all I can say is real estate!]

Verdict: This should just be washed away with the flood. *1/2.

THE BIG KNIFE

Everett Sloane talks to Jack Palance

THE BIG KNIFE (1955). Producer/director: Robert Aldrich. Screenplay by James Poe from the play by Clifford Odets.

Movie star Charles Castle (Jack Palance) was involved in a hit and run that killed a child, but his p.r. man, Buddy (Paul Langton), took the rap for him. Charles' wife, Marion (Ida Lupino), who is separated from him, swears she'll divorce him if he re-signs with Stanley Hoff (Rod Steiger), who probably helped engineer the deception. Now there's a new complication: Castle had a woman with him in the car that night, Dixie Evans (Shelly Winters), and she's drunkenly shooting her mouth off everywhere she goes. Now Hoff and his associate Smiley (Wendell Corey), want to take care of Dixie -- permanently ... The Big Knife might have worked on the stage, and the Odets original was undoubtedly better than this half-baked adaptation, but the film sinks almost from the get-go. The chief problem is the epic miscasting of Jack Palance. Charlie might have evoked some sympathy in the viewer if he was played by a man who could get across his essential weakness and confusion, but Palance seems incapable of ever displaying the slightest trace of vulnerability. It gives the actor his presence and strength, but he's just all wrong for this picture. His scenes with Ida Lupino are stagey and over-rehearsed and just don't work at all -- both of them are busy "acting" instead of being. We're constantly being told of how wonderful Castle is and of his supposed integrity, but all we see is a corrupt, self-absorbed individual who allowed another man to take responsibility for his actions, slept with the man's wife, and acts like a dickhead throughout. When he protests at the idea of "silencing" Dixie, it's hard to believe that he would object -- he's the last one to take a high moral stance. It's up to the supporting cast to give the film whatever limited stature it has. Rod Steiger has some ferociously effective scenes as Stanley [some might think he's merely showing off]; Wendell Corey underplays beautifully as the slimy Smily; Everett Sloane is as solid as ever as Charles' agent; and Paul Langton has a beautifully and powerfully delivered speech to Castle at the end of the film that is one of the most memorable bits in the movie. As for the women, Ilka Chase offers a dead-on portrait of an oily, if stereotypical, gossip columnist, Shelley Winters is so-so as Dixie, and Jean Hagen fails to impress as Buddy's sluttish wife, Connie. Wesley Addy has a nice turn as the writer Hank Teagle. Oddly, a confrontation between Dixie and Hoff that might have been quite cinematic and dynamic is mentioned but not shown, but the film isn't "opened" up very much. It's hard to like or enjoy a movie in which virtually every character is either unpleasant or annoying. Robert Aldrich was the wrong director for this, as well. For a worthwhile Odets adaptation, see Clash By Night.

Verdict: A fairly embarrassing mess of Hollywood pseudo-profundity with horribly miscast leads. **.

WAIT UNTIL DARK

Alone in the dark with a killer

WAIT UNTIL DARK (1967). Director: Terence Young.

Blind Susy Hendrix (Audrey Hepburn) is unaware that some men who have come to her apartment pretending to either be friends of her husband or police officers are actually crooks looking for a drug-filled doll that a woman handed off to Susy's unsuspecting husband, Sam (Efrem Zimbalist Jr.). Gradually she realizes that something is wrong, and prepares to fight for her life when the gentlemen come back from a wild goose chase she's sent them on. The main trouble with Wait Until Dark -- which was based on a stage play by Frederick Knott (Dial M for Murder) -- is that the suspense is minimal because the audience is clued in to what's going on from the very beginning. Hepburn gives a very good performance and the rest of the surprisingly C List cast are fine, although Alan Arkin seems about as threatening as Boris Badenov. Julie Herrod is excellent as the neighbor child Gloria who is alternately helpful and bratty. Henry Mancini's score does what it can to increase the limited excitement. It's hard to figure why Arkin and Crenna were billed above the title along with Hepburn.

SPOILER ALERT: Susy has been encouraged by her husband to be as independent as possible despite her blindness, which leads to two problematical developments. We already know she can walk by herself to her husband's office, so instead of barricading herself in her apartment, why doesn't she just leave and ask for someone to help her get to the nearest precinct? [St. Luke's Place where this takes place runs right into Seventh Avenue and the men watching her place have gone off on the wild goose chase.] At the very end when Sam sees her bloodied and huddled by the refrigerator, he waits for her to get up and make her way towards him, but surely in a situation like this he would forget his independence edict and go hug the woman he's supposed to be in love with after such an ordeal? Also, in a moment that made some nervous nellies in the audience jump in fright, Alan Arkin leaps out of the darkness at Susy after he's been stabbed and falls to the ground unconscious. Maybe he might have been able to painfully lurch after her, but leap? The moment is ludicrous instead of startling.

Verdict: If you want to see a better Frederick Knott adaptation watch Dial M for Murder instead. **.

FATAL VISION

Gary Cole as Jeffrey MacDonald

FATAL VISION (1984 telefilm/mini-series). Director: David Greene. Screenplay by John Gay from Joe McGinniss' book.

"They'll never come to know the beauty and wonder of the world." -- Mildred speaking of her late grandchildren.

In 1970 the Green Beret doctor, Captain Jeffrey MacDonald, made a frantic call to police claiming that four people invaded his home and slaughtered his family -- his wife and two little girls -- and left him with minor injuries. At first his wife's parents, Freddy (Karl Malden) and Mildred (Eva Marie Saint), are supportive of Jeffrey and furious that the Army suspects him of the murders, but later they learn that his story of intruders just doesn't hold up and is indeed contradicted by forensics. Leads about the alleged intruders go nowhere. Freddy sees Jeffrey on television saying things that he knows are not true, such as how he required surgery due to his injuries that night. Eventually Freddy becomes his former son-in-law's greatest nemesis, refusing to let the matter drop and dogging prosecutors until they put MacDonald on trial. Cole is a little too boyish at times, but he gives a fine performance as MacDonald, matched by an excellent Malden and Saint. Also notable are Barry Newman as MacDonald's lawyer, Andy Griffith as a prosecutor, and Mitch Ryan as a forensic pathologist. Gripping throughout its three hour running time. There are still those who insist MacDonald is innocent.

Verdict: Memorable television on a horrific true case. ***1/2.

STRAIGHT-JACKET (2004)

STRAIGHT-JACKET (2004).Writer/director: Richard Day (based on his stage play).

"The main trait that separates my people from yours is that we mean you no harm."

Guy Stone (Matt Lescher) is a major movie star who is gay and in the closet. His agent, Jerry (Veronica Cartwright) and a producer convince Guy to play straight and get married to an adoring secretary, Sally (Carrie Preston). [Rock Hudson and Phyllis Gates, anyone?] But while Guy tries to maintain his usual lifestyle with an inquisitive and horny wife, he meets Rick (Adam Greer), the handsome and angry author whose book is being turned into Stone's latest movie, and the two fall in love. Then a scandal breaks, and Guy has to choose whether he wants the man or his career. This probably was cute enough as a play, where one could relate to the actors right on stage in front of you, but its "queeny" gay humor is a little passe [jokes about Judy Garland and transvestism!] and the only thing that makes you realize this is supposed to take place during the McCarthy era is the occasional hairstyle -- there is absolutely no period atmosphere whatsoever, and the characters talk more as if it were the 21st century than the 1950's -- Day should have done a little research, for Pete's sake. The picture goes completely awry at the end when Guy is questioned as to whether or not he is a "homosexual communist." There are disturbing pot shots at lesbians, one of whom is actually played by a man in drag! While she is miscast, Veronica Cartwright [of Alien] as Guy's agent at least resists playing her character like a butch stereotype. The other actors are all well-cast and on target, however, with Lescher doing a wonderful balancing act between serious and farce, and Greer and Preston equally good. The movie has some amusing bits and some good lines but it's a shame that such an interesting premise had to be turned into what is basically a 90 minute sitcom like the awful Will and Grace. I mean, even today there are plenty of movie stars in the closet.

Verdict: Nice idea; so-so execution, but most of the actors are solid. **1/2.