THE FACTS OF LIFE

THE FACTS OF LIFE (1960). Director: Melvin Frank.

Pasadena housewife Kitty Weaver (Lucille Ball) and neighbor Larry Gilbert (Bob Hope) drift into a (unconsummated) affair while vacationing in Acapulco, and are comically stymied in their attempts to finally be intimate. While there's some attempt to look at middle-class malaise and suburban boredom, this is basically a lighter and more superficial examination of adultery. Recognizing the light approach -- and that her co-star was Bob Hope -- Lucy plays it all in just the right note, and she even manages to create a character who isn't just Lucy Ricardo. On the other hand, Hope gives an over (or under) rehearsed, stilted performance that he practically just phones in for much of the film's running time; Fred MacMurray would probably have been much better in the part. But despite these quibbles, the movie eventually becomes absorbing, thanks to Lucy and the audience's wondering if these two will ever get together in the sack. There are plenty of amusing moments, and even if Hope's performance is less than stellar, he and Lucy still make an interesting team. A very pleasant and entertaining movie despite its obvious flaws. Hope's wife is the attractive Ruth Hussey; Lucy's hubby is the dull Don DeFore.

Verdict: You can hardly go wrong with Lucy. ***.

A RAGE TO LIVE

A RAGE TO LIVE (1965). Director: Walter Grauman.

Grace Caldwell (Suzanne Pleshette) has a strong sexual drive and won't apologize for it. She gets a bad reputation in the neighborhood and worries her mother and brother. Grace marries dignified Sidney Tate (Bradford Dillman), but when Roger Bannon (Ben Gazzara), an old acquaintance who's working on their barn, tells her how much he's longed for her for years, well Grace just can't help herself and she and hunky Bannon embark on an electric affair. This all leads to a lot of melodramatic but highly entertaining developments and confrontations, especially when one frustrated wife (Bethel Leslie) believes that Grace is carrying on with her husband (Peter Graves). The movie, constricted by the weakening production code, is, alas, of the "sin and suffer" variety, and Grace must pay for actions that many husbands indulge in without guilt or punishment. Still, the movie sort of thumbs its nose at the censors as well. Pleshette and Gazzara make a very sexy pair in and out of the sack. The performances are all good and the picture moves at a brisk pace. Far, far more entertaining than the British study of amorality, Darling, which was released the same year and won a few Oscars. Loosely based on a novel by John O'Hara.

Verdict: Great popcorn movie. ***.