THE CHARMER

Nigel Havers and Rosemary Leach

THE CHARMER (1987 PBS mini series). Director: Alan Gibson.

"It's a very hard world if one is without money."

I believe this excellent mini-series was first presented on Masterpiece Theatre in the U.S. It is based on Patrick Hamilton's novel Mr. Stimpson and Mr. Gorse, but takes certain liberties with the story, which may be why the name was changed to the more provocative The Charmer. In pre-WW2 London (the later chapters take place after war has broken out) Ralph Gorse (Nigel Havers), an attractive, likable mountebank, hopes to live like a gentleman even though he unfortunately wasn't born to the class. He befriends, romances, and steals from a variety of women, gaining the enmity of Donald Stimpson (Bernard Hepton), a stolid, small-town stick-in-the-mud who had always hoped to marry one of Ralph's victims, Joan Plumleigh-Bruce (Rosemary Leach). All the while Ralph is pursuing the unconventional upper-class Clarice Mannors (Fiona Fullerton), whom he initially assumes is a hooker when she was really just looking for her brother in a whorehouse (but sleeps with Ralph there anyway). 

Bernard Hepton with Havers

Later Ralph marries a sweet young thing named Pamela (Abigail McKern), and begins an affair with a war widow named Alison (Judy Parfitt). But the stalwart Stimpson is still on his trail. I have not read the novel in quite some time, but if I remember correctly neither Stimpson nor especially Plumleigh-Bruce had as much to do in the second half of the book as they do in the latter chapters of this mini-series, although it's understandable why they were included. This is an absolutely fascinating, darkly humorous (although never "comic") portrait of a borderline sociopath and the people whose lives he crosses (some to their regret; some not) with a psychologically penetrating script by Allan Prior and some superb acting, especially from Havers, Hepton and Leach. The others already named are also top-notch, as are Gillian Raine and George Baker as Pamela's heart-broken parents. This has been released on DVD and is certainly worth tracking down.

Verdict: Nearly six hours well-spent. ****.

FEUD: BETTE AND JOAN

Susan Sarandon and Jessica Lange

FEUD: BETTE AND JOAN (8- part 2017 mini-series).

"I can't go into rehab -- I've got the Dean Martin roast!" -- Bette Davis. 

Movie legend Joan Crawford (Jessica Lange of American Horror Story: Asylum) goes to see another movie legend, Bette Davis (Susan Sarandon of The Other Side of Midnight), and offers her the title role in a film version of the novel "What Ever Happened to Baby Jane?" During filming with director Robert Aldrich (Alfred Molina of Prick Up Your Ears), long-simmering resentments and rivalries resurface, and while the two women resolve to have a united front against the twin demons of ageism and sexism, jealousies and insecurities only drive them farther apart. It all culminates when Davis gets an Oscar nod and Crawford doesn't ...

The real Bette Davis and Joan Crawford

Well, this incredibly entertaining and absorbing mini-series could have been a campy and horrible mess, but with intelligent writing and some excellent acting it emerges as a very memorable mini-series. (Feud was not available for viewing while Olivia de Havilland sued the production -- she lost -- but it is now back on Amazon Prime: $11.99 to own all eight Standard Definition episodes.) Let's get one thing out of the way. Feud is highly exaggerated and fictionalized, the actual "feud" between the two ladies being very over-stated to say the least. For much of their lives, Davis and Crawford were busy with careers, children and several bad marriages, and probably didn't think about each other all that much. It was the whole Oscar business -- Davis lost while Crawford accepted the coveted statuette on winner Anne Bancroft's behalf -- that undoubtedly started the "feud," and led to unpleasantness on the set of Baby Jane follow-up Hush ... Hush, Sweet Charlotte.

Now, as to the mini-series itself, once you get past the fabrications and dramatic licenses taken, it manages to go beyond its initial premise and explore the struggles of aging women played out against an industry where an old woman is simply considered a 'hag." The feminist angle is explored but never overwhelms the production, nor does it necessarily excuse the ladies' bad behavior, which could often be chalked up to extreme sensitivity on any number of issues. Of the two lead actresses, Lange comes off the best -- the real Crawford was much better-looking than Lange in her nearly grotesque make up, and had much more authority -- but otherwise Lange proves herself a fine actress and gives a commendable performance. Of the two icons, Davis was imitated much more than Crawford, so Sarandon had a dilemma: how to play a real person without coming off like a drag impersonator. Sarandon succeeds in making Davis seem real, but her performance is also a little dull -- for lack of a better word -- in comparison to Lange's. However, both women are good, although neither of them have the kind of intense power, personality or sheer charisma of the real Crawford and Davis. And when they recreate scenes from Baby Jane? neither are as good as the original stars.

Feud benefits from some superb supporting performances: Alfred Molina as Robert Aldrich; Stanley Tucci as Jack Warner; Alison Wright as Aldrich's assistant Pauline Jameson; Molly Price as Aldrich's wife, Harriet; John Rubinstein as George Cukor; and especially Jackie Hoffman as Crawford's maid and companion, "Mamacita," and a scene-stealing Judy Davis [Life with Judy Garland: Me and My Shadows] as Hedda Hopper. On the other hand, Catherine Zeta-Jones doesn't remind me of Olivia de Havilland at all (although you would think de Havilland would have been flattered that she was played by a much younger and beautiful actress.) And Kathy Bates makes a rather mediocre Joan Blondell. The sections showing them being interviewed about the feud could easily have been jettisoned.

Dominic Burgess seems to think that because his character, actor Victor Buono, was gay that he should play him more as a stereotype than he was in real life. While Buono is a colorful character, it's strange that Feud completely omits Maidie Norman, the black actress who played the murdered maid Elvira in Baby Jane? and who had a very interesting life -- was it because she was a lifelong Republican? Feud is perhaps more sympathetic to Joan than it is to Bette, and suggests that her daughter Christina's hateful memoirs were not entirely accurate, if at all.

It's interesting that the writers for this series must have done research by poring over bios of the two screen idols -- books such as Fasten Your Seat Belts: The Passionate Life of Bette Davis and Joan Crawford: The Essential Biography -- but none are given credit, and that even includes an exaggerated tome entitled Bette and Joan: The Divine Feud!

Verdict: Fascinating, amusing, dramatic, even poignant look at old Hollywood and how stars desperately cling to every inch they've gained while at times losing their humanity in the struggle. ***1/2. 

THE CHARMER Revisited

Nigel Havers

THE CHARMER (6 part mini-series/1987. Director: Alan Gibson.

"Why did you do it -- any of it?" -- Clarice 
"Because I wanted to be like you." -- Ralph
"But my God, I'm bloody awful." -- Clarice

The time is England in the 1930's just before WW 2. Ralph Gorse (Nigel Havers) is a charming, attractive young man who only wants what others have by birthright, and he's willing to resort to rather anti-social methods to achieve his goals. Staying in a friend's house in a small village, he becomes acquainted with the middle-aged Donald Stimpson (Barnard Hepton) and the widow Joan Plumleigh-Bruce (Rosemary Leach). Donald and Joan have an "understanding" which may or may not result in marriage. But when Ralph enters the scene, Joan realizes how conventional and comparatively dull the solid Donald is.

Rosemary Leach and Nigel Havers

Donald is suspicious -- and jealous -- of Ralph right from the start. To Rosemary, Ralph represents romance, passion and excitement, and she all too eagerly becomes his business "partner." After sex, Joan enthuses "I feel alive again!" Therefore when Ralph disappears with her money she is inclined to be gullible and forgiving whereas Donald is strictly out for blood. Ralph winds up selling cars for the father (George Baker of Curse of the Fly) of an old girlfriend, Pamela (Abigail McKern), and is soon trapped in a loveless marriage, a situation that our boy will not let stand for very long. In the final episodes of the series, Ralph impersonates a soldier, romances a lonely war widow (Judy Parfitt), and is still pursued by Donald and an ever-smitten Joan. All the while he carries on a torrid romance with the upper-crust Clarice (Fiona Fullerton), who can't marry him because he has no money of his own.

Loves not wisely but well: Rosemary Leach

The Chamer was based on a novel entitled "Mr. Stimpson and Mr. Gorse" by Patrick Hamilton, also known for Rope, Gaslight, and Hangover Square. This mini-series, which I believe may have been broadcast on Masterpiece Theater, takes some liberties with the source material but is essentially faithful, if memory serves me, to the spirit of the novel. In the book Joan only appears in the early chapters but she is all through the mini-series, which -- considering how likable the character is and how excellent Rosemary Leach's performance -- is all for the better. Bernard Hepton is similarly marvelous as Donald. The series is full of fine character portrayals, as well as exemplary work by Fullerton, McKern, Baker, Parfitt, Gillian Raine as Pamela's mother, and others.

Bernard Hepton

And then there's Nigel Havers, who is simply outstanding. Ralph is not a person one should feel sympathy for, but Havers' emoting draws you into his world and psychology and almost makes you root for him. Havers is a busy British actor who appeared in Chariots of Fire and many other vehicles. Rosemary Leach was a similarly busy character actress, amassing over 130 credits, Bernard Hepton, who also mostly appeared on British television, had nearly as many. Fiona Fullerton was previously a Bond girl in A View to a Kill. The  Chamer beautifully illustrates how con artists give themselves enough rope to hang themselves, and also explores why people can be so forgiving of them -- because for a little while they bring some excitement and romance into their lives -- at least until the boom drops.

Verdict: Superb British mini-series with top-of-he-line performances. ****. 

BILLIONAIRE BOYS CLUB (1987)

Judd Nelson and Raphael Sbarge

BILLIONAIRE BOYS CLUB (1987 two part four hour mini-series). Director: Marvin J. Chomsky.

Charismatic Joe Hunt (Judd Nelson), his best friend Dean Karney (Brian McNamara), and several of their wealthier friends form a group to make big money in investments. Some of the young men may or may not be aware that the whole thing is really just a variation on an illegal ponzi scheme. A con artist named Ron Levin (Ron Silver of Reversal of Fortune) gets involved with the group, allegedly giving them 14 million to play around with, only it's merely a paper account. Then Ron Levin goes missing. The Iranian-born father of one of the boys is found dead. Interspersed with a murder trial are flashbacks that show what happened and reveal the guilty parties.

Ron Silver 

Billionaire Boys Club should have been a riveting, taut, suspenseful and fascinating TV classic, but it never really rises above a mediocre level. For this the actors can't be faulted, as a talented group, led by a terrific Nelson, has certainly been assembled. Rafael Sbarge [Deadly Web] is a stand-out as one of two brothers who hangs on Hunt's every word until he realizes what a bad influence he has become. Fredric Lehne [Wiseguy] as Sbarge's brother, Stan Shaw as a sinister helpmate, Jill Schoelen as Joe's girlfriend, Amy, Allan Miller as a defense attorney, James Sloyan as the D.A., and especially Ron Silver as the ill-fated Levin, among others, are all good as well. Because it's an interesting true story this holds the attention, but that's all. The theatrical remake in 2018 wasn't much better. The real Joe Hunt, serving a life sentence in prison, now claims that Levin went on the run to avoid prosecution and is still alive.

Verdict: Not one of the great mini-series, but well-acted. **1/4. 

SYBIL (1976)

Nutty as a fruitcake: Sally Field

SYBIL (1976 four hour two-part mini-series. Director: Daniel Petrie.

Sybil (Sally Field) is a young substitute teacher in New York City who tries to hide the fact that she has blank spots in her memory and often wakes up days or even months later with no idea of what she's been doing. After an accident, she meets a sympathetic psychiatrist named Dr. Wilbur (Joanne Woodward), who discovers that Sybil has several different personalities. Using hypnosis and interviewing people from her patient's past, Wilbur determines to discover what happened in Sybil's childhood that made her this way, but Sybil may not like the answers.

Gullible as a guppie: Joanne Woodward

Sybil has much in common with an earlier theatrical film (this one about reincarnation) entitled The Search for Bridey Murphy. Both films were based on best-selling "non-fiction" works that caused a sensation, influenced millions of people, and, incidentally, made much money for their authors. Both books have also turned out to be, mostly, crap. Dissociative Identity Disorder, as its now called, was popularized by the book Sybil, but a new 2011 book entitled Sybil Exposed reveals that, while there may be a few genuine cases of DID, the real woman who was called Sybil was actually faking. "Sybil" confessed this to gullible Wilbur, but Wilbur chose not to believe her. Both women had very good reasons not to own up: Wilbur had her reputation to think of, as well as the money from the book (she worked with a professional writer); and Sybil, who became like a daughter to Wilbur, was virtually supported by her. 

Be a clown: Brad Davis and Sally Field

So while this strips the telefilm of much of its power, we have to look at what remains, and the answer is: not much. Three hours long without commercial breaks, Sybil eventually becomes tedious, with too many repetitious flashbacks, a slow pace, and padding. Emmy-winning Field is quite good, and she gets wonderful support from Woodward and Brad Davis as a free-spirited young neighbor that she dates, as well as others, but after awhile all of those "personalities," male and female, become rather irritating, and the whole thing nearly collapses into farce when "Sybil" turns into her own grandmother on the street. Woodward, of course, appeared in her own multiple personality picture, The Three Faces of Eve (which was also based on a non-fiction book), which engendered the similar Lizzie with Eleanor Parker. Sybil was remade as a TV movie in 2007.

Verdict: Field is impressive, but this is a turgid and unconvincing mini-series. **. 

TEXAS JUSTICE

Peter Strauss

TEXAS JUSTICE (1995 telefilm). Director: Dick Lowry.

Wealthy Thomas Cullen Davis (Peter Strauss) has a messy divorce from his wife, Priscilla (Heather Locklear), who is no angel herself. But when a gunmen enters the Davis mansion where she now resides, her boyfriend and daughter are shot to death, and she escapes with her life. During a trial Priscilla swears that Thomas was the perpetrator, and when he gets off, she's afraid that he's not quite through with her yet ... Texas Justice is based on a true story, and the developments are appalling. Strauss makes a compelling leading man, and there's nice work from Locklear [Looney Tunes: Back in Action] as well, with excellent support from Dennis Franz as Davis' lawyer "Racehorse" Haynes, The second half of the movie/mini-series is not as good as the first, and could have been been truncated, but this basically makes an entertaining true-crime story, and it certainly shows how the legal system can be very cleverly manipulated by highly skilled defense attorneys. Strauss did the narration for a new release of the classic French children's film White Mane.

Verdict: Apparently the rich can get away with murder. **1/2.

THE ANDROMEDA STRAIN (2008)

Andromeda: Like Benjamin Bratt, everything's too casual

THE ANDROMEDA STRAIN 2008 mini-series. Director: Mikael Salomon.

When an entire town is suddenly wiped out by a plague, scientists are called in to identify the organism, possibly extra-terrestrial in origin, that killed everyone, and find out why two people -- an old man and a baby -- survived. They take them to a hidden base to try and find the answers. One scene in particular illustrates the problem with this three hour remake of 1971's far superior The Andromeda Strain. Project leader Jeremy Stone (Benjamin Bratt of Catwoman) confers with a colleague while sitting in a very casual position that belies the urgency of what's going on, a problem with the telefilm in general. [I'm not saying people might not relax even during a crisis, but this is supposed to be a thriller, right?] The movie is padded with unnecessary scenes, such as entire tiresome sequences built around a reporter played bv Eric McCormack, who is good but at times seems to be reverting to Will of Will and Grace,and much more is made of the political/paranoia angle than before. The performances are okay but Kate Reid of the original film is sorely missed, although Daniel Dae Kim, Viola Davis, and Andre Braugher make more of an impression than the others. In this the old man survivor, Tobler (Tom McBeath, who is good), is more dimensional, and one character, Major Keane (Ricky Schroder), is openly gay [yet conservative], but the script doesn't allow him to be a hero. It's interesting that one of the producers of this ultimately tedious TV production is Ridley Scott, whose Alien sort of borrowed the climax of the original (a character desperately racing to countermand an order to self-destruct), a scene repeated in this with some variations but which still manages to lack tension and excitement. To be fair there are a couple of creepy moments, and the early sections may be compelling to people who are unfamiliar with the story.

Verdict: Stick with the original. **. 

THE FINAL CUT (1995)

Urquhart dresses down parliament

THE FINAL CUT (1995). Director: Mike Vardy.

In the last of three mini-series dedicated to the rogue-ish activities of prime minister Francis Urquhart (Ian Richardson), the king is nowhere to be seen but there are discussions in Parliament about a conflict in Cypress, leading to the PM having flashbacks to an incident years ago involving the deaths of two young Greek men. Urquhart gets a new chief assistant, Claire (Ilsa Blair), who seems to be spreading her time, affections, and loyalties between the PM and his chief political rival, Tom Makepeace (Paul Freeman). Urquhart's wife, Elizabeth (Diane Fletcher), a kind of Lady MacBeth, makes more appearances and seems to have her own agenda. The Final Cut is crackling good fun, with Richardson in superb form, fine performances from the rest of the cast (although we probably see more of Blair's breasts than we need to), some devious plotting and inter-plotting, and many memorably dramatic sequences -- although it ends on a mildly confusing note. [One quibble is that a clearly sociopathic personality like Urquhart would in no way be haunted or have any kind of regrets over past misdeeds. True, he might worry if his past would catch up with him, but not in any way that would indicate a conscience.] This follows House of Cards and To Play the King.

Verdict: British television at its best. ***1/2.

TO PLAY THE KING

Urquhart betrays his low opinion of the king

TO PLAY THE KING (4 part BBC mini-series/1993). Director: Paul Seed.

Francis Urquhart (Ian Richardson) of House of Cards is back and now he's prime minister! Urquhart is hoping that the new king (Michael Kitchen) will just stay out of his way and support his policies, but the king has a mind of his own and is much more liberal than Urquhart. Before long there's a not-so-cold war going on between the two. In the meantime, Urquhart has a new young lady under his thrall, Sarah (Kitty Aldridge), who falls for Urquhart -- the seduction of power? -- even though she already has a husband. On the king's staff, David (Nicholas Farrell) is coming out of the closet after finding true love with Ken (Jack Fortune) after his marriage falls apart. And is something going on between the king and Chloe (Rowena King) who helps fire up his compassion for the downtrodden, all of whom Urquhart only sees as bums? Then there's the former member of the Royal Family who is dictating her scandalous memoirs to a sleazy publisher. Urquhart is even more ruthless in this exploration of what would happen if a politician with old-fashioned sensibilities applied the murderous tactics of Merrie Olde England to modern-day London. [One senses Urquhart would have people beheaded if he could.] Richardson is as marvelous as ever, and Colin Jeavons makes an impression as his loyal (?) assistant, Tim Stamper, who has secrets of his own. We see more of Urquhart's Lady Macbeth-type wife, Elizabeth (Diane Fletcher), although she still remains a bit shadowy. The other cast members are all on the money. Although you sometimes get the sense that a lot had to be left on the cutting room floor, this is still very absorbing. Followed by The Final Cut.

Verdict: Even more intriguing than House of Cards. ***1/2.

HOUSE OF CARDS (1990)

Ian Richardson

HOUSE OF CARDS (4 episode BBC mini-series/1990). Director:Paul Seed.

"You might well think that. I couldn't possibly comment." --- Francis Urquhart

The series of the same title with Kevin Spacey that Netflix is streaming for its customers is based on this 23-year-old BBC mini-series that was quite acclaimed in its day. Francis Urquhart [pronounced "Irkit"] is the "chief whip" of the conservative party and feels, as many do, that the new prime minister [after Thatcher] isn't up to the job. He begins a series of maneuverings and manipulations behind the scenes that become increasingly criminal and odious, including blackmail and even murder. Those in his circuit include Roger O'Neill (Miles Anderson), a coke-addicted publicity man; O'Neill's girlfriend, Penny (Alphonsia Emmanuel), a lovely, intelligent black woman who is treated like a whore; and Mattie Storen (Susannah Harker), a reporter who comes to idolize Urquhart. [It must be said that their affair is never convincing, perhaps because Richardson is not exactly a handsome lover boy.] Richardson, frequently addressing the viewer as he gives his acidic opinions of assorted colleagues, is excellent, but the whole show is nearly stolen by Anderson in his brilliant, moving turn as the tragic and pathetic O'Neill. The other actors are all on target. The repeated shots of a rat creeping around London are a little overdone -- one would have made the point. Urquhart/Richardson was up to more deviltry in the sequels To Play the King and The Final Cut.

Verdict: Intriguing and absorbing mini-series. ***.

MILDRED PIERCE (2011)

Kate Winslet as Mildred

MILDRED PIERCE (2011 HBO mini-series. Director: Todd Haynes.

"I am never coming back to this hovel as long as I live!" --Veda Pierce.

This mini-series is adapted from the same James M. Cain novel that was the basis of the Joan Crawford movie of the same title. This version is much more faithful to the novel, as the Crawford version added a murder sequence that was not in the book and turned the original Mildred Pierce into a classic piece of film noir, which this version is definitely not. In the mini-series Mildred is played by Kate Winslet, who doesn't have Crawford's presence but gives a good performance, although it lacks spontaneity. The story begins in 1931 California where Mildred splits from her husband and is left to take care of their two daughters. As in the original movie, the proud Mildred gets a job as a waitress, bakes pies, opens her own restaurant -- and has to contend with her haughty older daughter, Veda [first played as a child -- and quite well -- by Morgan Turner, who might even have been able to handle the later sequences]. As in the novel Veda is studying piano, but discovers she lacks distinction. In the book she becomes an opera singer in a rather ludicrous fashion, so the mini-series wisely has her talking about it instead of showing it. The other major character is gigolo Monty Beragon, played by a credible Guy Pearce. Mildred Pierce has some fine performances and memorable sequences, such as a tragic death scene for a young character; an interview for a housekeeping job that Mildred has with rich bitch Mrs. Lenhardt [uncredited but very good]; Mildred's reaction when she first hears Veda's singing voice on the radio; and an explosive climax in a bedroom when Mildred sees her daughter's true colors in the cruelest way possible. The adult Veda is played by Evan Rachel Wood, who isn't bad in the part, but she just can't compare to the vicious brilliance of Ann Blyth in the original version [and Pearce can't quite erase memories of smarmy Zachary Scott as Monty]. Mare Winningham, James LeGros, Melissa Leo, Brian F. O'Byrne, and Quinn McColgan are all notable in important supporting roles. Nice music from Carter Burwell. Veda's gorgeous soprano singing voice is supplied by the very talented Sumi Jo.

Verdict: Pretty classy cable mini-series. ***1/2.

V -- THE FINAL BATTLE (1984)

V: THE FINAL BATTLE (1984). Director: Richard T. Heffron.

In this sequel to the original 1983 mini-series, V,  the war continues between human rebels and the invading force of alien Visitors. In this somewhat more entertaining sequel, Willie (Robert Englund), the "nice" alien, is taken captive by the resistance, even as one of their number, annoying young Robin (Blair Tefkin), discovers that she is pregnant with a half-alien baby. There's a nasty young human traitor named Daniel (David Packer). Julie (Faye Grant) is the leader of the resistance, and the scenes when she is taken captive and tortured and brain-washed go beyond the point of tedium. Mike Donovan (Marc Singer), hero of the first installment, is in a private war with his nasty collaborationist step-mother (Neva Patterson). Andrew Prine, Dick Miller, and Michael Ironside all appear, but the most amusing guest-star is Sarah Douglas as an alien commander named -- get this -- Pamela. It's already remarkable that the aliens use their Earth names to refer to one another even in private, but Pamela shows up from deep space sporting a thoroughly English accent [she even says "lefttenant" instead of "Lieutenant"]! This undercuts any seriousness intended by the producers, and the religiosity of the piece is also a bit irritating. There are some good scenes in this but it was all much, much better done in last year's unfortunately canceled ABC series, V, which lasted for two seasons. Jane Badler, who played head alien Diana in the 80's version, guest-starred as a variation of that character in the more recent series.

Verdict: Looks like those visitors are gone for good. **1/2.

V THE ORIGINAL MINI-SERIES (1983)

V (1983 four hour two-part mini-series). Written and directed by Kenneth Johnson.

Those who enjoy the new weekly V series may be interested in looking back at the original mini-series which aired nearly thirty years ago. My advice is not to bother, as the new TV show is much, much better, and the original V is nowhere near as good as the earlier sci fi alien invasion show The Invaders. Supposedly friendly aliens land on Earth in huge spaceships asking for our help and offering their knowledge in exchange. They are actually reptiles in human guise and eat mice, rats -- and people. They conspire against earth's scientists by fabricating a supposed plot by these scientists to conspire against them. In what seems like short order the aliens create an atmosphere of fear and paranoia, basically a police state, and have pretty much taken over, while some humans become quislings and collaborators. The analogy to Nazi Germany is cemented in a memorable scene in which a Jewish man explains to his son why he has to hide a scientist neighbor and her family. Marc Singer is a photojournalist who is pursued by the aliens even as he tries to expose them, and Jane Badler is Diana, a sadistic member of the invading force. The score sounds like an inept, pallid imitation of Herrmann's music for North by Northwest. Myron Healey, Andrew Prine, Robert Englund and William Russ are also in the cast.

Verdict: Somewhat entertaining but minor-league. **1/2.

XIII [Thirteen]

XIII [Thirteen] (2008). NBC two-part four hour mini-series. Director: Duane Clark.

This is a Ludlumesque conspiracy story centering on the assassination of the country's first female president. The killer is identified as a man named Steven Rowland (Stephen Dorff), but Rowland has lost his memory after a fall out of a plane and what's more apparently he isn't even Steven Rowland. Although XIII never has the energy or intensity of 24, it's certainly reminiscent of that series with its white house intrigue and top level traitors who think they can make a better America. The climax has to do with a dirty bomb about to go off in Washington. A post script, in which more questions are raised but go unanswered, suggest that at one time there may have been plans to turn XIII into a series. Stephen Dorff is nearly as intense as Kiefer Sutherland and makes a compelling lead (he looks much better with the close-cropped hair and receding hair line than he does with the shaggy locks in the poster). Caterina Murino, Stephen McHattie, Lucinda Davis, Jonathan Higgins, and Mimi Kuzyk are also notable. Val Kilmer is top billed but doesn't show up that much as The Mongoose.

Verdict: Okay, but no 24. **1/2.