THE PERFECT NEIGHBOR

THE PERFECT NEIGHBOR (2005). Director: Douglas Jackson.

Donna (Barbara Niven) has moved in with her Aunt Grace (Linda Darlow) right after murdering the married man who refused to leave his wife. Now she's set her sights on her aunt's neighbor, handsome TV exec William Costigan (Perry King), who's married to Jeannie (Susan Blakely). Donna is a psycho-bitch if ever there were one, and she's very well played by Niven, an attractive actress whose face turns ugly and bestial whenever she's angry -- which in this movie is often. While not as good as director Jackson's similar telefilm The Perfect Assistant (2008), this still holds the attention.

Verdict: Not somebody you'd want for a neighbor. **1/2.

SHERLOCK HOLMES AND THE SECRET WEAPON

SHERLOCK HOLMES AND THE SECRET WEAPON (1943). Director: Roy William Neill. 

"The needle to the last, eh, Holmes?" 

This is the second of the "modern-day" Universal Sherlock Holmes films [and the fourth film in which Basil Rathbone played Holmes], following Sherlock Holmes and the Voice of Terror. It is very, very loosely based on Doyle's story The Adventure of the Dancing Men, which refers to a code (which is used in the film). Frankly, Holmes really didn't fit into the WW2 milieu, and the only "modern" SH films which work are ones that more or less ignore the war and don't feature references to Nazis. The basic plot has to do with a scientist, Dr. Tobel (William Post Jr.) whose new weapon is coveted by the Germans. Frankly, the film doesn't really get interesting until we learn that the dreaded Professor Moriarty (Lionel Atwill) is involved in the plot. Rathbone is, as usual, excellent (although the odd comb-over he sports is a bit disconcerting) and his sparring with the equally great Atwill provides the film's highlights. The quoted line above comes about when Holmes suggests that an imaginative means of death would be to drain every drop of blood from a person's body. 

Verdict: If only there had been more of Moriarty and less of Dr. Tobel. **1/2.

THE HUNCHBACK OF NOTRE DAME

THE HUNCHBACK OF NOTRE DAME (1939). Director: William Dieterle.

Charles Laughton [in outstanding make up] gives another superb portrayal as Quasimodo in this fine filmization of Victor Hugo's classic story. Sir Cedric Hardwicke is also excellent as Frollo, the jealous villain of the piece, who lusts for Esmeralda (an equally fine Maureen O'Hara) with an unholy passion. A very young Edmond O'Brien plays the nominal hero, Gringoire, and he's fine in a role that one might not have thought him suitable for. Thomas Mitchell and George Zucco also give notable performances. Fine score and photography by Alfred Newman and Joseph August. Great whipping scene! If there's any problem with the movie is that the pace does tend to drag at times.

Verdict: Another memorable film from 1939. ***.

DO YOU LIKE HITCHCOCK? [TI PIACE HITCHCOCK?]

DO YOU LIKE HITCHCOCK? (aka Ti piace Hitchcock?/2005 Italian telefilm). Director: Dario Argento.

Dario Argento was once a very popular director of stylish and gory Italian thrillers such as Deep Red, Suspiria, Phenomena and Trauma, and he may still have a large following in Italy [in the U.S. he's more of a cult favorite]. But this lame telefilm, even if Argento were hampered by TV's restrictions, is a real come-down, just another in a long line of bad films that invoke Hitchcock without displaying one fraction of the Master's genius -- or ability to entertain. When film student Giulio (Elio Germano, pictured) learns that the mother of a pretty young woman named Sasha (Elisabetta Rocchetti) has been brutally murdered, he becomes inexplicably convinced that she "traded" murders with another woman a la Hitchcock's Strangers on a Train. In scenes that remind one more of De Palma's Dressed to Kill than anything in Hitchcock, Giulio follows around this other woman apparently in the hopes of discovering which of her acquaintances is supposed to be murdered by Sasha. There's a prologue involving witches' rites in the woods when Giulio was a boy that seems to have nothing to do with the rest of the movie. The only "style" to the film is that Argento seems obsessed in delivering extreme close-ups of tumblers turning inside locks. At one point Giulio breaks his leg like Stewart in Rear Window -- that's the only similarity, really, to the work of Hitchcock. There is a tense rooftop climax, but --- and Hitchcock could have told Argento this after the former's experience with Saboteur -- it's the wrong person dangling from the roof! Neither Argento nor composer Pino Donaggio [who did some fine scores for thrillers by Brian de Palma] seem very inspired by their material this time. This becomes positively tedious after awhile.

Verdict: Even Four Flies on Grey Velvet was better than this. *1/2.

THE UNFINISHED DANCE

THE UNFINISHED DANCE (1947). Director: Henry Koster.

A little ballet student named Meg (Margaret O'Brian) idolizes an up and comer named Ariane Bouchet (Cyd Charisse, pictured) and goes so far as to cause a horrible accident to a visiting ballerina, Darina (Karin Booth), whom she thinks is a rival to Bouchet. In his film debut Danny Thomas is Meg's "uncle" and friend, and he sings a couple of songs. Young Elinor Donahue is Meg's friend, Josie. This is a remarkably naive movie in which Meg's actions aren't even seen as being indicative of a serious emotional disturbance. The movie tries hard to be moving and "significant" and all the rest, but instead it's merely borderline cloying (as is Thomas) and kind of dumb. O'Brien is perfectly cast as the strange little girl. The best scene shows the most adorable little girl in the world, practically an infant, auditioning and charming the pants off of everyone. Film composer Herbert Stothart uses Camille Saint-Saens' "The Swan" for his theme music. In real life Charisse joined the Ballet Russe at age 13.

Verdict: Very earnest movie tries hard but it's just no go. **.

THE ILLUSTRATED DINOSAUR MOVIE GUIDE

THE ILLUSTRATED DINOSAUR MOVIE GUIDE. Stephen Jones. Titan Books. 1995.

An entertaining overview of the dinosaur movie is divided into sections dealing with the silent era (The Lost World) up to the 90's (Jurassic Park), with mini-reviews and write-ups on dozens and dozens of movies. Jones also includes movies with other giant creatures such as big bugs and mentions virtually every movie -- even erotic films -- that have dinosaurs, cavemen, or take place in a prehistoric setting sans monsters. Certainly a good starting off point for those interested in the dinosaur movie, and it's packed with a great many photographs as well. There is an introduction by FX wizard Ray Harryhausen and special sections on King Kong and other significant films and people associated with the genre. Jones includes Japanese monster movies and notes how increasingly juvenile and awful they became after the original Godzilla.

Verdict: Maybe not in-depth but fun reading nonetheless. ***.

NOT OUR SON

NOT OUR SON (1995 telefilm). Director: Michael Ray Rhodes.

The story of Paul Kenneth Keller [Neil Patrick Harris, pictured] of Seattle, the worst arsonist in U.S. history, as seen from the eyes of his family [unfortunately sort of giving his victims short shrift]. Keller's actions resulted in millions of dollars of property damage, widespread unemployment, loss of homes, displacement of the elderly, and the deaths of three senior women at a retirement home. Although the movie suggests he had neurological problems due to an incident when he was an infant, this didn't prevent Keller from getting one of the stiffest sentences handed down, probably because everyone else rightly saw him as a sociopath. Gerald McRaney and Cindy Pickett play Keller's parents, and Ari Meyers is his sister. Although absorbing, and not badly acted -- and meant primarily to show the affects of Keller's actions and arrest on his family -- it is a bit on the superficial side.

Verdict: Arson Lite. **1/2.

THE UNHOLY WIFE

THE UNHOLY WIFE (1957). Director: John Farrow. 

Paul (Rod Steiger) is a vintner who marries a woman, Phyllis (Diana Dors), who admits from the first that she's not very good. It's not just that she has no maternal instinct, she doesn't even have any particular love for her little boy, Mike (Gary Hunley), and as he's a charmer that puts her in an especially bad light. We learn from the first that Phyllis has fallen for hunky rodeo man San Sanders (Tom Tryon, who later became a novelist), and wants to murder Paul. But will she succeed in her plans? There are ironic and compelling aspects to this sultry melodrama, which features an interesting cast and good performances. Steiger is excellent, as usual, and Dors is pretty good, although one could say that she plays it a little too cool and unemotional for the most part. [Even sociopaths can at least act emotional when they have to.] Tom Tryon, little Gary Hunley, and Arthur Franz as Paul's priest brother are notable, as is Beulah Bondi as Paul's mother. [It's hard to imagine Diana Dors and Beulah Bondi in the same movie, but there they are, sometimes in the same frame.] Marie Windsor is her usual sardonic self in a brief bit as an associate of Phyllis' in a nightclub. Dors appears very deglamorized in certain sequences. 

Verdict: May not seem promising at first but stick with it. ***.

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. **.

GRAND OLD OPERA -- TOSCA AT THE MET ON GREAT PERFORMANCES

TOSCA by Giacomo Puccini on Great Performances at the Met/PBS, December 2009. Live telecast.

The first great opera of the 20th century as presented by the Met in New York and telecast live on Great Performances. This is the story of a great artist Cavaradossi (Marcelo Alvarez), and his lover, the jealous and tempestuous opera singer Floria Tosca (Karita Mattila), and how they come afoul of the venal Scarpia (George Gagnidze), who promises to set his captive Cavaradossi free if Tosca will only make love to him. Well ... the best laid plans ... This was conducted by Joseph Colaneri and directed by Gary Halvorson. One could quibble about certain aspects of the production, but basically this is first-rate, with great singing [and acting] from the three principles. Puccini's music combines beauty and drama for an often very powerful effect. One of the great operatic tragedies. NOTE: To read more about Tosca and other 20th century operas click here.

Verdict: The three singers certainly hit the high note! ***1/2.

IF CHINS COULD KILL: CONFESSIONS OF A B MOVIE ACTOR

IF CHINS COULD KILL: CONFESSIONS OF A B MOVIE ACTOR. Bruce Campbell. St Martin's Press; 2001.

A combo autobiography/Hollywood insider book by the likable star of The Evil Dead, Evil Dead 2, etc., a typical working actor who gets big roles in "B" [or less prestigious] productions and small roles in "A's -- one chapter is titled "The Higher the Budget, the Lower the Part." The early pages about his childhood are kind of tedious, but the book gets more interesting when Campbell starts making movies, and later stars in a television series. While much of his inside stuff about Hollywood is familiar, young actors who haven't been this way before may get a certain value from Campbell's experiences. Campbell had leading man charisma and talent, but it's a shame that the very movies that put him on the map -- the Evil Dead series -- also insured that he perhaps wasn't taken seriously enough by Hollywood. But weep not for him for he's had a continuing career, unlike many another actor who winds up waiting tables or in real estate. [He is now a regular on Burn Notice.]

Verdict: Not essential reading, but informative and of value to young people interested in a career in acting. **1/2.

DEADLY WEB

DEADLY WEB (1993 telefilm). Director: Jorge Montesi.

Terri Lawrence (Gigi Rice) is a divorced woman with a young son who comes to work at a hospital. She becomes the latest victim of an Internet nut case who calls himself "Cyber-God." He maxes out her credit cards, closes her bank accounts, sends her frightening messages -- and may even be someone she works with everyday. Raphael Sbarge and John Welsey Shipp [The Flash] are among the suspects; Ed Morinaro is an ex-cop whose partner was killed by Cyber-God and is now after him on his own. Ted McGinley is Terri's ex-husband and Andrew Lawrence plays her son. Reasonably suspenseful TV movie isn't badly acted even if it holds few surprises.

Verdict: Okay mystery. **1/2.

THREE ON A MATCH

THREE ON A MATCH (1932). Director: Mervyn LeRoy.

Three schoolmates run into each other a few years later and their lives intersect. Joan Blondell is Mary; Bette Davis is Ruth; and Ann Dvorak is Vivian. Although Vivian has a cute little boy and a loving, wealthy husband, she's bored and goes off on a vacation where she meets a new man -- and begins a downward spiral to ruin. Lyle Talbot, Warren William, and Humphrey Bogart are also in the cast; young Sidney Miller is fine as Willie Goldberg. Three on a Match is not without its interesting moments, but the material is essentially second-rate. Dvorak proved what an excellent actress she was in such films as Housewife, Girls of the Road, The Long Night, and especially A Life of Her Own.

Verdict: How the rich suffer when money isn't enough! **.

THE ADVENTURES OF SHERLOCK HOLMES

THE ADVENTURES OF SHERLOCK HOLMES (1939). Director: Alfred L. Werker. 

"There's death in every note of it." 

Sherlock Holmes (Basil Rathbone) matches wits with Professor Moriarty (George Zucco) when the latter -- who has just managed to get off on a murder charge -- boasts that he will commit a spectacular crime right in front of the former's nose. Ida Lupino is a woman who fears for her brother's life -- does this tie in with the professor's plans? Despite the fact that the movie sort of clues us in early on as to what's going on, The Adventures of Sherlock Holmes is still suspenseful and exciting, with some eerie scenes relating to a club-footed killer. The haunting flute dirge that figures in the story is quite creepy. Little Terry Kilburn makes an impression as Billy, the page boy who appeared in some of the stories. Based on a play by William Gillette. Rathbone is excellent,as is Zucco as his nemesis. At one point Rathbone/Holmes masquerades as a music hall singer! This follows The Hound of the Baskervilles and was the second of two 20th Century-Fox films with Rathbone as Holmes. Followed by Sherlock Holmes and the Voice of Terror, the first of 12 Universal "modern-day" Holmes adventures with Rathbone. 

Verdict: There are some loose ends, but overall this is a pip! ***1/2.

ARMY OF DARKNESS

ARMY OF DARKNESS (1992). Director: Sam Raimi.

A sequel to Evil Dead and Evil Dead 2 has hero Ash (the charismatic Bruce Campbell) falling through a time warp and winding up in the middle ages. There he learns that the only way he can get home is to find the Necronomicon (a mystical book that was actually invented by H. P. Lovecraft). Along the way he encounters more demons, tiny, giggling duplicates of himself, an evil doppelganger, witches, flying creatures, and living skeletons. The movie is busy but by no means should it be confused with a decent fantasy, sword and sorcery, or horror film; it's a travesty in every sense of the word -- and an effort to sit through for the most part due to its monumental silliness (as opposed to genuine humor). There's no real story and no real characters. Director Raimi, who co-scripted with his brother, seems to have been trying to turn star Campbell into some kind of slapstick comedian. Campbell can handle everything the script throws at him with aplomb, but he deserves better. And so do horror-fantasy fans. There's some acceptable stop-motion work, but none of it is of Ray Harryhausen quality, and there's nothing in this that compares to the climax of Jason and the Argonauts. Some effective, amusing moments, but much of this is just clumsy and foolish. Pretty much a moron movie.

Verdict: Full of sound and fury ... *1/2.

FALLEN ANGELS: THE LIVES AND UNTIMELY DEATHS OF 14 HOLLYWOOD BEAUTIES

FALLEN ANGELS: The Lives and Untimely Deaths of 14 Hollywood Beauties. Kirk Crivello. Citadel Press; 1988.

In this very interesting book, Crivello examines the often tragic lives of several different actresses, then has a round-up of dozens more at the end, amply illustrating the dark side of Hollywood fame -- and infamy. Along with such famous women as Monroe, Mansfield, Natalie Wood, and Sharon Tate, Crivello covers the careers, trials and tribulations of Barbara Payton, Gail Russell, Barbara Bates and several others. Some of these stories are so heart-breaking that they really hit you in the gut. It's a shock to read about actress Suzan [sic] Ball, her struggles with disease, and then learn that after all she'd been through she was only 22 when she died. These women had fame, beauty, talent and promise, but they all came to sad ends -- some due to accidents, some to suicide -- and many were just abandoned by Hollywood and couldn't deal with it.

Verdict: A sad, absorbing read. ***.

BEST FRIENDS

BEST FRIENDS (2005 telefilm). Director: Michael Scott.

Beth (Megan Gallagher), a recovering alcoholic with a husband and young son, is gratified to have such a good friend as Claudia (Claudette Mink, pictured), who takes charge when things become overwhelming for Beth. Unfortunately, Claudia is a functioning sociopath, and friendship means little to her when she wants something and you're standing in her way. Neither husband, best friend, nor even children mean anything to her. This is an absorbing, well-acted "psycho-bitch" movie with an especially heartless villainess. Not bad "cat-fight" at the climax. Nels Lennarson certainly makes an impression as the sexy "bad boy" who gets involved with Claudia, to his regret.

Verdict: Entertaining teletrash. ***.

ONE FATAL HOUR AKA TWO AGAINST THE WORLD

ONE FATAL HOUR (aka Two Against the World/1936). Director: William C. McGann.

This is a superior remake of Five Star Final, which starred Edward G. Robinson. In the original, a newspaper began running articles on a twenty year old murder case. In this version, a radio network decides to do a nightly dramatization of the incident. In the first version, the murder was morally ambiguous, but in this version, it is made clear that the woman, who was acquitted, killed in self-defense, and the victim was not her daughter's father. This removes two of the more irritating elements of Five Star Final. Humphrey Bogart plays the Robinson role in this version and it's a major understatement to say he's not in the same league as the great Robinson. Helen McKellar is superb as Martha Carstairs, who was once the notorious "murderess" Gloria Pembrook. Beverly Roberts makes a snappy, bitter secretary for Bogart, and Harry Hayden is properly loathsome as Dr. Leavenworth, who exposes Mrs. Carstair's true identity. Not a great movie, but it is absorbing, generally well-acted, and is a big improvement over the first version.

Verdict: Sometimes the remake is better. **1/2.

SMART GIRLS DON'T TALK

SMART GIRLS DON'T TALK (1948). Director: Richard L. Bare.

Linda Vickers (Virginia Mayo, pictured) gets involved with gambling bigwig and shady character Marty Fain (Bruce Bennett) -- but so does her brother, "Doc" (Robert Hutton), who patches Fain up when he's shot and pays the ultimate price. This seems like a remake of an old Bette Davis movie that wasn't all that great in its original incarnation. Tom D'Andrea as Sparky Lynch adds a little spice, but not enough to save the movie. Mayo is competent enough but she seems to play everything in one note, although the script hardly gives her many opportunities to shine. Richard L. Bare also directed the much more interesting Wicked, Wicked many years later.

Verdict: Smart people stay away from movies like this. *1/2.

AND NEVER LET HER GO

AND NEVER LET HER GO (2001 telefilm/2 part, 4 hour mini-series). Director: Peter Levin.

Based on Queen Ghoul Ann Rule's true-crime book, this is the story of Thomas Capano (Mark Harmon) and his lover Anne Marie Fahey (Kathryn Morris of Cold Case), who disappeared one night after an argument with Capano. Rachel Ward of The Thornbirds and Night School plays a mistress that the married Capano had for twenty years; both she and Capano's wife were unaware at first of his involvement with Fahey. Olympia Dukakis is Capano's mother, who gets angrier at her other sons for telling on Capano than she is with the son who committed murder. Paul Michael Glaser is the detective on the case. Morris is excellent, Harmon is much better than usual, and the large supporting cast is mostly on the money. They probably didn't need four hours to tell this sad and sordid story, however.

Verdict: Reasonably absorbing true crime drama. ***.

BOSTON BLACKIE GOES HOLLYWOOD

BOSTON BLACKIE GOES HOLLYWOOD (1942). Director: Michael Gordon. 

Reformed thief Boston Blackie (Chester Morris) is suspected of stealing a valuable item and winds up going into disguise, with his buddy "The Runt" (George E. Stone), pretending to be a child. A very young Forrest Tucker plays a thug and Lloyd Bridges has a bit. Constance Worth is the dame. The film is well performed, for what it is, but even for a "B" movie it's decidedly on the minor side. Some mildly amusing vignettes and very little real action add up to a programmer that you practically forget even while you're watching it. 

Verdict: At least it doesn't last very long. **.

THE LOST WORLD (1960)

THE LOST WORLD (1960). Director: Irwin Allen.

"Eaten alive! Horrible! Horrible!"

Colorful and loose adaptation of Sir Arthur Conan Doyle's novel has a motley group trapped on a South American plateau with a variety of prehistoric monsters and cannibalistic natives. Fitted with bibs, horns and the like, the "dinosaurs" are actually rather majestic lizards, and the sets during the climax are redressed from Journey to the Center to the Earth [especially the Atlantis scenes). The peppery exchanges between Professor Challenger (Claude Rains) and Summerlee (Richard Haydn) are amusing, and Jill St. John as the only woman in the group is as saucy as ever. The climactic scenes as the party is chased by natives through the foggy Caves of Fire -- and encounter the monstrous Fire God -- are suspenseful and exciting. David Hedison, Michael Rennie, and Fernando Lamas don't do that much more than walk through the picture, but Jay Novello is as splendid as ever as the weasel-like Costas who winds up a blue plate special. Uneven effects. You have to see the pink poodle Frosty come up against a leaf-munching dinosaur to believe it. NOTE: For more on this film and others like it see Creature Features: Nature Turned Nasty in the Movies. FURTHER NOTE: It is best to see this in wide-screen and high definition.

Verdict: Silly but entertaining creature feature. ***.

THE CAPTAIN'S KID

THE CAPTAIN'S KID (1936). Director: Nick Grinde.

Aunt Marcia Prentiss (May Robson) doesn't want little Abigail (Sybil Jason) hanging around with disreputable Uncle Asa Plunkett (Guy Kibbee) because he drinks too much, among other things. Little Abigail, who sings the title song at one point, importunes kindly Asa to go look for a treasure that he's been talking about for years. A wicked brother and sister team try to take it away from him and Asa winds up getting in trouble with the law. None of it is as serious as it sounds, as this is a light-hearted, overly "cute" film with a couple of mild chuckles now and then. Kibbee and Robson are as good as ever. Jane Bryan of The Old Maid plays Betsy Ann. Mary Treen is the housekeeper, Libby. Sybil Jason is a talented little monkey-face, although some might find that her appeal runs out about halfway through the movie.

Verdict: Paging Shirley Temple! **.

EASTWICK (2009)

EASTWICK (ABC TV series/2009).

Based on the film The Witches of Eastwick, this has three women in the same town encountering the mysterious Darryl Van Horne (Paul Gross, who starred in the TV show Due South about ten years ago), and discovering that they've suddenly become empowered with a kind of magic. The suspense of the series is not only what will happen to them with these new abilities -- and their new-found strength -- but if they will ever discover the true identity of the oddly likable Van Horne. By the time you read this Eastwick will most likely be off the air due to low ratings. While it has its entertaining moments and some good performances, it hasn't quite become a "must-see." Gross isn't bad, although at first he seemed to be trying too hard to imitate Jack Nicholson [who played the same role in the movie]. Lindsay Price ( a decade after The Bold and the Beautiful) and Jaime Ray Newman are fine as Jennifer and Kat, respectively, but Rebecca Romijn [Mystique in the X-Men movies] was probably not the best casting choice as Roxie. Sara Rue probably makes the best impression as Jennifer's friend, Penny. Veronica Cartwright, who also appeared in the theatrical film, is fun but hasn't much to do as the put-upon "Bun." A real problem with the series is that the very likable Jennifer and the weak-gal-seeking-strength Kat both became just a little too obnoxious, especially the former.

Verdict: It was here but now it's gone. Magic! **1/2.

STUDIO ONE: THE ROCKINGHAM TEA SET

STUDIO ONE: THE ROCKINGHAM TEA SET (1950). Director: Franklin J. Schaffner.

"You''ll never be rid of me! Never!"

For curiosity's sake since it stars Grace Kelly, Turner Classic Movies resuscitated this utterly forgettable melodrama from the golden age of live television. The Rockingham Tea Set is an episode of Studio One. A young nurse (Grace Kelly) tells the story of her last employer, a neurotic woman, Celia Arden (Louise Allbritton), who became crippled after a car accident. Her fiance, David (Richard McMurray), was driving the car at the time and has been doing penance ever since. Celia is convinced that the nurse and David are falling in love with one another and it all leads to alleged tragedy. Kelly is quite good; Allbritton chews the scenery but is effective. [For a much more interesting Allbritton performance see Son of Dracula.] This is a riot of unreal characters, lousy dialogue, and some stilted acting as well.

Verdict: Not everything in the golden age was golden. *1/2.

VIOLENT SATURDAY

VIOLENT SATURDAY (1955). Director: Richard Fleischer. 

While a group of criminals gather in Bradenville to plan and commit a robbery, we are treated to vignettes about some of the townspeople. The problem with this caper movie is that it wants to be something else, a small town drama, with the robbery almost being incidental (it fact it takes place in only a couple of minutes). The soap opera gets in the way of the caper story, and the look at small town life -- a man (Richard Egan) with a philandering wife, a librarian (Sylvia Sidney) with debts, a mousy bank manager (Tommy Noonan) who's sort of a peeping tom -- isn't all that interesting. There are so many actors hardly any of them really get a chance to shine. Victor Mature is the nominal hero; Stephen McNally is the head of the crooks; Ernest Borgnine is an Amish farmer [!]. J. Carrol Naish and Lee Marvin are as flavorful as ever as two members of the gang. Virginia Leith is a pretty nurse who arouses passions before becoming The Brain That Wouldn't Die. A much better Richard Fleischer film is Fantastic Voyage. 

Verdict: Not worth the time it takes to tell. **.

WHO NEEDS SLEEP?

WHO NEEDS SLEEP? (2006 documentary). Director: Haskell Wexler.

The famous cinematographer Haskell Wexler [pictured] put together this film which looks at the problem of sleep-deprived workers in the film industry. Wexler and others were especially galvanized after one man fell asleep at the wheel driving home to his family and was killed. As is said, this covers the film industry, but it could be about "any group of industrial workers fighting to have a fourteen hour day." Workers in the movie business typically put in 19 hour days without the commensurate salaries of the stars and [generally] the directors -- hardly a "glamorous" business. After the man's death petitions were signed and circulated insisting on a 14 (!) hour work day but it didn't stick. There has been "no real appreciable change." The trouble is that the movie makers are on a deadline to finish a film and there are variable factors at play. Still, this is a very interesting documentary showing an aspect of the movie business that few people outside the industry ever really think about. There are brief moments of celebrities being interviewed, but mostly its people working behind the scenes.

Verdict: Sobering. ***.

THE SECRET OF THE WHISTLER

THE SECRET OF THE WHISTLER (1946). Director: George Sherman. 

Artist Ralph Harrison (Richard Dix) is married to a wealthy, ill woman (Mary Currier) but his heart belongs to his very sexy model Kay (Leslie Brooks). The prognosis for Mrs. Harrison isn't very good, but when she makes a full recovery poor Ralph finds himself in quite a dilemma: How to enjoy the woman's money but have sweet Kay for his wife. Entertaining mystery is fairly predictable but it does have a memorably ironic conclusion. Michael Duane, who plays handsome painter Jim, was the star of The Return of the Whistler. Claire Du Brey is Laura, Mrs. Harrison's loyal servant and husband-hater. Good acting doesn't hurt. Narrated, as such, by the shadowy Whistler character, as usual. 

Verdict: Okay Whistler entry. **1/2.