STARLIFT

Ruth Roman and Dick Wesson

STARLIFT (1951). Director: Roy Del Ruth.

Movie star Nell Wayne (Janice Rule of The Swimmer) gets the notion that Air Force Corporal Rick Williams (Ron  Hagerthy) and his buddy Sgt. Mike Nolan (Dick Wesson) are being shipped overseas for combat in Korea when they are merely picking up wounded soldiers and piloting them home. Nell feels betrayed when she learns the truth, but the press come to the conclusion that she and Rick are engaged and the two are forced to go along with the deception. Meanwhile Nell and other celebrities take part in "Operation: Starlift," which brings movie stars and others by plane to visit wounded servicemen.

Ron Hagerthy and Janice Rule

This is the slender plot for another all-star war movie that starts out as a Doris Day film -- Day plays herself and does a couple of numbers -- but then dismisses her in favor of Ruth Roman (also playing herself) and assorted guest-stars. These include everyone from Louella Parsons to Peter Marshall to Patrice Wymore. Jane Wyman warbles a pleasant tune and is acceptable. Gene Nelson dancers with his customary flair and aptitude in a ballet with Rule. Phil Harris [The Patsy] shows up and does little but repulse everyone with his hideous smile. He also appears in a singing sketch with Gary Cooper playing a Texas Ranger. James Cagney puts in a brief appearance and there is a sketch about a chef that you can miss.

Virginia Mayo does her dance

Starlift does have a couple of highlights, however. There's Gordon MacRae splendidly singing "Good Green Acres of Home" backed by a military chorus. And Virginia Mayo [The Kid from Brooklyn] does a kind of Polynesian dance number and proves herself to be quite skilled in the terpsichorean arts. Ruth Roman is on screen almost as long as Janice Rule but she apparently can neither sing nor dance. As for the two Air Force men, Dick Wesson was generally comedy relief in a few movies and TV shows. After this film, most of Ron  Hagerthy's many credits were on television. Others in the cast include Richard Webb as Colonel Callan and William Hudson as a soldier.

Verdict: Some memorable moments, but generally not one of the better "all-star" war films. **1/2. 

THE EXECUTION

Loretta Swit, Sandy Dennis, Valerie Harper

THE EXECUTION (1985 telefilm). Director: Paul Wendkos.

In San Diego in 1970, several women who were survivors of the Birkenau concentration camp and who somehow met up with each other years later, get together each week to play mah jongg. Elsa (Sandy Dennis) spots a restaurant owner named Walter Grauman (Rip Torn of Sweet Bird of Youth) on a TV ad and is afraid that he may actually be Wilheim Gehbert, who raped and brutalized the women at Birkenau and was responsible for several thousand deaths. Marysia (Loretta Swit) agrees to find out if Walter has a certain scar on his back, and winds up sleeping with him when he doesn't. However, she is in for a rude awakening the next morning. The ladies decide that one of them will secretly murder Grauman, but things get complicated when an innocent man is arrested for the crime ...

Rip Torn with Loretta Swit

The Execution has an excellent premise but in its second half it becomes overly complicated, ignores points of law, and is almost sunk by its contrivances; even a final twist doesn't quite make up for the script deficiencies.  In fact, it becomes ridiculous at times. Loretta Swit, however, gives an outstanding performance, giving 150% to the role. The other ladies -- including Valerie Harper, Barbara Barrie and Jessica Walter  -- are good but a notch below Swit. Dennis indulges in her usual quirky all-tics-and-mannerisms acting style and is actually not that compelling. Of the male actors, Torn gives a good if second-rate performance, although Alan Miller and Peter White are fine as two of the spouses. Paul Wendkos also directed theatrical films such as The Burglar.

Verdict: No one expected Judgment at Nuremberg, but a film with this premise should have been much, much, more powerful -- Swit can not be faulted, however. **3/4. 

EMERGENCY HOSPITAL

John Archer and Margaret Lindsay

EMERGENCY HOSPITAL (1956). Director: Lee Sholem.

Dr. Janet Carey (Margaret Lindsay of Club Havana) is a very busy doctor at a state-run hospital during the night shift. Ben Caldwell (Byron Palmer of Ma and Pa Kettle at Waikiki) is a race car driver and playboy who wants Janet to give it all up and marry him, while Dr. Herb Ellis (John Archer) seems to be carrying a torch for Janet as well. Sgt. Paul Arnold (Walter Reed) is the police liaison with the hospital and he is on hand when his son, Jimmy (James Noah), is brought in after an accident and nearly winds up in a nasty incident between father and son. There are other assorted crises and patients during one long night.

James Noah and Walter Reed

Emergency Hospital looks like an especially gritty TV production, and in truth it's the kind of stuff that later wound up in many episodes of assorted medical shows -- life, death, accidents, diseases, assorted mini-dramas with some life lessons passed out by the staff. Lindsay is puffy-looking but gives a good performance, and Reed has some very good moments in the sequences with his son. Archer makes a positive impression as a decent guy who may just have to take a back seat to the flashier Caldwell, who is well-played by Palmer. Rita Johnson [Forty Little Mothers] scores as head nurse Norma Mullen.

The large cast also includes Rhodes Reason and William Boyett as traffic cops; Vera Francis as a lovely African-American nurse also named Vera; and Mary Carver, Maxine Gates, and Jan Englund as semi-hysterical patients.

Verdict: Too bad Ben Casey and Dr. Kildare don't put in an appearance. **3/4. 

HOME BEFORE DARK

Jean Simmons

HOME BEFORE DARK (1958). Director: Mervyn LeRoy.

Charlotte Bronn (Jean Simmons of Dominique) returns home after a year in a mental institution due to a nervous breakdown. Married to the cold fish Professor Arnold Bronn (Dan O'Herlihy), Charlotte had imagined that her husband was really in love with her stepsister, Joan (Rhonda Fleming of The Nude Bomb), and allowed her alleged delusions to get the better of her. When the Bronns got married Arnold moved into Charlotte's house, and the couple lived with Joan and Charlotte's stepmother, Inez (Mabel Albertson). Bad idea!

Simmons with Efrem Zimbalist, Jr. 

Trying to adjust to her new state of freedom, Charlotte finds her husband as cold as ever, and she is somewhat drawn to their boarder, Jacob Diamond (Efrem Zimbalist Jr.), a Jew who was championed  by Arnold against anti-Semitic colleagues until it no longer suited his purposes. Jacob has feelings for Charlotte, as does her old boyfriend, Hamilton  (Stephen Dunne). Their attentions, however, do not prevent additional feelings of paranoia for Charlotte over a possible relationship between Arnold and Joan. Although Home Before Dark is not a thriller, it does work up some suspense over whether or not there is anything between husband and stepsister-in-law before the final revelations.

Rhonda Fleming, Dan O'Herlihy, Mabel Albertson

Home Before Dark is decidedly overlong at nearly two and a half hours. One could argue that there's really not enough plot for such a lengthy motion picture, but despite some tedious moments the picture manages to be absorbing, in no small part to a superb performance by Jean Simmons. There is a particularly good scene worth waiting for in which Charlotte shows up in a Boston restaurant trying to look like a grotesque imitation of her stepsister. Dan O'Herlihy is fine in the thankless role of a seemingly passionless husband; Dunne scores as the cast-off boyfriend from years ago; Fleming and Albertson are memorable as Charlotte's other family members; and even Zimbalist is okay as Jacob, although it's a wonder why this rather sexless and bland actor was constantly cast as a romantic figure in movie after movie. In smaller roles one can find Joan Weldon [Them], Eleanor Audley, and Lucy's mother Kathryn Card in the peppery role of the housekeeper Mattie. Oddly, the score for the film consists of snippets from various previous films by a variety of composers. Photographed by Joseph F. Biroc.

Verdict: Love-starved wives are always entertaining in these kind of movies, but this is on a somewhat higher level than a soap opera. ***.

23 PACES TO BAKER STREET

Van Johnson as the disheartened playwright

23 PACES TO BAKER STREET (1956). Director: Henry Hathaway.

Phillip Hannon (Van Johnson) is a playwright who has temporarily relocated to London where the British production of his latest show is a hit. Phillip lost his eyesight in an unspecified accident a few years before and remains bitter and unsatisfied with life. His former fiancee, Jean (Vera Miles of Tarzan's Hidden Jungle), comes to see him -- it was not her idea to end the engagement -- but he still seems determined to keep distance between them. He has a likable butler named Bob (Cecil Parker of The Ladykillers) who looks after him. One evening Phillip overhears a conversation between two people -- a man named Evans and a woman named Murch who wears a distinctive perfume -- and realizes there is a strong possibility she is being forced into some kind of criminal mischief. With the help of Jean and Bob, Phillip goes about trying to find this Miss Murch so he can help her and prevent the possible child kidnapping or other skulduggery that might take place. But while he's looking for Murch, Evans is looking for him ...

Johnson with Vera Miles

23 Paces to Baker Street comes off like a combination of Rear Window and The Man Who Knew Too Much, although it lacks the Master's touch, Henry Hathaway not being in the same league as Hitchcock. In spite of that, 23 Paces is a memorable suspense-thriller, with a nifty scene when Phillip is caught on a crumbling roof in a diabolical trap, and an exciting climax when he squares off with the mastermind in his apartment. The performances can not be faulted: Johnson is square-on in his portrayal of the disheartened and embittered blind man who finally allows love in the door, Vera Miles is warm and sympathetic as the woman who adores him, Parker makes a likable helpmate, and Estelle Winwood is winning as a barkeep who also tries to help Phillip in his quest. There are also notable turns from Patricia Laffan as a nurse and Martin Benson [The Cosmic Monsters] as a man who runs an agency for same, among others.

Cinematography by Milton R.. Krasner

The movie greatly benefits from an evocative score by Leigh Harline and impressive CinemaScope photography by Milton R. Krasner; his sweeping shots of London are especially beautiful.  This was hardly the first depiction of a bitter blind man, nor is Phillip the first blind "detective." Edward Arnold played a blind private eye (much more accepting of his impairment) in two films. Years later James Franciscus starred as a blind insurance investigator on the TV series Longstreet, which lasted one season. An Italian giallo film named The Crimes of the Black Cat has a lot of plot similarities to 23 Paces, also featuring a blind man who overhears a plot in a bar, a rooftop trap, and the like. 23 Paces is far superior to Wait Until Dark, which had a blind heroine in a tough spot at the climax.

Verdict: Highly watchable suspense film with some excellent performances. ***. 

TONIGHT'S THE NIGHT

Highly punchable: David Niven

TONIGHT'S THE NIGHT (aka Happy Ever After/1954). Director: Mario Zampi.

"We could be very happy in an unhappy sort of way." -- Jasper.

Aged General O'Leary of Rathbonie Ireland is determined to make a dangerous jump on his horse as he does every year, but this time he has an accident and eventually dies. His estate goes to relative Jasper O'Leary (David Niven of Death on the Nile), who sets the entire town against himself by refusing  to honor his uncle's death bed bequests and the old man's forgiving of certain debts. Meanwhile the recently widowed Serena (Yvonne De Carlo), who had hoped to snare handsome former fiance Dr. Michael Flynn (Robert Urquhart of The Curse of Frankenstein) against her sister Kathy's (Noelle Middleton) wishes, deides that it might be better to set her cap for the obviously interested new Squire, Jasper. But now all of Jasper's many enemies decide the only thing to do is to assassinate Jasper ...

Barry Fitzgerald and David Niven

Black comedies can work --witness the wonderful The Wrong Box -- but Tonight's the Night is an appalling concoction and only has three solid laughs throughout its ninety minutes running time. For one thing the two lead characters, the  heartless priss Jasper and the gold-digging Serena, are too loathsome to be amusing. Character flaws can make people funny, but these two, Jasper in particular, are utterly worthless individuals. One feels sympathy for the wronged townspeople -- Jasper wants to evict one elderly man out of the home he's lived in for decades -- until they start indulging in IRA tactics including bombs and the like. One plan to kill Jasper has to do with tying a rope across the road in the hopes that Jasper will be beheaded when he drives by in his motorcar! Such lovely people!

Robert Urquhart and Yvonne De Carlo

Much of the second half of the film is taken up with the town folks' bumbling attempts at murder, which makes them resemble especially malevolent variations on the Bowery Boys but with even less laughs. Niven, although playing someone whose face you want to punch almost from the first, gives a good performance (nobody could be more obnoxious than Niven when playing a detestable prig); De Carlo is snappy and has an okay Irish brogue; the supporting cast does its best; and Barry Fitzgerald nearly steals the picture -- not that he would necessarily want it -- in his portrayal of Thady, the tippling butler. Niven and De Carlo don't have that much chemistry, and the characters of Kathy and the doctor are never sufficiently developed. A highlight of the film is when a talented Irish tenor sings the lovely ballad "My Heart is Irish." Mario Zampi also directed The Naked Truth, another dark comedy that was much, much better than this..

Verdict: Essentially unfunny and atrocious but for Fitzgerald and the tenor. *1/2. 

LADY IN A CAGE

Trapped but determined: Olivia de Havilland

LADY IN A CAGE (1964). Director: Walter Grauman.

Cornelia Hilyard (Olivia de Havilland of Not as a Stranger) is a determined lady who has apparently been rather stifling towards her probably gay son, Malcolm (William Swan).  Malcolm goes off for a few days, leaving a letter basically telling his "darling" to let him live his own life, while Cornelia -- who has broken a hip -- gets trapped in her home elevator when there is a power failure. Her attempts to draw attention with an alarm system fail, and in short order she is "visited" by everyone from a wino (Jeff Corey of Bright Leaf) and a sluttish friend of his named Sade (Ann Sothern of A Letter to Three Wives) to three young mentally-defective "troglodytes" -- Randall (James Caan), Essie (Rafael Campos) and Elaine (Jennifer Billinsley) -- all of whom are looking for booty. Then Randall gets the idea that the wino, Sade, and Cornelia should all be done away with ...

Billingsley, Caan and Campos

Lady in a Cage is a decidedly repellent film on many levels, but it is also well-directed and well-made, and has many effective and suspenseful moments. The acting is a little more problematic, with virtually everyone seeming stagy and obvious at times as if they thought they were in a play. In spite of this, de Havilland is generally good, and Corey and Sothern are mostly on-target as well. Caan and Billingsley, who were "introduced" in this film (both had previous TV credits), are less impressive, as is Campos as the decidedly weird Essie, as probably none of them had a clue as to what their characters were all about. William Swan, who is fine, mostly had television credits.

Slattern and wino: Sothern and Corey

This pre-Stonewall film tries to suggest that this dominant mother figure "turned" her son into a homosexual, a dated notion to be certain. Arguing that Malcolm is not gay, Cornelia mentions all of his "charming women friends," to which Essie -- who may have sexual identity issues himself -- responds "'women' friends he met in public shower rooms!" When this film played on television years ago, that line, among others, was excised, as was the shot of a certain individual's head after being crushed under the wheels of a motor car.

Verdict: Whatever you think of the movie it gets points for being unpredictable. ***. 

ROUND UP OF NEW AND RECENT FILMS PART SEVEN

The Joker meets Boy Batman

ROUND UP OF NEW AND RECENT FILMS PART SEVEN.

Joker (2019). Not a "super-hero" film as such, Joker looks at the life of Arthur Fleck (Joaquin Phoenix) and shows how he transformed into Batman's arch-enemy, the clown-faced, maniacal Joker. Essentially this is a slow if absorbing study of a lonely and mentally-unstable outsider with show biz aspirations, a horrible mother, and a childhood full of abuse. Batman is still a child at the time this takes place, and Arthur wrongly imagines that he is Bruce Wayne's half-brother. Made fun of by talk show host and comic Murray Franklin (Robert De Niro), he winds up a guest on the show with predictable results. Arthur is presented as an angry victim with some legitimate grievances, but his being turned into a champion of the poor and downtrodden is utterly ludicrous and just doesn't work. Very well-acted by Phoenix and De Niro, Joker is by no means a bad movie -- although it's not always well-paced -- but Best Picture ...? No. Directed by Todd Phillips, this has an interesting score by Hildur Guanodottir. Unless you're a total geek, you'll probably forget about the movie five minutes after you see it. **3/4.

Downton Abbey (2019) revisits the Crawley family from the very popular TV series and works effectively as an especially long episode. The King and Queen are going to spend the night at the estate, and everyone is thrown into a tizzy, especially the servants, who are told that the King's staff will take over and that even the cook, Mrs. Patmore (Lesley Nicol), will have to temporarily turn in her apron. They aren't going to take that lying down! Meanwhile handsome butler Barrow (Robert James-Collier) is also temporarily shunted aside by retired Carson (Jim Carter), but Barrow finds a like-soul after he's caught in a raid on a gay bar. (Barrow is a much more sympathetic character in this than when he was first introduced.) Violet (Maggie Smith) is appalled that a relative is going to leave her fortune to a maid -- goodness! -- instead of Violet's son, but discovers the reason why. And a sneak thief is stealing various items from the household. One could quibble about certain aspects of the story, but for the most part Downton Abbey is delightful and beautifully acted, with equal parts charm, class and sentiment. Directed by Michael Engler. ***1/4. 

THE BIG SHOW-OFF

Dale Evans and Arthur Lake

THE BIG SHOW-OFF (1945). Director: Howard Bretherton.

Sandy Elliott (Arthur Lake) is a piano accompanist for the nightclub singer June Mayfield (Dale Evans). Their boss, Joe Bagley (Lionel Stander of Tahiti Honey), knows that Sandy is secretly carrying a torch for June. While Joe likes Sandy, he can't stand his obnoxious emcee, Wally (George Meeker of Tarzan's Revenge), who is practically affianced to June. Joe tries to encourage Sandy to tell June how he feels, and to become the kind of man that June might fall for. Somehow it develops that June is convinced that Sandy is the real identity of the masked wrestler known as "the Devil." June is amazed that the mouse is really a lion, but now she's afraid that he might be too brutal for her taste. Sandy wants to give up his alleged career as the Devil, but the real Devil might have something to say about that. What's a boy to do?

Lionel Stander with Lake

The Big Show-Off might sound like a cute picture, and it is, but it's still distinctly minor although it gets lots of help from the likable Lake, best-known as Dagwood Bumstead of the Blondie film series. Lionel Stander is less off-putting than usual, and Dale Evans gets to warble the memorable ditty "There's Only One You." The film throws in some bizarre characters like the Devil (Paul Hurst of Borrowed Wives) and his wrestling cousin and chief opponent, Boris the Bulgar (Sammy Stein). Marjorie Manners plays Mitzi, one of the show girls and June's gal pal. I could swear I spotted a young Nestor Paiva but he's not in the cast list. Anyway, The Big Show-Off is an amiable comedy with a pleasant lead performance. 

Verdict: Lake takes some time off from the Blondie series. **1/2. 

THE BOY FROM INDIANA

Lon McCallister

THE BOY FROM INDIANA (1950). Director: John Rawlins.

Lon Decker (Lon McCallister) is a young man without a family who runs into an old reprobate named MacDougal (George Cleveland of Haunted House). The old scoundrel convinces Lon to become a jockey and ride MacDougal's horse, Jo Jo, in a race. Lon has no idea that MacDougal drugs horses and the like, nor that Jo Jo is actually a famous horse named Texas Dandy; eventually the two men develop a father-son relationship. Lon meets Betty (Lois Richards) who argues that quarter horses can become winning race horses just as much as thoroughbreds -- maybe Jo Jo can compete against the big boys?  Trouble ensues when Jo Jo is gored by a berserk bull (in an exciting and cinematic sequence) and also when Lon realizes how utterly larcenous his "Pa" can be. Nevertheless, Lon is determined to race Jo Jo, providing the horse's injuries can heal in time.

Lon McCallister and Lois Riuchards

The Boy from Indiana benefits from good performances from the charming, boyish McCallister and  a peppery Cleveland, with sweet Lois Richards and an equally peppery Billie Burke [Dinner at Eight] -- as MacDougal's nemesis Zelda Bagley -- thrown in for good measure. McCallister was a handsome and likable performer who appeared in a lot of "outdoors" movies and family films. Lois Butler had only a few credits, and appeared in just three films. On the other hand, Cleveland had nearly 200 credits over a very, very long career. The Boy from Indiana has some limited charm and several likable players. John Rawlins also directed Young Fugitives as well as a number of serials.

Verdict: Amiable movie for horse lovers and racing enthusiasts. **1/2. 

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. 

"BABY JANE" REVISITED

Bette Davis and Joan Crawford

WHAT EVER HAPPENED TO BABY JANE? (1962). Director: Robert Aldrich.

"I hope you can be kinder to Jane and your father then they are to you."

Former child star Baby Jane Hudson (Bette Davis, pictured) shares a mansion in Hollywood with her crippled sister, Blanche (Joan Crawford), who was a big movie star in her day. When they begin showing her old movies on television, Jane gets the idea of reviving her own act -- but first she has to keep Blanche from selling the house out from under her, leading to grim events and tragedy.

Joan Crawford and Maidie Norman

While the subject matter with its mental illness and physical abuse is distasteful, Baby Jane is still a mesmerizing film, adroitly directed by Aldrich, well-made, and well-acted by the entire cast. Davis is simply superb as Jane (especially good when she collapses into horrified tears in front of her mirror); Crawford is solid but has the less flamboyant role. Victor Buono and Marjorie Bennett are great as Edwin Flagg and his mother. Maidie Norman and Anna Lee are also fine as, respectively, the Hudson's maid, Elvira, and pleasant neighbor, Mrs. Bates. (Davis' witchy religious nut daughter, B.D. Hyman, is barely acceptable as Lee's teen aged daughter; she had no subsequent career as an actress.) Ernest Anderson, who had an important role in In This Our Life, has a brief scene with Davis near the end of the film when he plays a food vendor at the beach. Baby Jane? is beautifully photographed by Ernest Haller. Write-ups of this film always refer to the "decaying" mansion the Hudson sisters live in, but it doesn't seem to be "decaying" -- like Jane's mind -- at all.

2020 UPDATE: Aldrich could have built up more suspense in certain sequences. Crawford doesn't quite pull out all the stops in her final scene, but then we have to remember she's supposed to be at death's door. A bank teller is played by Maxine Cooper of Kiss Me Deadly. Remade as a TV movie with the Redgrave sisters in 1990.

Verdict: Grotesque -- but it works. ***1/2.

'CHARLOTTE" REVISITED

"Hush ... Hush, Sweet Charlotte"

HUSH...HUSH, SWEET CHARLOTTE (1964). Director: Robert Aldrich.

NOTE: My original review read as follows: 

"She's not really crazy. She just acts that way because people expect it of her."

This film seems to get better with the passage of time. Originally this was meant to be a follow up to What Ever Happened to Baby Jane? re-teaming Bette Davis with Joan Crawford (who would have been great in the picture and should have completed it) but Crawford quit the production and Olivia de Havilland stepped in -- with happy results. As others have noted, watching sweet "Miss Melanie" of Gone With the Wind doing the things that de Havilland does as Miriam gives it all an added kick.

Olivia De Havilland and Joseph Cotten

Charlotte Hollis (Bette Davis) lives alone in a forlorn mansion that is about to be torn down to make way for a bridge. She calls on the only family she has left -- cousin Miriam Deering (de Havilland) -- to come and help her, but Miriam has other things on her mind. For most of her life Charlotte has been the chief suspect in the mutilation murder of her lover, John Mayhew (Bruce Dern), a supposedly sensitive soul who wrote a love song to Charlotte (the title tune) and put it in a music box. Charlotte is haunted by her lost love and by her feeling that it was her father (Victor Buono in a bravura turn) who killed him.

Bette Davis as Charlotte

Hush...Hush, Sweet Charlotte takes a cast of golden age stars and character actors and places them in a classy production with a sop to the teen audience via the graphic, well-executed (pun intended) murder scene that almost opens the picture, and which is actually bloodier than the Psycho murder of 1960 (we never do learn what became of the poor man's head and hand, which were apparently carried off by the murderer). This alone predisposed many 1964 critics to dismiss the film out of hand, although the rest of the film is entirely tasteful. Not only tasteful, but extremely well done. Aldrich's direction and handling of the suspense scenes is far superior to his work on Baby Jane. Joseph Biroc's cinematography is consistently outstanding and the production values first-rate -- this is one good-looking movie. (Frank) DeVol's musical score is extremely effective. One could argue that Baby Jane had a kind of cheapjack feel to it, but that is definitely not true of Charlotte. The screenplay by Henry Farrell and Lukas Heller, while it may at one point borrow a plot gambit from Diabolique, is suspenseful and full of great dialogue. Most scenes, such as a murder on a staircase and the bitter arguments between the neurotic principals, are handled with great dramatic flair.

Olivia de Havilland

And then there's the acting. Davis gives one of her finest latter-day performances, getting across the pathos of the character as well as her mania. (Her pantomime at the end as she reads a letter with tremendously important information in it is marvelous.) As Miriam, Olivia de Havilland is on target from her entrance until the final moments. Witness her wonderful delivery of her rejoinder to Dr. Bayliss. "You were always free with your compliments. It was your ... intentions... that were a little vague." As the charming if reptilian Bayliss Joseph Cotten offers another dead-on characterization. Agnes Moorehead almost walks off with the picture as the unfortunate housekeeper Velma. Mary Astor, Cecil Kellaway, and others offer highly superior supporting performances.

Hush...Hush deserves to be recognized as a certified classic.

Verdict: Fascinating! ****.

2020 UPDATE: Oddly, although the plot line isn't as original as in Baby Jane, Hush ... Hush is, I believe, the better picture, even if I might take one half star away from my verdict. Although she is very good, there is no way Davis would ever have received an Oscar nomination for this film as she did for Baby Jane -- her scene on the staircase when she supposedly descends into gibbering madness is more comical than anything else. It doesn't make much sense that Charlotte would stay in town where everyone thought she was a cleaver-wielding lunatic just to cover up for her father (who she thinks is the real murderer) -- she could have gone anywhere and everyone would have still thought "she done it." Then we have the question of the murder itself. It takes a great deal of strength to cut off a man's hand with a meat cleaver with just one blow, not to mention a head with a few whacks. How could anyone think Charlotte could have done it, let alone the real killer, maniacal strength notwithstanding? (And why on earth did the killer walk off with the head and hand?) Also the two villains of the story had to count on an awful lot happening, on Charlotte falling in with their plans, for things to work out as they do. On close inspection the whole Gaslight plot seems highly suspect. But these are quibbles -- as the movie is extremely entertaining if you just suspend disbelief. A scene with a corpse falling sideways and threatening to reveal itself to a reporter at the door of the mansion is terrific!

Verdict: Diabolical story of resentment and revenge --- lots of classy if ghoulish fun. ***1/2.  

STRANGERS WHEN WE MEET

Kim Novak and Kirk Douglas

STRANGERS WHEN WE MEET (1960.) Director: Richard Quine. Screenplay by Evan Hunter, based on his novel of the same name.

"Outraged innocence is always a good gambit, but the amateur always overplays it." -- Felix.

Larry Coe (Kirk Douglas) is an award-winning architect who is always hoping he'll be given the opportunity to fulfill his potential as an artist. Although he is happily married to Eve (Barbara Rush), and has two little boys, he is galvanized by the sight of a beautiful neighbor, Maggie (Kim Novak), who also has a husband (John Bryant) and young son, and is instantly attracted. Initially resistant, Maggie is eventually won over by the persistent and narcissistic -- and presumptuous -- Larry and the two begin an affair even as Larry designs a house for author Roger Altar (Ernie Kovacs). Maggie seems to be content with the way things are, but Larry isn't so certain, especially when he's offered a job that will take him and his family to Hawaii for five years.

On the beach: Kim Novak and Kirk Douglas

Although the plot goes in a very different direction, you're immediately reminded of Fatal Attraction, because in this movie Douglas basically plays a self-serving pig just as his son does in the later film. Larry seems to give absolutely no thought to his wife and children and is only concerned with his own gratification. Maggie at least has some excuse -- her husband is under-sexed, possibly even asexual, and she is neglected in the bedroom. That this is a sexual affair is made very clear, but that this is supposedly a romantic relationship is not as certain -- sexual obsession maybe -- despite the film's attempt to turn this into some kind of Brief Encounter, which it certainly isn't.

Larry (Douglas) is confronted by Felix (Matthau)

The acting and direction helps a lot. Aside from some moments when she is overly affected, Kim Novak gives a solid performance, proving that she had become quite accomplished in the right role and with a sympathetic director. However, she is so beautiful, such an obvious sex object (which may not have been the case in the novel) that it unbalances the story -- Larry just seems like a horny jerk after a hot babe. Douglas is excellent, but one senses he doesn't plumb Larry's guilt or vulnerability because he doesn't see Larry as doing anything wrong! Barbara Rush puts the viewer on Eve's side, and it's a little sickening when Eve starts blaming herself for her husband's affair. Another actor who really scores is Walter Matthau, playing Felix, a jealous neighbor and alleged friend of Larry's who confronts him about the affair and then makes a repellent play for Eve in a very tense and disquieting sequence. In her last screen role Virginia Bruce makes an impression as Maggie's mother; an interesting character whose back story is only hinted at. Ernie Kovacs is okay as the author who wants Larry to design his dream house, but his part is pretty unnecessary to the story. John Bryant does the best he can do with a thankless role. Betsy Jones-Moreland [Last Woman on Earth] and Paul Picerni play party guests.

Kirk Douglas and Barbara Rush

Then there's the subject of rape. Maggie tells Larry about how she flirted with a man who insisted on coming over to the house when her husband was out, and forced himself upon her after she had taken a sleeping pill. Larry accuses Maggie of wanting to sleep with the man, which is why she supposedly didn't lock the door before retiring. Whatever the case, the whole business of sexual assault is glossed over as if she were talking about somebody making a mere pass.

Verdict: Rather depressing look at martial infidelity with a rather unlikable protagonist. **1/4. 

PENELOPE

Natalie Wood

PENELOPE (1966). Director: Arthur Hiller.

Penelope (Natalie Wood) is the neglected wife of a bank president, James Elcott (Ian Bannen of Psyche 59). Apparently she has had a problem with stealing -- which gives her pleasure -- for some years, but her crowning achievement, some might say, is robbing her husband's bank on the very day it opens. Two cops -- Lt. Bixbee (Peter Falk) and Sergeant Rothschild (Bill Gunn) -- are called in to investigate, and are quickly on the trail of a blond woman with a French accent who disguised herself as an old lady and changed her clothing and wig in the ladies room. The two cops get closer and closer to Penelope, but ultimately arrest a streetwalker named Honeysuckle Rose (Arlene Golonka). Will Penelope come clean and keep this innocent woman out of jail?

Penelope in old lady drag

Penelope has its amusing moments, but as a major comedy it's a bust. Natalie Wood is cute in the picture, but her character calls more for a kookie Gracie Allen-type -- even Phyllis Diller would have been better in some ways -- and Wood doesn't really have sharp comedic skills. Ian Bannen isn't especially funny, either, but although he's initially rather off-putting, his performance is acceptable. At first Dick Shawn as Penelope's psychiatrist doesn't exactly act as if he's in a comedy, but he has his moments as well. Lila Kedrova and Lou Jacobi enliven the film a bit with their portrayal of a couple who run a dress shop. Jonathan Winters is completely wasted in a terrible flashback wherein he plays Penelope's college professor who literally tries to rape her -- even back in 1966 this sequence must have seemed utterly tasteless.

Peter Falk

Yet Penelope never quite made it onto my Films I Just Couldn't Finish list. That's because the movie is generally watchable, moves fairly quickly, and has some interesting twists to it that keep you  involved. As for the other actors, Peter Falk is fine, although one could argue that he's auditioning for his role on Columbo. Bill Gunn is a likable African-American actor who does what he can with a small if sympathetic part. Norma Crane [Night Gallery] is zesty as Elcott's ex-girlfriend, who just won't let go, and Arlene Golanka [Diary of a Bachelor] really runs with her brief portrayal of Honeysuckle. If you don't blink you'll also see adept bits by Jerome Cowan and Fritz Feld. Wood didn't make another movie for three years after this flick bombed at the box office.  

Verdict:  If the biggest laugh comes from a character's burping, you know a comedy is in trouble. **1/2.                                                                                                                                                    

BEAUTY AND THE BEAST (1962)

Joyce Taylor and Mark Damon

BEAUTY AND THE BEAST (1962). Diretor: Edward L. Cahn.

Althea (Joyce Taylor) travels with her father, Count Roderick (Dayton Lummis), to a kingdom presided over by the young and recently coronated King Eduardo ( Mark Damon of The Young Racers). Althea, who is affianced to Eduardo, expects a warm greeting but discovers that her fiance is "indisposed" and there is hardly any staff in the castle aside from his chief aide Orsini (Eduard Franz). Althea sees the handsome Eduardo in the morning, but he tells her that their wedding may have to be postponed. It's worse than that -- a curse was placed upon Eduardo by a alchemist who was sentenced to death by Eduardo's father when he refused to share his secrets. Now each night Eduardo grows fur, claws and fangs and becomes a benign if tormented werewolf (of sorts). If Eduardo's nasty Uncle Bruno (Michael Pate) finds out, his regime may come to a decidedly violent conclusion.

Anders, Pate and Burrke

Beauty and the Beast is a rarity in that it's probably the only TechniColor film directed by B Movie maestro Edward L. Cahn. (This was Cahn's last film, as he died the following year.) Mercilessly skewered for its low-budget and a comparison to Cocteau's 1946 film of the same name, on its own terms Beauty and the Beast is a minor but entertaining film that probably works best for young viewers. Taylor and Damon, especially the latter, give good enough performances; Pate and Merry Anders as his gal pal, Sybil, are fine; Franz and Lummis are credible; and Walter Burke gives the most notable performance as the slimy and scheming Grimaldi, servant to Bruno.

Mark Damon. 

The werewolf design is by Ernie Young and the famous Jack P. Pierce. It doesn't look bad, although an unfortunate side effect of the big teeth is that it comically affects Damon's speech. Hugo Friedhofer's musical score is a plus, especially the theme music. A former pop singer and Howard Hughes discovery, Joyce Taylor appeared in Atlantis the Lost Continent and other genre films; her last feature was in 1971. Mark Damon starred in Roger Corman's House of Usher, did many films overseas, and became a producer. Merry Anders was in Hear Me Good and Ib Melchior's The Time Travelers, among others. Beauty and the Beast has a notable climax when the couple race to get married with Bruno's hate-filled followers in rabid pursuit. Edward L. Cahn directed Zombies of Mora Tau and about a zillion others.

Verdict: More than acceptable children's fantasy film. ***. 

GRANT WILLIAMS

GRANT WILLIAMS, Giancarlo Stampalia. Bearmanor; 2018.

It is made clear from the beginning that this is not a traditional biography of the actor Grant Williams -- most famous for The Incredible Shrinking Man -- but a career study put together from assorted press clippings and interviews with a couple of co-workers and acting students. Stampalia was hampered by Williams' extreme privacy during his life, as well as the absence of living co-stars and others who were willing to contribute anecdotes. However, Stampalia adds depth to his manuscript with his analyses of Williams' acting approach to various roles, and whether his performances worked or not, and why they did or didn't. He goes on for some length on The Incredible Shrinking Man -- but there are also notes on all of Williams' film, TV, and radio appearances. Although it would be easy to see Williams as a closeted gay or bisexual man suffering from Catholic guilt -- and this may certainly have been the case --  Stampalia argues that this assessment is by no means certain without solid proof. If Williams failed to reach major stardom it may have been, as Stampalia suggests, that he was more interested in being a good actor than in being a movie star. However, even his TV and "B" movie career might have suffered because of his heavy drinking and possible alcoholism. Williams became a regular on Hawaiian Eye and gave a notable performance in the thriller The Couch. Stampalia makes a strong case for Williams' acting talent -- he did a creditable job playing Peter Tchiakovsky on a episode of The Magical World of Disney -- although it is also true that the effect the actor frequently exuded was one of handsome blandness. Stampalia is perhaps more erudite then other writers of movie star fan books, so he can be forgiven the occasional foray into pretentiousness. The book is bolstered with lots of interesting photographs.

Verdict: Intensive study of a comparatively minor film player who kept his secrets to himself. ***. 

KING OF THE COWBOYS

Roy Rogers behind bars

KING OF THE COWBOYS (1943). Director: Joseph Kane.

Rodeo star Roy Rogers, playing himself, is importuned to quit the show so he can go undercover to find some WW2 saboteurs. His sidekick, Frog Milhouse (Smiley Burnette),  goes along with him and they hook up with another show of which Judy Mason (Peggy Moran of Horror Island) and her pal Ruby (Dorothea Kent of Young Fugitives) are a part. The gals work with Maurice  (Gerald Mohr) -- the "Mental Marvel" -- who does a mind-reading act via which he communicates with his fellow spies. James Bush plays Dave Mason, the show manager, who may not be on the side of the angels. Lloyd Corrigan plays Karley, the governor's private secretary, who is definitely not on the side of the angels.

Kent, Moran and Mohr

King of the Cowboys is often mistaken as Roger's first starring role, but he starred in a great many films-- mostly for Republic Studios  --  before he made this one. The plot in this "modern" nominal western is negligible, but Rogers has a nice voice and the film's highlights are the musical numbers: "I'm an Old Cowhand;" "Ride, Ranger, Ride;" and especially "Prairie Moon." An odd moment occurs when the governor (Russell Hicks) tells Roy how his last agent was killed and that his final words were "following May." Rogers, who is not too swift, assumes that May was some hot tamale, says "sounds like nice work," and shows absolutely no concern for the agent who was murdered! Otherwise, Rogers is pleasant, handsome and bland, and Burnette is only mildly amusing. The two gals don't get much to do, but Mohr and Corrigan are as professional as ever. Irving Bacon, Ethel's dad on I Love Lucy, has a small role as well. In addition to other Roy Rogers features, as well as co-directing a couple of serials, Joseph Kane also helmed Jubilee Trail for Republic.

Verdict: Odd mixture of cowboys and spies with some good songs. **1/2.