THE REVOLT OF MAMIE STOVER

Jane Russell and Richard Egan

THE REVOLT OF MAMIE STOVER (1956). Director: Raoul Walsh. 

"When you talk about money you're slumming. When I talk about it, I'm just plain scared." -- Mamie. 

Mamie Stover, originally from a small town in Nebraska, is put on a steamer to Honolulu by the authorities in San Francisco and told never to return. Although Mamie has never been convicted of anything (or so she says), she apparently has some kind of unsavory and criminal history. On the ship she meets up with handsome author Jim Blair (Richard Egan of A Summer Place), who doesn't waste much time before making passes which are happily received by the initially distrustful Mamie. When the boat docks Mamie learns that her new swain apparently has a steady girl in Annalee (Joan Leslie), a much more respectable female. Not at all bashful in any sense of the word, Mamie asks if she can move in to Jim's beautiful Hilltop estate, but he says no, loaning her one hundred bucks instead. Mamie goes to work at a somewhat sleazy establishment run by Bertha (Agnes Moorehead), who employs the sadistic Adkins (Michael Pate of Curse of the Undead) to keep the girls in line --  with his fists if necessary. Despite whatever reservations he might have -- and in spite of Annalee -- Jim can't help dropping into the nightclub where Mamie has become a top headliner. But she has been told not to fraternize with men outside the club, a rule she gleefully breaks to be with Jim. Surprisingly well-paid at the club, Mamie is saving her money and intends to have her own hilltop estate someday. Then the attack on Pearl Harbor occurs, and Mamie hits on a way to enrich her coffers ... 

Russell with Agnes Moorehead

The entertaining Revolt of Mamie Stover is typical of movies in the fifties that feature decided "bad girls" but make certain not to delineate their alleged misdeeds with too much scrutiny. Scenes that made it clear that Mamie was a hooker were cut from the film. Born into comparative poverty, Mamie -- like the heroine of Bedelia -- is determined to rise from the gutter by any means she can, although one senses that Miss Stover is not really evil, just mercenary and a little desperate. The hard-edged Russell is perfect for the role of Mamie, and she gives a snappy performance. Although he has a couple of wooden moments, Egan is basically fine as Jim. Pate and Moorehead score, as expected, in the two major supporting roles, but Joan Leslie has the thankless part -- and very little screen time -- as Annalee. Richard Coogan of Vice Raid is given the opportunity to make an impression and does so as Captain Eldon Sumac, a married officer who tries his best to score with Mamie. Marilyn Monroe and Lana Turner were both considered for the role of Mamie -- the former would have brought more vulnerability to the role -- but passed on it. A good score by Hugo Friedhofer and top-notch cinematography from Leo Tover certainly help. Leon Lontoc, who plays Jim's servant and supposed friend, Aki, later wound up on Burke's Law in a similar role. Jean Willes, Margia Dean and Hugh Beaumont also appear in smaller parts. 

Verdict: If you take this flick with a grain of salt -- it's watered down and is sometimes quite improbable -- it is absorbing and fun. ***

SUSPENDED ALIBI

Naomi Chance and Patrick Holt

SUSPENDED ALIBI (1957). Director: Alfred Shaughnessy. 

Editor Paul Pearson (Patrick Holt of The Unholy Four) has been playing around with a fashion writer, Diana (Naomi Chance of Wings of Danger), despite his having a loving wife, Lynn (Honor Blackman), and young son, Bobby (Toby Winterbottom). He is trying to call it off with Diana, and uses a buddy, Bill (Bryan Coleman) as a beard. Unfortunately Bill is stabbed to death and Paul becomes a suspect. He tells the police he spent most of his time away from home with Diana, but when questioned she refuses to give him an alibi. Just in case she might change her mind, the real killer pays a call on Diana ... and then Paul is really in trouble.  

Patrick Holt and Honor Blackman

In some ways Suspended Alibi plays like something made twenty years earlier. The characters are not developed very well, and there are no scenes where the impossibly understanding wife has a strong confrontation with her adulterous husband -- he seems to get a free pass. There is a little suspense at the end as the police rush to apprehend the killer, but otherwise the film is watchable but has little tension. Another murder scene in which someone gets thrown out of a window is laughably muffed. Others in the cast include Andrew Keir as a reporter-friend of Paul's; Valentine Dyall as Inspector Kayes; and Lloyd Lamble as the neighbor Waller. 

Verdict: Distinctly minor-league British mystery that could have been developed into something much more worthwhile. **1/4. 

I'LL CRY TOMORROW

I'LL CRY TOMORROW (1955). Director: Daniel Mann.

The more or less true story of singer Lillian Roth (Susan Hayward) and her battle with alcoholism. Although Hayward has a couple of self-conscious moments, basically she gives a very strong performance as this tormented woman who lost the first man (Ray Danton) she loved to illness and an early death, married a heavy-drinking gigolo and party boy (Don Taylor), then -- worst of all-- got hitched to a wife-beating thug played by Richard Conte (pictured). Virginia Gregg and Veda Ann Borg show up in much smaller roles. Carole Ann Campbell is excellent as Roth as a young girl, but the movie is basically stolen by Jo Van Fleet, who is simply superb as Lillian's mother. Hayward sings her own numbers, and isn't bad, although one can't imagine she would have been as successful a singer as she was an actress. Reviews of the film have noted that the atmosphere is more of the fifties when it was made than the period during which most of the story takes place. There is a nice score by Alex North. 

Verdict: Watch Susan Suffer! ***.

CAMILLE

Greta Garbo and Robert Taylor

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

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

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

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

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

Henry Daniell with Garbo

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

Armand and the Lady of the Camellias 

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

Lovers in the mirror

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

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

VILLAGE OF THE DAMNED (1960)

VILLAGE OF THE DAMNED (1960), Director: Wolf Rilla. Colorized. 

All of a sudden everyone in the town of Midwich collapses into unconsciousness, and remains that way for several hours. Months later virtually every woman in the village is pregnant, and they all give birth to strange, emotionless children with the same blond hair and uncertain stare. One of the fathers, Gordon Zellaby (George Sanders of Jupiter's Darling), tries to get through to the children and become their friend, while his wife, Anthea (Barbara Shelley of Dracula Prince of Darkness), can only love her beautiful if essentially unresponsive son as best she can. It isn't long before the children demonstrate frightening mind-control powers that they use against perceived enemies, including a man who accidentally hits one of the girls but doesn't injure her. Zellaby, his brother-in-law Alan (Michael Gwynn of Never Take Candy from a Stranger), and others in authority such as Dr. Willers (Laurence Naismith of Jason and the Argonauts), learn that other weird children have been born elsewhere in the world, with terrible results. Little David Zellaby (Martin Stephens of Another Time, Another Place) wants his father to arrange for him and the other children to go away, infiltrate other societies, and in essence, take over the world, but Gordon comes up with another scheme that just might mean the death of him. 

"Beware Their Stare:" Martin Stephens and pals 

Village of the Damned is based on John Wyndham's sci fi classic "The Midwich Cukoos," which undoubtedly goes into more detail about these extra-terrestrial babies, their origins, abilities and so on, as well as the moral implications of the story and the notion of killing children, no matter how malevolent or bizarre they may be. Gordon does his best to mentor the children, and talks about teaching them morality as they grow, but these sequences are not shown. The performances in this are quite good, and little Martin Stephens with his angelic, dispassionate face makes an impression despite being dubbed to give him an "otherworldly" voice. The film was a very big hit, and a sequel, Children of the Damned, soon followed. Remade in 1995 with Christopher Reeve.( If memory serves me right, it was decent.) Ronald Colman was penciled in to play the lead but died -- he was replaced by Sanders, who also married Colman's widow!

Verdict: Classic, creepy science fiction. ***. 

BLITHE SPIRIT (1956).

Noel Coward and Claudette Colbert

BLITHE SPIRIT on Ford Star Jubilee Season One, episode five (1956). Director: Noel Coward. LIVE. 

Charles Condomine (Noel Coward of The Astonished Heart) and his second wife, Ruth (Claudette Colbert of Thunder on the Hill), invite the medium Madame Arcati (Mildred Natwick of A Woman's Vengeance) to their home for a seance. Unwittingly the somewhat vague Arcati summons up the ghost of Charles' first wife, Elvira (Lauren Bacall of Sex and the Single Girl), who can be seen by Charles but is invisible to Ruth. Eventually Ruth acknowledges that Elvira truly exists and is occupying their home, and schemes to send her back to the ether. Meanwhile Elvira is scheming to have Charles join her forever in the "hereafter," but her plans may go awry ... 

Coward with Lauren Bacall

This live TV adaptation of Noel Coward's famous very dark comedy is worth seeking out as it's quite funny and wonderfully acted by all. Coward, of course, knows just how to handle this material, and while she might seem like a lightweight in this company, Bacall is much better than expected as Elvira. Then we have Colbert, proving again what an acting powerhouse she is as Ruth -- she nearly walks off with the whole show. In one of her earliest roles Marion Ross of Happy Days and Lizzie is wonderful as the frenetic maid, Edith, and there are fine turns by Philip Tonge as Dr. Bradford and Brenda Forbes as his wife. Mildred Natwick is so good as Madame Arcati that she almost makes you forget Margaret Rutherford's superb portrayal of Arcati in the 1945 film version. Can one detect a definite if unintentional note of misogyny in this play -- possibly -- as at least one of these women certainly doesn't deserve her fate. One can imagine Condomine going off to the nearest gay beach when the play is over!

Verdict: Exciting, beautifully-acted live theater on TV! ***1/2. 

MEET THE STEWARTS

Frances Dee and William Holden

MEET THE STEWARTS (1942). Director: Alfred E. Green. 

Candy (Frances Dee of Mr. Scoutmaster) practically blackmails Michael (William Holden of Picnic) into proposing, an idea he resists because he wants to be able to support her on his own. This works out fine, because Candy's wealthy father, Mr. Goodwin (Grant Mitchell of It Happened on Fifth Avenue) has no intention of supporting his daughter once she's married. The newlyweds struggle to make ends meet, live in a house they can't quite afford, wind up in debt to a country club to which Candy thought she still belonged, and argue endlessly about finances. Will these two be able to settle their differences, or are they headed for divorce court?

Money, money, money

Meet the Stewarts is a perfectly pleasant if forgettable trifle that examines the usual problems young couples face such as finances, jealousy, meddling in-laws and the like. The film is mildly amusing, but it could have been very funny with different leads. While Dee and Holden are more-than-competent players they are not skilled comic actors -- Jack Lemmon, Cary Grant and others could have gotten more out of the frequently funny lines. A better impression is made by Grant Mitchell as the father and Anne Revere as Michael's blunt, no-nonsense sister, Geraldine. Margaret Hamilton has a few amusing moments as the maid, Willametta (as if struggling couples could afford a maid!). The film shows its age when one fellow proudly says "all wives have to be smacked around now and then." Alfred E. Green was a busy director who helmed a wide variety of pictures, including several Bette Davis films such as Dangerous. 

Verdict: Just nothing special in this mild comedy which at least boasts one rousing fist-fight that would not have been out of place in a cliffhanger serial. **1/2. 

THE GIRL IN THE NEWS

Barry K. Barnes and Margaret Lockwood

THE GIRL IN THE NEWS (1940). Director: Carol Reed.  

With the aid of her lawyer, Stephen Farrington (Barry K. Barnes), nurse Anne Graham (Margaret Lockwood) is acquitted of murdering her elderly employer for financial gain. Farrington was never quite convinced of her innocence, and his trust is again put to the test when there is another suspicious death in the household where Anne has again become a nurse. Farrington has his work cut out for him, but his defense, centering on a conspiracy in the household, is by no means a sure thing. Were the dead man's wife (Margaretta Scott of Fanny By Gaslight) and butler (Emlyn Williams of Another Man's Poison) involved in the crime? And if so, how can he prove it to a jury's satisfaction? The plot for Girl in the News sounds intriguing, but the movie is pretty much a mere time-passer with adequate performances and not a lot of suspense. The characters are not that well developed, either. Margaret Lockwood appeared to much, much better advantage in The Wicked Lady. Carol Reed also directed Trapeze. 

Verdict: Disappointing murder melodrama. **1/4. 

THE NEW INTERNS

Dean Jones and Stefanie Powers

THE NEW INTERNS (1964).  Director: John Rich. Colorized. 

This sequel to The Interns has Alec (Michael Callan of Mysterious Island) returning to New North Hospital to complete his internship. Phil (George Furth) tries to hide his wife, Madeline (Ellie Wood Walker), in the dorm, which is presided over by the no-nonsense Mrs. Hitchcock (Lee Patrick). The marriage of Dr. Worship (Dean Jones) hits a snag when his wife, Gloria (Stefanie Powers), learns that he can't have children. Nurse Laura (Barbara Eden) fears that Alec will never be able to settle down, and Dr. Parelli (George Segal) gets involved with a social worker, Nancy (Inger Stevens), whose life turns into a tragedy after she is gang-raped. Meanwhile Dr. Riccio (Telly Savalas) becomes the new administrator and wants to batten down the fiscal hatches. 

George Segal and Inger Stevens

The New Interns is a fast-paced, slick, well-acted comedy-drama that puts the emphasis much more on romance than it does on medicine, although babies are born, worried people die, and there are the very occasional discussions on medical business and hospital policies. George Segal is "introduced" in this film although he had already appeared in The Young Doctors and other films and TV shows. Others in the cast include Greg Morris (Mission: Impossible), Alan Reed Jr., Dawn Wells, Michael Fox, and James Mathers, the brother of Jerry ("the Beaver") Mathers, as young Freddie. Michael Vandever is quite vivid as the miserable rapist, "Beep." The sub-plot with Jones and Powers is resolved in a nicely sentimental and touching fashion. 

Verdict: Enjoyable "doctor" picture. ***.  

NIGHT WITHOUT SLEEP

June Vincent and Gary Merrill

NIGHT WITHOUT SLEEP (1952). Director: Roy Ward Baker.

Broadway composer Richard Morton (Gary Merrill of Another Man's Poison) wakes up from a bender with a vague idea that he might have killed a woman. His shrink has already suggested that he's capable of violence, especially when he's drinking. There are three women in his life: his wife, Emily (June Vincent of Shed No Tears), who backed his last show on the condition that he marry her if the show was successful; his girlfriend, Lisa (Hildegarde Knef), who is in despair that she can't maintain a hold on him; and movie star Julie Bannon (Linda Darnell of Star Dust), who was in his last show before she became a star, and whom he basically forgot until re-encountering her at a party. Since the film consists of many flashbacks, the audience has to wonder if one of these ladies will wind up dead or not. 

Merrill with Linda Darnell

Night Without Sleep is full of over-familiar noir elements, but manages to entertain in spite of it. The acting is good all around, although it's not easy to be sympathetic to the somewhat unlikable Morton, who can be a self-righteous jerk. Cast in a role all too typical for her, Vincent is adept as the always-in-control wife, Knef is appealing in her vulnerability as Lisa (even if it's hard to root for her), and Darnell displays her usual star power as the surprisingly naive and even somewhat gullible Julie. Others in the cast include Hugh Beaumont as Merrill's friend, Donald Randolph as the psychiatrist, and Steven Geray as a restaurant owner. 

Verdict: Noir flick holds the attention and is well-acted. ***. 

THE OLD SWIMMIN' HOLE

Jackie Moran and Marcia Mae Jones

THE OLD SWIMMIN' HOLE (1940). Director: Robert F. McGowan. Colorized.  

Chris Carter (Jackie Moran of Haunted House) has dropped out of high school in a small town and taken a job to help his mother (Leatrice Joy of First Love) out with the bills. Chris wants to be a doctor and is mentored by Doc Elliott (Charles D. Brown of Charlie Chan in Reno), who apparently left his wife and daughter long ago. Now the daughter, Betty (Marcia Mae Jones), is grown and comes to see him. She and Chris realize that his mother and her father are in love but haven't figured it out yet, and scheme to get them together, but a lawyer named Baker (Theodore von Eltz) may stymie their plans. Meanwhile there are problems when Chris, who is head of a boy's club whose clubhouse is next to a swimming hole, refuses to let little Jimmy (Dix Davis) join their club and become a "lion." Tragedy nearly ensues. 

Theodore von Eltz and Leatrice Joy

The Old Swimmin' Hole is a nicely sentimental old film that has more than its share of "lump in the throat" moments, mostly concerning little Jimmy and his dog. (I defy anyone not to get choked up at one scene in particular). Jackie Moran was actually 17, the same age as his character, when he made this film, and he appeared in around forty others, his nadir probably being Russ Meyer's Wild Gals of the Naked West in 1962. Jones' career lasted until the 80s. Moran was a gifted and sensitive actor, although his character's treatment of the boy Jimmy is rather mean-spirited at times (although he makes up for it). A weak point of the film is the character of Chris' grandfather (George Cleveland), who is nothing but a stereotype of the nasty old rich man without a single nuance. The movie is often quite unrealistic in that Chris doesn't seem to realize that it takes money to go to medical school. Leatrice Joy, who was a star in silent pictures, was married to John Gilbert for three years. Dix Davis was a talented child actor who made about twenty pictures. Moran and Jones worked together quite often. 

Verdict: Charm to spare although it goes awry at times. **3/4. 

HOLLYWOOD PARTY (1934)

HOLLYWOOD PARTY (1934). Director: Roy Rowland.

The Three Stooges and Laurel and Hardy in the same movie! Along with Jimmy Durante, Lupe Velez (the Mexican Spitfire), Polly Moran, Arthur Treacher, and Mickey Mouse. Including an animated bit called the "Hot Chocolate Soldier." Durante plays the great "Scharzan," whose jungle movies have taken a dip at the box office. His rival, "Liondora" (George Givot), isn't doing so great either, and both of them hope to get a prize pride of lions to appear in their films with them. Somehow this all leads to a great big Hollywood party with chorus girls singing the snappy title tune (the darn thing sticks in your memory whether you want it to or not!). Best bits are scenes between Lupe Velez and Laurel and Hardy, and the interplay between Durante and Polly Moran as a wealthy patroness of the arts. Some of the gags are real groaners. The Three Stooges are autograph hunters and Laurel and Hardy think they own the aforementioned lions.

Verdict: Fun, but if only the material were as good as the cast! **1/2.

LURED

LURED (1947). Director: Douglas Sirk. 

"I am an unmitigated cad." 

 George Sanders, Boris Karloff, Charles Coburn -- and Lucille Ball -- all in the same movie? Not only that but George Zucco and Sir Cedric Hardwicke, too? Too bad it's such a lousy movie. Lucy is a show girl of sorts whose friend disappears after answering a romantic personal ad. The police employ her as a decoy who will answer different ads and hopefully bring the murderer of several young women, the friend included, to light. George Sanders is a theatrical agent who takes a shine to Lucy. Boris Karloff is a weird, mentally ill clothing designer, Zucco is a police officer (as is Alan Napier of Batman TV fame), and Joseph Calleia is an even weirder friend of Karloff's. Charles Coburn is miscast as a Scotland Yard inspector -- it's one of the few times this wonderful character actor fails to make much of an impression, although he does have his moments (such as a scene with Hardwicke). Lucille Ball does make an impression -- but in the wrong way. 

Although her Lucy characterization was four years in the future, at times the movie resembles "Lucy Meets Jack the Ripper." Her comic gifts and timing are much in evidence, but in the wrong movie. And her whole persona is much too contemporary to be convincing in a period piece. On the other hand, she's the only bright note in the movie, despite solid performances from Sanders and some of the others. However, in no way can it be considered a memorable dramatic performance. There are some atmospheric shots, but Douglas Sirk is no Hitchcock and the music is all wrong. A hilarious aspect is that early in the film one of the victims describes the (fairly obvious) killer as being "handsome." Well ... wait and see, if you care to. 

Verdict: Seems like five hours. *1/2.

INHERIT THE WIND

INHERIT THE WIND (1960). Director: Stanley Kramer.

"Fanaticism and ignorance is forever busy, and needs feeding!"

In 1925 John T. Scopes was arrested in Tennessee for teaching the theory of evolution to his students. Clarence Darrow defended him and William Jennings Bryan acted as prosecutor, while H. L. Mencken covered the "monkey" trial for a newspaper. In a play by Jerome Lawrence and Robert Edwin Lee, which fictionalizes the story, the characters were changed into Henry Drummond (Spencer Tracy) for Darrow; Matthew Harrison Brady (Fredric March) for Bryan; Bertram Cates (Dick York) for Scopes; and E. K. Hornbeck (Gene Kelly) of the Baltimore Herald for Mencken. The play and this film version thereof adds a further complication: Scopes/Cates is engaged to the daughter, Rachel (Donna Anderson), of the local preacher (Claude Akins), who is a borderline fanatic. The main strength of this film, besides the exchange of ideas and the notion of casting off narrow minds, is the acting by the two leads, both of whom are superb. March, in particular, possibly gives the best performance of his career, full of nuances, and giving his character enough charm to understand why people like and enjoy him even when they think he's dead wrong. (Florence Eldridge, who was married to March in real life, is also notable as Brady's wife, Sarah. And Gene Kelly is so good as Hornbeck that he proves to be far more than just a song and dance man and a fine dramatic actor. ) 

Fredric March and Spencer Tracy

There is, perhaps, a little too much dramatic license; for instance, it doesn't make sense that Drummond wouldn't ask for a recess after Brady's brutal examination of Rachel. The movie is serious and sickening under the amusement and banter, as timely today -- if not more so -- than it was in 1960. Its weakest moment is the sop to the religionists with Drummond carrying a bible out of the courtroom at the end. Still, it was brave of Kramer and the others to make the film way back in 1960. Leslie Uggams sings "That Old-Time Religion" over the credits.

Verdict: Powerful stuff with two massive lead performances. *** (half a star taken off for that compromised ending).

THE VIRGIN QUEEN

THE VIRGIN QUEEN (1955). Director: Henry Koster.

Ambitious Walter Raleigh (Richard Todd) makes his clever way to the court of Queen Elizabeth (Bette Davis) and becomes one of her favorites. All the while he's hoping she'll give him some ships to sail -- seeking treasure from the New World-- and dallying with a pretty lady-in-waiting and ward of the queen, Beth Throgmorton (Joan Collins). Although he is not billed above the title with the others, Herbert Marshall, who co-starred with Davis in The Letter, plays Lord Leicester. This is an interesting and entertaining movie, but the central performance is a bit problematic. Davis has her moments, certainly, but sometimes you get the impression that the queen is not being played by Bette Davis, but by Baby Jane Hudson! A definite problem is that Davis, despite the quasi-British accent she always affected, is not English, and she seems to be giving an impression of a queen rather than simply becoming the part. In a word, she's almost awful at times, but not enough to sink the picture. Todd, Marshall, Collins (who actually out-acts Davis) and the other cast members are all terrific.

Verdict: Hardly Bette's finest hour, but not without interest. ***.

THE PHENIX CITY STORY

THE PHENIX CITY STORY (1955). Director: Phil Karlson.

"Where do you want us to send the body?"

Based on a true story, this movie begins with some of the real-life participants being interviewed on camera. No actors' names are presented during the credits so it's a surprise to see such familiar figures pop up as Edward Andrews, Kathryn Grant, and, especially, Richard Kiley. The story has to do with corruption in Phenix City, Alabama, where anyone who disagrees with or tries to fight against the mob boss Tanner (an effective Andrews) winds up beaten up or murdered. Grant works for Tanner in his gambling den, and Kiley is the son of the solid citizen Al Patterson (John McIntire) who decides to run for state D.A. and take on his old friend Tanner. At the beginning of the film, interviewer/announcer Clete Roberts promises some shocking stuff, and even though the film was made 70 years ago, his promise is fulfilled, especially in a scene when a little black girl is horribly murdered. The lead performers are all quite good, and there's also excellent work from Lenka Peterson as Kiley's wife and James Edwards as Zeke, whose daughter is killed. While Phenix City is pretty unknown today, many years later Karlson directed a very popular -- and somewhat similar -- film, Walking Tall. Hard-hitting. 

Verdict: Powerful stuff. ***1/2.

OPERATION BIKINI

OPERATION BIKINI (1963). Director: Anthony Carras.

During the days of WW2 a submarine commanded by Captain Carey (Scott Brady) takes on a host of Marine underwater demolition experts, which in turn is led by Lt. Morgan Hayes (Tab Hunter). The sub is to take this gang to the Bikini atoll, where they are to destroy a submarine sunk by the Japanese. It seems this sub has special radar equipment on it that the allies don't want the Japs to get their hands on. Others on the demolition team include Joseph (Frankie Avalon), Floyd (Gary Crosby), Ed (Jim Backus), and William (Jody McCrea). Michael Dante plays Carey's second-in-command. On Bikini, Hayes and his band team up with certain friendly islanders, including Reiko (Eva Six), who has a brief dalliance with Hayes. 

Eva Six and Tab Hunter

American-International Pictures brought together some Beach Party players such as Avalon and McCrea, dropped in Tab Hunter, and "introduced" Hungarian actress Eva Six, who only made two more movies besides this one. Operation Bikini is pretty cheap and largely dull, although there are occasional spurts of action. Avalon, Hunter and the others turn in decent enough performances. Avalon even sings a song during a dream sequence, and proves not to be a bad singer at all. 

Tab Hunter

In the dream sequence Frankie is torn between his "girl back home," played by Nancy Dusina, and a sexy temptress, played by Judy Lewis. Lewis was the daughter of Loretta Young and Clark Gable. She had 28 credits, including Perry Mason, 77 Sunset Strip and The Secret Storm. The best thing about Operation Bikini is that unlike such films as Voyage to the Bottom of the Sea it features a realistic sub and gets across just what it's like to be in a cramped, uncomfortable submarine. 

Verdict: Ultimately, this is pretty much a waste of time. *1/2. 

BEAUTIFUL BUT BROKE

Joan Davis

BEAUTIFUL BUT BROKE (1944). Director: Charles Barton. 

Dottie Duncan (Joan Davis) works for a talent agency run by Waldo Main (John Eldredge). Since war broke out, Main has had trouble putting together bands for clients, so Dottie offers him an all-female orchestra. Waldo winds up giving the agency to Dottie, who puts together a band with the help of friends Sally (Jane Frazee of Hellzapoppin) and Sue (Judy Clark of Junior Prom). Through a series of misadventures, the threesome and the band members wind up in a small town after Dottie loses their train tickets, and they provide entertainment so as to raise cash for a day care. Sally and Sue fall in love, with Army men Bill (John Hubbard) and Jack (Bob Haymes of Blonde from Brooklyn) respectively, so it's a question if Dottie can get them to fulfill their contract in Cleveland. 

Judy Clark swings it!

Beautiful But Broke is amiable nonsense with a patriotic slant and some amusing sequences, such as when the women, thrown out of their hotel, wind up in a house that's on a field being tested for missiles! Joan Davis gives her usual spirited performance, and Frazee and Clark are decorative and have some pep, but are otherwise stuck in a minor key. There is a lot of generally forgettable if snappy swing music. A protracted scene in which Joan, with her foot stuck to a plank, interacts with some construction men and causes more destruction than anything else, seems to go on for half the movie and isn't even funny. 

Verdict: As usual, Davis could use better material. **1/4. 

RETURN TO PEYTON PLACE

RETURN TO PEYTON PLACE (1961). Director: Jose Ferrer.

In this sequel to Peyton Place, Allison MacKenzie (now played by Carol Lynley) goes to New York with her roman a clef manuscript about the town she grew up in, and falls for her handsome married publisher (Jeff Chandler). Her mother Constance is now married to Mike Rossi (these two are now played by Eleanor Parker and Robert Sterling of Topper TV series fame), and while mama is appalled, Mike wants to place the book in the school library. Selena (now played by Tuesday Weld) is mortified that Allison chose to write about her rape and subsequent trial in her novel, and Roberta Carter (Mary Astor) is outraged that the principal wants to put his step-daughter's filthy book in the library where anyone could read it. 

Mary Astor, Brett Halsey, Luciana Paluzzi

Brett Halsey is Roberta's son Ted, who shows up with a new wife (Luciana Paluzzi, who later did Thunderball) in tow. Meanwhile Selena meets a guy named Nils (Gunnar Hellstrom). (They ignore the fact that Selena and Ted were not just friends but were once engaged). The acting is good and there are a few surprises. Although few would argue that Eleanor Parker was a more talented actress than Lana Turner (despite the latter's fine stint in A Life of Her Own), Turner was actually more suitable for the role of Constance Mackenzie (and it doesn't help that Parker is doing one of her "actressy" turns). Brett Halsey comes off better than usual. It's absolutely no surprise, however, that the whole movie is positively stolen by the superb performance of Mary Astor, who gives the entire cast and everyone who sees the film a lesson in sharp and superlative thesping.

Verdict: A pleasant return to old Sin City. ***.

THESE THREE

THESE THREE (1936). Director: William Wyler.

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

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

Miriam Hopkins and Merle Oberon

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

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

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. ****.

SAFETY IN NUMBERS

The cast of Safety in Numbers

SAFETY IN NUMBERS  (1930). Director: Victor Schertzinger.

"My uncle says you're well-acquainted with the 400."

"We are. We know all of the husbands and none of the wives."

20-year-old Bill Reynolds (Charles "Buddy" Rogers) will inherit millions on his next birthday, so his uncle inexplicably sends him to New York to supposedly sow his wild oats, yet hires three chorus girls to look after him and keep him out of trouble and away from predatory females. You would think with a plot like this the movie would at least be some fun, but it's so badly written and paced that it's a real snooze-inducer. The three chorus girls are so amateurish that it's a shock to realize that one of them is actually Carol Lombard, who would of course develop into a talented comedienne and major Hollywood figure -- but you'd never know it from this movie. Geneva Mitchell is slightly saucier in her brief turn as Cleo Carew, who has a hankering for Reynolds. 

Rogers had some charm and aplomb, but the movie is dull and the songs not very memorable. Louse Beavers, playing a maid as usual, sings a number -- but you can miss it. The movie has a total of one laugh and only one interesting sequence, when we see a bunch of chorus girls in silhouette before a screen showing scenes of New York. Reynolds unaccountably  falls in love with Jacqueline (Kathryn Crawford), the plainest of the trio. Josephine Dunn rounds out the threesome and Virginia Bruce has so small a role that if you blink you miss her.

Verdict: Almost unbearably bad. 1/2 *. 

GO WEST YOUNG MAN

GO WEST YOUNG MAN (1936). Director: Henry Hathaway.

"A thrill a day keeps the chill away!"

Film star Mavis Arden (Mae West) is on her way to a rendezvous in Washington D.C. when her limo breaks down and she must spend some time in a small-town boarding house. But there she sets her cap for a handsome gas station owner and inventor, Bud (Randolph Scott). However, things are complicated by the fact that Bud already has a girl, and that Mavis' press agent Morgan (Warren William) is paid to keep her away from men because her contract won't allow her to marry for five years. Then there are the other assorted townspeople and boarders and their varying reactions to Mavis. 

Randolph Scott and Mae West

Well, this sure sound like it would make a hilarious movie, and while it's cute and easy to take for the most part, it certainly isn't a classic. Sort of given an actual role to play, West "acts" as if she's doing a sketch on television. When she approaches Bud in a black outfit to seduce him, she looks about as sexy as a dead skunk. (The really funny thing about West's movies -- which I doubt she would ever have admitted to -- was the idea that the chubby, not exactly beautiful West would be the object of desire for so many men.) Elizabeth Patterson nearly steals the picture as Aunt Kate. When asked by her grand-niece if they had "it" in her day, she replies: "They had 'it' all right. But they didn't photograph it and set it to music."

Verdict: Hardly what you're hoping it will be, but not exactly awful. **1/2.

PEYTON PLACE

PEYTON PLACE (1957). Director: Mark Robson.

This is a surprisingly entertaining film version of Grace Metalious' once-notorious novel with a screenplay by John Michael Hayes. Constance MacKenzie (Lana Turner), who has a secret and a "past," is afraid that her daughter Allison (Diane Varsi) will follow in her footsteps and become like the town "bad girl" Betty (Terry Moore). "Roddy liked flashy girls so that's what I became," Betty says. Alison's friend Selena (Hope Lange) is raped by her step-father and the town seems to blame her. Norman (Russ Tamblyn) has a domineering mother and may have been intended to be a stereotypical gay character. School teacher Elsie Thornton (Mildred Natwick) is passed over in her hoped-for promotion to principal when the town hires much younger Michael Rossi (Lee Philips) instead. (This sub-plot, unfortunately, isn't developed.) Along with Natwick, Varsi, Lange, and Moore come off best, with nice turns by Arthur Kennedy, Lloyd Nolan, little Scotty Morrow as Joseph, and Lorne Greene as a prosecutor. Contrived at times; admirably frank at others. Beautifully photographed by William Mellor, and Franz Waxman's theme music is a classic. The only problem with the movie is that it's supposed to take place pre-WW 2, but it hardly has any late 30's period atmosphere at all.

Verdict: Sex and suffering soaked in classy sounds and images. ***

DANGEROUS CURVES (1929)

Richard Arlen and Clara Bow

DANGEROUS CURVES (1929). Director: Lothar Mendes. Colorized. 

Larry Lee (Richard Arlen) is the headliner high-wire act at a small-time circus. He is in love with his partner, Zara (Kay Francis), who is in love with Tony (David Newell), another high-wire artist. Rough-hewn but lovable Pat (Clara Bow), daughter of another deceased circus performer, has a big crush on Larry and hates the way Zara cheats on and uses him. When Zara and Tony run off together, Pat helps Larry get back on his feet, and he agrees to teach her and do a new act with her. But then Zara comes back into the picture ... 

Kay Francis with Arlen

Dangerous Curves is a charming and occasionally touching comedy-drama with some fine performances from the three leads. Anders Randolf also makes an impression as Brack, the owner of the circus. This movie belies the persistent notion that early sound pictures were static and slow, with the camera nailed to the floor, because this picture moves and is well-edited and at times quite cinematic. There are some things you have to take with a grain of salt, however. Arlen falls 170 feet and only breaks a few ribs, and Bow becomes a fairly adept wire walker rather quickly. But as this is another romantic fantasy, who cares?

Clara Bow

Kay Francis [Four Jills in a Jeep] and Richard Arlen [Identity Unknown] went on to make many movies and have successful sound careers, while Bow's career was essentially over four years later. She had had a passionate affair with Bela Lugosi (!) and later married handsome cowboy star Rex Bell, whereupon she retired, had two children, and developed a host of problems. However, she lived until she was sixty. Lothar Mendes also directed The Man Who Could Work Miracles. 

Verdict: An appealing Clara Bow helps put this over. ***. 

THE BAD AND THE BEAUTIFUL: HOLLYWOOD IN THE FIFTIES

THE BAD AND THE BEAUTIFUL: Hollywood in the Fifties. Sam Kashner and Jennifer MacNair. W. W. Norton; 2002.

This is a very entertaining and readable account of Hollywood trends, important movies, and notable performers, writers and directors during the very end of the film capitol's golden age. The Bad and the Beautiful has chapters on the scandals both in and surrounding the controversial publication Confidential; the troubled offspring of certain movie stars (such as Edward G. Robinson and his son Manny); James Dean and Rebel Without a Cause; Rock Hudson, Douglas Sirk and Ross Hunter; Charles Laughton's Night of the Hunter; Kim Novak and Sammy Davis Jr.; Sweet Smell of Success, Burt Lancaster and Walter Winchell; rival Hollywood "news hens" Hedda Hopper, Louella Parsons and Sheila Graham; the life and plays (Picnic; Come Back, Little Sheba) of William Inge and the film versions thereof; and Gloria Swanson and Sunset Boulevard. The book also details how Hollywood was completely changing in this decade, what with the inroads of television, the breakdown of the studio system, and the increasing use of location filming over shooting strictly on sound stages. Some of this material may be familiar to the film enthusiast, but there is much that is new and interesting as well, all told in compelling prose that keeps the pages turning.

Verdict: Excellent look at the foibles and triumphs of 1950's Hollywood. ***1/2.