THE SECRET WORLD (1969)

THE SECRET WORLD (1969)
REASONS TO WATCH;- Jacqueline Bisset as a blonde,
CAST:- Jacqueline Bisset, Jean-Francois Maurin, Giselle Pascal, Pierre Zimmer
DIRECTOR;-Robert Freeman

Now here is an odd little film, it's almost impossible to find, there is no commercial release, and for many years, it was considered the Holy Grail of Jacqueline Bisset fans, many thought the film to be actually lost. I first saw this film on late-night TV when I was a kid, and it made quite an impression on me (I think I was the same age as the boy in the film). After years of hunting, I recently tracked down a copy of the film and sat down to rewatch it.

The Secret World (also known as L'echelle Blanche) was a British/French co-production, and has a rather poor quality soundtrack (it may have been dubbed into English), The film is famous for two things, Ms Bisset in a blonde wig (looking quite amazing) and the fact that the director, Robert Freeman was The Beatles official photographer, and shot all their early album covers. The combination of these two factors leads to a beautiful looking film, and there is some haunting music by the prolific French composer Antoine Duhamel (look him up sometime). The acting is OK, but only just. Maurin was only 12 at the time and I think he is the stand out, Pascal and Zimmer do the best they can with their limited roles, but lets face it, Jacqueline Bisset is mainly on screen for her looks. The plot is fairly thin and there is little depth to the characters. Having said all that, you'd think I'd really disliked the film, but not at all. Maybe I didn't enjoy it as much as when I was 12 and madly in-love with Jackie Bisset, but it was still worth watching, especially if you like late 60's-early 70's introspective mood pieces. 

So, what's the film about? In an old, dilapidated mansion, an orphaned 12 year-old boy lives with his uncle and aunt, spending most of his time in his own little secret world (maybe his autistic?). One day, the uncle's English mistress comes for a visit, under the pretext of being an old friend's daughter. The boy, soon becomes infatuated with Wendy (Bisset), who in-turn, becomes intrigued with him. And so, the film twists and turns around the household's relationships, not much happens, and in the end, she returns to England. All quite sad really, and a bit too slow. Only bother if you are  a fan of the star, that was enough for me when I was 12 and still is.

THE ERRAND BOY (1961)

THE ERRAND BOY (1961)
REASONS TO WATCH;- Jerry Lewis at his best, Hollywood cameos,
CAST;- Jerry Lewis, Brian Donlevy, Howard McNear, Dick Wesson, cameos by Sig Ruman, Fritz Feld, Joe Besser, Snub Pollard, the cast of Bonanza, Iris Adrian, Regis Thoomey.
DIRECTOR;- Jerry Lewis

It's easy to forget today, just what a talent Jerry Lewis was (and still is). After years of working in the studio system as half of the hugely successful comedy team of Martin & Lewis, he decided to go it alone. Few comedians have managed to succeed in combining writing, directing, producing and starring in their own films. Other than Charlie Chaplin and Jerry Lewis, I can't think of any who have managed to make it work. The road is littered with failures, Harry Langdon being my favorite. It's tough being funny and  keeping the ego and self-indulgence under control, for the most part, Lewis has managed to walk the tightrope successfully. The Errand Boy proves that it can be done, there is barely a dud moment in this fast faced 90 plus minutes of fun. He must have learned many a lesson on this film, because his follow-up film was The Nutty Professor, one of the funniest films of all time, and considered to be the best of his films.

The plot line is really just an excuse for a fabulous series of sight gags. Lewis is a lowly poster hanger at Paramutual Studios (it's a great chance to see the sound-stages and sets at Paramount Pictures), the company is losing money and the board want a spy to find out what's happening. The chairman spots Lewis working and decides that he's so dumb and insignificant, that he should be able to wander around the studio unnoticed and report back to the head honchos. So the film basically follows Lewis around the studio, on various sets and getting into all sorts of trouble. Along the way there are plenty of cameo's, I think this was Lewis's chance to remind us of some of his favorite's. Sig Ruman plays a German director, Sig is mostly remembered for his roles in a number of Marx Brothers films, always entertaining (especially in Night At The Opera). Then we have Fritz Feld, also playing a frustrated director. Feld is a personal favorite of mine, one of Hollywood's greatest character actors, his career ran for over 70 years, I most fondly remember him in three episodes of Lost In Space,  playing Mr Zumdish using his trademark hand to mouth popping sound. Also popping up in the film briefly is Joe Besser (love this guy), he was one of the Three Stooges and also played Stinky on The Abbott & Costello Show.

By the end of the film, Lewis has been transformed into the "Next Big Thing" and becomes a huge comedy star. In a brief, but touching moment, as Jerry drives through the studio in his big fancy car, waving to his fans, an old guy, calls out and tells Lewis that he loves his work. Lewis waves back and says "Thanks Snub.", this is Snub Pollard, one of silent film's greatest unsung comedians and a long time sidekick of Harold Lloyd. This was one of his last onscreen appearances and he died a few months later, in early '62. Track down his work if you can, I have a soft spot for him, because he comes from my home town of Melbourne, Australia. No one in Australia seems to have any idea of this comedy pioneer!  

Also in the cast is;- 40's Film Noir heavy Brian Donlevy as the studio boss, 30's B-picture stalwart Regis Thoomey, 30's good-time blonde Iris Adrian, and many more, including Kathleen Freeman, who must have been in just about every Jerry Lewis film.

If you like Lewis or haven't seen much of his work, grab this film, you won't be disappointed.

UP THE SANDBOX (1972)

UP THE SANDBOX (1972)
REASONS TO WATCH ;- Fidel Castro is really a woman! Barbra Streisand is really a member of The Black Panthers! and this really is a bizarre film! Oh! By the way, it's also Stockard Channing's film debut.
CAST;- Barbra Streisand, David Selby, Paul Benedict
DIRECTOR;- Irvin Kershner

If your exposure to Streisand has been limited to the 90's dull-fest Prince Of Tides, or you know her for the blockbusters like Hello Dolly or The Way We Were, then you'll be in for a real surprise with this movie. This is one weird film, even on the "Early 70's Weirdness Scale", so that means WEIRD! I know that there were some odd films made at the time, but this is a standout.

Streisand plays a bored  New York housewife, who finds herself pregnant with her third child, unable to cope, her daily life descends into a world of daydreams and fantasy, each scenario more bizarre than the one before. She starts with minor flights of fantasy, but soon they become more elaborate. It's really a study of one woman's identity crisis during the rise of feminism in the early 70's, there were quite a few films around this time struggling with the issue, none of these films have dated all too well.    As a viewer, it's hard to know what is real and what is in her mind, it's quite disconcerting at times. Two of the standout scenes (for bizarreness), are her encounter with Fidel Castro at a press conference,  she confronts him over feminist doctrine, he becomes intrigued by her and she is invited to his hotel room, and here the film goes off the rails, Fidel makes a pass at Streisand and we find out that FIDEL CASTRO is a woman, really, I'm not joking, bare breasts and all! If you've made it this far, you'll watch the rest of the film....The other memorable scene, is where she is a member of a Black Panther-like terrorist group, (all these funky African-American dudes and a Jewish New Yorker woman, something to see), they carry-out a bombing of the Statue Of Liberty, all this is done to some wonderful  70's music that sounds like it belongs in a Shaft movie.  By the end of the film, you don't know what is real and what is in her mind, and quite frankly, you don't care.

The film was a box-office flop, no one went to see it and it seems to have slipped off the radar totally, not a film for the average Barbra Streisand fan. At the time, it was regarded well by the critics, but is now relegated to the shelf dedicated to early 70's self-indulgent clap-trap. As a side note, the director, Irvin Kershner went onto direct The Empire Strikes Back, and was probably happy to forget about this one.

So, is it worth the bother? Well......maybe. I didn't mind it, I like Streisand, and it was nice to fill in a gap in her films.

OPENED BY MISTAKE (1934)

photo from Air Freight (not Opened By Mistake)

OPENED BY MISTAKE (1934)
REASONS TO WATCH;- Todd & Kelly at their best, a chance to see the greatest female comedy team of all time, the sleeping gas scene.
CAST;- Thelma Todd, Patsy Kelly
DIRECTOR;- James Parrott

These days, if you were to ask the average person, who the greatest female comedy team of all time was, they would more than likely say French & Saunders, mainly because they would not be able to think of another all-girl comic teaming. Back in the 1930's, there was Todd & Kelly, by far the funniest girl team of all time, it's sad that very few people know of them, they made 21 shorts for Hal Roach and most of them stand up well today, in fact, they hold up better than many of the shorts by the more well known male teams of the 30's (dare I say, they are even better than some of the L & H shorts!). Sure, many of the gags are a bit tired and secondhand, but seen through modern eyes, the subtext of the teaming is very intriguing. There is obviously more than meets the eye in their on-screen relationship, it sure makes fun watching.

Thelma's film career was short, but jammed packed (115 films & shorts), from 1927 until her death in '35, she seems to have worked with everyone, including a horde of the greatest comedy artists all time;- The Marx Brothers, Laural & Hardy, Harry Langdon, Charlie Chase, Buster Keaton, as well as a large number of dramatic roles opposite many of Hollywood's leading men. Within a year of making this film, Thelma was dead, asphyxiated in a garage, her car still running. Murder, suicide or an accident, we still don't know. Considered one of the most talented and brightest stars of the 30's, her stardom and tragedy have long been overshadowed by the early death of that other 30's blonde bombshell, Jean Harlow. From my perspective, Todd's charms, comic talent and acting ability, far outstrip Harlow's, but the only interest Hollywood has shown in the last 75 years, has been an appalling biopic starring Loni Anderson. Maybe someday, they will do her justice.   

Patsy Kelly's life could not have been more different from Thelma's, she started on Broadway at 18, and was soon snapped-up for comedy shorts. In '33 she was signed by Hal Roach to replace Zazu Pitts in his comedy shorts co-starring Todd. Patsy and Thelma really clicked and their shorts were the most successful of the series. I think part of the secret to this chemistry is that from what I can gather, Patsy was actually infatuated with Thelma (who wouldn't be?). Patsy was one of Hollywood's most openly gay women at the time, and spoke with candor about her sexuality (and drinking and partying). Watching the Todd & Kelly shorts, the underling relationship between the two is obviously more than platonic. Sadly, with the passing of Thelma, Patsy Kelly's career never  had a chance to reach it's full potential, she teamed-up with Pert Kelton (not very funny) and finally with Lyda Roberti (she also died while working with Patsy, was Patsy a jinx?). By the '40's, Patsy was down to Poverty Row quickies, but with the coming of TV, she found her niche as a character actress, quite often playing grumpy maids. One of her most memorable roles was towards the end of her career, as one of the witches in Rosemary's Baby, she scared the hell out of me in this classic by Polanski.

So, that's a quick run down of Todd & Kelly. What's the film like? I loved it, if you are into 1930's comedy shorts, then this is a gem. The story starts with Patsy working as a rather inadequate telephonist, by the end of the opening scene, she's been fired and is homeless. Thelma is a nurse at a large hospital, and in a scene that  sets the tone of their relationship, Patsy comes knocking on the window (in the pouring rain), looking like a drowned waif, pleading with Thelma to take her in. After much pleading and sad eyes, Patsy is allowed to stay. Before long, Patsy is mistaken for a patient, and is on the way for an operation. And then we have one of the strangest scenes in 30's comedies (and boy! there are some odd ones!), Patsy gets into a fight with the matron while in the operating theater, sleeping gas fills the air, and they fight in slow motion, it has to be seen to be believed! If it was a 60's colour film, you'd swear it was psychedelic, so bizarre! The film ends with a classic Laurel & Hardy street gag with a cop. Perfect!

This film is hard to come-by, not sure if there is a commercial release out there, but try and track it down, along with the rest of the Todd & Kelly shorts. A comedy team that well and truly deserve more recognition.

HIGHWAY HELL (1937)

HIGHWAY HELL (1937)
REASONS TO WATCH;- Wow! It's really hard to find any reason to watch this debacle,  it's almost so bad it's good, but not quite.
CAST;- Charles Maurice, Don Hirsh, Diane Winthrop
DIRECTOR;- Pat Carlyle

How often have you heard the phrase "So bad it's good!" to excuse poor film making, dime-store budgets, high-school acting, delusional directing and garden-shear editing? Sure, sit down and have fun with Ed Wood or an AIP horror, even Manos has it's merits (almost), BUT, sometimes a film is so inept and pointless that it's close to unwatchable. Highway Hell is so far beyond bad in every way possible, that I was counting every minute. I went in with an open mind, I laughed at the shoddy opening credits (a mind-boggling parade of the "beauties", each in turn, waving their thumb and saying in a very unsexy voice "Going my way?"), I cringed at the fossilized acting, I rolled my eyes at the bizarre dialogue..... and then I realized the film was only going to get worse! Oh, the horror!

The story? By 1930's standards, it's pretty risque. A sleazy pimp (is there any other type?), has a bevy of girls that he strings along country roads,  where they wait to "hitch" a ride with lonesome travelers, they then take them back to a group of cabins to complete their business. The cabins belong to to local tavern owner, Pop, and he is not too impressed with the goings-on. His son is in love with one of the girls, and the pimp, sees this as a chance to take control of the bar. I'd love to say, that this is where the film gets interesting, but alas, it doesn't. If by now, you care about how the film ends, then you are an even sadder case than me.

The entire cast are no names, for most of them, this was there one and only film and they have long since, sunk without a trace. You would think, that given the subject matter, the girls would at least be of some eye-candy value, but this is a pretty dull looking bunch of working girls. And their acting? If you can call it acting, is not even marginal, most of the girls only have a couple of lines, and they can't even get them right. The actors playing Pop, his son and the pimp, are just as bad (maybe worse?), and they all have this unnerving habit of looking at the camera , you kinda get the feeling that you are in the film yourself. Now, wouldn't that be a nightmare! Imagine, stuck in this little horror for seventy-plus years, even Rod Serling could not have come-up with a plot like that!

One slight redeeming aspect of the film is Diane Winthrop, she's the girl Pop's son falls for, she is the only one in the cast with any acting ability at all, and even then, it's only just. So, who's to blame for this Golden Age mess? The answer is surely the film's director Pat Carlyle, he's also credited as producer. His small credit list includes a number of 30's shockers, he even acted in the infamous exploitation classic Marihuana. Luckily for the film-going public, he faded from sight by the end of the decade, thank you and good bye!

One final warning about this film, it has been re-released under so many names, that you may stumble upon it with another title and not realize what you are watching before it's too late. Look out for;- Hitchhike To Hell, Going My Way Mister?, Highway Girls, Honky Tonk Girl. You have been warned!

MAKE ME AN OFFER (1955)

MAKE ME AN OFFER (1955)
REASONS TO WATCH;- a young Peter Finch coming into his own, quaint story, Richard O'Sullivan (Man About The House) as a child actor.
CAST;- Peter Finch, Adrienne Corri, Richard O'Sullivan
DIRECTOR;- Cyril Frankel

British comedies of the 50's are a real mixed bag, it seems that so many were made, surely they can't all be of the class of The Ladykillers. The truth is, that for every Ealing classic there are at least a dozen half-decent comedies and dozens of tired and unfunny wannabes. I sat down to watch Make Me An Offer, thinking it would fall into the latter class, only to be surprised to find that it really isn't that bad. Sure, it's slow and the comedy is so spread out, that at times you wonder if it's a comedy at all! And here lies the film's charm, it's so sweet and warm, that before you know where you are, you're sucked-in.

The film starts with a small boy (Richard O'Sullivan) seeing a beautiful vase at the British Museum and promising himself that one day he''l own one of these extremely rare objects. His dad is a second hand dealer and when the boy grows into a man (Peter Finch) he follows in his father's footsteps and becomes an antiques dealer (not a very successful one), never a day goes by without him on the lookout for his prized vase, it seems that the only one in private hands was stolen in the 1890's and has not been seen since! One of the problems is that even if he does find the vase, he has no money and his unsympathetic wife thinks he's a dreamer (she's not too bad really). Then one day, he's put onto a deal at an old country estate. Well, one thing leads to another and he spots the vase at a cottage on the estate, the estate's owner now lives in a little cottage, cared for by his very street wise neice (played by the rather wonderful, flame-haired  Adrienne Corri), and here is where the fun and comedy really kicks in, I just loved the wheeling and dealing that Finch needs to go through to raise the money he needs, a great bunch of British character actors pass by, playing rival antiques dealers, Finch plays one off against the other as he gets closer to achieving his life long goal. And how does it all end? Does he get his vase? Does he leave his wife and hook-up with the vivacious Corri? You will need to see the film to find out.

So, the boring stuff (sort of). The film was directed by Cyril Frankel, his film credits are sparse (apart from an uncredited go as stand-in director on School For Scoundrels), he really hit his stride in 60's UK television, and wow, what a credit list, if it was cool in the 60's, there's a chance Cyril directed a couple of episodes;- The Baron, Department S, The Avengers, The Champions, Jason King etc.. He also directed the Hammer Horror classic The Witches. My biggest issue with the film is the filmstock, like many UK films shot in color in the 50's, Make Me An Offer was filmed with Eastman Colour, and this has not held-up well, at least not on the print used for the DVD that's on the market, the colour is faded and quite grainy (maybe there is a better copy out there).

And Peter Finch? It's interesting seeing him here, his career began in Australia, where he made a number of films, before moving to the UK and became a highly regarded leading man. These days, he's best remembered for his Academy Award winning performance in the 70's powerhouse Network. If you want to see him at his best, check out Network, The Flight Of The Phoenix, Sunday Bloody Sunday and A Town Like Alice....whatever you do (and I can't stress this strongly enough) DO NOT SEE The Lost Horizon, if one film killed The Musical, it was this abomination,   

Anyway, back to Make Me An Offer, don't expect too much and you'll have a warm, cozy Sunday arvo, that's the best time to watch it and you won't be disappointed.
  

THE NANNY (1965)

THE NANNY (1965)
REASONS TO WATCH;- Bette Davis with scary eyebrows, Hammer horror at it's best, brilliant performance by child actor William Dix
CAST;- Bette Davis, Wendy Craig, William Dix, Jill Bennett, James Villiers, Pamela Franklin
DIRECTOR;- Seth Holt

Over the last 30 plus years, Hammer Studios has come to represent high camp Gothic horror films, overflowing with buxom wenches, lesbian vampires and Christopher Lee and his bitter screen rival Peter Cushing. Often overlooked are a small number of films that Hammer produced in the 60's, sometimes described as "Mini-Hitchcocks", these creepy thrillers are little gems. Mostly filmed in B&W (budgets were VERY tight), and sometimes starring an imported star (coming to the end of their career), these films blend the British sense of the macabre and many of the tricks of American Film Noir. Of the dozen or so of these films, one the best is The Nanny, in fact, I'd say it's one of the best films of the genre to come out of the 60's, it may not be Psycho, but it's damn good.

By the mid-60's, Bette Davis was on her final run as a major star, the decade had started well with Pocketful Of Miracles and then the truly amazing Whatever Happened To Baby Jane? (if you still haven't seen this film, go and get it right now!), two years later she teamed-up again with Robert Aldrich for Hush, Hush Sweet Charlotte (almost as good as Baby Jane), but generally the roles were lean and quite scarce. When the script for The Nanny arrived on her doorstep, she must have rubbed her hands with glee, this is truly one of the greatest role of her "autumn" years. You feel like she's grabbed the part with both hands and held on for what she would call a "bumpy night" of spooky suspense. She IS the nanny, and I can tell you, if  Bette Davis came knocking at my door with the intention of looking after my little darlings, I'd be slamming the door in her face!  But, there is much more going on in this film than just a bug-eyed Mary Poppins, all is not what it seems, or is it?

The supporting cast are wonderful, solid British actors;- Wendy Craig, James Villiers etc. Along with Davis, the real stars of the film are the two children. Wow, are these kids good! William Dix (Joey, the little boy in the nanny's care) only made three films (he's one of the kids in Doctor Dolittle), based on this film, I'd say he could of had a huge career, he doesn't just play it for cuteness, at times he's quite menacing, he leaves you wondering about the real villain of the film. The other standout is Pamela Franklin who plays the teenage girl who lives downstairs and befriends Joey, she's the only one who believes him. She looks the perfect mid-60's Brit teen girl. Pamela Franklin was no stranger to British horror, she first made a name for herself in the classic Gothic horror The Innocents, later she would appear in the seminal haunted house flick The Legend Of Hell House. Trivia for all fanboys;- she was the original choice for the role of Jenny in Dr Who, and would have been just perfect.

Direction by Seth Holt is pretty tight, remember this is no Hollywood blockbuster. Holt only directed a few films and TV shows, my personal favorite is Hammer's wonderful Blood From The Mummy's Tomb (with Valerie Leon starring, you can't go wrong). The true stars of the production team are Jimmy Sangster (writer and producer), I don't think anyone worked as hard in British film in the 50's & 60's (and even the 70's), his hand seems to have been on so many films, sometimes I wonder if he WAS the British film industry. The other, is cinematographer Harry Waxman, his lens-eye on this film just about makes the movie what it is, I doubt if anyone could have captured the mood better. Waxman was another stalwart of UK film making, checkout his bio sometime, from Brighton Rock in 1947, all the way through to The Wicker Man in 1973 and finally The Uncanny in 1977, that's thirty years at the top!

So, as usual, I'm not going to tell you the plot (why spoil a good film!). Lets just say, there's a family with a tragedy, a neurotic mother, a cold father, a small boy who has "troubles" .......and a nanny played by Bette Davis. What could go wrong? Watch the film and learn the dark secret. Great ending. In fact, the film also has a great start and a riveting middle!

Enjoy....

TONY ROME (1967)

TONY ROME(1967)
REASONS TO WATCH;- Frank Sinatra, you really don't need another reason
CAST;- Frank Sinatra, Jill St John, Richard Conte, Gena Rowlands, Sue Lyon, Simon Oakland, Rocky Graziano
DIRECTOR;- Gordon Douglas

There was a time in the late 60's, (just before Don Siegel, Clint Eastwood and a cop named Harry rewrote the rule book),when a detective would look over his shoulder and see a fast disappearing world. A world of black and white, both on film and in what was right and wrong, a world of deadly dames, mysterious foreigners, smoke filled offices, and cool, cool nightclubs with dreamy torch-song singers. Film Noir had slipped into oblivion as the film world turned it's eyes towards James Bond and and a cohort of international super spies. For a few years it was all about masterminds and plots to takeover or blow-up the world as we know it.......and then along came Paul Newman, Lee Marvin, Steve McQueen and most importantly Sinatra. And so was born Neo-Noir, a wonderful period (short though it was!) of hard boiled cops, even harder women and appallingly vicious and quite often demented criminals. Times were changing, the old world had gone, crimes were no longer of passion and jealousy or a bag of diamonds or an inheritance.  Now it was about drug dealers or political corruption, and the law quite often stood in the way of a good cop doing his job.

I think the two actors who stand out in Neo Noir are McQueen and Sinatra. I'm biased, they are two of my favorites. Sinatra made three Noir films in the late 60's, all directed by Douglas, Tony Rome (1967), the sequel Lady In Cement (1968)  and the unrelated The Detective (1968). Of the three, Lady In Cement is the weakest, The Detective the tightest and Tony Rome the most fun. I love this film, from the opening song by Nancy Sinatra, through to the final shot of Jill St John's derriere at the films "end". Sinatra would only make a few more films after this (what a pity), here he is at the height of his powers, just fantastic, dramatic and funny at the same time, a joy to watch. The supporting players are well cast, Richard Conte is perfect as Tony Rome's old boss and now his ally on the Miami PD, Gena Rowlands never looked better and would almost pass as a Film Noir babe, Sue Lyon brings a little bit of her Lolita to her part, Jill St John gives the best performance of her career ( Gordon Douglas deserves an award for somehow conjuring a performance out of Jill St John, she always looks great, but she really can't act, remember Diamonds Are Forever!!!!), and then we have Rocky Graziano, the boxing superstar, here he makes a little cameo as a punch-drunk ex-boxer, a nice touch. Sprinkled throughout the film is an endless parade of character actors that are too numerous to mention, but add so much to the overall feel of the film.

The story? Well, it doesn't really matter too much, there's murders, there's a wayward daughter of a wealthy businessman,  a missing diamond brooch, there is a wealthy, sex starved divorcee (Jill St John of course), and then there's Sinatra getting knocked about, wrongly accused, and generally on the wrong end of every situation. So much fun and such a tight, natural script, the film is so fast, it's over before you know it. One of my favorite scenes is where Sinatra is questioning a gorgeous stripper, there is this much older woman on the sideline that you assume is her mother, it turns out to be her lover, Sinatra just shakes his head, you can tell he's wondering what ever happened to the Film Noir broads of those 40's films.

Great film, watch it twice!

BLOOD AND LACE (1971)

BLOOD AND LACE (1971)

REASONS TO WATCH;- Gloria Grahame's star fading, Wrangler Jane in a VERY different role! and Seinfeld's Uncle Leo in his strangest role ever.

CAST;- Gloria Grahame, Melody Patterson, Milton Selzer, Len Lesser.

DIRECTOR;- Philip S. Gibert

Oh!  Gloria Grahame what went wrong? One of the most memorable Film Noir bad babes, so much promise, and this is how it all ends...... I suppose, this is how Hollywood treats a star who marries her stepson, Hollywood is not known for overlooking something like that. As a huge fan of Gloria and her films, I just had to see this little shocker, I sort of knew what to expect, but nothing could prepare me for this showcase of Z-grade film making. Here's a hint of what you should expect, one of the film's features is a little gimmick that I can only describe as "Hammer Cam",  the weapon of death in the film is a hammer and there are a number of sequences where the camera looks down the length of the hammer's handle as the killer stalks the next victim. Wow! Who would have thought of that? So bad, it's good. No, it's just bad. By 1971, Gloria was forty-eight, and unfortunately the camera work is not too kind to those forty-eight years, in some scenes, she looks at least ten years older. I've seen a number of photos of her from around this time and she looked much better than this. There is a sad, telling moment early in the film where she tells Melody Patterson to make the most of her youth and beauty, because it does not last long and beauty fades. Ouch! That must have been a tough line for poor Gloria. There must have been times in this little piece of trash, when she must have wondered how the hell her career had come to this, it's such a long, long way from working with Bogart on In A Lonely Place, but such is life.

So, who else do we have in this 'classic'? Standing out with a half-decent performance is Melody Patterson. Now, who is Melody Patterson? The name rings a bell, the face is familiar and after a quick search, I found that she was Wrangler Jane on the 60's TV sitcom F-Troop. Boy! She's a long way from home in this film, but looks amazing, and she can actually act, which is hard work in a film like this. She was in her early 20's at the time, and it's a bit of a push to believe that she's meant to be about 15. She only did a couple of more things after this film and then retired (Hard to blame her, if this was the sort of thing she was being offered). And then we have Len Lesser, you just gotta love this guy. These days he's remembered for playing Uncle Leo in Seinfeld, but in the 50's and 60's he appeared in just about every TV show (including The Monkees!) playing The Heavy. Here he hams it up perfectly as Gloria's lover and "handyman", his sleazy moments hitting on to Melody are beyond skin-crawling. I don't think this guy needs a director, he just goes to it and gets the job done, given the quality of the film, I doubt that he would have got much direction from Philip S. Gilbert (it's no surprise that this is Gilbert's only film credit)  

The story is pretty creepy, and not in a good way. A prostitute and her john are murdered by an unknown killer with a hammer (remember Hammer Cam). Her teenage daughter is taken by the local sheriff to privately run "Home For Wayward Teenagers". Gloria runs this charming little establishment, where the "kids" work like slaves, she gets paid to look after her wards, the only problem is that some of the teens have the ungratefulness to go and die on her. So that she keeps getting paid to care for the kids, she puts the dead in deep freeze (why? who knows?). Melody is a wake-up to what's going on, but with sleazy Leo after her and the hammer killer on the loose and Gloria being so sadistic, well it's time she ran away. To cut a long story short, she's rescued by the sheriff (a MUCH older man)  who's very much in love with her, he know a dark secret about Melody and tells her he'll keep it to himself if she'll marry him. She has no choice and agrees......and then he tells her something that creeps-out the rest of the film.....and the film ends. You'll need to see the dammed film if you want to know the secret.

Now, I know this film has a bit of a cult following and is often compared to the films of Mario Bava, but it's pretty dreadful. I don't think there is a commercial DVD release at this stage, so you may need to track down a "private" dvd copy....if you are that desperate.

Oh, and another thing. If you are interested in Gloria Grahame, there is a sad, but loving account of her last days, written by her lover at the time, Peter Turner, it's wonderful title is Film Stars Don't Die In Liverpool.

BLOOD OF DRACULA (1957)

BLOOD OF DRACULA (1957)
REASONS TO WATCH;- It's about Vampires! Louise Lewis, the kitsch song by Jerry Blaine, the worst vampire makeup you  will ever see.
CAST;- Sandra Harrison, Louise Lewis, Gail Ganley, Jerry Blaine
DIRECTOR;- Herbert L. Strock

This little film is the perfect follow-up to "How To Make A Monster" for a number of reasons;- both films are directed by Herbert L. Strock, both are from the glorious AIP studio, they are almost part of a series and most importantly, they have been released together on the one DVD! Blood Of Dracula is by far, one of the most underrated vampire films of the 50's (there is not even an entry on Wiki!) and a high point for AIP at this time. Now, I'm not saying this is art, or even half decent film making, but it's a lot of fun, and unlike some reviewers, I don't think it's slow or boring. I watched it at about 1am, after a very long day, and it kept my interest going all the way to the end. Sure, the story gets a little lost at times, and you're left saying "What?", but it's soon back on track. Although there is no real evidence, the film has generally been classed as the third of AIP's "Teenage Monster Films", the other two being "I Was A Teenage Werewolf" and "I Was A Teenage Frankenstein", so you could say that this film should have been called "I Was A Teenage Vampire", but I assume they were trying to cash-in on the Dracula name, and "I Was A Teenage Dracula" just doesn't sound right.

About halfway through the film we have a totally random song by the very uncharismatic Jerry Blaine. I know it's 1957, and Rock & Roll is king, but did we really need this? The only other real let down is the appalling vampire make-up job done to Sandra Harrison by Phillip Scheer ( he did much better work on the other teenage monster movies and How To Make A Monster), not sure what he was thinking with this one. Just a little trivia;- Phillip Scheer's first film credit, is as the hair stylist on the 1936 cult classic Revolt Of The Zombies.

Forget the few males in this film, the only cast really worth watching are the three female leads. Sandra Harrison (our teenage vampire with the dodgy make-up), gives it all she's got, which unfortunately is not much, but I really had fun watching her overact every scene (even her sleeping moments!). Gail Ganley (as the rather naughty teacher's pet) was destined for minor stardom, but never made it (she even dated Howard Hughes ) and was quite a looker, is a standout. And best of all is Louise Lewis, she is riveting as the evil chemistry teacher who has the power to hypnotize and convert our girl to vampire-ism, there is also more than a hint that she's a lesbian, but it's 1957 and nice girls didn't do that sort of thing (no really, it's true, they didn't!).

So the story goes that Nancy's (Sandra Harrison) mum has died and her dad has just remarried (to a young gold-digger), so Nancy gets bundled off to a posh school for girls. Everything seems fine, the headmistress is a nice old dear and all is OK. Except that the other girls are really nasty, especially Myra, who seems to be having a lesbian affair with Miss Branding, the chemistry teacher. It also seems that most of the girls are having an affair with the very average looking groundsman (no wonder Myra's looking for alternatives!).Soon Miss Branding takes an interest in the new girl, puts her under hypnosis and by using a Transylvanian charm (as you do!) turns her into a vampire. At this point, you will role on the floor with uncontrollable laughter, due to the aforementioned make-up job. Wow! I'm still in shock at this.Then Nancy then starts killing-off those around her. It's never really explained why Miss Branding is doing all this, she makes a couple of rambling speeches about the future of mankind and how we shouldn't mess with nature and such stuff, but it dosen't make sense, and really it's no big deal, I was having way too much fun!

Just one little thing. I had this thought while watching the film. As good as Louise Lewis is, just imagine how wonderful it would have been if Susan Cabot had been cast as the chemistry teacher, but maybe that's just a little film playing in my mind's eye.

HOW TO MAKE A MONSTER (1958)

HOW TO MAKE A MONSTER (1958)
REASONS TO WATCH;- a chance to see the American Pictures International lot in all it's glory, Gary Conway before he was stuck in The Land Of The Giants, a wonderfully corny musical number, one of the most mild "Evil Scientist" characters you will ever see.
CAST;- Robert H. Harris, Gary Conway, Paul Brinegar, Gary Clarke
Director;- Herbert L. Strock

Now, lets face it, AIP films can be pretty bad, I mean, you know what you are in for when you see that logo with the domed building! So I sat down to watch this one with some trepidation. What a surprise! This little Z-grader was actually pretty good (by AIP standards). Unlike most of the films of it's type, it actually moves along at a reasonable pace and the plot makes sense (well, almost!). The acting is not too bad, there are some familiar faces amongst the cast, and for a change, the villain and his sidekick don't chew the scenery (at least, not more than necessary!). The cops aren't too stupid and the victims are dispatched quickly. As an added bonus, we get to see the AIP studios, as the story is set in a film studio, not unlike AIP. There is a bit of overlapping with a couple of other AIP films;- I Was A Teenage Frankenstein & I Was A Teenage Werewolf, both films feature in the story, which is set during the making of a sequel (Werewolf Meets Frankenstein). And then there's the song and dance number, less said about this the better, at least the girls are pretty! Oh, there is one other thing..... the film is in B&W.....except for the last reel, which is in some pretty bad colour film stock...WHY? No real reason, it's not arty, it's not clever, just a bit random and unnecessary, oh well, you can't have everything.

The plot is wonderful, I love it, almost original and any film set in a movie studio is worth a go. So, we have a make-up artist and his mild assistant. He loves his job, he's a true artist and takes great pride in his monstrous creations for the screen. That is, until the studio is taken over by some wheeler-dealers, who have grand ideas for the studio, no more Creature Features or Monster Flicks, they want GIRLS, SONGS, MORE GIRLS and EVEN MORE GIRLS!!!! (this is where the dud song and dance number kicks in). So, our make-up artist gets the chop, thanks for your services, but no thanks. What's an evil make-up genius to do? That's right, he has a "secret formula", that, when applied to one of his actors (just before he does their monster make-up), turns them into hypnotized killing machines, and they don't remember what they have done. He then commands his "monsters" to kill the studio executives and anyone else that gets in the way. How can a plan like this go wrong? Will the police figure things out in time? Will there be another song? You'll need to watch the film to find out.

NO WAY OUT (1950)

NO WAY OUT (1950)
REASONS TO WATCH;- film debut of Sidney Poitier, beginning of the race riot scene, Richard Widmark performance (wow!), Linda Darnell (always a reason to watch)).
CAST;- Sidney Poitier, Richard Widmark, Linda Darnell, Stephen McNally, Ossie Davis, Ruby Dee
DIRECTOR;-Joseph L. Mankiewicz

This wonderful film seems to be always classed as Film Noir. Sure, it has all the elements needed to qualify;- it's in B&W, Linda Darnell is the female lead, Richard Widmark is the villain, lots of shadow, a wrongly accused man, and Mankiewicz at the helm, but really, this is not Film Noir. In fact, it's one of the first and best films to tackle the "Race Issue" that would become a dominant issue of the decade (and take at least another ten or fifteen years for Hollywood to come to terms with), quite a tough story for Hollywood in 1950. As a film debut, Poitier's would have to be one of the best, nothing to fault here, he nails the character and you just know you are seeing the birth of an acting powerhouse. Coming-up against him is Richard Widmark, yet another chilling performance as the essence of evil (Widmark and Poitier became firm friends during the making of this film, with Widmark apologizing after each take, embarrassed by his character's racial outbursts). To me, one of the real surprises of the film is Linda Darnell, here she is playing things down, not the usual smoldering sexuality and drop-dead looks, just a girl from the wrong side of the tracks with a heart of gold (even if it's just gold plated).

And there is the supporting cast;- Ossie Davis plays Poitier's brother, and gives a lovely understated performance (his screen debut), and as a nice touch, Ruby Dee (Ossie's off-screen wife) is also in the film, the first time they had appeared together. Stephen McNally (as Dr. Dan Wharton) puts in a fine performance as Poitier's mentor and boss (yet another underrated actor of the 40's), I also loved Amanda Randolph who plays Dr Wharton's maid.
 

 The story follows a young doctor (Poitier) while he's on duty at the local hospital. Two petty crooks are brought into emergency by the police, Poitier is assigned to patch them up. The crooks are brothers, Widmark the elder of the two, is a bigot and takes exception to an African-American doctor attending to his brother. The brother dies while undergoing an operation and Widmark accuses Poitier of murder. Over the next few days, the racist element of the town's slum, stir-up hatred and a riot develops. The riot scene is breathtakingly filmed, especially the mounting tension between the two sides and the moment where a flare explodes in the night-sky, signaling the start of the riot.

The rest of the plot? Well, you'll need to see the film, I don't want to spoil such a good film. This is a MUST SEE  film, buy or rent it now!

THE CHASE (1946)

THE CHASE (1946)
REASONS TO WATCH;- the surreal twist, the car with the special controls, Peter Lorre (always worth watching.
CAST;- Robert Cummings, Michele Morgan, Peter Lorre, Steve Cochran
DIRECTOR;- Arthur Ripley

This would have to be one of the strangest Film Noir movies I've ever seen, and one of the most interesting. I have to be careful not to give too much of the plot away, because about half way through the film, the whole thing is turned on it's head and it has to be seen to be believed. Our hero (Cummings) is a returned GI, hard-up on his luck, he finds a wallet in the street and returns the wallet to it's owner (Steve Cochran), who happens to be a powerful mobster in Miami (the film's setting). Cochran gives him a job as his chauffeur, against the better judgment of the mobster's sidekick, played with a pinch of comic menace by Peter Lorre. In walks the femme, Michele Morgan as the mobster's girl. You just know that Morgan and Cummings will fall in love, and......you'll need to see the film to know what happens, let me just say that you will not guess the second half of the film.

There are lot's of reasons to watch this film, obviously the weird plot is a drawcard, and Peter Lorre is a must see. Robert Cummings is one of the great "Everyman" actors of the 40's, I always enjoy watching him. Michele Morgan (most famous for The Fallen Idol) never looked more glamorous than in this film, quite breathtaking. And then we have Steve Cochran, how cool is this guy, no one except Bogart looked this good in a white suit, he's only really known for a handful of films and the huge list of women he had affairs with, including Joan Crawford, Mae West, Ida Lupino, Sabrina, Jayne Mansfield, Merle Oberon, Barbara Payton, Kay Kendall, Virginia Lord and Mamie Van Doren. Check his biography out, well worth a read.

On top of all this is the film's director, Arthur Ripley. As a director, The Chase is probably his best known film, his two greater contributions to film are far less known. He was basically the founder of the UCLA Film Center. And, most importantly (from my perspective), he was the writer/co-writer of many of Harry Langdon's films and shorts during the 1920's, and hugely important in guiding Harry during this period, don't believe Frank Capra when he claims that Langdon was his creation.

 

THE VAMPIRE BAT (1933)

THE VAMPIRE BAT (1933)
REASONS TO WATCH (1933);- The beautiful Fay Wray without her blonde King Kong wig, Dwight Frye at his crazy best.
CAST;- Fay Wray, Lionel Atwill, Melvyn Douglas, Dwight Frye
DIRECTOR;- Frank Strayer


Some actors have their decade, a ten year period where they seem to dominate the screen, a time when they make all the right choices and stamp their name forever on an era. Fay Wray had eighteen months, if you look at her filmography, it is nothing short of amazing that in 1932/33 she appeared in no less than 14 films. Sure, at this time, films were popped out by the studios like sausage, but among these 14 films is KING KONG, along with some of the best horror/thrillers of the decade, films that helped lay down the rules that have been followed for the last 80 years. Films such as The Most Dangerous Game, Mystery Of The Wax Museum, Doctor X, The Vampire Bat and the '34 releases The Clairvoyant and the forgotten Black Moon. She really was the original Scream Queen. As you can tell, I just love Fay Wray, it's such a pity that she is now only remembered for King Kong, as iconic as this film is, it now totally overshadows her other work, track down Black Moon for a real surprise.

So, it's the early 30's, Frankenstein and Dracula have been box-office hits and King Kong is in production, A little Poverty Row studio wants to cash in on the horror genre, lets get Fay Wray (who has some down time while filming King Kong), bring in Dwight Frye who has the very best horror film credits on his CV, Lionel Atwill because he's the perfect villan (and I'm sure he's cheap), and the handsome, young, rising star Melvyn Douglas as the hero and love interest. AND (here is the most important element of the production) lease the Universal backlot Court Of Miracles, used for Frankenstein and The Old Dark House. By using these sets, and some not bad direction, lighting and camerawork, the film  is much better than the budget would suggest.

Here we have the classic story;- a Central European village, a series of blood drained victims, superstitious townsfolk, an ineffectual town council (why is this always the case?), a mad scientist, a deranged village idiot (poor Dwight, always in the wrong place at the right time), a beautiful and not entirely helpless heroine and of course the handsome hero. What more do you need to know, that sums the film up pretty well. See it, really, it's worth it. try and get a decent print, because it will make the difference. 

KISS OF DEATH (1947)

KISS OF DEATH (1947)
REASONS TO WATCH;- the wheelchair down the stairs scene, Richard Widmark's debut (WOW!), Film Noir as it should be.
CAST;- Victor Mature, Richard Widmark, Brian Donlevy, Coleen Gray, Karl Malden
DIRECTOR;- Henry Hathaway

What a surprise this film was. Not sure how I'd missed this one over the years, in fact, to my shame, I'd never even heard of it, until doing to research on Coleen Gray. This film is notable for a number of things;- Coleen Gray's first featured role, Richard Widmark's film debut and a couple of brutal scenes. As far as debuts go, Widmark's is off the scale, he plays one of the most psychotic villain's of the 40's, his manic laugh and unpredictable nature are compelling (think of the best portrayal of Batman's The Joker you can imagine). The stand-out moment of the film, is the scene where he pushes the wheelchair bound mother of an enemy down a set of stairs to her death, it's rare for a film of this era to take a risk like this. And then we have Victor Mature, not known for his great acting, here he pulls out his best performance that I can think of, sympathetic and complicated, I was with him all the way. The rest of the cast are fine and Coleen Gray is always a pleasure to watch. Some nice cinematography from Norbet Brodine (a long way from his work with Laurel & Hardy!), and some great direction from master Film Noir director Henry Hathaway, almost forgotten today, even though many of his films are classics (Niagara with Marilyn Monroe for instance).

The film follows Mature, a small time hood, who gets caught during a heist and takes the rap for the rest of the gang. He's approached by the DA, who wants him to stool on his buddies, he refuses. And then the gang double-cross him and they let his wife die and his kids end-up in a home. Now he's ready to help the DA nail the gang. Enter our baddie, Widmark, now this guy is mean, so mean and evil that you are cheering at his demise (you will need to wait until the last reel, of course!). Gray, plays the babysitter of Mature's girls, and when his wife dies, they end-up together, trying to play happy familes, while Widmark constantly lurks in the shadows. Lots of dark and empty streets, moody nightclubs and cafes, and at least one  "prison visit" moment. I read somewhere that if you look carefully, you will see an early performance by tragic B star Susan Cabot as a restaurant patron, but I couldn't spot her (any one know where?).

 You won't be disappointed!   

THE HAIRDRESSER'S HUSBAND (1990)

THE HAIRDRESSER'S HUSBAND (1990)
REASONS TO WATCH;- the stunning Anna Galiena, the cinematography, knitted bathers, pseudo Middle Eastern dancing by the husband
CAST;- Jean Rochefort, Anna Galiena
DIRECTOR;- Patrice Leconte

When it comes to this film, I'm just a little bit biased. You see, this was one of the first films my wife and I saw when we started dating. So when I say that this is one of my all time favorites, you have to take it with a grain of salt. Hey! I'm not the only one who loves the film, it was one of the most acclaimed films of the year and it's by Patrice Leconte, so you just know it's going to be worth at least one viewing. This is a perfect film, no if's, but's or maybe's. The direction is tight and not as pretentious as it might have been in other hands, the casting is amazing, right from the two leads down to the secondary cast (it's a very small cast), the art department has done a wonderful job creating the slightly moody and a nostalgic sets (I want to move to a French village circa 1950/60/70, hey I'm not sure exactly when), and then there's the cinematography, wow! It's just stunning, Eduardo Serra should have been around to film Ingrid Bergman and Garbo, he is a true master of the art.

I'm not going to give too much of the plot away, why spoil it! We follow the life of a young boy who is obsessed with his Rubenesque village hairdresser, she commits suicide and he is haunted by her image, smell and feel. Many years later he meets a new hairdresser and instantly falls for this beautiful, mysterious creature. We then follow their idyllic and slightly surreal life together, a life of perfect love and harmony. And the end? Well, this is a French film, so you need to see it for yourself.

If I was using a star rating system, this would be 10 out of 10.

APPOINTMENT WITH VENUS (1951)

APPOINTMENT WITH VENUS (1951)
REASONS TO WATCH;- seeing Niven and Johns working together
CAST;- David Niven, Glynis Johns, Kennneth Moore, Barry Jones
DIRECTOR;- Ralph Thomas

Here is a perfect example of the type of feel good film about the Second World War that the British were expert at making in the 1950's. You just know it's one of those films, because somewhere early in the credits, the name Kenneth Moore will appear, he seems to be in every war film made in the UK during this period. The difference is that this time he's a pacifist painter (he pulls through with a stiff upper lip by the film's end). The film is based on a book, which in turn is based on a true event of the war. The plot is fairly basic, a Channel Island is occupied by the Germans (not the most brutal Germans you will find in a film of the era), the British government realize that a very special cow named Venus is on the island (I kid you not!) and she must be rescued before the nasty Nazis take her back to the Fatherland, so they send David Niven (of course) and the beautiful Glynis Johns (who grew-up on the island) to rescue the cow. There you go, all quite normal and just another day in the British Army.

All in all, a wonderful little film, perfect for a lazy Sunday arvo, well acted, nice modest direction, and good old England wins through in the end.   

ANZIO (1968)

ANZIO (1968)
REASONS TO WATCH;- The minefield scene, Peter Falk at his best
CAST;- Robert Mitchum, Peter Falk, Earl Holliman, Robert Ryan
DIRECTOR;- Edward Dmytryk

During his seven decades as a film producer, Dino De Laurentis made some real duds (King Kong, Flash Gordon, Orca, War & Peace, and countless others), his name has also been on some of the most popular films of their time (Barbarella, Serpico, Conan, Blue Velvet, Drum). Somewhere in between are a bunch of films that were better than average and quite overlooked. Anzio is one of them. It tells the true story of the the Allied beach landing at Anzio (Italy) during WW2, an operation that was designed to create a second front that would push through to Rome, and ended-up being a total disaster.

The film follows a team of US Army Rangers who are trapped behind enemy lines and have to fight their way back to HQ, accompanying the troops is a war weary, cynical newspaper reporter played by Robert Mitchum. Now, I'm a big fan of Mitchum, and I just love his laid back, laconic style of acting, he's perfect in this role and makes the most of an average script. Peter Falk was said to have been so unhappy with the script, that he almost walked away from the film, he ended-up rewriting his lines, and this really shows. His dialogue is by far the tightest and he is a highlight of the film. Earl Holliman is also a standout in the film.

One of the best scenes in the film is the crossing of a minefield, not very realistic to be honest, but nicely done. I also enjoyed the ambush scene, it was interesting to see how you could film this on a tight budget. And really, that's the main problem with this film, money, money, money. I'm not sure what the films budget was, but you can tell that they had limited funds, multiple shots of the same tank (to make it look like they had lots of tanks), wrong weapons, camera angles to hide the lack of extras etc....

And, the final word. What were they thinking with the title song? OMG, the song sounded like it was from a mid-60's romantic comedy, VERY puzzling indeed.

MONKEY BUSINESS (1952)

MONKEY BUSINESS (1952)
REASONS TO WATCH;- Marilyn Monroe (what other reason do you need), Cary Grant in thick glasses.
CAST;- Cary Grant, Ginger Rogers, Marilyn Monroe, Charles Coburn, Hugh Marlow
DIRECTOR;- Howard Hawks

We all know what a great director Howard Hawks was, it didn't matter if it was drama (Scarface, The Big Sleep, To Have And To Have Not, The Dawn Patrol), Science Fiction (The Thing From Another World) or comedy (Bringing Up Baby, His Girl Friday, Gentlemen Prefer Blondes), he knew how to make a film, perfect casting, dynamite script and direction perfection. But like every master craftsman, he had his duds, and boy, is this a dud! Now, if it was by a no name director or an early outing by a yet to be great famous film maker, then it would hold-up OK, but after a quarter of a century in the business, Hawks should have been able to make a better film out of this. Don't get me wrong, it's an alright film, just not good enough.

So, what is the film about? Well, there's this chemist (Cary Grant) working on a formula for an elixir of youth, he's old before his age and ignores his wife (Ginger Rogers), his boss (Charles Coburn) is pushing him to release the elixir on to the market, and..... the boss has a secretary, who is played by Marilyn. Anyway, a laboratory chimp mixes-up the formula and really does create an elixir of youth, Cary drinks some, falls head-over-heels for Marilyn (who wouldn't!), his wife drinks some and is young and fun again (and he falls head-over-heels for her too). And before you know it, everyone has had some and is making a fool of themselves, the formula gets lost and Cary and Ginger live happily ever after.

So, is it worth seeing? The answer is yes. By the time Marilyn made Monkey Business, she had been making films for about five years and had slowly worked her way up the billing, this was her fifteenth film and her talent was really starting to bloom, two years later, Hawks would star her in Gentlemen Prefer Blondes and the rest is history. She is quite understated in Monkey Business and you have to wonder how much fun it would have been if she had played the wife (made to look older and then takes the elixir and becomes a bombshell). Cary is ok, but was mid-career at this point and waiting to be relaunched as Hitchcock's ideal leading man (along with James Stewart), he's funny and silly, but you just know he's bored and thinking about the paycheck. I'm not a fan of Ginger Rogers (so my opinion does not count here), she's just a bit too obvious and really not that funny, I kept thinking that Myrna Loy would have been wonderful.

So, give it a go, but don't expect too much, just a bit of fun and Marilyn. Maybe that's all you need in life anyway.

KID GALAHAD (1937)

KID GALAHAD (1937)
REASONS TO WATCH;- Boxing as a noble profession, Bette Davis as a nightclub singer?
CAST;- Edward G. Robinson, Bette Davis, Humphrey Bogart, Wayne Morris, Jane Bryan, Harry Carey
DIRECTOR;- Michael Curtiz

It's been said that they don't make boxing films like they used to. In fact, they don't make many boxing films at all, but once upon a time (in the 30's & 40's) in a little place called Hollywood, they seemed to make a boxing film every other week. Now if you like your boxing raw, bloody and brutal, then this one is not for you. BUT! If you like a story of a handsome young man, fresh from the farm, noble of deed and dynamite with a quick right, then this is the perfect film.

What a cast, it does not get much better. Edward G. plays the boxing promoter with the heart of stone (until the last reel), Bette plays his girl (with a heat of gold). And wow, do these two look and act perfectly together. You have all heard of Bogey & Bacall or Hepburn & Tracy, but why don't we have Robinson & Davis, there should have been a whole series of films with this team, sure it would not have been a pretty sight, but what an acting powerhouse! Coming-up in third place is Bogart as the rival boxing promoter with a heart of pure poison (you know it won't end well). Harry Carey is just lovely as the old-time trainer, a much overlooked character actor. And that leaves us with Wayne Morris (Kid Galahad himself) and Jane Bryan (Edward G. Robinson's young sister, who loves the Kid), both are perfect in their roles. The minute Morris steps in front of the camera, you know he'll come through in the end.

Wayne Morris had a rising career and became a decorated fighter pilot in WW2, coming back after the war, he slipped into B-grades and tragically died of a heart attack at the age of 45, while visiting an aircraft carrier. Jane Bryan (who only died in 2009) was a mainstay of late 30's Warner Brothers films, and looked set for stardom until she married a wealthy businessman and retired from film (she and her husband were good friends of Ronald Regan, and convinced him to run for President). She is lovely in this film and perfect for The Kid.

As a bonus, we have an almost laughable scene with Bette Davis "singing" in a nightclub, it's so obviously dubbed, and the real singer could not sound any less like Bette if she tried! This film was later remade as an Elvis Presley film of the same name in 1962. Ah, boxing, it ain't what it used to be.....

THE WEB (1947)

THE WEB (1947)
REASONS TO WATCH;- seeing Vincent Price in a non-horror, Ella Raines being cold and elegant
CAST;- Vincent Price, Ella Raines, Edmond O'Brien, William Bendix, John Abbott
DIRECTOR;- Michael Gordon


If you are one of those misguided individuals who believes that Vincent Price was an over the top ham, who came close to chewing the scenery in every film he made, then this is the film to change your mind. A much neglected Film Noir from Universal Pictures, The Web grows on you. It's no great mystery, no whodunit, in fact, if you don't figure-out the whole story within ten minutes, then you haven't seen enough Film Noir. Edmond O'Brien (our hero) is an eager (but not too bright) lawyer, who becomes entangled with wealthy industrialist Vincent Price (the baddie), all because he's crazy for Vincent's gorgeous secretary, played by the now forgotten Ella Raines (boy! she's icy cool!). Before he knows it, O'Brien is taking the rap for the murder of Vincent's ex-partner......and you don't really need to see the film to know what happens next.

Of course I'm a sucker for any film with Vincent Price, good, bad or just plain dreadful, this is a nice companion piece for Laura (the other Vibcent Price Film Noir exercise). Given his real life wealthy background, this role seems the perfect fit, cultured, urbane and at ease with the world around him. You gotta love any film that teams-up Edmond O'Brien and William Bendix, their chemistry is perfect and the comedy that passes between them adds a nice touch to the film and may just save it from being just another B-Noir. Raines is quite lovelly, though not quite the magic of a Bacall or a Stanwyck.

I wouldn't spend a lifetime trying to track down this film, but if you come across it, give it a go.

FALLEN ANGEL (1945)

FALLEN ANGEL (1945)
REASONS TO WATCH;- Film Noir 101, Linda Darnell (sigh), Preminger, Dana Andrews at his best.
CAST;- Linda Darnell, Dana Andrews, Alice Faye, John Carradine, Percy Kilbride, Charles Bickford
DIRECTOR;- Otto Preminger

So, this is how it goes. You arrive in a one horse town, and you're stone cold broke. You have just enough for a coffee at the local diner. It's now five, maybe ten minutes into the film and in through the door walks Linda Darnell, long legs, doe eyes and the deepest, sultriest voice you've ever heard. You just know you're in trouble, the kind of trouble that will only end in death, just as long as it's not yours.

I loved this film, in fact, I loved it so much that I watched again the next night. This is Film Noir at it's best, the only thing missing is Dana Andrews doing a narration over the opening scene. I won't pull the plot apart and spoil a damn good story, but here is a super fast overview. Linda Darnell is beautiful, but bad (how else would you want her?), Dana Andrews is just as bad, maybe worse (but with a heart somewhere under all that cynicism), Alice Faye is a good girl (just really innocent and a little STUPID, I mean come on!!!), and by the end of the film, one of them is dead and the other two live happily ever after. And then there's Charles Bickford as the ex-cop and Percy Kilbride as the diner owner who's crazy for Linda (even if he's three times her age and about half her body weight, trust me, she'd kill him.). Passing through the town in a couple of wonderful, light-hearted scenes is John Carradine as a mystic, he's just perfect.

So, the nuts and bolts of the film. This was Alice Faye's last starring role (she didn't make another film for 17 years), it was meant to be her film, but she was pushed aside and edited out of much of the film in favor of Linda Darnell, who in scene after scene, steals the show from all around her. This really is the film that launched Darnell to stardom, even if it was rather short-lived (checkout her sad biography sometime). And then there's Dana Andrews, one of the most underrated leading men of the 40's, all he ever needed was a good director, as can be seen in this film, even though his character is low on morals, you can't help but feel for the guy. A real surprise is Percy Kilbride, now only remembered as Pa Kettle, he puts in a subtle and quite engaging performance, but you just want to slap him and tell him to find a woman his own age, but we can all dream, can't we. 

SH! THE OCTOPUS (1937)

SH! THE OCTOPUS (1937)
REASONS TO WATCH - The title alone makes it worth a go, Marcia Ralston, the ending!
CAST -Hugh Herbert, Allen Jenkins, Marcia Ralston, John Eldredge

What an odd little film, part comedy, part mystery, and just a little bit surreal. Most film reviewers seem to hate this film, I think they just don't get it. So the basic story line runs a little like this;- Bumbling, Irish accented detectives Kelly and Dempsey find themselves trapped in a deserted lighthouse (even though they drove there!) with a group of strangers who are being terrorized by a killer octopus (no really, this sort of thing happens all the time) AND there is a mysterious crime figure who is also named The Octopus (just to confuse you). Along the way, there is some fun comedy, a bit of slapstick, some really BAD octopus tentacles and the rather attractive Marcia Ralston.

As you watch the film, there are quite a few anomalies (a polite way of saying HOLES IN THE PLOT) that make you sit up and say "Hey! Did I miss something?", such as the noose at the films climax (how did it get up there? you may ask.). Now, without giving the ending away, it all makes sense at the end (sort of), with a plot device that was used two years later in a much bigger, far more well known and hugely successful MGM production, but I will not say what, because that would just spoil things. So if you have a spare 54 minutes (not very long really) and can track this film down, give it a go. And remember, Sh! The Octopus!!!!

THE COTTON CLUB (1984)

The Cotton Club (1984)
REASONS TO WATCH - Jazz era music and fashion, gangsters, Tom Waits, tap-dancing, old Hollywood stars, Francis Ford Coppola, Nicholas Cage.
CAST - Richard Gere, Diane Lane, Gregory Hines, Nicolas Cage, Bob Hoskin, Fred Gwynne, Tom Waits, Laurence Fishburne.


   Not sure why it's taken me so long to getting around to watch this film, but while doing some research on the fabulous Gloria Swanson, I spotted a reference to a little portrayal of her in this film (played by Diane Venorn), and I thought, "Hey, I've never seen The Cotton Club!". So, without any expectations, except maybe the prospect of a rather long, over blown Coppola production, I sat down to watch this mid-80's take on the Jazz Age.
 
What a surprise! As a fan of 20's and 30's film and music, I've seen my share of Hollywood's re-imaging of the Jazz Age, most get the general style right, but tend to place their own era's stamp on the film, dodgy fashion and hairstyles (as in the rather appalling Inside Daisy Clover), music of the wrong era, or modern attitudes and social mores added to the storyline. Somehow, Coppola has managed to avoid this, while the story is a little convoluted and the various threads only just hold together in a cohesive plot, the journy is interesting and you do end up caring for all the main characters (even the less savory).


The Cotton Club itself is really just a device to allow the various subplots to interact, and it's a perfect backdrop for some fabulous dance routines (some of the best tap moves this side of 1955), some great jumping Jazz hits and a chance to parade some Hollywood icons on the club's stage and at the tables. The main story centers on Dixie Dwyer (Richard Gere) and his rise from struggling jazz musician to a gangster's  man-friday and finally Hollywood star, this is one of Gere's finest early films and Diane Lane is wonderful eye-candy as the gangster's moll with a thing for Dixie. The second subplot revolves around Sandman Williams (Gregory Hines) and Lila a jazz singer loosely based on Lena Horne. The Sandman character gives Hines and his brother Maurice Hines the chance to showcase some absolutely superb tap routines (the film is worth watching just for this).


The surprise of the film is Nicolas Cage, he plays Dixie's brother Vincent. You can see just how good Coppola's little nephew really was and why he became a star. Vincent gets involved with the mob, and you just know, it's not going to end well. Although the gangster thread is prominent in the story, it never dominates, and little is made of the whole bootlegging/speakeasy scene, and thank goodness for that, Way too many films dealing with the era get dominated by the gangster mystique and it was a pleasure to have it take a backseat (very vocal backseat!).


A fun aspect of the film is spotting portrayals of figures of the day;- Charlie Chaplin, James Cagney, Cab Calloway, Fanny Brice, Duke Ellington, Dutch Shultz, Lucky Luciano, Madame St Claire, Joan Blondell, and of course the reason I watched the film in the first place Gloria Swanson. So what was Gloria like? Well, it wasn't a bad take on her, the expressive eyes were perfect, the voice was close enough, BUT she was way too tall. The real Gloria was tiny, I mean really short, she must have been one of the shortest leading ladies of all time. Still, you can't have everything, and Coppola gave us just about the best Jazz Era package of the 80's.