Showing posts with label 1954. Show all posts
Showing posts with label 1954. Show all posts
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| Steve Cochran and Ida Lupino have plans |
Detectives Cal Bruner (Steve Cochran) and Jack Farnham (Howard Duff) are trying to find some stolen loot and the guys who snatched it. When a marked $50 bill is given to chanteuse Lilli Marlowe (Ida Lupino) as a tip, they interview her to find out what she remembers about the generous club patron; Cal and Lilli are drawn to one another. Things take a dark turn when one of the two cops decides to pocket some of the aforementioned stolen loot ... Private Hell 36 is a minor crime drama with some good acting from all of the principals; Lupino is especially appealing as the slightly hard-bitten but likable saloon singer. Dean Jagger scores as the wise older boss of the two detectives, and Dorothy Malone is fine in the brief, thankless role of Farnham's wife [although Lupino and Duff were married at the time they are not paired with each other]. The script is credited to Lupino and her ex-husband, Collier Young. Borderline film noir. Director Siegel's best-known film is arguably Invasion of the Body Snatchers.
Verdict: Interesting idea that's not developed all that well. **.
Archaeologist Robert Burton (William Lundigan, in a Richard Denning-type role) plans to hunt for the remains of a lost Mexican civilization. His magazine sends him a female photographer, Kathryn Williams (Peggie Castle), which brings out his not-so-latent chauvinism. Kathryn is not above using her sex appeal to get the very handsome rancher Juan Cervantes (Armando Silvestre) to guide them to the ruins. Cervantes owns a vanilla bean plantation that also boasts white orchids, and it isn't long before he's forsaking his lady love Lupita (Rosenda Monteros) and declaring undying devotion to Kathryn as an annoyed Burton looks on. During a fiesta scene, there's some business with men flying around a tall pole on ropes that is cleverly-edited, but the movie doesn't lead to anything too exciting, and doesn't amount to much, despite the heavy breathing. Silvestre was born in San Diego, and was a busy actor, mostly in Mexican productions. Lundigan was also in The Case of the Black Parrot and many others, and Castle starred in Beginning of the End. Le Borg also directed Voodoo Island, which was more interesting than this.
Verdict: Good-looking cast with little to do. **.
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| Lynch (Marshall Reed) takes orders from the unknown Leader. |
A Canadian mountie, Sgt. Joe Ward (Jock Mahoney), and Constable Bram Nevin (Clayton Moore) team up to take on the minions of the mysterious Leader of the White Horse Rebels, a black-cloaked man on horseback who wants to take over the entire Northwest Territory and turn it into a lawless Republic. Lynch (Marshall Reed) is chief of the Leader's lieutenants, and Rita (Phyllis Coates) is a gal with secrets who seems to be playing both sides against each other. There's a lost mine from whence comes the gold that the Leader uses to finance his Rebels. Other characters include Inspector Wheeler (Lyle Talbot), to whom the heroes report; Indian Agent Stone (Joseph Allen); Walt Anders (Zon Murray), who tries to forge an alliance with the territory's unfriendly Indians; and Otis Green (Don Harvey), any one of which could be the Leader, although the serial doesn't work up much suspense as to his true identity. Two of the more interesting cliffhangers have Ward unconscious in a boat that is slowly sinking beneath the water, and Ward and Nevin tied to horses that the Indians hope will gallop away and tear them apart. Marshall is again an appealing villain, making the most of his great voice, and the other actors are all at the very least professional. This was not only one of the very last Columbia serials, but one of the very last serials period. The serial benefits from a rousing musical score and some well-chosen locations. Moore, of course, was TV's Lone Ranger and appeared in many serials, while Mahoney starred in The Land Unknown and Three Blondes in His Life.
Verdict: Standard but entertaining western cliffhanger. **1/2.
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| Hitch does his cameo in Rear Window. |
Photojournalist "Jeff" Jefferies (James Stewart) is stuck in an apartment with a broken leg and a cast when he'd rather be out covering action in far-flung places with exotic names. Jeff has a beautiful girlfriend named Lisa (Grace Kelly), but he fears proposing to her because he doesn't think her patrician, elegant manner will go well with the places he has to travel to [although nowhere is it written that the wife must accompany her husband on such assignments]. Bored and needing distraction, Jeff begins observing his neighbors (on a marvelous, detailed set that shows many different kinds of apartments and tenants), such as the voluptuous dancer across the way, a pair of newlyweds who disappear behind the shade after moving in, a frustrated composer of romantic music, and a woman he calls "Miss Lonelyhearts" (Judith Evelyn) who talks to imaginary dates while she's having supper and gets drunk in bars. Eventually Jeff focuses on a man named Thorwald (Raymond Burr), whose nagging wife disappears one afternoon and never comes back. Jeff has reasons to believe Thorwald murdered the woman -- and eventually gets both Lisa and his nurse Stella (Thelma Ritter) on his side -- but his smug detective friend Doyle (Wendell Corey) assures him that he checked and the woman really is out of town. But is she? Jeff and the ladies begin an investigation of their own that leads them into some serious danger. Some viewers of this wonderful film don't like being put in Jeff's position all the time, peering through windows, and find the film claustrophobic, but I can't agree. The movie, while imperfect, is very cinematic and well-made. It does take a while for the basic mystery plot to begin unfolding, but the two main characters and their dilemma -- two very different people in love but uncertain of how it will work out -- are interesting enough to hold the attention, and Stewart and Kelly give fine performances, along with Ritter, Evelyn and others. [This is another film like The Tingler in which the talented Evelyn gets across a character without really saying a word.] The movie builds in suspense and has a creepy and exciting finale. One thing Rear Window is missing is a great score by, say, Bernard Herrmann, but you can't have everything. John Michael Hayes' screenplay is full of black humor, even relating to the dismemberment of the woman's corpse, which is a plus or a minus depending on how you look at it. Based on a story by Cornell Woolrich.
Verdict: Smooth, unusual suspenser from the master. ***1/2.
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| Keith Andes and Angela Lansbury |
An out-of-work architect named Edward Shaw (Keith Andes) is given an attractive business proposal by wealthy Doris Hillman (Angela Lansbury) and her older husband, Gus (Douglass Dumbrille). The catch is that Shaw will have to be insured for a very large sum of money, with Gus being the beneficiary. Shaw's paranoia over this aspect of the alliance only increases when he is drawn into a romance with Doris, and can't tell if she really loves him or is just waiting for hubby to collect on the insurance. Then there are the suspicious "accidents" ... Andes [Clash By Night] makes a compelling, if understandably grumpy, leading man, and Dumbrille [Mr. Deeds Goes to Town] is typically excellent. Lansbury [Please Murder Me] gives a good performance as well, but while attractive, she is not quite convincing as the sexy, femme fatale type. [Ironically, a less talented "B" actress probably could have filled the bill better.] Jane Darwell is fine if a bit wasted as a landlady. A Life at Stake holds the attention and is not entirely predictable.
Verdict: Watch out for spiked coffee! **1/2.
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| Khan (Jan Arvan) confers with Trader Tom ( Harry Lauter) |
In what is supposed to be the China seas but looks more like the coast of California, Trader Tom (Harry Lauter) is importuned to take over from a murdered special agent, James Dean (William Hudson), who was investigating smugglers who are trying to foment revolution in an Asian country by stirring up the natives; the leader of these bad guys is Tarent (Lyle Talbot, as professional and bland as ever). Captain's daughter Vivian (Aline Towne) joins with Tom to discover Tarent's hide-out and secret cache of munitions, which includes a deadly poison gas. The interesting thing about this serial is that Tom and Vivian are equal partners; she's just as brave as he is and just as likely to pull out a gun and start shooting at everyone, and Tom just seems to take it as a matter of course. When the action doesn't take place at sea or underwater -- in chapter three Tom must fight off a fat murderous fellow as his air supply is running out -- it's in the mythical country where Tom has a secret meeting with the leader Khan (Jan Arvan). This is one of the last of the Republic serials, and it's as smooth, fast-paced and entertaining as most of their product, if decidedly on the minor side. "Handsome" Harry Lauter is fine as the hero, Towne is game for anything, and Robert Shayne, Tom Steele, and Victor Sen Yung are also in the cast. Lauter had about a zillion credits and Towne was also busy, appearing in such serials as Don Daredevil Rides Again and Radar Men from the Moon.
Verdict: Standard Republic serial is nevertheless fun. **1/2.
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| Gloria Grahame and Sterling Hayden |
Police Chief Joe Conroy (Sterling Hayden of Crime of Passion) is convinced that baker and family man, Al Willis (Gene Barry of The Girls of Pleasure Island), is responsible for the deaths of several police officers. When he confronts him in his bakery, someone takes a photo of Conroy about to hit Willis and the chief loses his job. That doesn't stop Conroy from following Willis to Mexico on one of his "business trips," where he discovers he has a girlfriend, a singer named Marianna (Gloria Grahame of The Big Heat), who doesn't know that her lover boy is married. If the two of them team up, can they find proof that Willis is a killer? Hayden is just right for the role of the cop; he doesn't get across any character nuances, but the script doesn't do much to make him more dimensional anyway. Gene Barry offers one of his most memorable portrayals as Willis, who is smooth and lovable one minute, and raw and sociopathic the next -- in this Barry is quite different than he is as Amos Burke. Grahame offers another credible and sympathetic portrait of a good girl who's fallen for the wrong guy, yet again. Naked Alibi is a fairly standard crime thriller but it does have some suspenseful moments. One incredible sequence early in the picture has Hayden letting Willis simply walk out of the police station after he's assaulted one of his officers! Yeah -- that would really happen. Chuck Connors, Billy Chapin, and Michael Fox have small roles.
Verdict: Acceptable borderline film noir. **1/2.