Showing posts with label 1955. Show all posts
Showing posts with label 1955. Show all posts
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| Bardot and Bogarde |
Dr. Simon Sparrow (Dirk Bogarde) becomes a ship's doctor chiefly to get away from an encumbrance with the plain daughter of his medical partner. Instead of a grumpy chief surgeon played by James Robertson Justice, he gets a grumpy Captain Hogg, also played by James Robertson Justice, and who's not much different from the surgeon. Hogg hates the idea of women on board ship, but he gets two female passengers, French chanteuse Helene Colbert (Brigitte Bardot), and Muriel Mallet (Brenda de Banzie), who is fascinated by the captain's beard and happens to be the daughter of the head of the line. There's some funny stuff in here, but more often the picture strains for hardy laughs. The cast is quite good, however, with an always-solid Bogarde, although a more demure, brunette Bardot, while attractive and capable, doesn't resemble the blonde sex bomb she was most frequently seen as. Justice played Sir Lancelot Spratt in one previous Doctor film, and in three later ones, including Doctor in Love, in which Michael Craig briefly took over from Dirk Bogarde in the lead, although not in the same role. Brenda de Banzie also had an important role in Hitchcock's 1956 The Man Who Knew Too Much, and is somewhat wasted in this piffle. George Coulouris plays a drunken sailor and plays it well.
Verdict: Fans of Bardot and/or Bogarde will enjoy this more than others. **.
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| Everett Sloane talks to Jack Palance |
THE BIG KNIFE (1955). Producer/director: Robert Aldrich. Screenplay by James Poe from the play by Clifford Odets.
Movie star Charles Castle (Jack Palance) was involved in a hit and run that killed a child, but his p.r. man, Buddy (Paul Langton), took the rap for him. Charles' wife, Marion (Ida Lupino), who is separated from him, swears she'll divorce him if he re-signs with Stanley Hoff (Rod Steiger), who probably helped engineer the deception. Now there's a new complication: Castle had a woman with him in the car that night, Dixie Evans (Shelly Winters), and she's drunkenly shooting her mouth off everywhere she goes. Now Hoff and his associate Smiley (Wendell Corey), want to take care of Dixie -- permanently ... The Big Knife might have worked on the stage, and the Odets original was undoubtedly better than this half-baked adaptation, but the film sinks almost from the get-go. The chief problem is the epic miscasting of Jack Palance. Charlie might have evoked some sympathy in the viewer if he was played by a man who could get across his essential weakness and confusion, but Palance seems incapable of ever displaying the slightest trace of vulnerability. It gives the actor his presence and strength, but he's just all wrong for this picture. His scenes with Ida Lupino are stagey and over-rehearsed and just don't work at all -- both of them are busy "acting" instead of being. We're constantly being told of how wonderful Castle is and of his supposed integrity, but all we see is a corrupt, self-absorbed individual who allowed another man to take responsibility for his actions, slept with the man's wife, and acts like a dickhead throughout. When he protests at the idea of "silencing" Dixie, it's hard to believe that he would object -- he's the last one to take a high moral stance. It's up to the supporting cast to give the film whatever limited stature it has. Rod Steiger has some ferociously effective scenes as Stanley [some might think he's merely showing off]; Wendell Corey underplays beautifully as the slimy Smily; Everett Sloane is as solid as ever as Charles' agent; and Paul Langton has a beautifully and powerfully delivered speech to Castle at the end of the film that is one of the most memorable bits in the movie. As for the women, Ilka Chase offers a dead-on portrait of an oily, if stereotypical, gossip columnist, Shelley Winters is so-so as Dixie, and Jean Hagen fails to impress as Buddy's sluttish wife, Connie. Wesley Addy has a nice turn as the writer Hank Teagle. Oddly, a confrontation between Dixie and Hoff that might have been quite cinematic and dynamic is mentioned but not shown, but the film isn't "opened" up very much. It's hard to like or enjoy a movie in which virtually every character is either unpleasant or annoying. Robert Aldrich was the wrong director for this, as well. For a worthwhile Odets adaptation, see Clash By Night.
Verdict: A fairly embarrassing mess of Hollywood pseudo-profundity with horribly miscast leads. **.
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| Lovejoy, Blanchard and Denning on the road |
THE CROOKED WEB (1955). Director: Nathan Juran.
Joanie (Mari Blanchard) works for boyfriend Stanley (Frank Lovejoy) in his drive-in. Along comes her ne'er-do-well brother Frank (Richard Denning) who knows a way they can all make a lot of money if Stanley is willing to kick in. Thus begins a saga that eventually lands the trio in post-war Germany. The best thing about The Crooked Web is the first half hour which has more than one twist that turns bad guys into good guys and vice versa. [Warning: the imdb.com synopsis gives the twist away, as it often does.] The rest is a fairly routine crime melodrama that has a modicum of suspense but is comparatively flat. The three lead performances are all quite good, however, with Blanchard especially zesty as the gal who's looking for "security" any way she can get it. Harry Lauter [Trader Tom of the China Seas] is an Army sergeant, and Roy Gordon [War of the Colossal Beast] plays the father of a murdered M.P.
Verdict: If only the twists had kept coming ... **1/2.
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| O'Keefe, Hayes, Lane and Stewart |
CHICAGO SYNDICATE (1955). Director: Fred F. Sears.
"First you give me the cold shoulder and now you're romancing me like I'm Liberace."
A man named Kern is gunned down in the street and it develops that he was bookkeeper for a mobster named Arnold Valent (Paul Stewart). Kern's wife commits suicide and her daughter, Joyce (Allison Hayes), becomes a social pariah. Barry Amsterdam (Dennis O'Keefe) is hired to go undercover to get the goods on Valent, and he runs into an angry young woman with a gambling habit who turns out to be Joyce Kern; eventually the two join forces. Joyce's presence is irksome to Connie (Abbe Lane), Valent's girlfriend, who is also a singer and has a lap dog named Benny (Xavier Cugat). Hayes clearly has the leading female role, but she's billed under Lane, who gets co-star status with O'Keefe. Apparently Lane and Cugat (who were married at the time) were a package deal, as Cugat, who can't act [even when he's playing an orchestra leader!], just seems along for the ride. On the other hand, O'Keefe [Hold That Kiss] is fine, Stewart is excellent, while Hayes is a little more problematic. The infamous "fifty foot woman" [a Great Old Movies favorite] has no problem doing her usual shtick -- smouldering, bitter hostility -- but she's less successful in getting across any of her character's other nuances. Still, Hayes is always fun, especially when she's trading barbs with and spilling hot coffee on Lane, who doesn't give a bad performance; Lane could have used a little more seasoning but she managed to amass a few credits after this. Chicago Syndicate is entertaining even if it plays like little more than an expanded TV episode. Sears also directed such fun sci fi as The Giant Claw and Earth vs. the Flying Saucers.
Verdict: O'Keefe and Hayes make an interesting pair. **1/2.
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| Jane Russell, Dan Duryea and Jeff Chandler |
A wealthy young woman named Amanda (Jane Russell) gets a lift from a handsome half-Apache mining engineer [who seems to have mixed emotions about his heritage], Jonathan "Dart" Dartland (Jeff Chandler), and the two rapidly fall in love and get married. Amanda must deal with the culture shock of moving out of luxury to a comparative shack in a mining town, and Dart has to deal with jealousy and a certain void in his emotions, as well as some self-esteem issues. The movie doesn't bang you on the head with the characters' problems, which is all the better, and the leads give good performances. Chandler has a limited bag of tricks but he makes them work within the role, and Jane gives a vital, warm and appealingly feminine performance instead of playing it hooker-hard as she often does in other movies. She and Chandler work up a lot of chemistry, which the latter didn't have with all of his leading ladies [such as the unfortunate June Allyson]. Frieda Inescort [The Alligator People] is fine as Russell's high society mother, but Austrian Celia Lovksy is ludicrously miscast as Dart's Native American mother, especially with that thick Viennese accent! Dan Duryea scores as the alcoholic doctor in the mining camp as does Mara Corday as his nurse, Maria, even if it makes no sense that the doc is smitten with Amanda but can't see the even more gorgeous and buxom Maria for dust. "Foxfire" refers to an abandoned Indian mine that Dart suspects has hidden gold in it, and wants to work. When all is said and done, however, Foxfire can't quite rise above its minor melodrama-romance status, despite some unusual and interesting elements. Whether Foxfire is accurate as regards to Native American affairs and attitudes in the fifties is debatable. NOTE: Jeff Chander wrote the lyrics for the title tune (with music by Henry Mancini) and also did the vocal, quite creditably. Nice score by Frank Skinner.
Verdict: Nice technicolor and a solid cast never hurt. **1/2.
Drummer: "How do you like your coffee?"
Lynn: "Alone!"
Wealthy widow Lynn Markham (Joan Crawford) moves into a beautiful beach house her husband owned that had formerly been leased to another wealthy widow, Eloise Crandell (Judith Evelyn). Eloise took a header off the deck onto the rocks below, and homicide is suspected, and the chief suspect is a handsome hustler named Drummer (Jeff Chandler), who has now set his sights on Lynn. Drummer has two sleazy associates who pretend to be his aunt and uncle, Osbert (Cecil Kellaway) and Queenie (Natalie Schafer), but Lynn gives the both of them a good dressing down. Unfortunately, Drummer has something the other two don't have, and that's sex appeal, so Lynn finds herself falling for the guy despite her better instincts. But has she stepped out of the frying pan into the fire? Female on the Beach has a workable premise and some good dialogue, but something's missing, and that's veracity and in-depth characterization. As essayed by Crawford, Lynn seems too smart not to walk away from Drummer when he says things like "I don't hate woman -- I just hate the way they are." True, it takes him some time to wear away her resistance, with her telling him initially "You're about as friendly as a suction pump!" The two leads aren't bad, although in some of their scenes talking of the past they seem like college students in an acting class. Kellaway [The Beast from 20,000 Fathoms] and Schafer [Repeat Performance] are fine, as is Jan Sterling [Johnny Belinda] as a real estate lady and former flame of Drummer's. Evelyn [Rear Window] makes an impression despite her limited screen time -- the opening and a couple of flashbacks. Charles Drake shows up now and then as a cop investigating Eloise's suspicious death [one has to wonder how such a tiny, frail thing as Evelyn could cause such damage to a wooden railing even if she were jet-propelled through it?] Female on the Beach is somewhat entertaining, but it's cheap, tawdry, and often unbelievable. Pevney also directed Man of a Thousand Faces with James Cagney. As an actor he appeared in such films as Body and Soul.
Verdict: Flaccid suspenser. **1/2.