Showing posts with label Raymond Burr. Show all posts
Showing posts with label Raymond Burr. Show all posts
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| Raymond Burr |
"This is no longer a simple murder case. It's turning into a comic opera!" -- Hamilton Burger.
"I've been on the bench twenty years and this is the longest preliminary hearing I can ever recall." -- judge
The ninth season was the final season of one of television's most memorable series. Ray Collins (Lt. Tragg) had passed away after being ill for quite some time, and his name was finally removed from the credits. Wesley Lau was replaced by Richard Anderson as Lt. Drumm. The high quality of the show was maintained until the very end. Among the most notable episodes are" "Laughing Lady," with John Dall, Constance Towers, and Allison Hayes in the story of a woman who insists another lady murdered her ex-lover; "Carefree Coronary," an unusual story in which Perry investigates possible insurance fraud involving coronary patients; "Hasty Honeymooner," in a which a man is accused of murdering the wife he found in a lonely hearts club; and "Wrathful Wraith," which begins with the charges against Perry's client being dismissed. Also: "The Silent Six," loosely inspired by the Kitty Genovese case and with a fine performance from David Macklin, has a woman beaten while her neighbors just listen. "The Fugitive Fraulein" is another unusual episode in which Perry defends a grandmother accused of murder -- in East Berlin! Perry starts out as a witness for the prosecution in "Midnight Howler" then defends the person he's testifying against. "Baffling Bug" is a suspenseful story regarding industrial espionage guest-starring Grant Williams. Other memorable episodes include "Avenging Angel:" " Tsarina's Tiara;" "Fanciful Frail;" "Bogus Buccaneers;" "Vanishing Victim;" "Positive Negative;" "Fatal Fortune;" "Candy Queen;" and "Crafty Kidnapper." "Twice-Told Twist" is worthy of mention because it's the only color episode of the series.
And those fine episodes weren't even the best of the season. The three best stories were "Dead Ringer," in which Raymond Burr plays a dual role, including a seedy limey sailor who impersonates him for cash; Burr, who is terrific, winds up cross-examining himself! "Misguided Model" is another excellent episode about a boxer accused of murder that has no trial or courtroom scenes yet still is riveting. The final episode, "Final Fadeout," has a nasty actor (James Stacy) murdered and the suspects are numerous; an excellent Estelle Winwood is also in the cast. DA Burger becomes really apoplectic in this episode and William Talman gives an especially fine performance.
And that was it. Of course Burr played Mason in several telefilms of varying quality and Monte Markham tackled the role in The New Perry Mason, which didn't last long. Now Robert Downey Jr. is set to play Perry in a theatrical film. Perry Mason was played by more than one actor in the golden age of movies, but Raymond Burr, who found the part of a lifetime and ran with it, will always be the thespian most closely associated with the role. Hats off to the many actors, fine writers, and gifted directors who together kept this show so entertaining for so many seasons.
Verdict: Simply a sublime series. ****.
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| Endangered family: Jane Wyatt, Dick Powell and Jimmy Hunt |
Insurance man John Forbes (Dick Powell) has a loving wife, Sue (Jane Wyatt) and an adorable little boy (Jimmy Hunt), but he's restless and bored, and feels he's in a rut. He goes to see Mona Stevens (Lizabeth Scott) in hopes of getting back some of the gifts her embezzling boyfriend Bill (Byron Barr) bought her with stolen loot, and the two are attracted to one another. This infuriates the bulky private eye "Mac" (Raymond Burr), who has an unrequited -- and dangerous -- infatuation with Mona, leading to melodramatic complications. The acting from all is fine in the movie -- Raymond Burr pretty much walks off with the picture -- but the trouble is its completely unimaginative presentation. The only really memorable scene is when the menacing Mac comes to the dress shop where Mona is a model and forces her to show off some sexy numbers for him. Speaking of which, this is directed by the numbers. Barr had a supporting role in Double Indemnity and was also in Follow That Woman and others.
Verdict: Good performances but still kind of blah. **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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| Dennis O'Keefe will have to deal with John Ireland |
Lawyer Ann Martin (Marsha Hunt of Smash Up) visits Joe Sullivan (Dennis O'Keefe of Hold That Kiss) in jail to talk about parole, but she's as attracted to him as he is to her. Joe took the rap for a big wheel named Rick (Raymond Burr) who promised him big money if he served his sentence. But Joe's faithful girlfriend, Pat (Claire Trevor of Crossroads), somehow breaks Joe out of jail in a million to one chance (the exact details are completely glossed over!), and the big lug brings her to -- Ann's apartment. In an interesting development, Joe forces Ann to go along with him and Pat as they drive past police blockades and try to get out of the city, which doesn't exactly sit well with the jealous Pat. Ann at first grows to hate the man she is attracted to, but then ... Yes, this is the type of movie in which the protagonist is a complete loser, but gets away with a lot because he's passably good-looking and has a slight -- very slight -- modicum of sensitivity. Raw Deal should have been more interesting than it is -- although it does pose a heart-rending moral question for Pat at the very end -- but the characters are unsympathetic (although one almost feels sorry for Pat) and the movie never quite rises above its second-rate film noir atmosphere. Hunt and Trevor are excellent, however, and O'Keefe got one of the best roles of his career and runs with it. Raymond Burr is also fine as Rick, who is so sadistic that he throws a flaming food dish in a woman's face because she accidentally spilled a drink on his jacket. John Ireland is a nasty henchman of Rick's who is sent to kill Joe, and Regis Toomey is the cop in pursuit of him. The versatile Whit Bissell has a memorable cameo as a murderer being chased by a posse who just happens to make his way to the same place that Joe and company are hiding out in. John Alton's moody cinematography doesn't hurt. Mann also directed the excellent Furies with Barbara Stanwyck.
Verdict: Very good showcase for O'Keefe with some interesting situations. **1/2.
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| "Some men are following me:" Groucho and Marilyn |
The Marx Brothers get embroiled with a penniless theatrical company when the evil Madame Egelichi (Ilona Massey of Frankenstein Meets the Wolfman) learns that a stolen necklace she covets is in a can of sardines lifted by Harpo, who brings food to the actors. Groucho is a private detective who narrates the story and in one brief sequence dallies with Marilyn Monroe in a cameo that was not her first film appearance. [She had a big part in Ladies of the Chorus with Adele Jergens the previous year, for one thing.] Chico is a wannabe performer who adopts the theater company, or vice versa. Love Happy is not a comedy classic like A Night at the Opera; in fact, it's not a very good movie and wastes the talents of its stars. As the femme fatale of the piece, Ilona Massey certainly has a voluptuous figure -- in one outfit her nipples look like loaded weapons -- but hasn't the face to match, giving her all the sex appeal of Margaret Hamilton. At first chubby-cheeked ingenue Vera-Ellen (Three Little Words) seems so squeaky clean she makes Doris Day look like a dominatrix, but she also has a good figure -- and is a very good dancer -- and is not as bad as Sadie Thompson (in a production number) as one might think. Paul Valentine makes little impression as the director/producer of the show-within-the-show. The songs by Ann Ronell are best described as forgettable, especially the lousy title tune and a truly dreadful number called "Who Stole the Jam?" which is performed by Marion Hutton (In Society), Betty's less successful sister, as Bunny. Raymond Burr plays -- and plays well-- one of Massey's thug cohorts, resulting in a bizarre moment when Harpo slaps Perry Mason in the face! There are some funny moments, especially relating to Harpo's coat from which voluminous items are pulled in one great gag, but Love Happy is mostly a sad comedown for the clowns and kind of tedious to boot. Director Miller also helmed Sudden Fear with Joan Crawford and many others.
Verdict: Not such a happy affair. **.