Eye of the Devil (1966)

Wealthy mansion dweller (David Niven) is called back to the family estate because the grape harvest has mysteriously failed. He tells his wife (Deborah Kerr) not to visit him there, and behaves all mysterious. She visits him here anyhow and finds people acting very mysterious. The more she tries to find out what’s going on, the more mysterious things become. So mysterious!

A tremendously troubled production, starting with the fact that Kim Novak, originally cast in Deborah Kerr’s role, fell from a horse and fractured a vertebra. Principle filming was nearly complete but she was unable to finish. They were forced to hire Kerr and reshoot nearly everything. Rumors that Novak was fired are likely false. Then the studio shelved the project for over a year, motivated by equal parts lack of faith and concerns over the subject matter.

Although she appeared uncredited in a couple films and appeared in fifteen episodes of The Beverly Hillbillies, Sharon Tate makes her official debut here. She won praise for taking on a believable English accent, or maybe she was dubbed. David Hemmings received media buzz from Blow-Out, which became a surprise hit while Eye of the Devil sat on the shelf. Donald Pleasence is a creepy priest.

Eye of the Devil leans hard into the mystery, if I didn’t make that clear enough. The progression to reveal isn’t ineffective, but it was more than a little heavy handed. The attractive sets and creative cinematography are compromised by the thin, black and white film stock giving it a low budget feel. In the end it just didn’t work for me. AMRU 2.5.

Black Narcissus (1947)

Five nuns, led by the unfortunately named Sister Clodagh (Deborah Kerr), start a convent high in the Himalayas. The brisk air and clear water cause the sisters to remember.

Filmed on back lots and studio sets, the painted backdrops are nevertheless breathtaking. Few viewers will be tricked into thinking they are anything other than what they are, but they still have impact. It’s a shame it came before the invention of CinemaScope. A wider aspect would have made it all the more impressive.

The old palace they are given to use was once a “House of Women”, which is exactly what that sounds like. The nuns are assisted by the enigmatic Mr. Dean (David Farrar). His gruff manner and manly good looks stir things in Clodagh, and the troubled Sister Ruth. He looked foolish appearing shirtless on an undersized donkey, but I suppose this was period accurate.

So, our story is about the nuns trying to overcome many obstacles (personal and otherwise) to run a successful convent, while everyone else is certain of their failure. There are many side characters, many of which were played by plausibly ethnic appropriate actors. The Young General (son of the Old General who granted the palace to the nuns) was played by Indian actor Sabu, famous for his roles in The Jungle Book and The Thief of Bagdad.

A very young Jean Simmons (in ‘Himalayan face’?) plays a wayward girl whose eyes catch with the Young General’s. Also, English actress May Hallatt plays a delightfully batty caretaker. Remember, this is the 1940’s, and western society and the church weren’t given glowing depictions.

Black Narcissus (named for the Young General's fancy cologne) is a slow and engaging watch. Style-wise it isn’t altogether different from Michael Powell’s The Red Shoes. Amazing visuals paired with a certain level of fantastic realism. And like The Red Shoes, it is an impressive and immersive watch, but certainly not for everyone. But for me, AMRU 4.

“I have invited some ladies to stay here at the House of Women.” 

“Ladies! Oh, that will be like old times!”

“It will not be in the least like old times. They are not that kind of lady at all.”

“Then they won’t be any fun.”

King Solomon’s Mines (1950)

The beautiful Beth Curtis (Deborah Kerr) hires famed African guide Allan Qua(r)termain (Stewart Granger) to lead her into the unexplored region interior in pursuit of her missing husband. Hubby had been searching for the legendary lost diamond mine of King Solomon. Allan initially refuses but soon realizes that he likes money.

King Solomon’s Mines is the second of three adaptations of the H. Ryder Haggard novel. I covered the first version in early 2021, and I’ve touched on Haggard with that and the two versions of ‘She’. Suffice to say that Haggard’s ‘Lost World’ novels are very much the product of the 19th century. They have a very patronizing view of native peoples and frequently feature a great civilization led by (of course) white people. Real Commander McBragg stuff.

While the 1937 version effectively side-stepped much of the problematic content (star Paul Robeson humbly disagrees), this version aged much better. Every African character is played by an African, hired on location. Our hero speaks to them in their actual language and their deaths are handled with real gravity. This is also the first time the Watusi tribe was filmed. There is no score save for the tribal dancing, which is fascinating to watch.

Story-wise, this differs from the earlier edition in a couple ways. Rather than looking for the father who disappears in the first act, pretty Beth is searching for her husband, gone for a year or so, making the love element rather problematic. Also, Granger embodies the commanding adventurer that Indiana Jones was partially modeled from. And Richard Carlson plays Beth’s concerned brother, a significant tonal shift from Roland Young. Other than that, the story pretty much hits the same beats.

Films are a product of the time they are from. They are crafted to speak to audiences of the day, and King Solomon's Mines is no different. I am not concerned when the source material is out of date with the times nor to filmmakers liberties with such material. Even Gone With the Wind saw  reenvisioning. I also try to be tolerant of films that age rather poorly, but I'm not always so successful. As for today's film, despite knowing the story, I found it rather enjoyable. AMRU 4.

An Affair to Remember (1957)

While solo on a cruise, engaged playboy Nicky (Cary Grant) tries to make the acquaintance of Terry (Deborah Kerr), who is in a long term relationship herself. Despite her rejection and mutual bickering, they fall in love. So, they make a pact. If after returning to their existing paramours they still feel the same way about each other, in six months they will meet at the top of the Empire State Building and live happily ever after. Roll credits, only not really.

An important plot point that had escaped me for a bit was that our romantic leads had no financial means of their own, but were accustomed to the lifestyle afforded them by their respective loves. Guess I wasn't paying that close attention. So, not only did they have to say goodbye to their partners, they had to say goodbye to their way of life. This raises the stakes. They’ll need to get jobs! So, if they can, and they do, then they will. Maybe.

I had some issues with this film, at least initially. I wasn’t entirely buying our hero’s chemistry. Also I didn’t buy Grant as a struggling artist. Not the type. This passed, however, as the story progressed. Super-saturated Technicolor is a bit of a double-edged sword. Something about Kerr’s makeup looked strange, but the set pieces really popped. It was nice to see the elder statesmen of ladies men dogging a woman way past 30. Casualty of 2016 Marni Nixon did Kerr’s singing voice once more. She actually acted in another film I saw last year, but you’ll hear more about that soon.

In the end, I don’t have much to say about An Affair to Remember. Not bad. Parts didn’t click for me, but I liked it in the end. AMRU 3. No wait, I decided to widen my ratings a bit. 3.5.

“Aw, this is just a rip off of Sleepless in Seattle”
“Which was in itself a ripoff of An Affair to Remember”
“Which wasn’t that good of a movie to start with!”

The Innocents (1961)

A young pretty governess (middle aged pretty Deborah Kerr) is put in charge of two rich orphans by their unconcerned uncle. Seems the old governess died quite unexpectedly. She's not sure she is up to the challenge but uncle doesn't give a rat's ass. Just don't pester him about it.

Well, young miss Giddens starts to see people that aren't there. She then learn more about the dead ex-governess and her relationship with the dead ex-valet; and his influence on the children. Maybe they are still exerting their influence on them. They aren't saying but she knows they see them as well.

Loosely based on Henry James' The Turn of the Screw, The Innocents was exquisitely filmed, excellently written, and wonderfully acted. Movies sometimes throw in faux Victorian dialog and period costumes to give an air of respectability (I'm looking at you, Isle of the Dead!), but The Innocents truly earns it. Few, if any, startle moments, but the taut story line keeps your attention focused. Are ghosts haunting these poor (innocent) children, or is our governess going batty? Can't be sure.

Sadly, I can't think anything else to say about it. No good quotes to close out with, either. It does, however, make me want to read the book. AMRU 4.

From Here to Eternity (1953)

Private Prewitt (Montgomery Clift) transfers from his bugle corp to a fighting unit in Hawaii. He was a boxer and doesn't want to box anymore, personal reasons. He is reunited with old friend, forty year old buck private Maggio (Frank Sinatra). His new CO is Captain Holmes, but the unit is run by hard-ass Sargent Warden (Burt Lancaster).

It seems Captain Holmes needs another boxer and won't take no for an answer. Prewitt takes all the abuse he can dish out. While off duty, Prewitt and Maggio seek out the company of the ladies. And by "company", we mean "have polite conversation with while they wear overly complicated dresses", nudge nudge, wink wink. Prewitt falls for one such lady (Donna Reed) even though her bland conversation and total lack of exposed skin is available to any man willing to pay for it.

Well, Maggio strikes up a great friendship with Sargent Fatso (Ernest Bognine, Mermaid Man, boys and girls!), Sargent Warden falls for single girl "Mrs. Captain Holmes" (Deborah Kerr), Prewitt learns to play nice, some young Japanese gentlemen stop by for a picnic, and everyone lives happily ever after. Except the people who die.

So, the question is this. Is From Here to Eternity a war movie masquerading as a love story, or a love story masquerading as a war movie? More on that later.

Montgomery Clift was totally miscast as Prewitt. I didn't believe him as a soldier, let alone a boxer. The fact that he got nominated for an acting Oscar either means academy voters were enthralled with this movie or I don't know anything about acting. I'm open to either interpretation.

The famous scene, you know the one, with Lancaster and Kerr (not a cur!) making out on the beach totally didn't play out as I expected. They run into the surf, wash ashore while kissing, run to their blankets, and Lancaster accuses her of being a slut. Not what I expected.

It won a ton of Oscars, and deserved them I would guess. It is a very well made movie with some good acting. Sinatra was good in his role. Oscar worthy, I don't know, but good. AMRU 3.5.

And to answer my question, totally the latter.