The Story of Mankind (1957)

Mankind has invented the “Super H-Bomb”, and if they detonate it, the Earth and all men will be destroyed. Women too. A tribunal is held in Heaven to decide if mankind should be allowed to destroy itself. Advocate for the defense is The Spirit of Man (Ronald Coleman). Mr. Scratch (Vincent Price) advocates for destruction.

The “Master of Disaster” Irwin Allen assembled a large cast of stars by promising one day of work for $25,000. Several big names appear in cameos: Virginia Mayo as Cleopatra, Hedy Lamarr as Joan of Arc, Peter Lorre as Emperor Nero. The three main Marx Brothers appear and this is sometimes included as an official Marx Brothers film, but their screen time is brief and they don’t appear together. Scenes of action and of large set pieces were borrowed from better films.

The storybook version of world history is illustrated with Mr. Scratch pointing out the war, cruelty, and injustice, while The Spirit of Man points out the occasional scientific discovery or work of art. I’m glad they acknowledged the treatment of native americans, but much is still hand-waved away. The prosecution’s case is pretty air-tight.

The Story of Mankind is a cringy vanity project. It doesn’t earn its all star cast or grand scale. It’s a dull, tedious watch whose only real entertainment is to play spot the fading start. But that too gets tedious. AMRU 2.

Backfire (1950)

War veteran Bob (Gordon MacRae) is recovering from a serious spine injury. He and Army buddy Steve (Edmund O’Brien) have plans to start a ranch. But after being administered a sedative Bob is visited by a strange woman who tells him that Steve has had a serious spine injury. Nobody believes him but he hasn’t heard from Steve in quite some time. After being discharged, Bob learns that Steve has been fingered for the murder of a notorious gambler. Bob sets out to find his buddy and clear his name.

It appears at first that the film will follow O’Brien’s Steve character, but follows Bob instead. But much of the film is told in flashback, so it follows both. Bob’s best gal is pretty nurse Julie (Virginia Mayo) who helps with the sleuthing. Ed Begley Sr plays a police captain.

Backfire spent two years on the shelf before release for reasons unknown. This noir-adjacent film kept me guessing and boasts a surprising high body count. Considered a middle of the road drama at the time, I found it a bit better than most. I don’t see how the title plays into the story, but who am I to judge. AMRU 3.5.

Rebel Without a Cause (1955)

A new kid in town (James Dean) is arrested for public drunkenness and crosses paths with an outsider (Sal Mineo) and the girlfriend (Natalie Wood) of one of the school toughies. Events bring them together.

Perhaps the definitive 1950’s America film, it was released about a month after Dean’s death. This means two of his three starring roles were released posthumously. I have seen much of this film over the years but never all the way through. It was quite surprising.

While I don’t care much for some of his method scenes, his on-screen charisma is plain to see. I’ll put East of Eden onto my watchlist. Mineo was apparently quite popular in his time. Except for this role, it seems he is mostly forgotten today. He would be murdered by a random drifter. Wood, despite being the same age as her character (about 16), was considered to be too young. She did her hair and makeup to look older and earned the role, and a relationship with director Nicholas Ray. Ah, Hollywood!

Every character has a want. Dean’s Jim wants to understand what it means to be a man. He feels his father (Jim Backus) isn’t a real man because of how his wife treats him. How he let's her treat him. Yea, that part doesn’t age well. Mineo’s Plato wants to be part of a family. His dad left and his mom leaves him in the custody of the family maid much of the time. Wood’s Judy wants to be loved, specifically by her father. The script makes this crystal clear.

But the subtext is almost as clear. I’m getting into spoiler territory so I will mention that the actor who played Judy’s father was about four years younger than the director. This video does an excellent analysis. But see the movie first.

Dennis Hopper and Nick Adams were members of the gang. Edward Platt (Get Smart) is a cop with a sympathetic ear. If you don’t recognize Jim Backus as Thurston Howell III or the voice of Mr. Magoo, then shame on you. Dean goes all meta at one point by doing a Magoo voice.

The number of the cast that died young seems disproportionate. Platt and both of Judy’s parents before 60, Natalie Wood at 43, Mineo and Adams in their late 30’s, and James Dean at 24. Jack Grinnage, who plays Moose in the gang, is apparently still living.

Rebel Without a Cause is a fascinating watch. The events and performances are engaging, and the subtext, definitely intended by the filmmakers, adds another layer. AMRU 4.

Svengali (1931)

A foreign music teacher (John Barrymore) in Paris uses hypnotic powers to control the beautiful young Trilby (Marian Marsh) and make her a star.

Dirty and devious, the Rasputinesque Svengali comes from the 1894 novel Trilby. This was at least the third film adaptation. Originally a jewish stereotype, there is no hint of that in Barrymore’s performance. He is said to be from “someplace like Poland” and speaks German, French, and Italian phrases.

The teenaged Marsh was quite charming as ingenue Trilby. Her "nude" scene caused quite the stir, but she was wearing a body stocking.  She didn’t manage to have much of a career and was all but retired before the age of 30. She appeared in The Black Room (1935) but I have no recollection of her performance. There’s a deep-dive in there someplace.

Barrymore is yet another great what-if’s of Hollywood. Had he been born ten years later and not taken to drink he could have been the king of Hollywood. His performance here was masterful. Comic, sometimes menacing, and surprisingly sympathetic. I ponder what could have been. He also appeared in Rasputin and the Empress (1932), but it was brother Lionel who got the title role.

Svengali is a surprisingly good film powered by great performances. It could, however, have benefited from a musical score. The only music was diegetic. AMRU 3.5.

The Beast from 20,000 Fathoms (1953)

While doing reconnaissance after nuclear testing in the arctic (what could go wrong?) Professor Nesbitt spots a giant prehistoric beast. Nobody believes him at first, but later we follow all the conventions of the genre.

Let’s get this out of the way. 20k fathoms is 120,000 feet, or over three times the depth of the Mariana Trench. I blame Jules Verne. But keep in mind, the beast didn’t come from the ocean. It came from the Arctic ice. Never let logic get in the way of a good movie title, I suppose. Looking at you, Valley of the Zombies.

Inspired by King Kong, it may have been a primary inspiration for Godzilla. This means that our Rhedosaurus beast is the first giant whatzis to be awakened by nuclear testing. While stop motion master Ray Harryhausen worked on Mighty Joe Young four years earlier, this would be his first time as head of the effects department, and he nailed it.

Cecil Kellaway plays the kindly old Paleontologist. That was his type. Most recently I saw him in Harvey. Lee Van Cleef and James Best make brief appearances and Merv Griffin does some voice work. I saw Van Cleef but I missed the others.

The Beast is a very by-the-numbers giant whatzis movie. It plays a little loose with the science but spins an effective yarn. But the important thing is that they didn’t fail with the monster. AMRU 3.5.

The Last of Sheila (1973)

Rich Clinton Greene (James Coburn) hosts a party on his yacht one year after his wife was killed by a mystery driver. His friends, each with their own reason to curry favor with arrogant Greene, tolerate his game's dark nature. Then things become really dark.

With A list actors working long hours on an overcrowded boat, production became understandably troubled. Raquel Welch’s behavior was called out by James Mason who called her “the most selfish, ill-mannered, inconsiderate actress that I have ever had the displeasure of working with”. Bad weather and a terrorist bomb threat didn’t help matters.

Anthony Perkins and Stephen Sondheim used to host murder mystery parties for their Hollywood friends and it was suggested they write a script. Many of the characters are based on real people, lovingly I presume. I believe Richard Benjamin is playing Perkins.

Despite the troubled production, The Last of Sheila is a clever, compelling drama and excellent mystery. It’s a smart film that will keep you guessing until the end. AMRU 4.5.

"Give me a glass of water and a couple of lesbians."

Who's Afraid of Virginia Woolf? (1966)

A boozy couple (Richard Burton and Elizabeth Taylor) with a complicated relationship entertain a young couple (George Segal and Sandy Dennis) after hours. Mental games are played and secrets are revealed. Will love bloom? That’s not quite right. Everyone lived happily ever after? Let’s go with “It’s complicated”.

The film has only four credited actors, and all four were nominated for Academy Awards. Liz, believably playing a woman twenty years older than herself, won her second Oscar. Sex kitten roles, by design it seems, were in her rear view mirror at this point. Dennis also won as the ‘slim hipped’ young wife too drunk to understand what’s going on.

Taylor and Burton again made it difficult on set, refusing to start work until late, not working past 6, and taking extra long lunches. As they were in every scene, it’s a wonder the film was completed.

Quite engaging for a two plus hour film mostly of just people talking. Based on the Edward Albee play, Who's Afraid of Virginia Woolf? touches themes of expectations and reality. Both couples serve as foils for each other, and maybe a vision of the future for the younger. Much is going on and much is revealed over the course of the night. And, I expect, much more to be revealed on a second viewing. AMRU 4.

Two on a Guillotine (1965)

Pretty Cassie (Connie Stevens) inherits the estate from her estranged, eccentric, magician dad (Cesar Romero), and is required to stay one week in his spooky mansion. A charming reporter (Dean Jones) weasels his way into the story. Will love bloom?

I grew up with the Love Bug movies. Dean Jones starred in two of the five or six in the Herbie Cinematic Universe. Ken Berry replaced him for the first sequel which may explain why I confuse the two actors. Jones, like Stevens, specialized in the lightest of light comedies. Connie was hoping to expand her acting range with this film, but it turned out to be a serious flop.

The movie was directed by William Conrad, whom my set will remember as TV’s Cannon (or from Jake and the Fatman for the slightly younger). He did a fair amount of TV directing, but only four features. He was known for getting a lot done on a tiny budget.

My problem is that Two on a Guillotine doesn’t know what it wants to be. It's labeled Horror but it’s really a horror themed mystery rom-com. There is space for light horror (looking at you, William Castle), but this was light to the exclusion of any real horror element. Which is a shame because the setting could have led into some great atmosphere, but we are only teased with it. Dead dad booby-trapped his mansion and I would have liked to have seen more of that.

All that aside, Two on a Guillotine is a reasonable watch. There are some clever elements in there. Just temper your expectations. It's a fair rom-com, but it could have been so much more. AMRU 3.

The Bad Seed (1956)

With her husband on deployment, a mother begins to suspect that her perfect eight year old daughter is a cold blooded murderer.

Based on a play based on a book, the movie brought in the stage cast, who brought their stage annunciation. Set almost entirely in the Penmark residence, it feels every bit like a stage adaptation. Bad Seed herself Patty McCormack, two or three years older than when she originated the role, was given oversized dresses and props to make her look younger. And the illusion worked.

The question openly asked here is of Nature vs. Nurture. Is evil inborn or a product of a person’s environment? I believe social science has put that debate to rest, but at the time of the film it was still an open question.

Many character actors populate the periphery. Jesse White has a sizable role. Folks might remember him as the egg and onion sandwich guy from Harvey, but he will forever be the Maytag repairman to me. Frank Cady has appeared in too much to list. He was Sam Drucker in three different series. Frances Bavier (Andy Taylor’s Aunt Bee) is in a blink-and-you’ll-miss-it scene. Also Shelley Fabares is one of Evil Rhoda’s classmates.

The Bad Seed is surprisingly creepy, mostly due to McCormack’s performance. It was quite impressive. I’m surprised she didn’t go on to a bigger career in film. The theme has become a cultural touchstone and is referenced widely across pop culture. The biggest barrier to a rewatch is the stage acting and vocal projection. It was quite exhausting. But in the end it earns it. AMRU 4.

Ocean’s Eleven (1960)

Veterans of the 82nd Airborne reunite to pull an audacious heist: rob five Las Vegas casinos at the same time, on new year’s. It’ll take a lot of people to pull something like this off. Offhand, I’d say ... ee oh, eleven people.

You will find better heist movies. The planning details are pretty nonsensical, and the film spends understandably little time explaining them. You will also find better comedies. It was amusing in parts, but you won't vocalize a chuckle. What you do find is the entirety of Sinatra’s Rat Pack together in one film, including associate members Shirley MacLaine, Caesar Romero, and Angie Dickinson. Sinatra apparently had a falling out with Peter Lawford and Sammy Davis, Jr, but that was patched up for production. Frank and Peter would fall out again later.

They didn’t give Angie Dickinson much to do. She played Danny Ocean’s (Sinatra) off-put wife who loves him still. The resolution to their differences was left dangling, as were other plot points. Steve McQueen, who appeared with Sinatra and Lawford in Never So Few (1959), was offered a role, but he declined on the advice of friend Hedda Hopper who told him not to become one of Sinatra’s flunkies.

Ocean’s Eleven is a pure vanity project. If watching the Rat Pack pal around and giving knowing nods to inside jokes isn’t your thing, then there isn’t much here for you. If you want a great heist film, watch Kubrick’s The Killing (1956). For a better ensemble comedy, try It’s a Mad, Mad, Mad, Mad World (1963). But it is a piece of history, with too many cameos to count, and interesting enough to hold my attention. AMRU 3.

The Valley of the Gwangi (1969)

Tuck (James Franciscus), a charming scoundrel, seeks out wild west star and old flame T.J. Breckenridge (Gila Golan) to make a deal for her trained horse. T.J. isn’t initially receptive. Tuck had broken her heart by walking out on her, but she changes her tune when she comes in possession of a tiny horse, a living ancestor of modern horses … ok, ok, it’s Cowboys vs. Dinosaurs.

Old friend Richard Carlson plays the owner of the struggling wild west show, fiercely protective of T.J. Carlson would appear in the Elvis flick Change of Habit later that year, his last feature film. Also, Elvis’. Gila Golan was quite charming as the feisty T.J. Breckenridge, but because of her thick accent, all of her dialog was dubbed. It was noticeable.

All the important elements are present. A secret valley, a blind gypsy fortune teller (in turn of the century Mexico, no less), a bumbling scientist, a spunky sidekick, a love triangle, and a proper character arc for our protagonist. Oh yea, and cowboys and dinosaurs. It’s not exactly a think piece, but for the most part it gets the science right. Because of the time crunch, Ray Harryhausen didn’t finish color testing of his creatures. As such, they were blue-purple in color.

Valley of the Gwangi parallels King Kong (1933) a bit, which tracks as it is based on an abandoned Willis H. O’Brien script. It’s not a bad film, despite itself. It’s goofy in parts but the story makes in-world sense. Having no faith, the studio didn’t promote it, and it predictably bombed. A few years earlier it might have been a sizable success on the drive-in circuit. AMRU 3.

The Maltese Falcon (1931)

A private detective becomes caught up with a shady group scheming to steal a jewel encrusted falcon statuette worth millions.

It is hard not to compare this film with the 1941 masterpiece, especially since the major beats of the story are the same. The tone, however, is quite different. Also, the story makes sense. While John Huston wrapped every character’s motivation in mystery, director Roy Del Ruth was more respectful to his short attention span audience.

Ricardo Cortez’ Sam Spade is a smarmy womanizer in fancy suits compared to Bogart’s world-weary detective. While Bogart seldom cracked a smile, the smirk on Cortez’ face did not disappear for more than a moment. Spade approached every woman with an uncomfortably handsy eagerness. The relationship with Archer’s wife is an ongoing affair rather than a regrettable past indiscretion. And then there is how he behaved towards his secretary.

Lost in the mix is how the film features three big female stars of the era: Bebe Daniels as our femme fatale, Una Merkle as Sam’s secretary, and Thelma Todd as the bitter Mrs. Archer. While these names may not be familiar to the casual film fan, they were pretty big names in their day.

Daniels was a bona-fide leading lady in her day, taking top billing here, but did very little post 1940. Merkle, quite charming in her small role, had a long film and TV career but never seemed to graduate to leading lady. And Todd was a successful comedian, appeared in two Marx Brothers films, and teamed with Patsy Kelly for many successful shorts. Murdered by criminal elements before her 30th birthday, the LAPD did a thorough “nothing to see here” investigation and ruled it a suicide.

Hey, look, it’s Dwight Frye as Wilmer. You remember, Renfield. None of the other male actors had noteworthy careers.

The Maltese Falcon started out pretty rough. Early talkies have a shouty quality and the dialog was pretty stilted, but I quickly got used to it. I did find it annoying that our three ladies looked too much alike. I was sometimes unsure which pretty petite blonde I was looking at. In the final analysis, I cannot overstate how superior the remake is over this. Just about every aspect of film making is markedly better. But that’s not to say the original isn’t interesting in its own right. Fans of the latter should see it. For everyone else, AMRU 3.

Mildred Pierce (1945)

Mildred’s (Joan Crawford) husband is murdered then we see her frame someone. We then learn of her life in flashback. How she struggled and sacrificed to provide for her daughter, and how nothing was ever good enough for the haughty Veda (Ann Blyth).

Approaching 40, Crawford fought for the meaty role that other actresses shied away from. She was only thirteen years older than Blyth but once you are the mother of a teen, you can’t go back to leading lady roles. Fifteen years later Sophia Loren would thwart conventional wisdom with Two Women. Director Michael Curtiz wasn’t keen to work with the notoriously difficult Crawford, and they did butt heads, but would eventually learn to work together.

An unconventional noir, but it has all the elements. Crime, ambiguity, expressionist cinematography, a tight, biting script, and a femme fatale, though we are not initially certain who. But the story is told entirely from Mildred’s point of view. Not a hard bitten detective with a checkered past, but a wife and mother who bakes pies and strives to provide for her daughter.

It’s always nice to see Rydell High’s Eve Arden in a sizable role. Jack Carson made for a wonderfully slimy womanizer. I don’t recall his character from the few other films I’ve seen him in, but I’ll be sure to take notice next time. Seventeen year old Blyth was excellent as the petulant Veda, earning her an Oscar nom.

If I have any criticism of Mildred Pierce is that it felt a little long and talky through the middle, but that may say more about me than the movie. Script, story, and acting, it is solid all the way through. It earned Joan her only Oscar and did for her career what she hoped. And with that, I have reviewed my 700th film. AMRU 4.

“Personally, Veda's convinced me that alligators have the right idea. They eat their young.”

One Way Passage (1932)

Dashing Dan (William Powell) catches the eye of pretty Joan (Kay Francis). They fall in love while sharing a voyage to San Francisco, but are keeping a dark secret. Convicted of murder, Dan is returning to face the hangman’s noose, while Joan is terminally ill. They sneak around, have adventures, and everyone lives happily ever after.

Character actor Frank McHugh is Skippy, Dan’s comic relief friend. He’s come up quite a few times in my travels putting him into the ‘Familiar, but can’t quite place him’ category. Same could be said for Roscoe Karns, but his role here was uncredited and quite small. Pretty Kay Francis is quite charming in the lead. She had a moment in the early thirties, but limited acting range and a slight lisp soon relegated her to second tier films and second fiddle roles before the decades end.

One Way Passage is a fairly simple story but it makes use of its characters and premise well. Barrel House Betty, who feigns aristocracy to scam rich idiots, has more depth than you might expect. The same could be said for the knucklehead cop bringing Dan to justice. And the ending, well, see for yourself. At times funny and touching, and always entertaining to watch. William Powell always delivers. AMRU 3.5.

The Blue Gardenia (1953)

Pretty Norah (Anne Baxter) gets a Dear Jane letter from her serviceman boyfriend and impulsively takes the date offer from notorious womanizer Harry (Raymond Burr). He proceeds to get her drunk, take her back to his bachelor pad, and get all handsy. She struggles, whacks him with a fireplace poker, then goes home. When he is found dead, the police and press search for a mystery woman.

Anne Baxter is great as the frightened and remorseful Norah, and Richard Conte is the ace reporter that maybe she can trust. Ann Southern is her older, more world weary friend. Despite Ann’s long and storied film career, this is the first time we’ve met. Early on she appeared in vehicles for name-brand male comedians but would later earn her reputation in the ten ‘Maisie’ films between 1939 and 1947. We shall meet again.

Singing the title song is musician Nat ‘King’ Cole playing musician Nat ‘King’ Cole. Cub reporter Al is played by Richard Erdman who is best remembered as that guy who reviews snack foods on youtube.

The Blue Gardenia isn’t much of a mystery and may fall technically short of the Film Noir definition, but it is a very good watch, and most of the credit goes to the adorable Anne Baxter. Not the important or innovative work of director Fritz Lang’s early career, but like I said. It’s a good watch. AMRU 3.5.

Nora Prentiss (1947)

The Good Doctor Talbot (Kent Smith) is dead. Murdered, in fact. Let’s go back in time to see how this all transpired. The stayed 40-something family man begins to grow tired of his predictable, boring life. A chance encounter with a 30-ish nightclub singer (Ann Sheridan) turns everything upside down.

Not terribly noir-ish, but I will allow it. What I cannot abide is that the IMDb description is a third act spoiler. I know the film is pushing 75, but that is unnecessary. End Rant.

Kent Smith appeared in both of Val Lewton’s Cat People films and I found his manner stiff, but here it fits the character. He is something of a stick in the mud, punctual and reliable. While Ann Sheridan sparkled five years earlier in The Man Who Came to Dinner (my Christmas pick), she seemed a little shop-worn here. Still, pretty and exciting to the dependable dad. Her club friend is played by Robert Alda, better known as Hawkeye’s dad.

I don’t remember how Nora Prentiss got onto my radar (and thus my DVR), maybe TCM ran a piece glowing about her performance. But I found the story kinda flat. There are some good reveals (better if they’re not spoiled for you), but I didn’t feel the chemistry and didn’t care about the characters. It’s a medium drama with some interesting story elements that left me kinda blah. AMRU 3.

I Confess (1953)

A man is murdered late at night and the murder confesses to a young priest (Montgomery Clift) in, well, confession. Because of the sanctity of the confessional, Father Logan can’t tell the inspector (Karl Malden) anything about it. Nor can he explain why can’t answer questions. Or keep from acting very suspicious. He becomes the prime suspect as details connecting him to the victim are revealed. He can’t explain any of that either, of course.

No mystery here. We know the murder and the circumstances very early on. The details of his relationship with a married woman (Anne Baxter) are slowly revealed. An obvious flaw here is how easy it would have been for Father Logan to better explain his situation without lying or violating his oath. Also, did it slip his mind to tell the murderer that you are not automatically forgiven just because you confess? That little point should at least have been mentioned.

Oh, and here’s a dumb little trope. The Inspector is discussing the case with the prosecutor, when he tells an off-screen character to bring the girls in. The old prosecutor's face lights up with an “oooh girls!” look on his face. He is disappointed when two young school girls (witnesses) enter the room. What did he expect to happen there? A surprise mid-day orgy?

Montgomery Clift is a weird leading man, his performance feeling awkward and unnatural. The Method seems to be comprised of equal parts emotional problems and substance abuse. Clift lived a tortured life, dealing with physical, mental, and addiction problems, and racked by gay shame, before falling from Hollywood favor. When Marilyn Monroe calls you "the only person I know who is in worse shape than I am", you know you have problems.

But I promised to discuss Karl Malden. Well, pretty boring dude. Professional, serious, hard working. You know, boring. Well liked, though. He was always going to be a certain kind of actor. Never a romantic lead, but his strong voice landed him roles of authority. He seemed to always play a detective of some sort. He was a staunch defender of Elia Kazan. I guess I over promised.

Still, I Confess is a pretty good lesser Hitchcock. He soon will be onto better work but his craft is evident here. The story is compelling enough to overlook the flaws. And besides, Anne Baxter is adorable. AMRU 3. 24 down, 32 to go.

Phantom of the Rue Morgue (1954)

Pretty women of Paris are brutally murdered and the police are stumped. At least until they suspect a dashing college professor who is clearly innocent. Who is the real murderer? Read the TCM description to find out.

Occasionally I see a film I hadn’t since I was a boy and images flash back as the events unfold. This is one such film. I don’t know if I was eight or eighteen when I saw it last, but I had distinct memories of key scenes. I enjoyed that.

A mannered period piece, Phantom has a similar feel to 1953’s House of Wax. Both featured lush sets and filmed in vibrant color and in 3-D. Maybe it didn’t live up to the earlier adaptation of the Poe story or audiences were done with the 3-D gimmick, but the film tanked. It’s poor showing convinced Merv Griffin (yup, THAT Merv Griffin) to abandon his dream to be a Hollywood leading man and focus on television. Blink and you’ll miss him.

Karl Malden is here being very, well, Karl Malden. In my youth I remember him most from American Express commercials, but he shows up from time to time. I'll discuss him more in my next post. Dashing suspects lovely fiancee is played by the lovely Patricia Medina, six years his senior. There was something nuanced about her performance that I remember from the previous viewing. I haven't seen her in anything else.

The inspector brings our poor suspected hero along to see crime scenes and listen to witnesses (of course) allowing him to piece together the story with only sparse information. Also, the Rue Morgue is mentioned once, and never visited. I should read the Poe story and definitely see the earlier version.

There’s no real mystery here (Thanks TCM!) and parts are silly, but I found Phantom of the Rue Morgue fun. Would I have had the nostalgia factor been absent? Maybe not, but I don’t care. AMRU 3.5.

Stage Fright (1950)

Jonathan confides in his good friend Eve (Jane Wyman) that his lover, stage actress Charlotte Inwood (Marlene Dietrich), accidentally killed her husband. And when he tried to help her out, he became a suspect. Eve is sweet on Jonathan so she tries to help him, hiding him away and doing some amateur sleuthing.

Let’s start off here. Alastair Sim steals the show. As Eve’s eccentric father, he dominates every scene he is in. There is no mystery why he is my favorite Ebenezer. Side note, Hitchcock named his daughter’s character “Chubby Bannister”. Seriously, dude?

This is my fourth film with Marlene Dietrich and she is still an enigma. In her late 40’s here, she is still playing the sexy sexy. I kinda get her sex appeal but at the same moment, I kinda don’t. And her big song is truly lost on me, but it didn’t help that I watched Blazing Saddles (1974) the prior weekend. If you don’t know why that is relevant, then you have some watching to do. Madeline Kahn was an absolute treasure.

Jane Wyman is our 33 year old, cute as a button ingenue college girl with a crush, fresh from her divorce from Ronny. She was made up to be dowdy when going undercover but looked pretty much the same. What did Marlene think of her? Well, here’s a quote of hers from IMDb in its entirety:

"I did one film for Alfred Hitchcock. Jane Wyman was in it. I heard she'd only wanted to do it if she were billed above me, and she got her wish. Hitchcock didn't think much of her. She looks too much like a victim to play a heroine, and God knows she couldn't play a woman of mystery, that was my part. Miss Wyman looks like a mystery nobody has bothered to solve."

Mee-OW!

Stage Fright is another worthwhile lesser Hitchcock. There is a little mystery here and a fun story to watch. And, for what it's worth, Hitch didn't work again with either actress. AMRU 3.5.

Indiscreet (1958)

Actress Anna (Ingrid Bergman) is between relationships and just wants to take a break from life. Her sister and brother-in-law try to coax her into going to a lecture on economics (I know, right?) but she isn’t interested. Crazy. That is, until the head speaker arrives and it’s the dreamy Philip (dreamy Cary Grant). They have a flirtatious evening until he reveals that he is married! They continue to see each other anyhow. How Indiscreet!

There is a lot of subtext going on here. Ingrid was banished from Hollywood for her indecent affair with Roberto Rossellini, having his child while still married to her first husband! She hid in shame in Europe, shunned by the town she loved so not really the story. It’s just how it was always framed. It was more complicated than that. Here, watch this.

Anyhow, Bergman returned a wiser person who better knew herself. Grant, on his third marriage, older, wiser, and evolving as a leading man. Bergman in her early forties and Grant his early fifties, there is no hiding that this is a relationship between older adults. 

What follows is a very believable relationship between two adults. Not by far the most interesting film either actor has appeared in but among their best acting performances, and included some moving scenes. And real life friends, they have excellent screen chemistry. It is a shame they only did two pictures together. AMRU 3.5.