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Three Bad Sisters: Badly Good Entertainment
24 April 2024
Directed by Gilbert Kay with a script co-written by Gerald Drayson Adams and Devery Freeman, the best thing about Three Bad Sisters is the three young beauties who are the title characters. Of course, as other reviewers have pointed out, there is a bit of a problem with the title since the three Craig sisters include two who are wicked and one who is virtuous. Blonde bombshell Valerie (Kathleen Hughes) and sultry brunette Vicky (Marla English) are in a competition for nastiest sister title; blonde beauty Lorna (Sara Shane) is sensitive, somewhat timid, but always well-meaning. The chief male love interest is hunky pilot Jim Norton (John Bromfield). As others have also pointed out, it is possible to count nasty sisters to three if we take the sister of the late father, Aunt Martha (Madge Kennedy), into the mix.

The film begins with the off camera plane crash death of the millionaire father of the main three. He was the sole passenger of pilot Jim Norton who survived. Was the pilot negligent? Did he even actually murder dear old dad? Will the three daughters share and share alike? Not likely. The movie poster shows the back of a woman's legs, the seams going up her stockings, and the legend: "What They Did To Men Was Nothing Compared To What They Did To Each Other!" The script has a super boo-boo at one point. Bad sister Valerie actually says to good sister Lorna, "It takes a woman to hold a man like Jim, not a psychopath!" Huh? What? Didn't Adams and Freeman know what a psychopath is?

Dialogue makes more sense when an exasperated Jim exclaims, "I'm getting tired of being blamed for what goes on in this nuthouse!" As readers have probably guessed, Three Bad Sisters has no artistic pretensions, no moral pretensions, and no social or political "message." It is fast-paced, titillating, trashy fun. Plane crashes, car chases, intense confrontations, dirty dealings among the fabulously wealthy, flirting and cheating, all make for a flavorsome popcorn box of a movie. It is especially good at underlining the sensual charms of its female protagonists as when Vicky raises her shapely high-heeled legs up from her position on a couch.

Kathleen Hughes enjoyed a rich and varied career that lasted most of her life. Perhaps her most well-remembered achievement was a photograph of her in an attitude of terror, hands thrown up, eyes super wide, mouth open as if in a scream. The famous picture is often used for comedic purposes and is iconic of a "scream queen." Both Sara Shane and Marla English left acting for other careers.

Sara Shane had a busy acting career in the 1950s and early 1960s before retiring from acting in 1964. She went into business. In 2018, she directed a health center in Australia where she resided. She also published books, including a book entitled Take Control of Your Health and Escape the Sickness Industry. She returned to the cameras (in front of them and behind them) in 2008 when she wrote, produced, and co-presented the documentary One Answer to Cancer.

Marla English started acting after winning a "Fairest of the Fair" beauty pageant while still in her teens. She bore a striking resemblance to Elizabeth Taylor and was known as a scream queen. However, she left acting when she was only 21 years old to marry a wealthy business executive and become a housewife. She took care of his daughter from a pervious marriage and bore four sons.

Although Three Bad Sisters did not call for great acting, it got adequate performances from all its major actors and can be counted a colorful feather in their caps, regardless of how long or short their acting careers were.
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Dragnet: The Big Love (1957)
Season 7, Episode 11
10/10
RADIO Episode of True Darkness
14 April 2024
In a way, this shouldn't be here. This was not a TV episode at all but a radio episode. On the radio, it tells a story of immense sadness, even horror. A man marries a European woman and they try to settle down in Los Angeles. The couple have a child, Nancy, only 2 years old. Mrs. Gorman is played by Peggy Maley, an actress in whom I take a special interest. Mrs. G falls hard for neighbor Ralph Kane. She leaves her husband for him and takes her small child. This puzzles detectives and the husband/father because she never cared for little Nancy. There is fear for the child's safety as Mrs. G lacks any protective instinct but takes her specifically because the husband "thought the world of her." Peggy Maley does a fine job of playing this perverse woman who puts her boyfriend over her child and becomes a true monster in the process. "The Big Love" is a study in the twisted.
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Bad Blonde (1953)
3/10
Bad Blonde: Lackluster Mishmash, Interesting for Star
10 March 2024
I watched this movie because I am a Barbara Payton fan. She is, unfortunately, most remembered as the movie star who crashed and burned, ending her life as an impoverished alcoholic skid row prostitute. However, this tragic woman was bountifully talented. She was also, during her young years, stunningly gorgeous. She gave brilliant, and brilliantly natural, performances in "Trapped," "Kiss Tomorrow Goodbye," the campy "Bride of the Gorilla," and (her cinematic swan song) "Murder Is My Beat." "Bad Blonde" was originally entitled "The Flanagan Boy" in England where it was made. It could have been called "Blonde Boy" since Tony Wright is just as light-haired as Barbara Payton.

With either title, the movie clearly intends to capitalize on Payton's personal tragedies. In 1951, actors Tom Neal and Franchot Tone got into a brawl over Payton, with Neal (who had been an amateur boxer) easily battering Tone into a coma. After his recovery, she married Tone but soon broke up with him to re-unite (although they never wed) with Neal. The original trailer for the movie says, "Barbara Payton as she lures a man to destruction for her own insatiable delight" and adds "bad is the word for Barbara." Payton plays Lorna Vecchi, a former taxi dancer turned housewife to Guiseppe Vecchi, an Italian immigrant to England who is a boxing promoter. As the film starts, he starts promoting Johnny Flanagan who is played by Tony Wright.

Lorna and Johnny dislike each other, then fall in passionate love. What to do about her hubby? Divorce just does not seem to be in the cards for film noir characters so we can guess they will off the poor man.

The "bad" of the title also applies to the film itself. It is an uninspired mishmash of a boxing film and a film noir. Directed by Reginald Le Borg, with a screenplay by Guy Elmes and Richard H. Landau based on a novel by Max Catto, the film is fast-paced but predictable.

There are a few sexy moments as when Payton adjusts her nylon stockings or lets a fur slip off her shoulders. I also liked watching her briefly dance as she showed grace and fluidity. The film is rather daring in underlining female lust when Lorna licks her lips while gazing at the boxer's body.

The paint-by-numbers and lackadaisical script does not give Payton the space to create a layered or subtle character. Tony Wright is similarly limited. Frederick Valk, of German origin, is believable as the blustery Italian but sometimes a bit over-the-top. Sidney James as Sharkey, a boxing assistant and friend to Johnny, gives a performance consisting mostly of eyebrow raising and knowing looks. Selma Vaz Dias, who plays Guiseppe's sister from Italy, looks oddly like a man in drag.

Although "Bad Blonde" is fast-paced, neither story nor characters grab and maintain interest. I would recommend it to other Barbara Payton fans to see at least once just for her performance. But I would not advise anyone to expect a memorable or meaningful viewing experience from this movie.
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The Beatniks (1958)
5/10
Mis-Titled But NOT Awful Actually enjoyable
13 February 2024
Yes, the movie is bafflingly mis-titled. There are no beatniks in "The Beatniks." No goatees, no coffee shops, no poetry, no bongos, no allusions to marijuana -- no beatniks and no "beat" culture. It's original title of "Sideburns and Sympathy" would have been better -- even though none of the male characters sport sideburns either.

Still, the film is not as bad as some reviewers claim. It is about a robbery gang led by Eddy Crane. The other members are girlfriend Iris who droves its getaway car, and thugs Red, Chuck, and Mooney. They are small-time crooks who rob humble mom and pop stores. After a heist, the gang head for the diner at which Iris's mother is employed. As Iris and Eddy dance, he sings "Sideburns Don't Need Your Sympathy." He is overheard by a talent scout who whisks him to Hollywood crooning glory. However, he is held back by his hoodlum pals. The real problem is the flamboyant, demanding, and nutty Moon who has a powerful gay crush on Eddy. This makes it an interesting flick. Of course, there is a straight love triangle but the real passion is Moon's desire for Eddy. Peter Breck plays Mooney as jealous and rowdy and reckless. Tony Travis is almost too nice as Eddy. Overall, it is an interesting movie and the before its time gay passion makes it especially noteworthy.
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Untamed Youth (1957)
5/10
Untamed Youth: Cinematic Debut of Rock Generation
2 December 2023
Untamed Youth is a cult classic because it was the cinematic debut of the first rock and roll generation. It was the first movie in which its star, Mamie Van Doren, sang a rock song. The plot of the film is not brilliant but it serves the purpose of showcasing the talents and beauty of its performers, especially star Mamie Van Doren. Famed as the third of the "Three Ms" - Marilyn Monroe, Jayne Mansfield, and Mamie Van Doren - she is an adequate actress but a super performer. The plot is fairly thin: teenaged sisters Jane Lowe (Lori Nelson) and Penny Lowe (Mamie) are falsely accused of being vagrants. They are hauled into court before Judge Cecilia Steele (Lurene Tuttle), convicted, and sent to a work farm for high school aged delinquents. That farm is owned and run by the sinister but handsome Russ Tropp (John Russell).

Their misadventures on the farm form the basis of the film. In between misadventures, they are apt to break into song, especially the rock popular in the late 1950s when the movie was made. One of the most enticing scenes has blonde bombshell Mamie taking a stocking off one of her shapely legs as she warbles out a tune. A less sexy but more energetic scene has Bong, who is played by teen heartthrob Eddie Cochran, lead a bunch of cotton picking youths in clapping and dancing as he belts out, "You ain't gonna make a cotton picker out of me." Only 19 years old when he played in Untamed Youth, Cochran was destined to be killed in a car accident only three years after making this film. But he left a musical mark during his short life.

Along with Mamie Van Doren and Lori Nelson, blonde bombshell Jeanne Carmen - here a brunette - and baby-faced teen queen Yvonne Lime populate the work farm and display their charms.

Although not even credited, a dancer sporting what were then called "Buddy Holly Glasses" is apt to make an impression with the energy and grace with which he cuts the rug. His name is Gil Brady and he was often seen shaking a leg in early rock oriented motion pictures.

Untamed Youth has a plot and script that are mediocre. It was cheaply made. Most of the acting is only serviceable. But it richly deserves its cult status. It shows off the sultry charms of Mamie Van Doren when she was at the very height of her beauty. And it shows the viewer the dynamic quality of the earliest rock music and how the rock genre endeared itself to that generation. Rock forever and camp it up, Untamed Youth!
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4/10
Low-rent Double Indemnity Rip-Off Is Overshadowed by the Classic
23 February 2023
Apology for Murder Review by Denise Noe

The movie opens with a uniformed maid answering a door. Journalist Kenny Blake (Hugh Beaumont of Leave It To Beaver fame) says he is with The Daily Tribune. Before he can continue, he is distracted by the sound of what is happening in a nearby room behind a closed door. A man is giving a tongue lashing to a woman about her "extravagance." He threatens, "If necessary, I'll cancel your charge accounts." Then we are inside the room. We see an aging and gray-haired fellow behind a large desk. The woman to whom he speaks sits with her back to us in a comfortable chair. We see her shapely legs, one going idly back and forth. She warns that his reputation could be damaged by the "rumor that you are in financial difficulties." Back to the pushy reporter who wants to interview Mr. Kirkland. The maid tries to restrain him but Kenny barges in. He informs business tycoon Harvey Kirkland (Russell Hicks) that the newspaper i interested in plans to join his business with another. Our entrepreneur is not interested in an article on his business. Kenny rattles off reasons why the story has "human interest" when his attention is caught by the shapely legs recently mentioned. Then Toni Kirkland (Ann Savage) shows her face, causing Kenny to become even more distracted. However, get-the-story reporter that he is, Kenny continues pitching the potential benefits of a newspaper article to old man Kirkland even as Toni rises from her chair and his lascivious attention follows her to the door. Nothing is going to persuade the entrepreneur to want a story.

Before Kenny can leave, Toni speaks to him in a flirtatious manner. Kenny has a strong interest in this mansion that is no longer professional. It is not too long before Kenny and Toni are dating. But things seem to go south. Kenny had assumed that young Toni was Kirkland's daughter. He is flummoxed to learn he has been "running around with another man's wife." Toni assumed he knew she was Mrs. Kirkland. As upset as he was at learning the truth, he is in too deep to skedaddle now. And things get much worse when a disillusioned and disappointed Toni Kirkland says she needs her husband's money - but wants him out of the way.

As others have noted, Apology for Murder is a low-rent Double Indemnity rip-off. It substitutes a newspaper office for an insurance office. It follows the original classic in so many ways that it becomes highly predictable. Overall, the movie is not bad as it moves at a brisk pace and keeps attention. Ann Savage is not quite as "savage" as she was in the classic Detour. Rather, she shows enough softness that we understand why Kenny is so entranced with her. However, Toni is a wicked piece of work and Savage is never at a loss to let loose with cinematic wickedness. Beaumont does well with the character of the romance-besotted man who reluctantly turns to evil. Other performers fill their roles in a satisfactory manner.

Apology for Murder is not a bad way to spend your time but it cannot get out from the shadow of Double Indemnity, a much better movie.
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6/10
Betty Lou Gerson had a double named Lynn Ainley
5 January 2023
First thing I want to do with this review is state who femme fatale Lynn Ainley really was. This was a name used only for a few projects by actress Betty Lou Gerson. There were financial reasons why she had to be hired in Puerto Rico where this was filmed and they made it seem like she was "discovered" there by this name.

At any rate, this is an above average crime thriller based on a doppelgänger premise. Chick Graham is married to the blonde femme fatale Cora. He had a dog named Jiggs. They pretty much have a normal life in Puerto Rico. Then everything goes haywire when Chick finds his wife and brother-in-law don't recognize him and neither can his dog.

Everyday Everyman Chick Graham has an unrelated man who looks just like him, indeed, who could easily pass as his twin brother. That fellow is psychopathic Albert Rand who has cooked up an elaborate plot to commit a big time heist and then fade into the woodwork as Chick Graham. It turns out that wife Cora and her brother Buster are in on the nefarious plot. Most of the movie shows our hero trying to get things sorted out as he is on the lam from the cops who have him down as robber Rand.

It might have benefitted from being shot in color but the makers of the film do as much as possible in black and white with the lush setting of Puerto Rico. I think Barry Nelson did a fine job of playing nice guy chick vs. Route to the core psychopath Albert Rand. The other performers do well. Perhaps the canine performers deserve a special nod. There is the little one who plays Jiggs and then there is the doberman who plays the trained killer dog. Betty Lou Gerson/Lynn Ainley is attractive in a tough way as the femme fatale wife who suffers pangs of conscience and Carole Matthews is endearing as the forgiving ex-girlfriend.

"The Man With My Face" grabs and holds interest. It is a slightly above average crime drama.
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4 for Texas (1963)
1/10
Barbara Payton Was Not In 4 for Texas
18 December 2022
I can't review the film as I never saw it. But I can say that the Internet Movie Database repeats the urban legend that the tragic Barbara Payton worked as an extra in the film. In the book, "I Am Not Ashamed," that was actually ghostwritten by Leo Guild, Barbara Payton claims she was contacted to appear in "4 for Texas." However, there is no evidence of any truth to this assertion. Barbara Payton never appears in "4 for Texas," not even in a bit part nor can she be viewed even in crowd scenes. The truth is that Leo Guild put a lot of UN-truth in "I Am Not Ashamed" and this is one of the falsehoods in that book.
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Pickup (1951)
7/10
Clever But Cheaply MadePlay On An Ancient Marital Trope
30 October 2022
Hugo Haas was a director, screenwriter, and actor who fled Nazi-occupied Europe for Hollywood during World War II. Although he never reached A-list status, he contributed quite a bit to B-movies. In Pickup, he directed the movie, co-authored its screenplay with Arnold Lipp, and stars.

The role he plays is that of middle-aged railroad dispatcher Jan "Hunky" Horak. Hunky is an amiable widower whose job requires that he live in relative isolation on the outskirts of town. His best friend is "the Professor," a hobo with intellectual pretensions and a quasi-beatnik affect. When we meet Hunky, his dog has just died and he plans to go into town to purchase a replacement.

There is indeed a fellow selling puppies but Hunky finds the price too high so he goes puppy-less to a diner.

When we first see the femme fatale of the movie, the human "pickup," Betty Horak is riding the horse on a carousel. Betty is played by Beverly Michaels, a B-movie blonde beauty known for her being statuesque. Those shapely legs seem to go on forever and she returns the gazes of male admirers with a world-weary smile.

Betty is impoverished as is her female friend (not "girlfriend" in today's parlance) Irma (Jo-Carroll Dennison), a dark-haired beauty. The two women sit on a bench with Irma fantasizing out loud about a rich meal. "What, no champagne?" Betty rhetorically asks after Irma finishes. Betty spots the plain-looking and rather chunky "Hunky" and tells Irma to watch while Betty shows her the ancient power of femininity over the male gender.

The drop-dead gorgeous young woman sits beside Hunky at the diner. Using classic feminine wiles, she gets Hunky to pick up the check for her. He then takes her to visit his out-in-the-sticks residence. Inside his home, she noses around and finds he has a bank balance with a hefty sum for the time period.

We see a scene in which both Betty and Irma have been evicted by their landlady. A desperate Betty wonders how she can get a roof over her head. The next scene is her wedding to Hunky.

Betty has financial security; chunky Hunky has a lovely wife. The honeymoon soon fades. Unlike "the Professor," Betty is no bookworm so there is not much to keep her entertained.

Enter handsome, young, and penniless Steve (Alan Nixon). They soon have the hots for each other as we expect.

The chief complication in the story occurs when Hunky suddenly loses his hearing. This could actually improve the situation for Betty as he might be able to pull early retirement as a disabled man. In the meantime, she is increasingly frustrated and, as we also probably expect, those frustrations lead her to want Hunky out of the way.

"Pickup" is often said to be a low-rent version of "The Postman Always Rings Twice." But the films do not have much in common with each other. Much of what distinguishes "Pickup" is Hunky's deafness and, later, the question of whether or not his hearing has returned. Could he be faking his lack of hearing? Steve is suspicious on this score but Betty is not so she often calls him "an old monkey" and "a sucker" when he sits right beside her.

"Pickup" has a certain importance in film history as it may have helped launch the 1950s cycle of "bad girl" films. Although its basic pattern of an unloving union between a homely older man and a greedy young beauty is part of the folklore of marriage, "Pickup" has fresh surprises based on the disability factor.

Performances are not Oscar level but are adequate. There is, however, an inconsistency in the character of Betty Horak. No fault can be ascribed to the performance of Beverly Michaels as the problem resides in the script.

Taller than most actresses, Michaels possessed considerable allure, stage presence, and acting ability. However, the character of Betty veers from manipulative and sensual femme fatale to, in Betty's own words, that of a "grouch." Complaining and carping are hardly sexy. What's more, the script often calls for Michaels to be seen doing household chores like ironing and cooking, often sporting an apron, and the effect is that Betty Horak becomes a faded "hausfrau" slouching toward being a plain old "B-word." The shortcomings in the film are not greater than its clever twists or the sexual power Michaels possessed when she was called upon to express it. It is an interesting and clever twist to an old pattern.
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5/10
Mediocre Crime Drama/Film Noir
16 October 2022
Warning: Spoilers
"Please Murder Me!" has a certain importance because it may well have led to the casting of Raymond Burr as Perry Mason in the classic TV series of the same name. In "Please Murder Me," as in the hit TV show that started the following year, Raymond Burr ably portrays a fine defense attorney.

The story opens with protagonist Craig Carlson (Burr) speaking into a tape recorder. He tells the person who is supposed to hear the recording that in about an hour, "I will be dead - murdered." Most of the tale is told in flashback. Craig informs his best friend, Joe Leeds (Dick Foran) - the two served side by side in the military - that Craig and Joe's wife, Myra Leeds, are in love and that Myra wants a divorce so she can marry Craig.

Joe is oddly subdued in his reaction to this news. He tells Craig he will have to mull over matters.

Soon after, we see that Myra Leeds, played by Angela Lansbury, has shot Joe to death. She is arrested and tried for the murder and her defense attorney is none other than extra-marital love interest Craig. The prosecution asserts that Myra murdered her husband in cold blood so she could inherit his money. The defense counters that Myra killed in self-defense because an enraged Joe Leeds tried to kill her when she requested a divorce so she could wed the man she really loves.

Craig pulls a surprise in the courtroom that leads to an acquittal. At a party celebrating the victory, Craig clearly looks forward to making Myra his wife. Then he gets his own, and most negative, surprise. He learns that she is not in love with him but with artist Carl Holt (Lamont Johnson).

And that she murdered Joe.

And that Craig was only a pawn in a very convoluted plot by the sly and cunning Myra.

It is all pretty understandably traumatic. Craig comes up with a plot of his own, one by which he will put Myra in prison by provoking her to murder him.

"Please Murder Me!" certainly has a sensational premise. But that premise does not seem at all believable for multiple reasons. Indeed, the film is undercut by its plot holes.

For one thing, the entire premise of a lawyer being so upset by winning an acquittal for a guilty client that he becomes suicidal strains credibility past the breaking point. Anyone who goes into law knows that the legal system is not perfect, just as human beings are not perfect, and that guilty clients will sometimes escape justice just as innocent people will occasionally be convicted. If an individual cannot risk being involved in a miscarriage of justice, he or she would not chose to become a lawyer.

Another glaring plot hole is that it is not at all necessary for Craig to sacrifice his own life to make Myra get her comeuppance. He could easily put her away for attempted murder by simply putting blanks in the gun. Since he is supposedly a "brilliant" attorney, it is not credible that he would never think of this.

Finally, the whole idea that a woman in love with a poor man would marry a rich man, dupe a good lawyer into falling in love with her, then murder the wealthy man certain that the attorney would get her off so she could marry the starving artist who rings her chimes, has two many twists and turns to be convincing.

"Please Murder Me!" has a serviceable direction and script and some quite genuine surprises. The actors do their best with it. However, neither Johnson nor Burr is called upon to demonstrate great acting chops. Johnson's Carl Holt is usually just friendly and cheerful while the scrip leaves Burr just looking glum much of the time. Angela Lansbury has the most demanding role as the femme fatale and she manages to appear sympathetic and psychopathic by turns as well as conveying that all-important sensuality that is at the core of the femme fatale archetype.

A viewer will be entertained by "Please Murder Me!" but will not care deeply about its characters nor be apt to remember it long after it ends. It is an OK way to spend some time but ultimately quite mediocre.
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8/10
Kiss Tomorrow Goodbye -- But See It Today!
6 October 2022
Kiss Tomorrow Goodbye - But See it Today!

Told mostly in flashback, Kiss Tomorrow Goodbye starts in a courtroom. A prosecutor (Dan Riss) asks the jurors to look at the seven defendants who are on trial for murder or accomplice to murder. He calls them "seven evil people" and describes them as "at war" with decent people and society as a whole. The evil of some of them is especially awful because two of them were police officers, one formerly an attorney and now "the shame of his profession," and one formerly a prison guard. The prosecutor notes that "the most evil man of all" is not present but is there "in spirit" since he put into motion much of the "evil." Most of the story is told in flashback. The wicked doings began some four months prior to the court proceedings with a prison break. Ralph Cotter (James Cagney) and Carleton (Neville Brand) seek to break out from a prison farm with the aid of the prison guard on trial, Peter Corbett (John Halloran). During the break, Carleton is injured and, rather than being slowed down, Ralph cold-bloodedly puts a bullet through his friend's head.

The prison break was aided by gangster Joe "Jinx" Raynor and Holiday Carleton (Barbara Payton). Holiday believes Ralph when he says her brother was killed by a prison guard. She is naturally devastated with grief.

Ralph soon shows up at Holiday's apartment. We learn that Holiday is not an "evil" person. "I never did one wrong thing before today," she tells Ralph. Contrary to him, she played by society's rules until love for her brother led her to break them. Although he had been convicted of a homicide, Holiday was certain "he was no killer" and feared "he would end up in an insane asylum" if he remained in prison. The gangster responds with sarcasm, saying, "He was as innocent as a newborn babe' until Holiday throws a knife at him. The knife slightly wounds his ear. He rubs the injury with a wet towel before brutally beating Holiday with the towel. "I'm sorry, I'm sorry!" she shouts before falling into Ralph's arms. The two begin a passionate love affair even as Holiday desperately tries to convince the man she loves to "go straight." Going straight is not in Ralph Cotter's character. Robbery is his game and he is soon back to playing it. He branches out into other areas like blackmail through his relationships a variety of shady characters including some of those on trial such as Inspector Weber (Ward Bond), cop John Reece, and slimy attorney Keith "Cherokee" Mandon (Luther Adler). The complex twists and turns of the plot also lead him to "Doc" Darius Green (Frank Reicher), spoiled but wholesome rich young lady Margaret Dobson (Helena Carter), and her super-wealthy and super-powerful father Ezra Dobson (Herbert Heyes).

The movie is close to two hours long but it never seems to drag. Gordon Douglas directs with a sure hand and the script by Harry Brown is sprightly. What makes Kiss Tomorrow Goodbye most interesting is it uniformly fine performances. James Cagney may have had equals in playing gangsters but he had no superiors. Cagney knew how to impersonate a charming and vicious psychopath and he is just as evil as in this film as he was in the more famous "White Heat" as the brutal Cody Jarrett. The other actors are equally believable in their roles with a special nod due to Ward Bond as the crooked cop and Luther Adler as the slimy attorney. Helena Carter is credible, and somewhat sympathetic, as Margaret Dobson. Her character is more complex than that of the male characters as she is a good person, genuinely interested in philosophical/spiritual issues, but craving excitement as she does a certain amount of slumming.

Oddly enough, the most outstanding performance is that of Barbara Payton, who was quite inexperienced when she took on the role of Holiday Carleton. What makes her performance so worthy of approbation is that her character is far and away more complex than any other in "Kiss Tomorrow Goodbye." The major characters in this movie are psychopathic with others being normal or good. By contrast, Payton plays a character who is basically good, who intends to play by society's rules, but finds herself drawn into evil. Love for a brother, romantic love for a criminal, factor into her transition from honest to lawless as do her jealousy, outrage, and grief. Payton's performance was absolutely on target with not one false note.

"Kiss Tomorrow Goodbye" deserves to be appreciated for its anti-establishment viewpoint as about half the "enemies of society" depicted were situated in positions of social authority before exposed as law-breakers.

Sure direction, a well-honed script, and superb acting combine to make "Kiss Tomorrow Goodbye" a first-class crime flick and film noir.
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8/10
Bride of the Gorilla: Pride of the Camp
19 September 2022
"Bride of the Gorilla" never aspires to be anything other than cheap, kitschy, campy fun - and it succeeds in its goal perfectly. The setting is deliberately left vague. The film opens with a somber narrator talking about the ways of the jungle as we see wreckage of a home. Soon we see the glamorous Dina Van Gelder (Barbara Payton) leisurely dancing under a slow-moving fan. She is wed to the older, wealthy Klaas Van Gelder (Paul Cavanagh) and they live on a rubber plantation. Hmmm . . . Lovely young woman married to cranky old coot - what do we expect? We soon meet handsome young plantation overseer Barney Chavez (Raymond Burr) who has an eye for the curvy and blonde Dina. He has also been fooling around with a house servant Larina (Carol Varga) and the disgruntled Klaas wants him out.

What do you know? Barney and Klaas soon come to blows and an obliging poisonous snake completes Barney's dirty work. This scene is witnessed by a sinister servant, Al-Long (Gloria Werbisek) who, out of loyalty to her murdered master, invokes the spirits of the jungle to possess Barney. The audience is not immediately certain as to whether Barney actually transforms into a gorilla or only imagines he does but, either way, he's in a heap of trouble.

The jungle is a cheap theater stage interspersed with footage from actual jungles showing cheetahs and monkeys. But the stage is adequate to the purpose of a film that only aims to be a broad sort of camp horror.

Part of the reason the movie succeeds is that the major actors in this camp film play it utterly - and wonderfully - straight. Werbisek imbues her Al-Long with a powerful sense of the eerie. We see and hear her as a truly creepy woman confident of her links to the occult. Mason plays Barney as strong, ruthless, confused, and tormented.

Although Barbara Payton was cast in the film as her career was deteriorating, she was at the height of her physical beauty when the movie was made. Her figure is free of the weight gain that often troubled her. Slender and curvaceous, her pouty mouth, clear crystal eyes, and wavy blonde hair make it seem inevitable that just about any heterosexual man will fall head over heels for her. Her part is not that of a cold-hearted femme fatale. Rather, her Dina is appropriately sensuous, loving, caring, and kind. She plays the part with a strong stage presence and, even more importantly, a complete commitment to play the character seriously.

As many people know, Payton's career ended in 1955 and she slid downhill into alcoholism, ending her life as an overweight and impoverished $5 a time prostitute. However, that doomed woman was rich in talent and "Bride of the Gorilla" showcases it.

Anyone who relishes classy camp, or who enjoy watching the beautiful and gifted Barbara Payton, this film is a must-see.
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8/10
A Bold Study of Bisexuality, Ethnic Identity, and Power
8 September 2022
Warning: Spoilers
Made almost four decades ago, Liliana Cavani's The Berlin Affair boldly examined sexual fluidity, vulnerability, and power even as it investigated the complications of racial and ethnic identity. Screenwriter and director Cavani is, of course, best known for The Night Porter, a motion picture that helped launch the "Nazi-sploitation" film sub-genre. Since The Night Porter depicted a concentration camp prisoner bonding with her captor, this woman director was accused of promulgating sexist myths about women enjoying victimization. It is this reviewer's opinion that The Night Porter proved that Cavani does not shy away from the most disturbing and troubling aspects of human experience.

The source material for The Berlin Affair is Quicksand, a Japanese novel by Jun'ichiro Tanizaki. The novel tells of a passionate love affair between a woman, a married man, and a bachelor who has erectile dysfunction. Cavani took great liberties with the source material and transplanted it to pre-war Nazi Germany.

Our story begins in a cluttered office with a middle-aged man behind a desk. The subdued colors of the office set a calm mood. The man types out a quote from Schopenhauer: "It is not, as the philosophy of professors would foolishly claim, in universal history that we find plan and unity, but rather in the life of the individual." In walks our heroine, Louise von Hollendorf (Gudrun Landgrebe). Most of the story is told in flashback. She relates it to this man (William Berger) who was once her literature professor but whose works were banned as "pornographic" by the Nazis.

We learn that Louise was happily married to Heinz von Hollendorf (Kevin McNally), a high-ranking Nazi official. Having no children and being affluent enough to afford servants, she spent much of her time taking classes. In a drawing class she first encounters Mitsuko Matsugae (Mio Takaki), the daughter of Japan's ambassador to Germany. Drawing instructor Joseph Benno (Andrea Prodan) notes that the Institute for Germanic Arts has provided a pretty blonde model of "Aryan beauty," yet Louise draws pictures of Mitsuko.

Rumors soon float around that the happily married Mrs. Von Hollendorf and the Japanese ambassador's daughter are having a lesbian affair! Louise uncomfortably discusses it with her husband. She cites a rumor that went around concerning two women within their circle and says, "I never believed a word of it." One day, after class, Louise and Mitsuko meet. There is a kind of tension. As befits a Japanese young woman of the era, Mitsuko appears modest, restrained, and submissive. The two of them have lunch and Mitsuko timidly inquires, "Are you and your husband in love?" Louise assures her they are. The two women become friends. On a visit, Mitsuko shows Louise how to wear a kimono. Mitsuko puts her hands on Louise's waist, they play with a cloth kimono belt, and then they find themselves kissing. "One minute we were laughing and the next we were making love," she explains to the professor.

Later, Heinz inquires about the friendship between his wife and the Japanese woman. "I like her," Louise says. "In what way?" Heinz presses. "No special way," his wife replies. There is a marital sex scene soon after this. The audience knows that whatever Louise feels for Mitsuko, Louise does truly love her husband.

Still, gossip is a concern. Louise wonders if maybe she and Mitsuko should stop seeing each other. "If you leave me, I'll kill myself," Mitsuko threatens. In another scene, Mitsuko dresses up as a geisha for Louise, putting the latter in the odd position of a woman in the place of a male client for a geisha.

Meanwhile, the Nazi government seeks to "clean up" its ranks. Heinz's cousin Wolf von Hollendorf (Hanns Zischler) is out to expose General Werner von Heiden (Massimo Girotti) for homosexuality. A little get-together at the von Hollendorf home is arranged and the general is invited. Entertainment will be provided by a young handsome pianist. Wolf starts complimenting the general for being a "patron of the arts" in all that he has done for the young man. Both pianist and general realize that Wolf is exposing the general as the younger man's sugar daddy.

"It was a lynching and in my house," Louise tells the professor, expressing how dirtied she felt that the general had to flee Germany as a result of the "outing" or, in the parlance of the culture, "cleaning." Louise tries to stay away from Mitsuko but the latter calls her, seeming desperate. Mitsuko appears ill and even bloodied. "I was pregnant but I took care of it myself," the sick Mitsuko haltingly explained. A Japanese ambassador's daughter pregnant out of wedlock in the 1930s would have caused quite the scandal so that she would illegally abort would be understandable.

However, Louise begins to doubt Mitsuko's story, believing the younger woman made it up to draw Louise back to her. Whatever the truth, their love affair rekindles. Then Louise learns that she is in a kind of "double triangle." Joseph Benno and Mitsuko are having an affair and Benno hopes to marry Mitsuko. He tells Louise that he and Mitsuko deliberately started the rumor that she and Louise were having a lesbian fling to distract attention from their own socially unacceptable inter-racial love affair. "But then Mitsuko really did fall in love with you," he says. Benno wants to marry Mitsuko and insists that Mitsuko is truly pregnant so a marriage is necessary. He bullies Louise into signing an agreement for her not to interfere in the marriage and him not to interfere in their relationship. The two of them cut themselves and sign this legally unenforceable "contract" in blood. Soon Benno is blackmailing Heinz with the bizarre document.

Eventually Heinz decides his wife is endangering his Nazi career and must end the relationship once and for all. Mitsuko hatches a plan that she believes will lead Heinz to accept their relationship. She and Louise will pretend to make a death pact. They will take enough pills to make it seem they tried to commit suicide but not enough to actually die. Heinz treats the wounded women and, while tending to Mitsuko, falls in love with her.

One evening Mitsuko declares, "You are not husband and wife anymore!" She demands the married couple engage in no sexual relationship with each other but only have sex with her. To ensure they do not violate this rule, she insists they take sleeping powders before retiring. They agree to follow this rule even though it means Heinz finds himself falling asleep during the day.

A senior Nazi official calls Heinz on the carpet when a scandal magazine runs an article entitled "Sapphic Love in Diplomatic Circles." This leads to the movie's ultimate crisis and climax.

After that climax, we see Louise back in the professor's office, finishing up her story. Just as she does, the professor finds himself arrested by the Gestapo.

To find the meaning of "The Berlin Affair," we have to understand why Cavani set the story of tangled love in Nazi Germany. Los Angeles Times reviewer Patrick Goldstein decried the Nazi setting as nothing more than a "lurid backdrop." It is this reviewer's belief that the setting was chosen for a very good reason: no culture has ever dealt more destructively and obsessively with both sexual and racial matters than Nazi Germany. Cavani set the story in a society in which ethnic identity was rigid, central, and could even be a matter of life and death. Yet when Louise tries on a kimono, a garment so symbolic of another culture, Cavani suggests a fluidity to ethnic identity. By highlighting Nazi persecution of gay men, a persecution in the guise of "cleaning up" and rooting out "corruption," Cavani points to the corruption inherent in many attempts to combat corruption.

Throughout "The Berlin Affair," love affairs violate taboos - the taboo against love between races, the taboo against love within genders.

Perhaps the most astonishingly bold statement of the film is in the character of Mitsuko. In public, she is a traditionally demure, restrained, submissive Japanese woman. In private, she turns all stereotypes on their head. She is not only bisexual but has no shame, no guilt, no conflict about her attraction to another woman. Even more astonishingly, this Japanese beauty dominates both her male and female love interests. Cavani underlines the power in sexual attraction. Heinz and Louise are both so powerfully attracted to Mitsuko, so sexually dependent on her, that they unquestioningly submit even to her most outrageous demands.

Film restoration expert Jay Fenton commented, "A great deal is going on in this film---------politically, sexually, socially, racially and artistically." A great deal indeed.
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Orphan (2009)
8/10
Successfully Horrifying Horror
25 March 2022
The Orphan: Horror that is truly horrifying Review by Denise Noe

A horror movie is meant to horrify and The Orphan is first-rate horror. David Leslie Johnson-McGoldrick authored the script based on a story by Alex Mace and Jaume Collet-Serra directed the film. It begins with Kate (Vera Farmiga), accompanied by husband John (Peter Sarsgaard) rushing through hospital doors so Kate can deliver her baby. From a conversation with a nurse, we soon learn that it is her third child. But . . . Alarm bells start to ring. Something appears to have gone wrong with the pregnancy. She is told the baby is dead and she protests that she feels movement. A nurse hands her a body soaked in blood.

Then she wakes up. Soon the story comes out that Kate and John are parents to a daughter, Max (Aryana Engineer) and a son, Daniel (Jimmy Bennett). Family members have learned Sign Language since Max is deaf. Kate gave a third baby that was stillborn. There are tensions in the marriage as Kate once had a drinking problem and there is a decade-old infidelity on John's part. However, the couple are solidly affluent and can easily afford another child. The couple believe adopting a youngster might soothe the aching void left by the stillbirth.

Kate and John visit an orphanage where they talk to Sister Abigail (CCH Pounder) about the children up for adoption. The couple notice a pretty nine-year-old girl, Esther (Isabelle Fuhrman), who is from Russia. Esther likes to paint and they are impressed by her painting. The nun praises her as a "mature" child and seemingly very well-adjusted despite tragedies in her background. In addition to having been orphaned in Russia, little Esther has already been adopted by an American family. Sister Abigail recalls that her adoptive family died in a house fire. Luckily, Esther made it out.

Kate and John decide that Esther will make a good addition to their family. They take her home with them. At first Max and Daniel appear delighted to have a new sister although Daniel is a bit standoffish, fearing she is "weird." For example, she wants to dress in manner more formal than usually done in elementary school.

Esther shows an interest in Kate's piano. Mom and new daughter bond over piano lessons. Then Kate comes across Esther playing the piano in a manner that shows years of training. She fibbed about not knowing how to play the piano . . . Could she have fibbed about other things?

Awful events start occurring. A child is seriously injured in a fall from a slide when Esther is nearby. Kate suspects Esther may have pushed the other child. She fears she and her new daughter are failing to bond. However, Esther seems to want to be close to her new daddy. When Kate shares concerns, John defends little Esther. Other events follow and Kate becomes increasingly confused. Just what is going on? Most importantly, who is little Esther?

Moving along at a crisp pace, The Orphan draws us in from the opening scene to the last. Collet-Serra knows precisely when to give us a break and when to ratchet up the tension. Performances are excellent throughout with Isabelle Fuhrman deserving special kudos. Only a twelve-year-old child when she played Esther, Isabelle Fuhrman inhabits this singularly odd character with the professionalism of the finest adult performer.

The Orphan is a top-notch motion picture that is sure to keep the viewer interested and intrigued.
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8/10
A Film To Be Appreciated On Its Own Terms
7 March 2022
The Fountainhead: Powerful Tribute to Individualism

Like the novel on which it is based, the movie version of The Fountainhead must be appreciated and enjoyed on its own terms. Ayn Rand wrote both the novel and the screenplay for the film and she wrote them as a tribute to the importance of individualism and sticking to one's principles. Director King Vidor appears to have understood the meaning of the novel and directed accordingly.

There is a very great problem in the casting of the film. In the novel, the story begins with Howard Roark being expelled from an architectural school at the age of twenty-two. When Gary Cooper was cast as Howard Roark, Cooper was forty-eight years old - and looked it. At one point, Gail Wynand says that Roark represents "my youth." This jars since the actor who played Wynand, Raymond Massey, was only five years older than Cooper.

Cooper tries valiantly to deliver the valiant spirit of Roark and sometimes he succeeds. But he also has problems, especially when delivering the courtroom speech, because he neither understood nor was sympathetic to Rand's beliefs.

The script must also be taken with a grain of salt as the dialogue is not even meant to sound like actual talk. Example: Patricia Neal, playing Dominique Francon, tells Roark, "I admire your work more than anything I've ever seen. You must realize that this is not a tie but a gulf between us - if you remember what you read in my columns." At any rate, the movie does a fairly good job of getting it across that Howard Roark is dedicated to his principles as an architect, and so strongly dedicated that he would rather work as a common laborer than compromise his architectural principles. He continues to design in his own way, even when he gets few clients, and even when he turns down a major contract rather than put silly doo-dads on a building he designed.

Perhaps the film is best at its contrast between Howard Roark and sell-outs Peter Keating (Kent Smith) and Gail Wynand. Peter Keating is an architect who does not really care about architecture but just about gibing the public what it wants. Thus, he designs buildings that are just retreads of what went before or mash-ups of conflicting styles, correctly derided by Wynand as "great marble bromides." Wynand is the boy who rose from Hell's Kitchen by publishing "The Banner," a newspaper made up of sensationalistic scandal-mongering coupled with trite everyone-can-agree-with-this platitudes.

Patricia Neal has the most demanding role as the tormented Dominique Francon. Rand once described the character as "myself in a bad mood." The success of her father and Peter Keating in architecture and "The Banner" in media convince her that this is "a world in which greatness and beauty have no chance." She also fears that she is frigid or asexual. At one point she says, "I guess I'm one of those freaks you hear about - a woman completely incapable of feeling." The way Neal puts her hands to her face and grimaces lends poignancy to the pain of the fear that she is in fact doomed to never experience sexual fulfillment. She has some of the best scenes when she comes to recognize greatness is possible and when she is shaken to realize that Gail Wynand had forgotten "one of the Banner's smear campaigns." The best casting is indisputably that of Robert Douglas as villain Ellsworth Toohey, the nemesis of Howard Roark. At once a quasi-intellectual and a rabble-rouser, he is a scoundrel who is effective partly because he knows he is a scoundrel and takes pride in his own wickedness. When he blows smoke out his mouth in satisfaction at a trumped-up campaign, he embodies everything Rand despised - and Douglas does so with vigor and relish.

All in all, "The Fountainhead" is not to every viewer's taste but one need not be a believer in Ayn Rand's ideology to enjoy the film for its intense drama and thought-provoking points made.
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Wicked Woman (1953)
7/10
Wicked Woman: Strong Story of a Dejected Dame
11 October 2021
Warning: Spoilers
Wicked Woman is undercut by its title. Protagonist Billie Nash is not wicked but a down-and-out dirt-poor drifter who has learned certain stratagems of flirtation and manipulation to survive. As another reviewer pointed out, Dejected Dame would be a more accurate title. I have read that the working title for the movie was Free and Easy but that is no more fitting since the trapped and desperate is anything but "free" and has a far from "easy" life.

That said, it seems like Wicked Woman was chosen for the title as an audience draw - and this film richly deserves an audience. The cheaply made black and white motion picture benefits from a gritty and credibly screenplay by Clarence Greene and Russell Rouse. The director of the film is Russell Rouse and he directs Wicked Woman with a sure and confident hand. Wicked Woman succeeds as an interesting character study, a look into a segment of lower-class urban America in the time period it was made, and a suspense crime drama that skillfully builds tension.

The film opens with our protagonist stepping off a Greyhound bus. Garbed all in white like Lana Turner in The Postman Always Rings Twice - a film this one resembles in some ways - Billie Nash is an eye-catching platinum blonde. She is played by Beverly Michaels who is taller than most actresses and that extra height, along with a slender but shapely figure, lends her a special sort of sex appeal.

Billie looks for and finds a room in a cheap boardinghouse. Appearing brusquely efficient, landlady Mrs. Walters informs Billie that she wants the rent in advance and that Billie "should take it easy on the lights." Mrs. Walters puts the new tenant on notice about possible visitors, curtly stating, "I run a respectable house." This cheap boardinghouse is a major part of the film as residents compete to get into the bathroom and rant at each other for making noise. Billie dryly refers to the sad circumstances of herself and the other tenants when she sarcastically calls them "the country club set." The movie takes us deep into the daily life of Billie Nash as she touches up her dark roots with a toothbrush in a sink and takes a swig of alcohol to give herself the courage to face life. Part of what lends the film value as a character study is that Billie is given strong eccentricities like her belief in astrology and her fondness for a Latin-flavored record, "One Night in Acapulco," that she plays over and over and over again.

She looks for work as a server - it would have been "waitress" then - in a bar. Dora Bannister (Evelyn Scott) asks for references. Billie spins a tale that may or may not be true about why she lacks them. Dora agrees to hire the sultry blonde beauty. "We get a steady trade here," Dora says. "They can get a little rough sometimes." Dora wants the new hire to look sexy without overdoing it and Billie knows just what she means.

In the meantime, Billie has become the focus of attention for the neighbor across the street, tailor Charlie Borg (Percy Helton). He cheerfully introduces himself. She responds in lackluster manner - until she hears the sizzle of the big, juicy steak he is cooking. She wants that steak and he "insists" she eat with him.

As she returns to her room, he intercepts her at the door. Billie sets him straight: "A dinner don't entitle you to no special favors, buster." He accepts this but says he hopes they might have dinner again.

Later Billie realizes she lacks an appropriate dress for her first day at work. Will Charlie loan her money for it? Of course he will . . . Providing she takes an evening off from her job so the pair can have dinner together.

Things really get underway when she starts working at the bar. Of course this long cool woman is popular with the guys. She is OK, "They're a nice bunch." But her reaction is anything but professional when she meets Dora's handsome hunk of a husband, Matt Bannister (Richard Egan). As soon as the two meet, there is an immediate chemistry. Billie also learns that the Bannister marriage is troubled because Matt is concerned about Dora's heavy drinking.

When Matt and Billie are left to close the bar up on their own, they gravitate toward each other like magnets. Oddly, what turns Matt on is Billie's idealization of Mexico: " sure want to go there. . . . I want to see the bullfights . . . I want to sit in the little sidewalk cafes and be serenaded . . ." The first kiss of Matt and Billie sizzles with heat. One of the best aspects of Wicked Woman is the seeming authenticity of the passion and the way it almost leaps off the screen.

Billie wants to run off to Mexico with Matt. However, both recognize that their passion will only take them so far and a comfortable life requires money. Is there away to filch cash from Dora and enjoy it south of the border?

Of course, the way Billie has built up a fantasy version of Mexico in her mind, and the ease with which Matt slides into that fantasy may be seen by some viewers as plot holes. After all, we have no reason to believe either knows Spanish and they have no reason to believe a country like Mexico, which is on friendly terms with the U. S., could not extradite suspects in crime cases back to America. However, it is not hard to attribute this poor thinking to wish-fulfillment.

The couple hatch a brazen scheme to pull the bar out from under Dora by having Billie impersonate Dora in front of a prospective bar purchaser and the professional facilitating the deal. This leads to a scene of nail biting tension as the audience realizes - although it is never verbally pointed out - that Billie has shown up with no wedding ring on her lovely fingers.

Eventually, the house of cards is knocked down, in large part by slimy, repulsive Charlie's insistent lust.

Some reviewers find the ending of the film weak. It is actually appropriate: things are about back to where they started with a bickering married couple and a luckless female surviving on male lust. The story comes full circle and the only lesson learned is that these characters are too flawed to even learn a lesson.

Wicked Woman is a mis-titled but fascinating excursion into the grubbier realms of both American society and the human character.
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Tormented (1960)
7/10
Tormented Tells a Good Ghost Story
16 August 2021
Warning: Spoilers
Tormented, a 1960 black and white film, does not aspire to be great art. Rather, it strives to tell a ghost story in an enjoyable and interesting way. It hits the mark bullseye.

The film begins with a nighttime scene of waves crashing against boulders on a shoreline. A somber voiceover talks about how the narrator used to think of the beach as a place of "peace" and "tranquility" but came to believe it where "you hear voices" of the deceased.

We cut to a couple quarreling in - of all places - a lighthouse. We learn from the squabble that lounge singer Vi Mason (Juli Reding) desperately wants to wed jazz pianist Tom Stewart (Richard Carlson) who is engaged to another woman. Vi protests that "no one will ever love you more than I do." Suddenly, and for no special reason (other than that the plot demands it), Vi wants to go to the top of the lighthouse and watch the sea from there. Once there, she spends little time admiring the view. Instead, she reminds Tom that she saved all his love letters. She asks what his fiancée would think if she read those epistles while Vi added "pertinent footnotes." Vi leans against the railing which - who would have guessed? - is weak and gives way. She holds on for a moment and begs Tom, "Please save me! Take my hand! Help me, Tom!" He puts his hand out - but then withdraws it, allowing Vi to fall to her death.

It appears to be the next day when the next scene opens with Tom on the beach. He sees Vi's body in the water! He swims to fetch the corpse and carries it onto the shore. As he looks down at the body, it turns into a mass of seaweed!

Much of what follows has this "is the ghost there or is Tom's conscience causing him to see things" tone. The woman to whom Tom is engaged, Meg Hubbard (Lugene Sanders), is often perplexed by his behavior as she is not (always) as aware as Tom is of a spectral presence.

Spooky events follow that include disembodied footprints, hands, and even a talkative ghostly head. There are special effects that fall flat as when the cry of the seagulls sounds like a person doing a bird imitation and Tom appears to battle a mannequin head. However, Tormented is appropriately atmospheric and events move at a brisk pace. It is adequately acted by Carlson, Sanders, and Reding (although Reding is only seen briefly).

Perhaps part of what lends interest to the movie are three very well-etched minor characters: Mrs. Ellis (Lillian Adams), Nick (Joe Turkel), and Sandy (Susan Gordon).

Mrs. Ellis is the island's real estate agent. She is also blind. Finally, she is a friend of both Tom and Meg. Lillian Adams does a superb job of making Mrs. Ellis believable as blind and, equally importantly, as insightful. Indeed, learning that Tom is troubled by a rejected woman, Mrs. Ellis appears to guess at the ghostly nature of the troublemaker.

Nick is the boat driver who took Vi to the island - and realizes he never took her back to the mainland. This character adds a special flavor to the movie with his beatnik parlance of "Dad," "crazy pad," "spliced," and so on. Joe Turkel perfectly impersonates the suspicious fellow.

But perhaps the most significant minor character is Sandy Hubbard, Meg's much younger sister. Only nine years old, she and Tom are depicted as having a close relationship - without the slightest whiff of pedophilia. Child actress Susan Gordon hits every note perfectly as she is by turns showing off, intrigued, frustrated, affectionate, and eventually horrified and confused.

Despite some special effects mishaps, as previously noted, Tormented well accomplishes its aim of telling an entertaining ghost story. It should be seen and enjoyed by anyone who likes a tantalizing cinematic trip to the "other side."
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8/10
A Tight Thriller That Shows Marilyn Monroe Could Really Act
12 February 2021
Don't Bother to Knock Showcased Marilyn Monroe's Ability to Depict Mental Illness By Denise Noe

Marilyn Monroe was a phenomenon. She was legendary as a 'sex goddess" but her special air of vulnerability made her much more than just a symbol of eroticism. Indeed, she was a performer so special that she launched an entire cluster of imitators - none of whom could displace the one and only. Still there is the question: Could she act? Many of her most famous parts were not really made to display her acting talents but her wiggle and jiggle together with a kind of endearing foolishness. However, it is this writer's opinion that she made it clear she could act in the underappreciated film noir Don't Bother to Knock. This is one reason Don't Bother to Knock should be better known and more fully examined. A black and white film noir, the film is set entirely in a swanky hotel catering to a wealthy clientele. It starts with the fizzling romance of pilot Jed Towers (Richard Widmark) and lounge singer Lyn Lesley (Anne Bancroft). Lyn is breaking up with Jed because he seems to lack empathy and caring. Then we see elevator Eddie Forbes (Elisha Cook Jr.) introduce his lovely niece, the shy Nell Forbes (Marilyn Monroe), to married couple Peter Jones (Jim Backus) and Ruth Jones (Lurene Tuttle). The Joneses are planning to attend a special event at the hotel. They arrange for Nell to babysit their young daughter Bunny (Donna Corcoran). In the suite of the Joneses, Nell puts the child to bed. Then she tries on the negligee and jewelry of Ruth Jones. As Nell looks in the mirror, her eyes take on a faraway look and the viewer can see her mentally transporting herself into another place. Understandably dejected, Jed brightens when he notices the lovely lady in the room across from his. He goes over to her place to flirt with her and she seems to welcome him. However, as they flirt, Jed starts to realize that things are not all as they seem with Nell. He senses this beautiful blonde holds a possibly nightmarish secret. Bunny comes into the room and Jed realizes that Nell does not live there but is babysitting. Without giving spoilers out, this reviewer can say that the film is extremely watchable and deeply disturbing. It gets out attention and holds it. Part of the reason a viewer will experience great tension is that Nell's disturbance is so deep and so great that it endangers the safety, even the life, of a child. That the story is so confined into a few rooms in a hotel is actually a strength because it adds a sense of claustrophobia. The disturbing story moves at a fast clip and the dialogue is credible. Don't Bother To Knock has a cast of first-rate performers but what really makes the story intriguing is the performance of Marilyn Monroe. Other reviewers have incorrectly described her character as a "psychopath" but she is not. Rather, her character's problem is not a lack of conscience or empathy - what Lyn believes to be Jed's problem - but delusions coupled with depression. Monroe perfectly depicts a character who, while not ill-meaning, is dangerous to both herself and others because she is unable to cope with reality. It is said that Monroe drew upon her experience with her own mentally ill mother to play this role and that it is quite believable - as is Monroe's performance. Don't Bother To Knock points out a tendency true even today: the wrongness of assuming that just because a person is female, that person is well-equipped to care for children. Jed appears to connect with Bunny and treats her kindly while Nell projects her own feelings onto the child and harms her. This motion picture could be disturbing and too intense for some people. It is probably not a film for children. However, it is a tense thriller and a meaningful psychological drama that deserves appreciation.
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Murder Is My Beat: A Tense and Well Acted Little Film Noir
31 January 2021
Murder Is My Beat does not compare with Edgar G. Ulmer's masterpiece Detour. Judged on its own terms, Murder Is My Beat is a more than worthwhile little film. Cheaply made, it has several strengths including its interesting plot, believably hardboiled dialogue, tight direction, and good performances. Most of the story is told in flashback as police detective Ray Patrick (Paul Langton) recounts his investigation into the murder of the aging and wealthy Frank Deane. The man has been found bludgeoned to death, his body burned in a fireplace beyond recognition. Clothing and I.D. discovered on the corpse identify the murder victim. Ray Patrick is soon on the hunt for the suspect, a nightclub singer named Eden Lane (Barbara Payton). The name is obviously chosen to indicate a "bad woman" and the suspect's landlady, Miss Sparrow (Kate McKenna), underlines this when she comments disapprovingly on her tenant's "tight clothes" and remarks on how her first name connotes "original sin." Miss Tight Clothes/Original Sin is on the lam and the committed detective tracks her down, slogging through snow until he finds her hiding out in a cabin owned by the late Frank Deane. World weary and preoccupied, Eden Lane somberly observes, "The only way I can wake up from this nightmare is to go to sleep." However, she seems genuinely shocked to learn Deane is dead. She hit him with a figurine but was it really hard enough to kill him? It would seem that is was. Patrick soon has the job of escorting the convicted murderer to prison on a train ride. It is on the train that the story takes a sharp turn. "No!" Lane exclaims. "It's Frank Deane." She is absolutely certain that she just saw the man she was convicted of murdering alive and well out the train. Patrick is scared she is telling the truth and that he is taking her to an undeserved punishment. He agrees to a "detour" (I could not resist) and the pair jump off the train to devote a week to unraveling the mystery of the alive-or-dead murder victim. The plot takes several major twists and turns before a satisfying resolution occurs. One of the remarkable aspects of Murder Is My Beat is the prominent role played by ceramic figurines. Trains are also used very effectively in opposing ways. Performances are all around credible and praiseworthy. Paul Langton is suitably hard-boiled and courageous as the detective. However, the most noteworthy performance, in this writer's opinion, is that of Barbara Payton. Sadly, Eden Lane was her last role before the scandal ridden actress was blacklisted from the film industry and slid into alcoholism and prostituting herself for small sums. She did a fine job as Eden Lane. While some other reviewers have criticized her as seeming "bored" by the project, the truth is that she gave a deliberately restrained performance that was perfect for the role. Eden Lane appears haunted and that appearance means that we cannot know whether she is the murderer the jury found her to be or the unjustly convicted person she claims to be. What's more, there is a suggestion of vulnerability in her performance that makes it believable that Langton would find her first intriguing and then captivating. Murder Is My Beat is an interesting 77 minutes. For Barbara Payton fans, it is a must-see.
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6/10
Borrowed Blonde is 17 Minutes of Comic Brouhaha
14 January 2021
This short film packs a punch (literally, a few of them). I watched it because I'm a fan of Peggy Maley who was usually a supporting player or even just a bit player but who has a big role in Borrowed Blonde. The short begins with a scene in Brewster Investments in which employee Leon Errol (played by actor Leon Errol!) is trying to interest boss Mr. Brewster (Paul Maxey) in property to be developed. Mr. B. gets a phone call from his wife (Vivien Oakland). The couple have a quarrel over - of all things - a disparaging comment the husband made about the wife's hat. "I didn't say I didn't like the hat," he remarks. "I said the feathers make you look like a pillow coming apart." This leads to a harsh quarrel and wife hanging up on husband. Mr. B's marital woes leave him with scant interest in the proposed development. "What does a man have to do to get along with his wife?" the boss wails. Errol claims he has a very good marriage, adding, "My wife is a little jealous although I never give her cause to be." He suggests Mr. and Mrs. B pay a visit to Mr. and Mrs. E to learn what a good marriage looks like. Brewster agrees he and his wife will do just that. Then Mr. E is walking down a hallway and the slapstick begins as he - literally! - falls over his pretty blonde neighbor, Mrs. Adams, played by Peggy Maley. This leads to Mrs. A trying on a coat Mr. E purchased for his wife. The zipper gets stuck, then Errol's tie gets stuck and then . . . well, it goes on to varied slapstick situations. When the Brewsters arrive to see what a wonderful marriage looks like, Mrs. Adams is pretending to be Mrs. Errol. As the situation gets ever more complicated, an anxious and befuddled Leon Errol must try to keep his true wife from seeing the fake wife and try to keep both women away from the Brewsters. Everyone gets into multiple scrapes by the time the brief film is over. It's a lots-of-laughs vaudeville-style short with no artistic pretenses and is an entertaining way to spend 17 minutes.
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Last Date (1950)
8/10
The Effectiveness of Restraint in the Horror of Last Date
16 May 2020
Warning: Spoilers
SPOILERS!

Last Date illustrates how suggestion can trump showing in emotional power. Only 19 minutes long, directed by the prolific but not famous Lewis D. Collins, the 1950 black and white short driver's training film Last Date is a tight, taut, finely crafted horror picture that deserves appreciation. It opens with a brief scene of young people enthusiastically dancing, followed by the title card over a silhouette of a boy and girl kissing. Then we are in the room of a teenaged Jeanne (Joan Taylor). Her back is turned to the camera. We do not see her face but shoulder-length dark hair that is silky and slightly waved. There is a suggestion of loveliness as well as freshness in that image. When first seen - from behind -- she is penning a letter to a friend. In the voiceover, we hear her sadly telling her friend of life-altering events that began innocently at a high school football game. The film switches to a high school football game being played. Jeanne and Kathy (Sally Hughes) sit happily side by side in the bleachers. Then the two young ladies are among a small group of high schoolers milling around on the grass outside a school building. Talking with Kathy, Jeanne wonders aloud which of two boys with whom she should go home since she has been dating the two most popular boys in the school - both of whom just distinguished themselves in the football game. "I wish I had that problem," Kathy says wistfully, lightly, apparently envious of Jeanne's ability to captivate boys. Right on time, the two boys, Nick (Richard York) and Larry (Robert V. Stern), show up. This seems like the right time to say a bit about the four major actors in this short. As is usually true of motion pictures featuring teenaged characters, the high school kids look a bit old - for the very good reason that the actors playing them are not teenagers but young adults. Although it would work for cinematic realism if the actors playing teenagers actually were teenagers, the special rules filmmakers must follow when employing minors means that this is, unfortunately, rarely the case. For example, in that classic teen angst motion picture, Rebel Without A Cause, 17-year-old James Stark was played by 24-year-old James Dean. Indeed, when this writer sees a high school classroom in a motion picture or TV show, I often wonder if everyone in the class flunked for about eight years straight! Thus, it is little surprise that Taylor was 21 and York 22 when they played high-school kids in Last Date. I was unable to find the ages of Hughes and Stern but believe it safe to surmise that they were in their 20s when they played in this film. Taylor and York enjoyed distinguished acting careers. Taylor became widely known to audience from the films Earth vs. the Flying Saucers (1956) and 20 Million Miles to Earth (1957). She also had a recurring role for two years on the TV Western The Rifleman before leaving acting in 1963 to become a full-time housewife. Making the small name transition from "Richard" to "Dick," York became famous as the first, often exasperated Darrin Stevens in the popular TV sitcom Bewitched. Hughes had a much briefer and less ostentatious acting career although she often played varied guest roles on the classic sitcom The Adventures of Ozzie and Harriet. By contrast, Robert V. Stern boasts no credit on the Internet Movie Database other than Last Date; the short may have been his last - and first - date with a film career. Back to the scene outside the stadium after the football game. Talking with Kathy, Jeanne admiringly notes that Nick's Dad recently gave him a hot-rod car. "But the way he drives!" Kathy remarks. The two boys come over to the girls and Nick graciously offers a ride to both girls. Kathy states that she has already had a ride with Nick and does not wish a second ride with "this candidate for teenicide." She helpfully explains that "teenicide" is a term often used by a disc jockey to describe teenagers who kill themselves, and perhaps others, before their 20th birthday through speeding and reckless driving. In fact, as Paul Mavis notes in DVD Talk, the Lumberman's Mutual Casualty Company "coined the term 'teenicide' in the late 1940s" because of a spike in fatalities by adolescent drivers in the United States after World War II ended. When Kathy explains the ominous term to the small group, Nick contemptuously snorts, "Teenicide!" He tells Jeanne that he learned to drive from his Dad who has never had an accident and has "only" been arrested three times. Of course, the latter disclosure is a big red flag - as obvious as a red light or stop sign. Nevertheless, Jeanne allows Nick to drive her home. He takes a long way home but cheerfully and recklessly goes over the speed limit. When Jeanne exits the hot rod for her home, she sees Larry sitting on her porch's swing. Why is he there? He tells her he is concerned about the way Nick drives. Larry asks her to remember what Kathy said about "teenicide." Jeanne seems to view his concern as overwrought and he goes on to tell her not to take unnecessary risks with her life. Despite being peeved at what she views as hyper-caution, she accepts a date that evening with Larry. She will go to the dance with him. Thus, the film sets up a situation in which our heroine, Jeanne, finds herself pulled between the exciting bad boy and the responsible good boy. In this case, the boys are differentiated by their driving styles: Nick, the speeding, lane-changing "candidate for teenicide" and Larry, the careful driver who respects the speed limit. On the way to the dance, Jeanne is frustrated by Larry's way behind the wheel, chiding, "You drive like a slowpoke!" She also rags, "Hurry up, you can beat that red light!" Larry turns on the radio and - wouldn't you know it? - the voice that comes on is that of the disc jockey warning against the danger of "teenicide." Jeanne derides the scolding DJ as "corny" and tells Larry she is sick of hearing about teenicide. Cut to the dance. Jeanne and dance Larry energetically. "Larry's a marvelous dancer," Jeanne says in the voiceover that vocalizes the letter she is writing about the film's events. As might be expected, Nick shows up. He cuts in to dance with Jeanne. "Want to take a little ride around the lake?" Nick asks. "Not more than fifteen minutes," she says. Once in the car, Nick speeds and weaves. "Be careful, Nick," Jeanne urges. "I'm always in a hurry," Nick asserts. He also says, "Just give 'em the horn and they'll get out of the way." Distressed by Nick's driving habits, the word "teenicide" plays repeatedly through our heroine's head. It is playing right before the (expected) crash. Back to the room in which the film started. Jeanne is writing the letter. We see only the back of her head. She looks out the window, envious of teens having fun. She writes to her friend, and tells the audience, that she was too ashamed of her face, which was disfigured in the crash, to attend X's funeral or those of the people he killed in the other car. We still see only the back of her head as she looks in the mirror -- then breaks the mirror. In less than 20 minutes, the viewer has been treated to a film that is, as Mavis asserts, "Dizzyingly crammed with more melodrama and action than some highly regarded '50s noir." He rightly elaborates that it is a "marvel of pinpoint scripting, expressive direction from Lewis D. Collins, and perfectly matched performances." That our heroine's scars are not shown gives the horror a power that no amount of gruesome make-up could equal. The power of Last Date, a power wonderfully out of proportion to its running time and budget, lies in the restraint of its horror, a restraint that leads a powerful sense of loss and damage that lingers long after its finish.
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The Andy Griffith Show: A Man's Best Friend (1965)
Season 6, Episode 12
9/10
A Well Performed and Meaningful Episode
27 December 2017
Warning: Spoilers
Goober is a good filling station attendant and mechanic. He is also childlike and simple-minded. Additionally, people generally want to believe they might be onto something "big." Thus, it doesn't necessarily strain credibility that Goober could fall for this trick. What is important is that Tommy and Opie learn from it. They realize that practical jokes are mean and that it wasn't right to fool Goober this way. The episode isn't the best-ever but it is far from bad. Anyone who is "into" practical jokes -- adult or child -- should watch this episode.
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Blonde Ice (1948)
Hard, TIght, Explosive
14 October 2017
"Blonde Ice" is a tight, taut film noir that does not waste a moment of time in telling the story of an ambitious and passionate beauty. Leslie Brooks does an excellent job of depicting an ambitious, ruthless, psychopathic character. Claire is not a sympathetic figure but we want to watch her machinations, partly because Brooks is so beautiful and glamorously decked out and partly because the script and direction build and hold suspense.

The film begins and ends powerfully and sustains interest all the way through. It is hard to imagine a more startling beginning: Clare and Carl take their wedding vows. Then Claire immediately goes to the balcony to assure an old beau, "I love you and you love me." She tells him, "I'll think about you on my honeymoon." Wow! And pow!

Inevitably, Claire gets caught in her own web and murder becomes her way out. It is well-acted and well-directed and more than worth a viewer's time.
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Trapped (1949)
8/10
"Trapped" Is Dark Indeed
22 May 2017
"Trapped" has the darkness of both cinematography and spirit that distinguishes film noir. A story of thieves and counterfeiters and undercover cops, it grabs attention and holds it until the surprising and violent end. The script is tight and believable.

One of the best things the film has going for it is that it was the first large role for the very talented but tragically doomed Barbara Payton. In "Trapped" she is the girlfriend of counterfeiter/thief Tris Stewart. The character Payton plays is Meg Dixon who calls herself Laurie Fredericks. Unlike the typical film noir femme fatale, the strikingly beautiful blonde is not so much nasty and cold-blooded as foolishly devoted to her criminal boyfriend. She adopts a criminal lifestyle out of love for him. Played by the handsome Lloyd Bridges, Tris Stewart is an utterly amoral psychopath motivated by sheer greed along with his own love for Meg/Laurie. Perhaps the only weak link in the film is John Hoyt as undercover cop John Downey. We should sympathize with Downey as the chief representative of the law but Hoyt's character appears so cold and calculating that he does not seem much better than the crooks he is trying to catch. However, this is a minor flaw in a fine film.
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Swept Away (1974)
Karl Marx Meets Marabel Morgan
14 January 1999
An interesting S&M film posing as a political movie about class struggles. A working-class man puts a haughty woman "in her place," and she ends up liking it. Many observers obscure the obvious preaching of male domination -- as well as class equality -- because it was written & directed by a woman and there are few women directors.
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