House on Haunted Hill

Tags

1950's, Alan Marshal, Carol Ohmart, Carolyn Craig, Elisha Cook Jr, Horror, House on Haunted Hill, Julie Mitchum, Richard Long, Vincent Price, William Castle

The delightful Gill and Barry asked me to take part in a blogathon celebrating the career of Vincent Price. I naturally obliged and decided to write about the devilish horror with a mischief loving edge, House on Haunted Hill.

A campy and creepy horror movie from William Castle that may show its age but is still rightfully entertaining due to some clever sleight of hand trickery and scintillating script, House on Haunted comes highly recommended from me.

Eccentric millionaire Frederick Loren(Vincent Price) invites five people to a haunted house party and promises to pay each $10,000 if they can stay the night there. The doors will be locked from midnight with no discernible way out. The house has been the sight of many a grisly event since it was built centuries before.None of the people invited really know one another, the only thing that links them is a need for money. They are rugged test pilot Lance Schroeder(Richard Long), ageing newspaper columnist with a gambling problem, Ruth Bridges(Julie Mitchum), psychiatrist who specialises in hysteria Dr. David Trent(Alan Marshal), the worried worker at one of Loren’s companies, Nora Manning(Carolyn Craig) and the owner of the property Watson Pritchard(Elisha Cook Jr.), who is scared stiff of the place and drops ominous warnings about ghosts. Loren’s wife, a mysterious and beautiful woman named Annabelle(Carol Ohmart)  is supposed to be the one who wanted the party, but we see that her union with Loren is toxic and constantly involved in a game of oneupmanship that once turned near fatal with a poisoning. With the guests assembled and a little confused as to why they would all be invited, the night starts. Soon enough, creepy things start to happen around the spooky dwelling; there’s a nasty surprise in the cellar , Loren’s seductive wife drops hints that her life is in mortal danger from her jealous husband but could be up to something and  with everyone locked in, deception stats to set in. But just who will make it through to morning and is there really a haunting going on?

William Castle was adept at churning films like this out with great success. He even used a gimmick of a floating skeleton in the cinema screenings for mimic one of the ghosts in skeleton form for novelty value. The effect is pretty neat here( obviously it doesn’t come off the screen), if a little showing it’s age in terms of effects and retains a somewhat kitsch appeal. Still there are genuinely creepy and twisty moments that reveal that House on Haunted Hill is rather clever at fooling us beneath the slightly goofy and campy surface. It’s akin to a dangerous cat and music game of Cluedo, just infused with a good deal of menace. Creepiness and campiness abound here with neither winning out as overruling the other; rather settling for a compromise that’s at times tongue in cheek and others atmospherically fun to watch. There’s a certain sense of impishness and skullduggery to events here that more than compensates for dated areas. The script is the main source of greatness here, playing events out as tongue in cheek and loaded with suspense. Vincent Price sinks his teeth into many a darkly amusing one liner and has a great moment of speaking directly to the audience. The score is pretty impressive, with the repeating sounds of a haunting and distorted voice signifying something very sinister bubbling away.

Now we come to the man of the hour, the one and only Vincent Price. Using his well cultured and spine chilling voice yo great effect as well as darkness and devilish charm , Price is the cherry on top of this film. You can sense he’s having a lot of fun being so devious, naughty and slithering in sinister nature and it shows in a very entertaining performance from the horror icon. Vincent Price is at some of his most charming and yet chilling here. Carol Ohmart makes an impression as the vampy wife of Loren; her deep voice and dazzling eyes suggesting someone passionate and scheming but maybe afraid. Elisha Cook Jr seems born to play the timid owner of the house who is as twitchy as a mouse in a room full of hungry cats. His character is the main introduction to their possibly being ghosts afoot, though its left ambiguous as is his integral character. The rest of the cast are serviceable enough, but the film ultimately belongs to Vincent Price.

So while creaky in places, House on Haunted Hill is still a good old-fashioned horror mystery laced with dark humour and Vincent Price on sinister and urbane form.

Carve Her Name with Pride

Tags

1950's, Based on a true story, Bill Owen, Carve Her Name with Pride, Denise Grey, Jack Warner, Lewis Gilbert, Paul Scofield, Violette Szabo, Virginia McKenna, War, World War II

I was kindly asked by Maddy and Jay to take part in a blogathon surround World War II in film. I chose the film Carve Her Name with Pride to highlight.

Based on the true story of Violette Szabo, an SOE agent in World War II who parachuted behind enemy lines and was eventually captured and executed by the Nazi’s( and then received a posthumous George Cross for her bravery), Carve Her Name with Pride is a well directed tribute to the bravery of this woman in wartime.

Early in the Second World War, spirited Violette Bushell is living in London. Her father is English and her mother is French, which accounts for her language skills. One day she meets French Army officer Etienne Szabo and the two quickly fall in love. After marrying, Violette discovers she’s pregnant, but Etienne is called back up to serve in North Africa. Tragically, Violette receives word that Etienne was killed in battle a few months later. She is devastated by the death of her beloved who never had the chance to see his daughter Tania. After his death, she shuts off as a way to deal with her grief. When she returns to life again, something unexpected lies waiting for her. To her surprise, she is asked to join the SOE to help the war effort. Due to her athleticism and bilingual skills, she’s an ideal candidate. Although apprehensive at first,  Violette accepts out of a sense of duty. She is trained in the art of espionage and though makes mistakes at first, shows her mettle and willingness to learn. Soon enough, she’s one of the finest recruits and ready for a mission. Her first mission in Occupied France is successful as she makes contact with the remaining members of Resistance loyal to the SOE and helps persuade one to blow up an important viaduct. Along the way, she becomes close with fellow agent Tony Fraser and opens up a bit more. It’s her second and last mission mission that proves to be fatal and tragic, though she refuses to give up any information to the enemy right up until her death.

Lewis Gilbert crafts Carve Her Name with Pride with unobtrusive skill and salutes the bravery of this woman and her strength for her country. As a film, it doesn’t over sensationalise events, rather presents them in serious but absorbing detail in a way that’s dignified and convincing. Foreshadowing is heavily present throughout with various lines of dialogue gaining more relevance as Carve Her Name with Pride continues. The first hour provides the build up to the first mission with the main events that lead to Violette joining by showing events in a brisk and economical fashion, without feeling too quick or too slow. Gilbert’s on form is bringing the foreshadowing of what’s to come and truly comes alive once the missions start. We glimpse how dangerous being a spy is and the moral dilemma of Violette in knowing that every minute could be her last . This helps it build to a powerful climax that’s hard to agass from your thoughts. The black and white presents events with a certain realism that’s pretty impressive and never loses sight of the serious dangers involved in spying and Violette’s immense dedication. As we know the eventual fate of the main character, a level of gloom is apparent. But it never overshadows things and makes them constantly miserable, rather it is more inspiring to watch someone do something to help their country in its time of need. An emotive score highlights the ups and downs of War and how events can take sharp turning points for those trying to help.

The ace in the hole is Virginia McKenna as Violette; she’s simply wonderful in the part. Getting across the gumption, selflessness, toughness and vulnerability, McKenna shines with her moving delivery and authentic honesty. It’s hard to picture someone else playing Szabo quite as accomplished as Virginia McKenna does or with the same blend of warmth and determination. She’s simply that good and embodies the British way of doing things in a quiet and dignified manner but making one hell of an impact. Paul Scofield compliments her as the agent who knows when to switch off emotions but still retain some level of heart. He’s nicely paired with McKenna and works splendidly and with ease beside her. Jack Warner and Denise Grey have small but nicely judged parts as the parents of Violette, who become concerned at their daughter’s secrecy. Look out for a small but funny role from Bill Owen as one of the training officers who begrudgingly acknowledges the talent of Violette. The biggest highlight though is Virginia McKenna, who is simply unforgettable.

A sober, extremely well mounted and acted war drama that truly honours its subject thanks to Lewis Gilbert’s nuanced direction and Virginia McKenna’s beautiful performance, Carve Her Name with Pride is an excellent tribute to the strength and sacrifice of one very brave woman.

No Man of Her Own

Tags

1950's, Barbara Stanwyck, Drama, Film Noir, Henry O'Neill, Jane Cowl, John Lund, Lyle Bettger, Mitchell Leisen, No Man of Her Own

I was asked by the lovely Maddy and amazing Crystal to take part in a blogathon honouring the one of a kind Barbara Stanwyck. Naturally I jumped at the chance to write about this powerhouse of an actress.

Director

Mitchell Leisen

Starring

• Barbara Stanwyck as Helen Ferguson/ Patrice Harkness
• John Lund as Bill Harkness
• Lyle Bettger as Steve Morley
• Jane Cowl as Mrs Harkness
• Henry O’Neill as Mr Harkness

A drama about a desperate mother taking on another identity, No Man of Her Own is tinged with a film noir style atmosphere which is largely beneficial. And even if the story has moments you have to take with a pinch of salt, Barbara Stanwyck and some nice, efficient direction are two major assets to the film and ones that aid it.

Helen Ferguson is pregnant by her louse of a man, Steve Morley. He cruelly discards her even though she barely has any money and will be left an unwed mother. All Steve does is give her a ticket from New York to San Francisco, which is Helen’s original home. With nowhere to turn, Helen who is eight months pregnant, boards to the train to an uncertain future. She is shown kindness on the train by recently married couple, Hugh and Patrice Harkness. Patrice is also pregnant and shows great mercy to the struggling Helen. While they are getting ready for the next stop, the train is involved in a catastrophic crash. Helen survives and is taken to hospital, where her baby is delivered. Patrice and Hugh die almost immediately after the train crashes. As she is wearing the wedding ring of Patrice(which she was minding while the real Patrice was washing) and is pregnant, Helen is mistaken for the dead woman. And as her affluent in-laws never met her, they assume that Helen is in fact their new daughter in law. Delirious, she tries to explain the truth, but everyone thinks she is still suffering from trauma and is not aware of what she is saying. Although she feels guilty and torn about taking her place in the family by lying, she’s so desperate that she can’t help but accept the open arms of the loving family. The mother and father are so very kind and Hugh’s brother Bill takes an almost immediate liking to her. As time goes on, life turns good for Helen as she assumes the place of Patrice and finally feels welcome somewhere, possibly for the first time in her life. But her happiness takes a turn when the twisted Steve shows up in her life again. He plots to blackmail her and asks for money to secure his silence. Helen is once more thrown into another predicament that could have terrible ramifications, just as her life was becoming comfortable and she was feeling accepted. Desperate times it seems call for even more desperate measures.

No Man of Her Own is  a combination of the woman’s picture and film noir. Though that may sound like a strange hybrid, with the deft hand of Mitchell Leisen at the helm, it largely coalesces well and has some fine atmosphere. From the opening of a peaceful middle class street, accompanied by the ominous voice over from Stanwyck, it captures the attention a lot as you aren’t sure which way No Man of Her Own will go. As darkness grows, a noir atmosphere of dread and desperation is never far behind Helen, with shadows and plays of light helping to show her in a very hard predicament. But you’re with her every step of the way and aligned with her attempts for a better life and to improve that of her child. Some leaps of faith need to be taken with some elements of the story and how neatly they fall in place. In the second half, the pace hits a bit of a lull but is thankfully rescued by watching Helen formulate a plan to rid herself of the loathsome. It’s only when the ending arrives that some of the greatness was supplanted as it feels a little too wrapped up and cheery for such a serious story. But despite these flaws, No Man of Her Own is immensely watchable in my eyes. A grand musical score compliments the atmosphere and emotion of the piece in that special way it seems only old movies can do.

Holding everything together is the powerful Barbara Stanwyck. Always someone who 100% to any role, No Man of Her Own is no exception. Exhibiting pain, relief, desperation and doubt, often within seconds of the other, Stanwyck is never short of compelling here. It’s all there in her face and we feel every ounce of emotion to it, and just how expressive it is. Even when the story stretches credulity, it is the determined Barbara Stanwyck that brings everything back together and worth watching. Stanwyck is a powerhouse no matter what she does. John Lund is a tad wooden as a possible suitor for Helen, but he gets better as the movie progresses. Exuding weasel tendencies and a nasty glimmer in his eye, Lyle Bettger is superbly cast as the main antagonist who could jeopardise what Helen has tried to do in order for a better life. Believe me, he’s one nasty piece of work. Rounding out things are Jane Cowl and Henry O’Neill as two lovely and welcoming in-laws.

Though it’s far from a perfect film, No Man of Her Own survives via the committed work of Barbara Stanwyck and the stylistic look of the film. These are elements that you will remember after viewing this movie.

Pandora and the Flying Dutchman

Tags

1950's, Albert Lewin, Ava Gardner, Fantasy, Harold Warrender, James Mason, Mario Cabré, Nigel Patrick, Pandora and the Flying Dutchman, Romance

The quite amazing Maddy is doing a blogathon on the cinematic icon abs beauty that was Ava Gardner. I thought I’d join and give my thoughts on Pandora and the Flying Dutchman.

Director

Albert Lewin

Starring

• Ava Gardner as Pandora Reynolds
• James Mason as Hendrik van der Zee
• Harold Warrender as Geoffrey Fielding
• Nigel Patrick as Stephen Cameron
• Mario Cabré as Juan Montalvo

A ravishing and unusual romantic fantasy, Pandora and the Flying Dutchman relies on the sheer gorgeousness of its visuals and it’s two main stars for what is one arresting movie. It may not be every taste out there, but for the cinematic lover, it’s bound to make a mark with its tragic romanticism and mythical shout outs.

In the coastal Spanish town of Esperanza in the 1930’s, men flock to the beautiful but aloof nightclub singer Pandora Reynolds. She is unmoved by attempts to woo her, even when the results are dangerous. It’s not that she’s heartless, she’s just never found anyone who has elicited a deep love within in. To others, she seems very callous( and in some cases she is and she demands her admirers perform ) but there’s more than just allure to her. It seems her attitude stems from boredom and knowing the power she has over men.She finally meets her match in Hendrik van der Zee. He is a mysterious man who mans a ship that only he sails on. Something about him captivates her like no one before, but he’s curiously distant. Geoffrey Fielding, who is a translator of text and friend of Pandora’s, surmises that is The Flying Dutchman as he’s been studying a manuscript. is doomed to sail the seas after he was condemned to immortality for murdering his wife he thought was unfaithful in the 16th Century. He can only be freed if he finds a woman who is so in love with him that she’ll sacrifice herself. Pandora is currently engaged to race car driver Stephen Cameron , but is also pursued by arrogant matador Juan Montalvo. But it’s Hendrik who most gets her attention and takes her over. Though Pandora falls deeply and unexpectedly for him, Hendrik attempts to push her away as he cares so much about her. Yet is Pandora really willing to give up everything for the man she has finally fell in love with? Let’s just say, tragedy and eventfulness take form in this romantic and mythical fantasy.

Albert Lewin crams the film with multiple mythology references and literacy allusions. This is something I’m a sucker for this kind of thing, as both subjects interest me and put them a in a stylish movie with a folklore inspired undergone, and I’m going to like it. Not every idea of comes off, but an underlying emotion and melancholy brings some of the flights of fancy back down to Earth and is a feast for the eyes and ears. There’s a poetry to the script( which is written by Lewin and story of an impossible love and the sacrifice asked to restore it and the flowery language, mixing metaphors and similes that a wordsmith would be proud of. Lewin does himself proud with this exercise in gorgeous style and heightened emotions. The biggest asset is how the camera truly is in love with Ava Gardner. She glows with an otherworldly glamour and is remarkable to admire. And the cinematography by the outstanding Jack Cardiff, with Technicolor shot through with a moody blue tinge is simply gorgeous at referencing the romantic fatalism of the two main characters .There are a few parts that stretch credulity and become to out there for its own good(along with a running time that’s a tad excessive), but by and large it is a movie that’s heady appeal isn’t wasted on colourful fans of movies deemed as oddities. It’s an exotic, dreamy film with a sheer sense of atmosphere and visual poetry that’s hard to tear yourself away from. It’s far from flawless in a number of ways, but it’s unusual nature and devastatingly splendour are hypnotic. And the score has a really unusual, tragic and lushly romantic aura that covers Pandora and the Flying Dutchman all the way through.

Ava Gardner heads proceedings as the eponymous Pandora, who’s feeling of indifference melt as she falls for The Dutchman. Gardner was a breathtaking beauty who just entranced you from the first time you saw her. That lends itself well to the role of Pandora, as men flock to her everywhere. Yet despite being such a luscious lady, she was also a very good actress. This is sometimes overlooked because of her looks, which is quite unfortunate. Here as Pandora, she exudes an enigmatic charm and a genuinely growing set of feelings that come as a surprise to her as well as us. Gardner has sheer magnetism, both because of her beauty and talent. Her work here is mysteriously masked yet slowly revealing into someone letting their often disguised feelings of love come out. Pandora may act callously and flippantly at first, but once she meets her, she’s slowly transformed into someone very different.so please check it out and marvel at her command of the camera. James Mason adds pathos and weariness as the cursed sailor who is lonely and desolate, but caught in a conundrum once Pandora enters his life. Mason and his mellifluous voice wring depth and guilt ridden anguish from the part that stands as one of many wonderful performances by a fantastic actor. Mason shares an unusual and tentative chemistry with Gardner; both striking off the other with their collective uncertainty and bewilderment at their growing attraction. it really adds to the atmosphere and mythical mood of this film. Filling out the supporting roles are Harold Warrender, who wisely acts as narrator to events, show off beholder of Pandora’s hand Nigel Patrick and strutting Mario Cabré as the matador willing to kill for the love of the eponymous lady. All are great, but it is definitely James Mason and above all Ava Gardner who you’ll remember from this picture.

A most peculiar yet haunting movie that looks sublime in Technicolor, Pandora and the Flying Dutchman is the perfect love letter to the haunting Ava Gardner and shows clearly why she was made for cinema.

The Key

Tags

1950's, Bernard Lee, Carol Reed, Drama, Romance, Sophia Loren, The Key, Trevor Howard, War, William Holden

I was recently asked to take part in a blogathon set up by the trio of Virginie, Michaela and Emily. To honour the star that was William Holden, I decided to review war romance-drama The Key.

Film Title

The Key

Director

Carol Reed

Starring

• William Holden as David Ross
• Sophia Loren as Stella
• Trevor Howard as Chris Ford
• Bernard Lee as Wadlow

A wartime drama with romance and something of a gloomy aura, The Key at least holds the attention thanks to the stars and direction. No masterpiece, but compelling enough and filled with good parts.

It’s the Second World War and Canadian tug boat captain David Ross arrives in Plymouth, England. He is assigned to salvage missions that entail picking up ships that have been attacked in conflict with the enemy. It’s an extremely dangerous job as the tug boats are ill-equipped to combat any form of onslaught, leaving them open to death every time they venture out. David meets with old friend Chris Ford who is a captain. Later after a number of missions, Chris takes David back to his lodgings, drawing particular attention to the key. It is here that David meets the beautiful Stella; an Italian-Swiss woman who rarely leaves the apartment. We learn that the key to the apartment is seen as an omen as many men have lived there and perished at sea. This has left Stella lonely(especially since the death of her first love), even though she constantly has company. With the life expectancy of these men low, Chris gives David the key to the apartment in case anything should happen to him. When Chris dies, David moves into the flat. At first, he and Stella are distant with each other as he is skeptical about the seemingly cursed nature of the key. But over time, the two fall in love. But the overreaching feeling of darkness from David’s job and Stella’s past experience with men threatens to ruin what is growing between them.

Carol Reed’s direction manages to balance drama and the scenes of war very well. It’s not Oscar-winning direction but it is passable and generates interest in what will happen next. A certain ghostly quality hangs over The Key. Something quite haunting and melancholy is in the air, especially when it comes to Stella who occupies a haunting presence throughout the story. The black and white cinematography aids the dark areas of the story and the possible love that may happen. The Key is good but far from high calibre movie making, marred by the long running time and occasional dreariness that undoes many of the fine things the movie does. At least it still retains attention thanks to the evolving relationship between Stella and David. The second section raises the film up as more momentum is introduced into the narrative. We see Stella emerge from her gloom and discover that love could be on the cards for her and David become less resistant to the idea that their union could be cursed. A highly dramatic score, with a certain haunting aura heard in many instances.

William Holden excellently conveys the tired and uncertainty of a man who has experience in battle, but is still secretly terrified of the prospect. Blended with movie star charm that is never far from view, Holden is endlessly watchable in his part. Sophia Loren is quietly melancholy and haunted as the woman at the centre of things. There’s real sadness and pathos to her work that comes through in her face, which craves love and companionship but knows of the bleak realities of life that have befallen her. Loren plays this lonely character who just wants some form of togetherness with real clarity and acting opposite the great William Holden is wonderfully convincing. They share a tentative chemistry that matures along with the movie. Trevor Howard makes the most of his role with a scene stealing turn as David’s friend and the one who sets in motion the relationship with Stella. He works well with both Holden and Loren when he appears. Also watch out for Bernard Lee in a supporting part of the head of the salvage unit.

Far from flawless but filled with something unusual and with a great cast, The Key is an entertaining way to spend your time.

Suddenly, Last Summer

Tags

1950's, Elizabeth Taylor, Joseph L. Mankiewicz, Katharine Hepburn, Melodrama, Montgomery Clift, Suddenly Last Summer

The quite wonderful Crystal asked me to take part in a blogathon that paid tribute to the iconic Elizabeth Taylor. I jumped at the chance to do so and will review Suddenly, Last Summer.

Film Title

Suddenly, Last Summer

Director

Joseph L. Mankiewicz

Starring

• Elizabeth Taylor as Catherine Holly
• Katharine Hepburn as Violet Venable
• Montgomery Clift as Dr. John Cukrowicz

A typically heated and startling play by Tennessee Williams provide the basis for this shocking and highly dramatic movie. Suddenly, Last Summer is a go to for great dialogue, taboo subjects being brought up and fine acting from a starry cast.

1937 New Orleans; Dr. John Cukrowicz is a young surgeon who works at an asylum for the insane. He is growing restless with the crumbling building and conditions not being up to scratch for his work. The answer to securing more funds and much more accessible ways of doing his work comes one day with a letter. It is from Violet Venable, a wealthy widow who offers to help fund a new wing for the hospital. That is if he meets her to discuss something she wants in return. Encountering the ageing matriarch, he learns that her son Sebastian died suspiciously on a holiday last summer. Violet has a young, beautiful niece called Catherine Holly who is institutionalised following a trip to Europe the previous summer. On that trip was when the shocking death of Sebastian occurred and Catherine suffered a breakdown. Violet wants Cukrowicz to perform a lobotomy on Catherine, as she is secretly worried that Catherine has sinister information about her son that she was utterly devoted too. In return, she would supply him with the necessary things he requires for his practice. Cukrowicz is naturally skeptical about all of this, so he decides to meet Catherine himself.  Catherine, though emotionally disturbed by her cousin’s death, is not insane and Cukrowicz comes to see that she has blocked out the painful memories of the past but not completely forgotten it. He is determined to help her reveal what occurred with Sebastian on that fateful trip abroad. Due to her hysteria and in between sedation , it makes it difficult for him to push further with his investigation. But he is not going to stop and along with a determined Catherine, both want to get to the bottom of Catherine’s fragile mind and discover just what really happened to Sebastian last summer.

The talented Joseph L. Mankiewicz is the man behind the camera. He makes it a daring movie that isn’t scared to get close to taboo subject matter and high drama of a high factor. And on a stylistic level, the production design and cinematography conjure up the unusualness of this most startling tale, with many scenes tension filled and like something shocking is about to be revealed. Now I do believe that some of the subject matter covered is more alluded to than shown, probably because of the threat of censorship back in the day. But the issues that it mentions and hints at are there for us all to glean and be shocked by, which for me says that the movie still packs a punch. This is especially true in the emotions stakes, which is something that Tennessee Williams and his work often have. The stories are heated and button pushing with everything coming out in turns of torrid feeling. The Southern Gothic atmosphere and building tension are grand assets for Suddenly, Last Summer and ones it employs to bring out the melodrama of the piece to the highest order. The script isn’t afraid to push the boundaries of the time by focusing on latent homosexuality and attitudes towards mental health, ensuring that even a movie from the 50’s could tackle subjects(although a little watered down due to the powers that be) with dramatic prowess. Due to this we get some amazing monologues from characters, in particular Catherine as she has to dig into her subconscious and remember the shattering events of last summer. A flaw can be that the stage origins of the piece start to show in many instances. Yet the material and acting make up for that hiccup of not being expansive enough. And the mystery of what happened to Sebastian and whether or not Catherine will be able to put it together are brought out with the brass heavy and often very sinister score.

All the actors present get in touch with the overheated and highly dramatic stylings of the script, especially Taylor and Hepburn. Elizabeth Taylor is excellent as the traumatised and haunted Catherine, who is emotionally disturbed by the events of last summer. Taylor gets to be terrified and fearful of her own memory here, clearly tapping into the shock and horror of what the character has witnessed and just how much it has caused her to block out what really happened to her cousin. Catherine clearly knows something but it has been blocked out by her trauma. She’s many things from scared to often sensual to lucid and determined to uncover what’s being concealed. A lot is conveyed through darting eyes and body language to suggest the turmoil and terror Catherine feels, especially and most effectively in the stages in which everything comes out in the open. It’s a fine performance of shock, vulnerability, uncertainty and numerous angles from Taylor who really displays her sometimes overlooked talent here. Also fabulous is Katharine Hepburn’s sly and cracked Aunt. Hepburn’s marvellous voice and mannerisms are put to good use here; she’s like a broken piece of glass with her tremulous and fidgety switches in mood and behaviour. Aunt Violet is also very witty and acerbic, finding another side to a woman who is broken by her son’s death but intent on keeping what happened under wraps. The great Katharine Hepburn is another great entry to Suddenly, Last Summer’s strong acting bow. Montgomery Clift is the most subdued member of the cast but his sensitive doctor is still acted well. He is required to be the ears to both women’s stories and make up his own mind on what is the truth of the matter at hand. His role is not the most showy but it serves its purpose in a manner befitting the story.

A deliriously eye-opening slice of melodrama and Southern Gothic atmosphere, Suddenly, Last Summer is a very good adaptation of a Tennessee Williams play with grand acting and mystery.

The Hitch-Hiker

Tags

1950's, Edmond O'Brien, Film Noir, Frank Lovejoy, Ida Lupino, The Hitch-Hiker, Thriller, William Talman

To kick off the female filmmakers series I am doing this February, we have The Hitch-Hiker. Be sure to tune into more female directed movies this month and see if any catch your interest.

Film Title

The Hitch-Hiker

Director

Ida Lupino

Starring

• William Talman as Emmett Myers
• Frank Lovejoy as Gilbert Bowen
• Edmond O’Brien as Roy Collins

A taut and very tense noirish thriller from Ida Lupino, The Hitch-Hiker, thanks to her sure hand keeps events ticking over with a real sense of suspense and possible terror. Taking basis from a real-life serial killer and his reign of terror, The Hitch-Hiker keeps you constantly invested and intrigued as events go on.

Friends Gilbert Bowen and Roy Collins are on their way to a fishing trip in Mexico with nothing in the way of eventfulness planned. Little do they realise that their planned fishing trip is about to take a possibly deadly detour. For they come across one Emmett Myers, who they think has just broken down and needs a ride. Offering him a lift, they soon discover he is a wanted criminal who has murdered a number of people who he has hitched a ride off. At gunpoint, Myers forces Gilbert and Roy to take him into Mexico and into the desert filled areas. He is attempting to evade the authorities and wishes to get to the town of Santa Rosalia in hopes of escape. Myers constantly toys with both men, tormenting them with his disregard and hatred for humanity. Both men try to think of ways to escape from the clutches of Myers, but it proves difficult. Chief among the struggle is the fact that Myers has one eye that never closes, making it incredibly hard for Roy and Gilbert to flee. Can both men manage to not be worn down and discover a way to survive what promises to be deadly if they don’t cooperate?

Ida Lupino, who was at the time of the film’s making one of the only female directors in the business, acquits herself well with this unnerving thriller by taking a simple premise and making it gritty and appropriately grim. She taps into the shared fear of strangers and what they could possibly hide or bring to you in unexpected circumstances. As well as this, we get the uneasiness of how events that take place in The Hitch-Hiker could very well happen in real life. Being stopped by someone you don’t know in a place you are unfamiliar with is a very real terror that I’m certain everyone has thought of in their lifetime, enabling The Hitch-Hiker to be all that more successful at the taut vision it is going for. And speaking of real life, The Hitch-Hiker takes influence from a case of murders committed by Billy Cook. He was the man behind a 22 day spree of murder before he was captured and sent to the gas chamber. Knowing that this has influenced the movie itself, we watch as Lupino fashions a claustrophobic noir that instead of featuring a big city, uses the vast deserts of Mexico for its setting. Taking place in the mountainous regions and for the most part in the car that is hijacked, we feel like we’re in just as much of a jam as Gilbert and Roy find themselves in. And even though noir was often seen as a masculine genre, Ida Lupino shows herself to be just as good as her male counterparts in directing. It’s truly great to see a pioneering lady in action behind the camera. And the pace of the film, which clocks in at just 71 minutes, is economical and straight to the point of things in terms of the suspense. The climax may lack that bit of oomph, but everything else is right on the money and very taut. On the visual front, the looming surroundings and the tightness of the car provide ample opportunities for style in the noir fashion. A suitably tense score highlights the uneasiness of both men as they are nearly broke down by Myers and his evil.

Sweaty, sleazy and nasty evil is exuded by William Talman as the eponymous killer. Talman just has something sinister about him right from the first moment we clap eyes on him. This pays dividends as his performance is extremely mercurial and sly; watching him attempt to break the friendship between is genuinely creepy viewing. Frank Lovejoy and Edmond O’Brien underplay things nicely, with a realistic terror and sense of hopelessness, tinged with the possibility for both to save the day if they can. Both actors are stalwart performers who you really believe as regular Joe’s caught in a most alarming and dark situation.

A grim, dark and well-paced movie, The Hitch-Hiker displays the talents of Ida Lupino as a director to be reckoned with.

To Catch a Thief

Tags

1950's, Alfred Hitchcock, Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Romance, Thriller, To Catch a Thief

Film Title

To Catch a Thief

Director

Alfred Hitchcock

Starring

• Cary Grant as John Robie
• Grace Kelly as Frances Stevens
• Jessie Royce Landis as Jessie Stevens
• John Williams as Hughson

A witty, scintillating romantic thriller from the iconic Alfred Hitchcock, To Catch a Thief finds the master at his most playful and arch. This lush gem of a movie is super gorgeous to look at and soars to greatness thanks to the star pairing of Cary Grant and Grace Kelly.

John Robie is a retired jewel thief who lives in a villa just off the French Riviera. Once dubbed ‘The Cat’ and the best in the field of burglary, he has now turned his back on his old stomping ground. But he’s about to be dragged into it again thanks to a spate of high-profile thefts along the coast. All the cases involved the gorgeous and very expensive jewelry of the rich and well-known. Wanted by the police and with only a handful of old contacts trusting him, he attempts to evade capture and arrest for something he hasn’t done. Thanks to an insurance man Hughson, who has the knowledge of who owns the best gems, he comes into contact with the very beautiful Frances Stevens and her flouncy mother Jessie. Frances is a seemingly icy girl with boredom to contend with, but John discovers she lusts after something thrilling and even dangerous. Both begin a flirtation that ignites her curiosity over who he really is and what to do about it. Meanwhile, John sees the opportunity to bait the real thief with jewels belonging to the wealthy widow Jessie. But it’s not as easy to prove his innocence as thief is gearing up again and the dalliance with Frances is growing deeper.

To Catch a Thief has Alfred Hitchcock in relaxed and bubbly mode; teasing the audience in just who the real thief could be and whether John and France’s will become a couple. Hitchcock is having a whale of a time with the sexy interplay and mystery of the piece; utilising his bag of exceptional tricks to marvellously entertaining effect amid gorgeous scenery and attractive stars. His elegant hands are all over To Catch a Thief and it’s all the better for us that we have the master movie maker delivering the goods with customary high quality. Some may dismiss it as lightweight Hitchcock, but even if that is the case, it’s darn entertaining. I might not put it up there as one of Hitchcock’s classics, but any Hitchcock is better than most and that is something I stand by cinematically. A cracker of a script blends elements of caper, humour, seductiveness and thriller into a pretty and polished product that presents a lighter side to Hitch. And it’s amazing how much innuendo To Catch a Thief manages to pack into its frames. From Frances asking John whether he’d like a (chicken) breast or a leg to the memorable deduction that is inter cut with fireworks wildly exploding to signify passion, this movie is definitely not short on suggested naughtiness. This cheeky approach greatly benefits the movie and is impressive, especially considering how movies back when this was released where often at the mercy of the censors. Lush cinematography that deservedly garnered an Oscar and splendidly detailed costumes are a cherry on top of a finely made cake. And of course, the sweeping and romantic music is a big plus throughout To Catch a Thief’s running time.

Cary Grant, the King of suave, is on solid and fine ground as the former jewel thief trying to clear his name. His lightness of touch and twinkle in his eyes is just right for this movie and showcase him at his most charismatic. Complimenting Grant is the gorgeous Grace Kelly, who never looked more lovely or sensual as she did here. She spars nicely and seductively with Grant, by exhibiting a kittenish and sly demeanor that is very becoming as she plays with his feelings in a bid for thrills. And you can’t miss the sizzling chemistry shared between both stars that practically radiates whenever they’re in proximity of each other. It’s the kind of sexual tension you’d want to bottle up it’s that impressively shown. Jessie Royce Landis and John Williams both lend some fine support to proceedings too.

A gorgeous romance and thriller with oodles of style and sexy moments, To Catch a Thief presents Hitchcock at his most cheeky and in the mood to entertain. A breezy quality is very apparent, plus his numerous directorial stamps blending with sublime sights of the French Riviera.

The Seventh Voyage of Sinbad

Tags

1950's, Adventure, Alfred Brown, Fantasy, Kathryn Grant, Kerwin Mathews, Nathan Juran, Ray Harryhausen, Richard Eyer, The Seventh Voyage of Sinbad, Torin Thatcher

Film Title

The Seventh Voyage of Sinbad

Director

Nathan Juran

Starring

• Kerwin Mathews as Sinbad
• Kathryn Grant as Princess Parisa
• Torin Thatcher as Sokurah
• Richard Eyer as the Genie
• Alfred Brown as Harufa

Boasting a whole lot of excitement and the amazing stop motion skills of Ray, The Seventh Voyage of Sinbad is fun with a capital F that retains a magical quality to it that never dims. So sit down and be transported into a daring time of quests and magic that is hard to resist.

Legendary adventurer and captain Sinbad is travelling back to Baghdad when his ship is driven towards a strange island known as Colossa. Going ashore with his crew,  Sinbad encounters Sokurah, a magician fleeing from a Cyclops and grasping a magic lamp. Managing to escape the large beast through the use of the lamp and the genie inside, Sokurah comes aboard with Sinbad. He explains that he needs the lamp, which was lost when running away, but Sinbad is reluctant to return to the island. Sinbad is to be married to the beautiful Princess Parisa, who has journeyed with him on his voyage. Their marriage will unite two countries in peace and love, benefiting from the fact they are so very much in love with each other. On their return to Baghdad, things take a turn. Sokurah, angry that he’s been refused , secretly uses his magic powers to shrink Parisa to miniature height. This plays into his plans as Sinbad is desperate to regain his soon to be wife and potentially stop any violence between the two nations. Sokurah tells them that if they want to reverse her shortage of stature they must travel back to Colossa and acquire the egg of a giant bird to make a potion that will reverse the magic. What Sokurah really wants is to get his dirty hands on the magic lamp and use it for his own greed. Sailing back to Colossa with a doubtful crew, Sinbad knows that this journey isn’t going to be easy as he must battle against an array of marvellous creatures if he wants any chance of Parisa getting back to normal again and preventing any animosity between two kingdoms.

Nathan Juran contributes pleasing direction that allows events to be one entertaining adventure by being unobtrusive and letting the effects and magic take deep hold over the audience. The main thing that The Seventh Voyage of Sinbad is rightly remembered for is the quite wonderful stop motion animation of Ray Harryhausen. His personal stamp is there whenever any of the succession of beasts appears; his craftsmanship is something to be greatly admired and marveled at for the sheer dedication and thought gone into it. Harryhausen was a master of spectacle and extraordinary sights and it is for all to see in this excellent fantasy film. From the angry Cyclops to the two-headed bird known as the Roc, the mind of Harryhausen conjured up such greatness and a feeling of otherworldly possibility. At the time of release, his creations must have been revolutionary and met with amazement. The same can still be said now as without his guidance and talent, modern animation and visual advancements may not have been crafted in order to emulate some thing of his greatness. Swashbuckling adventure and fantasy are at the forefront of this flick, starting from the beginning and never letting up. This is a movie the whole family can enjoy as it has something for everyone. It provides pure escapism into a magical tale of heroic deeds and unusual creatures that is rollicking and bracing in almost every aspect. We never seem to see movies such as this anymore, but it’s probably for the best as modern movies may miss out on that special something these fantasy/adventures had. The exotic flourishes of the score from the majestic Bernard Herrmann only heighten this gloriously magical fantasy extravaganza.

Kerwin Mathews is handsome choice for Sinbad and while not the world’s greatest actor, his physicality and masculinity are extremely appropriate for the part of the legendary adventurer. Kathryn Grant is beautiful and sweet as the Princess whose plight is what brings the story into action. The two make a very attractive couple in this magical tale of heroism and danger. Torin Thatcher is made for playing villainy and he plays to that with relish. Just looking at his intense and often alarming eyes, he exudes a slimy sense of power and nastiness. In support there is the young Richard Eyer starring as the boy Genie who can grant any wish and Alfred Brown as Sinbad’s loyal friend Harufa.

The Seventh Voyage of Sinbad is good old-fashioned adventure at its height with imagination and thrills galore. For a movie that the whole family can love and for an adventurous time, you can’t go wrong with The Seventh Voyage of Sinbad.

Sea Wife

Tags

1950's, Adventure, Basil Sydney, Bob McNaught, Cy Grant, Drama, Joan Collins, Richard Burton, Sea Wife

The wonderful Gill and Cat invited me to take part in their Then and Now blogathon. I decided to review two movies, twenty years a part to fit in with the theme. As Joan Collins featured on one of the banners, it seemed only right to review two movies starring the great lady. The first up is Sea Wife.

Film Title

Sea Wife

Director

Bob McNaught

Starring

• Joan Collins as Sea Wife
• Richard Burton as Biscuit
• Basil Sydney as Bulldog
• Cy Grant as Number Four

An adventure drama from the 50’s that may not be high art and a tad disjointed, Sea Wife is nonetheless a worthwhile enough movie that holds the attention for its relatively short running time.

In 1942, a cargo ship in Singapore is boarding people before the Japanese Army arrives. They are however soon under attack, causing everyone to evacuate the boat. One a lifeboat, four disparate people end up escaping and separated from everyone else. None of them are really referred to by their real names, instead we get to know them through the nicknames they assign each other. There is military Officer Biscuit, beautiful Sea Wife( who is secretly a nun), bigoted businessman Bulldog and black purser Number Four. Frictions and tensions quickly rise as Bulldog and his prejudiced views belittle Number Four. Also, Biscuit begins to fall in love with Sea Wife, unaware that she is really a nun and is bound by her vows to God. Following being nearly thrown overboard in a storm, near starvation and desperation, they eventually end up washed onto an island. And while they all attempt to think of ways to make it back to civilisation, events take a tragic turn.

Bob McNaught and his direction are passable and do the job, yet can feel rather labored and in need of a fixer upper. The opening stretches of Sea Wife are the best areas of the film, with the attack of the ship and the subsequent introductions to the characters ending up quite fascinating. Sea Wife, while dated, is quite surprising since good doesn’t always triumph over bad here. In most old movies, good often prevails but in Sea Wife there is a definite melancholy to it that marks it out as something different. Plus, the topic of racism is approached with depth and a sensitivity rarely seen in a 50’s movie. Yet there are definitely some parts of the overall product that could have been improved. The sentimental nature is laid on a bit too thick in stretches and I think my biggest gripe was that events, especially when concerning the latter stages, feel rushed in comparison with the parts where we get to know the characters. A tad more expansion and some more back story for all of them would have been a blessing to this film. The flashback device is pretty nifty and well employed, while lending a bit more depth than what the script often gives us. Focusing on the attempts of Biscuit to find Sea Wife after the tumultuous events on the island, it gives more nuance to the film than it really should have. The music score for the film has a real sweeping quality to it, that I really enjoyed and found beautiful to listen to.

As the eponymous character, Joan Collins is the main focal point of the film. Although known primarily for playing super bitches and glamour goddesses, it’s somewhat refreshing to see a very young Joan Collins in a serene and sincere role. There’s a real sweetness to her here and her beautiful face often speaks volumes in terms of feeling. If you’ve only ever thought of Joan Collins as the aforementioned diva, please check out Sea Wife to see another side to her. You may be surprised to see her play a nun, but it actually works. The ever intense Richard Burton is on hand too, with his customary seriousness and brooding, ideal for his part of the pining man. Basil Sydney really gets into character as the horrible racist, whose prejudices and nastiness, are rendered in full villainous form. Finally, we have Cy Grant as the abused yet useful man, who suffers at the hands of Bulldog simply because of his skin colour. It is with the cast that Sea Wife rises above its many flaws. And while their roles are not what you’d call the best written, they all make them work.

No classic of adventure by means, but still owning enough moments and good acting to tide us over, Sea Wife is an interesting movie to be sure.