Carry On Nurse

Tags

1950's, Bill Owen, Carry On Movies, Carry On Nurse, Charles Hawtrey, Comedy, Gerald Thomas, Hattie Jacques, Joan Hickson, Joan Sims, Kenneth Connor, Kenneth Williams, Leslie Phillips, Rosalind Knight, Shirley Eaton, Terence Longdon, Wilfrid Hyde-White

Film Title

Carry On Nurse

Director

Gerald Thomas

Starring

• Kenneth Connor as Bernie Bishop
• Kenneth Williams as Oliver Reckitt
• Hattie Jacques as Matron
• Charles Hawtrey as Humphrey Hinton
• Terence Longdon as Ted York
• Shirley Eaton as Nurse Denton
• Bill Owen as Percy Hickson
• Joan Sims as Nurse Dawson
• Leslie Phillips as Jack Bell
• Joan Hickson as Sister
• Wilfrid Hyde-White as The Colonel
• Rosalind Knight as Student Nurse Nightingale

After the success of Carry On Sergeant, producer Peter Rogers and director Gerald Thomas decided to do a second film( which in turn would lead to countless more movies in the series). They knew they were on to something and delivered comedy gems. Carry On Nurse is a riotously funny spoof of the health service, with more innuendo that would later become prominent and game cast having a blast.

The setting is Haven Hospital, specifically a men’s word that is anything but a haven for those working or recuperating. The ward is watched over by the overbearing and fearsome Matron, who has the workers scared witless of her and always attempting to not mess up. The trouble is the ward is seemingly a hotbed for every sort of accident or calamity there is, both of the amorous and amusing variety. The motley crew of workers and patients have enough antics to last a lifetime. In the ward there is Bernie Bishop, a boxer who is in after breaking his hand in a bout. The intellectual and always reading Oliver Reckitt complains constantly about the conditions of the place, using his silver tongue to annoy Matron. Bespectacled Humphrey Hinton spends his time laughing hysterically or re-enacting musical orchestra from his perms angle fixed radio. Chain-smoking cynic Percy Hickson is laid up with a broken leg. Recently arrived newspaper man Ted York, who is being treated for appendicitis and who becomes attracted to the gorgeous Nurse Denton. In a private room and constantly a nuisance is the Colonel, an elderly chap who bets on just about anything and causes grief to the nurses whenever he can. Scatter brained Nurse Dawson is repeatedly getting herself into bother, which always seems to occur when Matron is on one of her dreaded rounds. Add to this the cad that is Jack Bell, who wants his operation sorted so he can pursue a romantic rendezvous, and you’re in for a whole heap of trouble.

Gerald Thomas contributes his usual unobtrusive direction that is nothing overtly or stylistically challenging, but has the right tone and tongue in cheek wink to the audience that is delightful. Innuendo and double entendres enter the fray here and became a staple( one of the best and most memorable being Leslie Phillips uttering the words Ding Dong); here it’s a bit more innocent yet still very suggestive and great entertainment. There’s some amazing sight gags, slapstick elements and just plain old fun to be had as the patients run amok. Carry On Nurse is a finely done medical caper of people wreaking havoc in a place that is usually depicted as somewhat tranquil, with this send up showing hospital can indeed be unlikely fun. You can really see the elements that would later define the Carry On series coming together in Nurse, with amorous and saucy hints thrown into the mix. If you want a lark, just watching some of the sketches here, that will tickle the funny bone. Look no further than the laughing gas scene of the drunk patients, haphazardly and giggling as they attempt to remove bunion.  that is hysterically executed and a hoot thanks to the outrageous concept and levity of it all. The film has an episodic feel but that’s exactly what its supposed to be. You don’t go into a Carry On for a cohesive plot or to be tested, you go in for the jolly and cheeky ride it provides you with. The jaunty score matches the naughty and laugh-inducing antics of the characters in a madcap way.

Many of the cast from Sergeant make a return, along with some new additions. Kenneth Connor has a scrappy and gleeful kind of attitude that able suits his boxer character. Kenneth Williams is a hoot, particularly in the facial expression and witty line reading department. You simply won’t be able to contain laughing whenever he questions Matron or reacts to yet another jocular incident. Hattie Jacques is suitably formidable and dryly humorous as the Matron, who takes a dim view of how the hospital is being run and isn’t afraid to say it. The role of Matron or authority figure would become a familiar one for Jacques and one she plays wonderfully. Charles Hawtrey is a riot once more, that s time as a patient whose life revolved around listening to the radio and enacting what he hears. Plus, add his outrageous laugh into the mix and he’s once again a scene stealer. The main romantic sub-plot of Nurse comes from Terence Longdon and Shirley Eaton as patient and nurse. It’s not the finest part of the movie, but is engaging enough in the long run of things thanks to the attractive couple. Curmudgeonly growling can be found with Bill Owen, whose eye-rolling expressions are a joy to view. We get the first appearance of soon to be regular Joan Sims, whose funny, cheeky and clumsy antics as an accident prone nurse are comically endearing and hilariously acted. Also having a ball is Leslie Phillips; his playboy attitude and comic timing a great addition to the already fit to burst events on screen. Plus, we have him to thank for giving us the memorable Ding Dong catchphrase that would become synonymous with these films. Joan Hickson is straight-laced and by the book as the Sister of the ward, while Wilfrid Hyde-White has an eye-catching role as the troublesome Colonel, keeping the nurses on their toes each and every minute. In a small but plum role, Rosalind Knight is hilarious as an over-eager young nurse who comes onto the night shift and takes the job ridiculously serious.

With Carry On Nurse introducing more naughty humour and slapstick antics, the formula for the franchise comes into focus. And it’s a rollicking good time to be had by all.

Carry On Sergeant

Tags

1950's, Bill Owen, Bob Monkhouse, Carry On Movies, Carry On Sergeant, Charles Hawtrey, Comedy, Dora Bryan, Eric Barker, Gerald Thomas, Hattie Jacques, Kenneth Connor, Kenneth Williams, Shirley Eaton, Terence Longdon, William Hartnell

Film Title

Carry On Sergeant

Director

Gerald Thomas

Starring

• William Hartnell as Sergeant Grimshaw
• Bob Monkhouse as Charlie Sage
• Kenneth Connor as Horace Strong
• Kenneth Williams as James Bailey
• Charles Hawtrey as Peter Golightly
• Bill Owen as Corporal Copping
• Eric Barker as Captain Potts
• Terence Longdon as Miles Heywood
• Hattie Jacques as Captain Clark
• Shirley Eaton as Mary Sage
• Dora Bryan as Nora

The first in what would become a long-running franchise and British institution, Carry on Sergeant gives us a good starting point that introduces many of the key players in the series to us and has laughs a plenty. It’s not quite the bawdy movie that many if the later films were, but Sergeant provides you with an amusing story that delights in its own funny way. Let the Carry On Bonanza begin!

Sergeant Grimshaw is retiring from the army, but wants to win in the platoon championship before he hangs his boots up. He bets another officer £50 that he can win platoon of the year and sign off his career with a good swan song. His hopes quickly dip when he sees who is in his squad for National Service, many of whom take inept go a new level. There is handsome Charlie Sage, who is much aggrieved to be called up to service on his wedding day; weedy hypochondriac Horace Strong; smarmy and educated James Bailey; clumsy and effeminate Peter Golightly and upper class dandy Miles Heywood. With his second in command helping him, Grimshaw has his work cut out for him. Many pratfalls and mistakes befall them as Grimshaw tries to sign off with dignity and win that bet. He fears that this group will be a disaster and almost resigns himself to the fact that they won’t win. It’s here that the seemingly hopeless recruits decide to buck up and give it their best shot, out of a growing respect for the Sergeant. Meanwhile, Charlie’s wife Mary sneaks into the barracks with hopes of having a proper wedding night, and Horace is pursued by a volunteer named Nora.

Gerald Thomas, who would direct every one of the Carry On movies, has the right, light touch for the humour and performances to take off. He never calls attention to technical areas or showy camerawork, his focus is on the comedy which is delivered splendidly. Sergeant lacks the naughty edge and staples of latter films of the franchise, but it still gives you plenty of laughs with some hilarious set pieces. Among them are the accidental spraying of officers with fire extinguishers, repeated attempts to improve the group that often go pear-shaped and especially various imagined maladies and paranoia of Horace. The send up of the army and National Service is well done, managing to lampoon a respected organisation without demeaning it or completely tearing it to shreds. All in all, it’s a perfectly pleasant and harmless way to spend an hour and a bit. Good humour, great antics of the slapstick and farcical variety and the guarantee to leave you smiling is what you get. What may surprise many however is the fact that the humour is largely innocent here. Sure there is the odd instance of innuendo, but it’s mainly the antics of the inept squad that get the most laughs. And the ending of Sergeant does feature a bit of pathos, which is often a rarity in these films but fits here excellently. The lack of bawdiness is noticeable, but the humour is pretty fun throughout and will raise quite a lot of smiles and laughs from you( unless you have a heart of gold that is.) Some of it is obviously going to be dated given that it’s an old movie, but it’s hard to fault humour and laughs from an amiable cast. A lively score is another welcome addition to the speedy pace of the film and fits the calamities that transpire.

Of course to get laughs and humour to register, you need a good cast. Carry On Sergeant has just that, with various members later becoming staples in the long series. Heading proceedings is a dignified William Hartnell, whose interpretation of the retiring eponymous sergeant is the right blend of firmness and hidden caring. He’s a strict leader, yet not a horrible person despite his misgivings of the team. Bob Monkhouse is pretty good as the head in the clouds recruit, whose primary objective is to have a special night as man and wife with his new bride. Kenneth Connor stands out the most with a hilarious performance as the paranoid hypochondriac and ironically named Horace Strong. Constantly fretting about literally everything he encounters, he elicits pity, sympathy and laughs. Just watching him get worried at the sight of physical practice is enough to have you rolling on the floor. Two other longstanding stalwarts of the franchise are successful as the bumbling and overly gentle Golightly and the scholarly, know it all Bailey. The two men are Charles Hawtrey and Kenneth Williams, who steal many scenes they are in. Bill Owen and Eric Barker shine as officers of different ranks, but both who are concerned and more than a little amused by the spectacle before them. Terence Longdon doesn’t have the biggest or most interesting part, but still has fun playing the ladies man. Hattie Jacques is suitably no-nonsense as the army doctor, who grows impatient with Horace’s many visits to her. Shirley Eaton is the glamour and beauty of the picture, while we have Dora Bryan playing a daffy, wide-eyed woman who falls for the unlikely Horace.

The debut Carry on movie, Sergeant doesn’t have the some of same formula as the rest, mainly in terms of naughty shenanigans. But that shouldn’t detract as the cast( of whom many would return in future entries) and the easy humour of the piece make Carry on Sergeant. And if anything, we have the success of this film to thank for the creation of a much beloved film series.

The Nun’s Story

Tags

1950's, Audrey Hepburn, Beatrice Straight, Colleen Dewhurst, Dean Jagger, Drama, Edith Evans, Fred Zinnemann, Mildred Dunnock, Peggy Ashcroft, Peter Finch, The Nun's Story

Film Title

The Nun’s Story

Director

Fred Zinnemann

Starring

• Audrey Hepburn as Gabrielle van der Mal / Sister Luke
• Peter Finch as Dr. Fortunati
• Edith Evans as Reverend Mother Emmanuel
• Peggy Ashcroft as Mother Mathilde
• Mildred Dunnock as Sister Margharita
• Beatrice Straight as Mother Christophe
• Dean Jagger as Dr. van der Mal
• Colleen Dewhurst as Archangel Gabriel

A beautifully restrained yet quietly revealing look at the struggles of one nun and the personal battle with her spirited nature, The Nun’s Story is impressively moving and evocative in what it accomplishes. It holds your interest in how it delves into the life of a nun and owing to thoughtful direction from Fred Zinnemann and a simply luminous performance from Audrey Hepburn.

Gabrielle van der Mal is a vivacious young Belgian woman from a middle class family in the 1930’s. Her father is a prominent surgeon and Gabrielle hopes to one day be serving in the Congo. We meet her as she enters a Catholic Convent to become a nun. We witness the various facets of extensive training to be a nun over a couple of months, with each challenging Gabrielle more and more with her personal feelings. Eventually, she is made a nun and given the name Sister Luke. Yet she faces disappointments and disillusionment in many duties, and yearns to fulfill her dream of helping in the Congo. Although she distinguishes herself in the medical field, she is not allowed to feel pride for doing so as it is considered selfish rather than selfless. Despite this and spiritual as well as personal conflict, Sister Luke perseveres. She is briefly assigned to assist in a mental hospital, where she is nearly killed by a violently schizophrenic patient. Eventually she is rewarded with an assignment in the Congo, yet finds that she is treating the European patients rather than the natives. She assists the no-nonsense and atheist Dr. Fortunati in surgery, and they develop an at first strained but eventually respectful friendship. Fortunati can see that she is struggling with her religious turmoil and that he believes she is more cut out to be a nurse, rather than a nun. Yet desperate to prove herself, she excels but works herself too hard, contracting tuberculosis in the process. After getting better, she still has many questions about what her true calling is. But as her internal tribulation escalates and World War II nears, Sister Luke must ultimately decide whether she is really cut our to be a nun or whether she should leave.

Fred Zinnemann subtly yet with observant eyes directs this take of the complexities of oneself and the question of religion. His direction isn’t overly flashy but in keeping with the story, beautifully elegant and probing. That isn’t to say that the film isn’t beautifully shot( in fact, the juxtaposition between the cold confines of the convent and the supposed freedom of the Congo are gorgeously envisioned), but the main focus is on the human soul. It’s a drama but not one of overt and histrionic heights; more one of elegantly composed dilemmas and poignant questions. The Nun’s Story is endlessly fascinating in how it explores a world that is unseen by many and only really hinted at in other material. You feel like a fly on the wall watching as Sister Luke undergoes the tests that prove difficult in order to becoming a nun, with all the rituals and ceremonial acts ( the cutting of ones hair, the long periods of silence and shedding of the past) displayed in great detail for us to view. Many films are centred on nuns, but The Nun’s Story, with clear-eyed and objective execution, really finds both a strangeness and uniqueness in how these women dedicate their whole lives to religious servitude. It functions into how it might prove extremely trying for someone spirited and uncertain, like the major dilemma that Sister Luke finds herself in as she attempts to do good, but is ironically halted by her vows. Some movie fans may just believe that a film like this would be boring of just religious propaganda, but nothing could be further from the truth. If anything, The Nun’s Story offers up much food for thought on issues of personal freedom, obedience and the many factions of religion. It doesn’t take sides and favour one thing over the other, resulting in a rewarding and challenging film. And for a film that runs for two and a half hours, it is largely enthralling to watch. A few minor lulls can be forgotten due to the impactful power and grace of The Nun’s Story. Franz Waxman composes a beautiful score that is driven by emotion and soulfulness, that fits with both the revealing personal side of the film and the spiritual context.

One of the best things that The Nuns Story boasts is a touching performance by Audrey Hepburn. With a passion and desire to do well, we understand why Sister Luke would want to be a nun. But on the flip side, we witness her intense battle with adhering to obedience and the rigid vows she must live by, that is imbued with poise and expressive turmoil by Hepburn. Her performance is often one of quiet and thoughtful moments; but one where you can observe all the hardship, longing and fight of a woman attempting to fathom her way in what she wants to be her calling. Such luminous and subtle emotion come through powerfully from Audrey Hepburn in a moving performance that stands as one of her best. While everyone else is ideally cast in their parts, it is Audrey Hepburn you will remember the most for her emotion and clarity. Peter Finch excellently portrays the talented doctor in the Congo, who lends his thoughts to Sister Luke while gaining a new level of respect for her, despite their wide differences. Fleshing out the main supporting cast are a fine group of actresses as nuns of different authorities and temperaments that Sister Luke encounters. There is Edith Evans as the stern Reverend Mother who isn’t above feelings of care, Peggy Ashcroft as the largely content and experienced guide, Mildred Dunnock as one of the nuns who acts as the first teacher and Beatrice Straight as the kindest and most understanding of religious women. All of these actresses, regardless of how long they are on screen for, contribute nicely nuanced work, showing the different aspects of religious faith and devotion. The same excellence is also present with Dean Jagger as the devastated father who wants his daughter to succeed, but knows that she will find the life of a nun turbulent. And not forgetting Colleen Dewhurst, the embodiment of menace when playing a schizophrenic patient at the sanitarium.

Stirring and subtly powerful, The Nun’s Story is a film to treasure for how it deals with the dilemma of ones calling and for what is to me, one of Audrey Hepburn’s greatest performances.

Turn the Key Softly

Tags

1950's, Drama, Jack Lee, Joan Collins, Kathleen Harrison, Terence Morgan, Turn the Key Softly, Yvonne Mitchell

Film Title

Turn the Key Softly

Director

Jack Lee

Starring

• Yvonne Mitchell as Monica Marsden
• Joan Collins as Stella Jarvis
• Kathleen Harrison as Mrs. Quilliam
• Terence Morgan as David

The first twenty-four hours of release from prison of three different women are dramatised in Turn the Key Softly. Although some of the social drama it strives for can get forced, it is largely an honest and sympathetic examination of the paths we may or may not take in life. Strong performances from the female leads help it be watchable.

On one morning, three women are released from Holloway Prison, London. Each woman is somewhat different from the other and slowly we piece together why each was imprisoned. Monica Marsden is a middle class lady who was seduced by crook David and coerced into helping him with his thieving activities. She was caught and David got away, leaving her to take the blame. Stella Jarvis is a pretty young thing who we are lead to believe fell into prostitution so she could afford the material things in life, despite having found seeming happiness with a kindly bus conductor. And lonely Mrs. Quilliam is very poor and has multiple offences of stealing food to provide for herself. Their returns back to society take different turns as they are forced to confront life once more and decide what is to be done, regarding personal feelings, circumstances and the nature of choice. Monica has to contend with oily David entering her life again, Stella must make a choice of whether material wealth outweighs potential happiness with her forgiving boyfriend and Mrs. Quilliam has to deal with being neglected by her daughter and only having her pet dog Johnny for support and companionship. The question is, just which path will each lady take now that they are back out in the world again?

Director Jack Lee does a commendable enough job at bringing out dramatic and emotional impact, though it can be said that some of the film and story is basic and could have done with more extension. After all, Turn the Key Softly only runs for under 80 minutes, which both has a weakness and goodness to it. I think the positive parts manage to raise the film up a lot, and while still flawed, when it hits the dramatic mark it is damn effective. Some of it comes off as more than a little superficial, in particular the rather sketchy way that Stella’s story is written. Her arc has watchable and sports interesting areas, but it doesn’t quite have the gripping power of the other two women’s experiences. Monica and Mrs. Quilliam have the more compelling stories; facing the grim realities of their situations, consisting of trying to not be drawn to a bad influence and crushing loneliness. When the focus is on these characters and their struggles, Turn the Key Softly gains points and a sense of drama. The use of black and white highlights the challenges ahead for the ladies and London in bustling but unforgiving fashion. The film was made in the 50’s and England was still suffering post war austerity, which is subtly referenced by the fact that there is no flash of razzmatazz to the editing of cinematography. It’s largely observant and the unvarnished style suits what Turn the Key Softly strives for. A jolt of tension and suspense keeps Turn the Key Softly good in the last half as Monica’s former flame puts in motion a job, which he drags her into under extreme duress. One of the best things Turn the Key Softly does is not sugarcoat the three main characters or condone what they have done. It presents them as humans, who have made mistakes and are attempting to get back on track once more. The music score is suitable enough when being understated, but there are times when it takes away from the story by going overboard with flourishes.

If there is anything that makes up for the occasionally flawed execution in the film, it’s the acting. Yvonne Mitchell brings dignity, demure grace and indecision to her part of the middle class Monica, who wrestles with her feelings for her slimy former boyfriend and tries to make a life for herself. She’s an intelligent woman but like all of us, not immune to the complex feelings of the heart. This is what Mitchell plays ideally; the desire to move on, but the constant lingering of the past that won’t loosen its grip. Joan Collins, although having the most limited role, is still very charming and brassy as the often vain Stella. She’s got an impudence, dreamy eyes and sassiness to her, tempered with a feeling of uncertainty over her future. The beautiful Joan Collins makes the part very watchable, owing to her naturalness and personality. The trio is rounded out by the weariness and sadness of Kathleen Harrison as the lonely old Mrs. Quilliam, who’s only company is her beloved dog Johnny. Here is a woman of desperation and desolation, who still attempts to keep a smile on her face despite her increasing adversity. You want to give this woman a hug and tell her that things are going to be OK, that’s how emotionally convincing and sympathetic Harrison is. Terence Morgan is the definition of a louse, and a nasty one at that when playing Monica’s crooked lover. Although he’s slick and smooth, you know exactly what he’s up to and really do want him to get what’s coming to him in be way or another.

So while it sometimes doesn’t get beneath the surface of stat it’s intending to display, Turn the Key Softly is still on the whole, a well acted and interesting film that paints a pointed and frequently realistic picture of three women experiencing life and it’s difficulties again after their release from prison.

Peyton Place

Tags

1950's, Arthur Kennedy, Barry Coe, Diane Varsi, Hope Lange, Lana Turner, Lee Philips, Lloyd Nolan, Mark Robson, Melodrama, Peyton Place, Russ Tamblyn, Terry Moore

Film Title

Peyton Place

Director

Mark Robson

Starring

• Lana Turner as Constance MacKenzie
• Lee Philips as Michael Rossi
• Lloyd Nolan as Dr. Swain
• Diane Varsi as Allison MacKenzie
• Hope Lange as Selena Cross
• Arthur Kennedy as Lucas Cross
• Russ Tamblyn as Norman Page
• Terry Moore as Betty Anderson
• Barry Coe as Rodney Harrington

A melodrama of large proportions centered on exposing the dirty secrets of a small town that prides itself on moral decency, Peyton Place is grand movie making that benefits from tight direction and an A-list cast.

The setting is 1941 in a New England town by the name of Peyton Place. It is a place that looks tranquil and oh so respectable on the surface, but cauldrons of unrestrained passions, horrible deeds and unraveling lives are at play. Into the town comes stranger Michael Rossi, who becomes principal of the school. His feelings and speeches on parents being more open with their children about life stirs up a bit of trouble among the traditional residents. One of these is Constance MacKenzie, who is the rather prim owner of a dress shop; she is prudish and considers quite a lot of things a slight against good and virtue. Michael attempts to be nice and clearly has romantic feelings for Constance, but she just pushes him away every time he gets close. Her daughter Allison is a good girl who is just about to graduate high school and wants to experience something fun in life by becoming a writer, though this idea doesn’t exactly go down well with her mother. Allison, while dealing with her anger towards her mother who she feels doesn’t want to her to enjoy life, strikes up something of a friendship with the insecure Norman. He is a young man, smothered by and afraid of his overbearing mother, who makes him the ridicule of  many thanks to meddling and belittling ways. Meanwhile, Allison’s best friend Selena Cross is a sweet girl from the less affluent part of town ,who has to deal with her alcoholic stepfather Lucas, the school janitor with a very nasty temper. Things come to a shocking head when a drunken Lucas rapes Selena, leaving her traumatised as well as pregnant. Doctor Swain is sympathetic to the plight of Selena and although it is against his ethics, he helps her have an abortion while issuing a damning ultimatum to the disgusting Lucas. Yet this is far from the beginning of the troubles for Selena as tragedy lies in wait sooner than anyone things. Also occurring is the relationship between the town floozy Betty Anderson and Rodney Harrington, who experiences the chagrin of his family for dating her. Slowly, the myth and morals of the respectable town fall by the wayside as a light is shone upon all the shocks and skeletons that everyone holds far from prying eyes over the course of a few years.

Mark Robson’s direction is sturdy and taut, keeping most of the stories spinning with enough time given to each of them. Only the Betty and Rodney story is not as arresting as the others, but as the others are well-rendered this minor hiccup can be forgiven. Peyton Place is a sprawling film, but at the same time it is quite enclosed as it rarely leaves the eponymous town, creating the impression that the rules that are supposed to be obeyed are very much from a tight-knit society. Robson has just the right amount of clout and ideas for this movie, that has it deserving of memorable status. The movie only sometimes feels like it is trying a bit too hard to cram every shocking event into the film, but when the source material is practically a cascading waterfall of dark happenings and revelations, can you really blame the film makers? I mean you have murder, suicide, abortion and illegitimacy uncovered within the story, and though some areas don’t have the shock value they once had, a lot of it, particularly the rape and abuse stories are still uncomfortable and surprising for a film of this time. And even though the film runs for a long time, it never feels like a chore to get through. Peyton Place is a melodrama of the highest order so emotions run very high, but sometimes the implications and suggestions of something not being so tranquil are just as good. From the standpoint of visuals, lush colour and beautiful scenery are the order of the day and mounted with all the prestige that Hollywood at its golden could muster. And the emotional crescendos of the score from Franz Waxman are just perfect for the secrets and revelations that spill out of this film.

The drama of the piece is kept high, thanks in no small part to the cast that really go for it with their respective parts and flesh out the happenings and changes in the characters. Lana Turner splendidly leads the already impressive cast as the prim and opinionated Constance. She comes off as a cold and ordered person, but Turner wisely reveals through her eyes a certain sadness and desire that she has long denied herself, because of something secret in her past. Turner is an excellent choice for the part and plays it just perfectly, hitting the right emotions for a woman who is conflicted and clearly masking something. She is complimented well by Lee Philips as the forward thinking principal in love with her and an observant turn from Lloyd Nolan, as the kind but firm doctor who seems to see and hear everything in the small town. Bright spots among the younger members of the cast are the debut of the delightful Diane Varsi and the sweetness of Hope Lange. Varsi, who is heard narrating parts of the film, is in a way the eyes and ears of the audience. She is a bright girl who understands that life in Peyton Place is far from picture perfect and wants to pursue her ambitions. There is a nice maturity to her performance that takes shape very well, particularly when she is at loggerheads with her mother over her hypocrisy and rules. Lange on the other hand, radiates a deep melancholy as the much abused Selena. The character goes through a very difficult time throughout this tale and Lange projects a morose and haunting aura to Selena, even as she tries to pick herself up from the traumas that she experiences. Arthur Kennedy is appropriately cruel and horrible as Selena’s stepfather, while Russ Tamblyn has enough sensitivity for the part of shy Norman. Terry Moore and Barry Coe occupy the least interesting part of the film, but do their best with the material they have.

If you ever need to see one of Hollywood’s best melodramas, Peyton Place is one to seek out for its busting apart with a velvet sledgehammer the facade of niceness and goodness in society, with scarcely a dull moment to be found.

Bell, Book and Candle

Tags

1950's, Bell Book and Candle, Elsa Lanchester, Ernie Kovacs, Fantasy, Hermione Gingold, Jack Lemmon, James Stewart, Kim Novak, Richard Quine, Romantic Comedy

Film Title

Bell, Book and Candle

Director

Richard Quine

Starring

• Kim Novak as Gillian ‘Gil’ Holroyd
• James Stewart as Shep Henderson
• Jack Lemmon as Nicky Holroyd
• Ernie Kovacs as Sidney Redlitch
• Elsa Lanchester as Aunt Queenie Holroyd
• Hermione Gingold as Bianca De Pass

A delightful and funny romantic comedy with supernatural fantasy added to it, Bell, Book and Candle may be a trifle dated in the context of today, yet with a game cast, lovely lighting and magic it makes the most of a fluffy yet enchanting premise.

It’s Christmas time in Greenwich Village and we pick up with Gillian( mainly known to many as Gil) Holroyd, who works in a gallery of African art. Secretly, she is a witch, but keeps the information to herself and goes about her days, usually conversing with her dotty Aunt Queenie, who is also a witch and her rebellious brother Nicky, who is a warlock. Yet while she doesn’t mind working and for the most part being an independent free spirit, she has grown restless and wants someone to love. The trouble is love for a witch is something that will make them forfeit her powers if she were ever to truly feel genuine love for another. She takes a shine to publisher Shep Henderson, one of her neighbours who she meets for the first time on Christmas Eve. Knowing that love seems out of the question due to her magical ties, she politely talks with the nice Shep. Yet, it’s when she hears that he is about to marry a former college enemy of hers, that an idea formulates in her mind to have some fun. With her magical cat Pyewacket and her mystical powers, she casts a spell on the unsuspecting Shep that causes him to jilt his fiancée and fall in love with her, despite not knowing what has caused him to do so. Pleased with this, Gil revels in the fact that her powers could let her do something like this. Meanwhile, Gil’s brother Nicky, who is always up to some trouble, begins to help the author Sidney, who has written a book on alleged witchcraft and is curious to write another. This in turn could lead to the exposure of Gil and her Aunt, so more magic becomes involved and at play. Gil, after a while and even though she only did it to spite her rival, begins to sincerely fall in love with Shep which leads her to a conflict of interests. But can the free-spirited Gil really give up all of her magic for the love of Shep? And just how long will it be before Shep twigs that something supernatural is at work?

On the directing front, Richard Quine injects Bell, Book and Candle with a light air that creates amusement and romance in equal fashion. He may from time to time indulge in some scenes that go on for longer that needed, but for a lot of the film, he gives it a bit more substance than what is often found in most romantic comedies out there, even today. He excels at displaying touching undertones to it, best embodied by the decision that Gil must make regarding the loss of her powers for actual love. And the inclusion of the supernatural, with spells and potions ever-present, is a neat one that emphasizes the charm and imagination the film can bring to viewers. Now it must be said that as Bell, Book and Candle is a film that was made in the 1950’s, some of the attitudes are going to be of that time and will seem strange today. Chief among these is the similarities between Gil losing her powers if she loves and the fact that during the 50’s once a woman was engaged or married, she would have to stop working and be a housewife. One can definitely see the parallels throughout, but thankfully this doesn’t do too much to demerit the film’s quality and story it tells. And then again, what film from decades ago hasn’t aged in its attitudes and execution? The script is witty and full of hijinks as there is something funny to be found in Shep making all these big decisions and not quite realising that there is a magical reason for them. On the side of visuals, some inventive angles coupled with eye-popping colours are stunning to behold and contribute to the playful vibe of the film and the eccentric situations that the characters find themselves in due to magic and spell casting. The costumes in the film, especially the ones worn by Kim Novak, are exquisite and delightfully highlight her character’s individualism. A lively and twinkling score gives a breezy and likable quality to the film, while also providing some spooky moments that are always welcome for someone like me.

The cast of Bell, Book and Candle all look like they are having a ball which adds to the audience’s enjoyment of this supernatural romance. Kim Novak excels at having an otherworldly quality that is ideal for the role of Gil, who is someone you wouldn’t miss in a crowd. Novak, while looking stunning and alluring in the role, convincingly showcases Gil’s meddling, playful nature akin to a cat and desire to be loved that she didn’t expect to have. With added moments of touching emotion, Novak’s work is a triumph that is funny and moving. James Stewart has the right touches of bewilderment and rationalism for his character, who amusingly becomes infatuated by the enchanting Gil without being aware that something out of the ordinary is going on. He shares a tentative and sparkling chemistry with Novak, that gives the film a big plus in the romance and humour department.A sparkly eyed Jack Lemmon is an utter hoot in the part of the mischievous Nicky, whose tricks and Hocus Pocus are never far behind him. Some of the facial expressions that he has and sense of fun he brings are hard to miss when he’s on screen. Playing well off him is Ernie Kovacs as the alcohol swigging author who is often disgraced due to his belief in witchcraft, even when its lying right in front of him and he’s aided by the troublesome warlock Nicky. Elsa Lanchester and Hermione Gingold are delightfully amusing and dotty as two older witches, though I would have liked to have seen more of them within the film. Still, both actresses light up the screen when they are present.

So while the odd slip here and there is present, and the dated attitudes can be a bit distracting, Bell, Book and Candle triumphs as a piece of imaginative and well acted romantic comedy, sprinkled with amusing and sometimes spooky sides of supernatural fantasy.

Boy on a Dolphin

Tags

1950's, Adventure, Alan Ladd, Boy on a Dolphin, Clifton Webb, Jean Negulesco, Jorge Mistral, Sophia Loren

Film Title

Boy on a Dolphin

Director

Jean Negulesco

Starring

• Sophia Loren as Phaedra
• Alan Ladd as Dr. James Calder
• Clifton Webb as Victor Parmalee
• Jorge Mistral as Rhif

An imperfect adventure yarn that is sometimes packed with fun and at other times slow-moving in the extreme, Boy on a Dolphin gains agreeable points from the stirring music, luscious location work of Greece and a gorgeous Sophia Loren.

In Greece, the beautiful but poor Phaedra is a sponge diver who lives in a ramshackle windmill with her kid brother and lousy boyfriend Rhif, who is something of a lay about who promises they’ll be fine all the time but never seems to do a lot to help. For the spirited Phaedra, she just goes by each day attempting to provide for herself and those closest in any way she can. Then one day while diving off the island of Hydra, she discovers a dazzling statue of gold, depicting a boy riding a dolphin. The statue is situated at the bottom of the Aegean Sea and is thousands of years old, having been on a ship that crashed during a stormy voyage. For Phaedra, her accidental unearthing of the treasure gives her cause to use it to finally gather some money and not have her worries. Along with Rhif, she takes it to many people who could sell the statue, but two stand out the most. The two are the honest and hardworking Dr. James Calder, who works an archaeologist and the deceptive and slimy collector Victor Parmalee. Both men express interest in Phaedra’s find but for differing reasons; Calder wants the statue to put in a museum in Greece, whole Parmalee wants all the glory and money that will go with the discovery. Into this power struggle comes Phaedra, who can’t decide whether she wants the allure of money or genuine love, as she develops feelings for Calder. A race to discover the statue of the title ensues between Calder and Parmalee, that becomes ever more difficult due to Phaedra being in the middle of it all and having to choose where her loyalties lie.

On the whole, Boy on the Dolphin is a somewhat messy exercise but nonetheless has enjoyable moments and things to praise. The main problem rests with the script and the pacing which go from being exciting to dull over the course of the film. The script has the sense of adventure right, but in the parts in between, some of the material is a little superfluous and could have been cut. The same goes for the pacing that needs a fixer upper on occasion as it lurches between two extremes. Yet once the pace picks up and the cat and mouse game between the two men entangled with Phaedra commences, a good adventure yarn emerges from the flawed premise. Also on the positive side, Jean Negulesco at least makes the film stunningly shot and keeps us engaged through showing us the sheer beauty of Greece. Basked in glorious sunshine and filled with some gorgeous underwater scenes, Boy on a Dolphin stays afloat when it comes to the visual front. And the score provides the perfect romantic and dreamy backdrop of the piece with a lilting wind section and trembling guitar. There is also a sublime song that covers the aquatic opening titles that is filled with romance, intrigue and temptation.

Although her role, which was her first in the English language, doesn’t require much in the way of stretching acting muscles, the beautiful Sophia Loren makes a stunning impression with earthy sex appeal, volatility and feisty demeanor. Soaring above the flawed writing, Loren makes sultry and determined, bringing much more to the character than the script asked for. And I can’t review this film without mentioning Loren’s dazzling entrance into it. Pulling herself out of the sea after one of her many dives for sponges, she climbs onto a boat, clad in a flimsy, orange dress that accentuates her breathtaking beauty and curvaceous figure. It’s a sexy entrance for one of cinema’s most gorgeous stars. While I do think that Alan Ladd is a good actor, his role of archaeologist Calder is not his best and Ladd appears seemingly indifferent to the character. He’s not all bad here showing moments of good, but he appears to be more than a little stiff in the part. Clifton Webb fares much better at playing the oily Parmalee, who is unscrupulous and used to getting what he wants. He adds a good dose of underlying nastiness to the role that is hard to miss. Jorge Mistral does his best at making Rhif a louse who is more of a hindrance to Phaedra than a helper.

A movie that veers between thrilling adventure and boring spectacle, Boy on a Dolphin still retains something of an enjoyable factor and features the sensual Sophia Loren announcing her star appeal.

The Long, Hot Summer

Tags

1950's, Angela Lansbury, Anthony Franciosa, Drama, Joanne Woodward, Lee Remick, Martin Ritt, Melodrama, Orson Welles, Paul Newman, Richard Anderson, The Long Hot Summer

Film Title

The Long, Hot Summer

Director

Martin Ritt

Starring

• Paul Newman as Ben Quick
• Joanne Woodward as Clara Varner
• Orson Welles as Will Varner
• Anthony Franciosa as Jody Varner
• Lee Remick as Eula Varner
• Angela Lansbury as Minnie Littlejohn
• Richard Anderson as Alan Stewart

A gloriously enjoyable and overheated Southern drama, The Long, Hot Summer gains extra points due to the stellar cast headed by Paul Newman and Joanne Woodward, who would later become man and wife when the film wrapped. Filled with colourful characters, briskly paced and sizzling with heat, it’s a fine movie that has a surprising amount of innuendo for its time.

Ben Quick is a handsome, charismatic drifter who at the beginning of the film is accused of being a barn burner. Expelled from the town he was residing in he journeys away and ends up in Mississippi. He then hitches a ride with snippy Clara Varner, a local schoolteacher and Eula, her vivacious sister-in-law into the nearby town of Frenchman’s Bend. It turns out Clara is the daughter of prominent land baron Will Varner, who owns practically everything there is to own in town. Will also has a son Jody(who is married to the giggly Eula, who is becoming wary of his lack of opportunities and prospects), who tries to take on parts of his father’s business but is too weak-willed to get any approval from his overbearing father. While the head of the family is away, Ben, eager for a job approaches the Varner family and manages to acquire one after talking with stand in Jody. When the thundering land baron returns from a spell in the hospital and finds Ben working for him, he is initially reluctant because of his less than respectable reputation. But as the days go on, Will begins to take a shine to the charming Ben and sees a quality to make decisions and a deep ambition, that he can’t find in his own son. Jody, seeing that he could be muscled out, becomes increasingly jealous of Ben and is left seething that his father has taken such a liking to the stranger. Meanwhile, Will concocts a plan to give Ben a lot of land and power if he marries his daughter Clara, who he thinks will become a spinster if she waits around for her current suitor Alan, who doesn’t really show much interest in her at all. The driven Ben accepts this and pursues her, but then begins to fall genuinely in love with her. The thing is, Clara is a smart and self-assured young woman, who while she wants to fall in love in the future, has no desire to be forced into it, and knows exactly how to voice her disapproval at her father’s insistence. Yet it is obvious that both Ben and Clara are attracted to each other, Clara just doesn’t know how to express it. What will become of the union between them as Ben genuinely falls in love with her and Clara does the same? And what desperate lengths will Jody go to in order to prove his worth to his belittling father?

Martin Ritt brings verve and energy to the torrid emotions that rise in this tale and he makes it very enjoyable to watch. He successfully employs a brisk pace that makes sure that something is always happening to keep us glued. Now the film is overheated as it is a melodrama, but don’t let that discourage you as it doesn’t completely topple over into ridiculousness thanks to Ritt’s energetic direction. The stunning cinematography conjures up the sweltering cauldron of passion and jealousy within The Long, Hot Summer that seeps from every frame. And with an abundance of colourful characters to add to the mix, it’s hard not to be impressed with this movie. What really struck me about The Long, Hot Summer was the double entendres and innuendo that it had running through it. Considering films of that time were usually at the mercy of censorship, this movie manages to get a little more heat into it and makes it a very sexy film, although no actual nudity is ever seen. I guess it just goes to show that you don’t need bedroom acrobatics shown graphically to make a movie sexy. When you have a script like this that crackles with sexual tension and naughty lines, you can still be saucy in a more refined way. Suggestion can be just as saucy when it’s done like this. The languid score is a delight to the ears as it mixes jazz riffs with romantic strings and a stellar title song.

Heading the cast is the magnetic charisma and likability of Paul Newman. With his striking blue eyes and easy smile, it’s impossible not to be taken in by Newman’s performance as the ambitious Ben. He may have a devil-may-care attitude and a questionable past, but the way Newman portrays him, it’s impossible not to like the guy. And when he’s alongside Joanne Woodward, the sparks fly. Woodward is very good as the opinionated and intelligent Clara, who comes off as aloof to Ben but really starts to likes him as time goes on and the heat rises. The scenes the two share crackle with wit and sexual tension that is a sight to behold and it later lead to their marriage off-screen too. The larger than life persona of Orson Welles dominates the scenes he has in the movies as the blustering patriarch, worried that his family name isn’t going to be upheld. Welles is a hoot in this movie and all the little tics and mannerisms he gives Will are marvellous. Then there is Anthony Franciosa who is impressive playing the weak and belittled Jody, whose jealousy begins to burn when he sees that his position is under threat from the charismatic Ben. A lovely Lee Remick is kittenish and free-spirited as Jody’s wife, who spends her days shopping and gossiping with others. Angela Lansbury is amusingly tart and saucy as Minnie, Will’s feisty mistress who is desperate to be hitched to him, despite his misgivings and refusal to commit. The only person who really gets short-changed in this movie is Richard Anderson, as he is required to play a role too similar to that of Jody to really be at all interesting.

Sensual and dramatic, with a good amount of censor navigating saucy lines, The Long, Hot Summer is an easy affair that is the perfect way to kill and hour or two in the company of distinguished Hollywood stars at the peak of their powers

Roman Holiday

Tags

1950's, Audrey Hepburn, Eddie Albert, Gregory Peck, Roman Holiday, Romantic Comedy, William Wyler

Film Title

Roman Holiday

Director

William Wyler

Starring

• Audrey Hepburn as Princess Ann
• Gregory Peck as Joe Bradley
• Eddie Albert as Irving Radovich

A beautifully charming, amusing yet bittersweet romantic comedy, Roman Holiday is a glorious and magical movie that weaves its charm on you from start to finish. With a career making role for the wonderful Audrey Hepburn and lovely chemistry with co-star Gregory Peck, this is a romantic comedy of a golden standard that they just don’t make like this anymore.

The plot revolves around the young Princess Ann, who is heir to the throne of an unspecified European country. She is on a tour of Europe and the latest exhausting trip has taken her to Rome. But beneath the courteous bows and wide smile, the young Ann desires freedom from stifling regulations and wants to live a life where she isn’t told what to do or where to go. One night and on the spur of the moment, she sneaks away from her royal life and ventures into the Eternal City. Unfortunately she become dazed due to being given a sedative by her doctor earlier in the night to calm her stress, and she falls asleep on a bench. She is found by American reporter Joe Bradley, who not recognizing who she is, takes her back to his apartment so she can rest as he believes that she is merely drunk. The next morning, Joe discovers thanks to his friends at the newspaper that the woman in his apartment is in fact the Princess, whose chaperons have said that she has been taken ill in order to avoid a scandal as they search for the runaway princess. Joe sees the opportunity to get a story from Ann that could fetch in a lot of money. With the help of photographer friend Irving, he charms Ann by concealing his job and takes her on a days long adventure around the wonderful city. Yet while in the beginning he intended to just get a story from the yearning princess, his heart stops him in his tracks as he falls for the beautiful Ann and reconsiders his actions. The incognito Ann also questions herself as she herself grows enamored with Joe, despite knowing that her adventure can only last for a day.

The masterful William Wyler directs Roman Holiday with a sublime elegance and a certain magic that captures the beauty of the city and the sweet but very touching romance. The way he shoots the Rome locations as a graceful attraction unfolds is a marvel to behold and features some stunning shots of the iconic city. He keeps the humorous escapades in check as well as highlighting a bittersweet undertone due to the fact that Ann and Joe are from different backgrounds and the chance of accepted romance( despite the obvious attraction that slowly grows )coming into fruition is unlikely. There is romance here, but it’s more subtle and tender rather than going overboard on overblown tragedy. It’s all superbly handled and makes the relationship between the two engaging and sublime and it certainly adds to the magical impact of the film that Hepburn and Peck work so beautifully together. In essence, Roman Holiday is a reversal of the Cinderella formula, with the luminous Ann wanting to escape her rich lifestyle and find the freedom that she craves. This subversion is a welcome change and adds to the smart script that rings true with its message of wanting to be free from constraints and wanting to live ones life as one chooses. A delightfully wistful and sweeping score gives voice to the burgeoning romance and freedom that is so yearned for as the magical 24 hours shared by Ann and Joe pass.

This was the movie that launched the young Audrey Hepburn into cinematic royalty, won her a well-deserved Oscar and it’s not hard to see why. Hepburn is beguiling, graceful and moving in her delivery as Princess Ann, imbuing her with a sympathy and charm to spare as she escapes protocol and lives life to her heart’s content for a day. You can’t take your eyes off Hepburn when she’s on screen because of how radiant and graceful she is. This is a true star making role of captivating beauty if ever there was one. She is ably supported by Gregory Peck as the opportunistic journalist Joe whose desire to get a story soon withers as he grows to understand and love the sheltered princess. In the hands of a lesser actor, the role of Joe could have become a real slime ball. But with Gregory Peck in the part, there is a decency there and he exudes more emotion with a glance than some actors can with huge lines of dialogue. Hepburn and Peck have a sterling amount of tender chemistry with one another and it shows so much on the screen. Eddie Albert is very funny as the photographer Irving, who is embroiled in events a little befuddled by what is going on.

Funny yet very touching, Roman Holiday is one of those movies that has not lost any of its nostalgic or romantic impact over the years and remains thoroughly beguiling and sublime.

 

 

Yield to the Night

Tags

1950's, Crime, Diana Dors, Drama, Geoffrey Keen, J. Lee Thompson, Michael Craig, Yield to the Night, Yvonne Mitchell

Film Title

Yield to the Night

Director

J. Lee Thompson

Starring

• Diana Dors as Mary Hilton
• Yvonne Mitchell as Matron MacFarlane
• Michael Craig as Jim Lancaster
• Geoffrey Keen as Prison Chaplain

A crime drama that also functions as an impassioned plea against the death penalty, Yield to the Night chronicles the last days of a murderess’ life by revealing what drove her to the act in flashback. Grimly powerful and featuring a truly convincing performance from Diana Dors, it really makes a startling impact and still holds up remarkably well today.

The movie begins with a beautiful young blonde woman calmly approaching a glamorous woman as she enters her London home. Without warning, the approaching blonde woman unloads the contents of her gun into the other woman and stands emotionless as a crowd gathers around the dead body. We soon learn that the blonde woman is Mary Hilton and that she has been sentenced to death for her crime, unless she is given a reprieve. As she shuts herself away, has no remorse for her crime and refuses the kind treatment of the matrons; Mary begins to think back on what lead her to killing the woman, whose name was Lucy. Through a series of flashbacks, a lot is revealed about the ultimately tragic story of Mary. The beautiful Mary was a sales girl who fell hopelessly in love with the charming Jim Lancaster. Crazy for him and holding onto the naive notion of true love, she leaves her own husband who is never really around to be with Jim. But while everything is initially idyllic for Mary, Jim begins to string her along as he grows attracted to the very rich Lucy. Mary can’t take this rejection and sinks into depression as the man she loves chases another woman, who it turns out is using him. It’s when events take a tragic turn, that Mary snaps and thoughts of revenge invade her mind. And while now in prison, as she begins to reflect on what she did, the hours begin to tick away with intent as her life hangs in the balance and at the hands of the justice system.

Yield to the Night is very much a movie that calls for the abolition of the death penalty, but it never feels preachy and in your face. Instead, director J. Lee Thompson employs an up close and personal story of a woman driven by her passion and sense of betrayal to kill. His visual style of unusual angles that frame Mary as a prisoner of her own desire and a vulnerable woman taken advantage of who snaps with jealousy with deadly results is striking to say the least. We are put like flies on the wall into this film, as the setting of her prison cell is confined and restrictive. It is like we are living through the turmoil of knowing that death is going to come very soon to her and the torturous wait endured. As a film, Yield to the Night doesn’t justify Mary’s actions as right. It shows us the sad circumstances that lead to it and gets us to sympathise with her as she has been used so much and feels the only way to deal with it is to take matters into her own hands. The black and white that the film is shot in is very beneficial to such a grim story and gives it a bleak sense of purpose. This is the kind of movie that wouldn’t be very effective in colour as it is so dramatic and gritty. A stark but dramatic score compliments the inevitable sadness of the tale with monotonous drums and brass.

Now before watching Yield to the Night, I only knew Diana Dors as being a glamour girl and buxom bombshell. Well I was so surprised at her performance here, that I want to check out more of her work. Shunning her seductive image, Dors digs deep into the romantic soul of a woman who couldn’t live without taking matters into her own hands as a result of the tragedy that devastated her. Virtually make up free, Dors exudes a weariness, sadness and numbness that gets the audience to feel for Mary as the time passes and we glimpse her sad tale. Her eyes have this haunting quality that is featured heavily throughout the film and I don’t think I will ever forget the look of fear in them. While Yield to the Night belongs to the convincing performance of great depth from Dors, the rest of the cast is very fine. Yvonne Mitchell in particular stands out as the main matron who becomes fond of Mary and becomes very close with her in the weeks prior to her sentence. Michael Craig is a suitable louse as Jim, whose selfish stringing along of Mary and obsession with Lucy cost him very dearly. Geoffrey Keen is well cast as the prison chaplain, who is kind to Mary and wants to help her while she is still alive.

Striking but impassioned and very topical upon its release, Yield to the Night is a grimly powerful film that benefits from the immensely committed performance by Diana Dors and sympathetic direction.