Harlow (1965)

Harlow

Everything about me is real.  Jean Harlow (Carroll Baker) arrives in Los Angeles as a teenager, pushed into showbiz by her sex-mad mother Mama Jean (Angela Lansbury) and grasping stepfather Marino Bello (Raf Vallone). Kindhearted agent Arthur Landau (Red Buttons) becomes Jean’s mentor and rescues her from glamour shots and the casting couch, while a devious Howard Hughes-like mogul Richard Manley (Leslie Nielsen) grows infatuated with the beautiful young actress. Harlow herself falls for writer/producer Paul Bern (Peter Lawford) before tragedy strikes right after their marriage and her efforts to get together with fellow studio star Jack Harrison (Mike Connors) come to nothing …  You have the body of a woman and the emotions of a child!  The big-budget version of the screen icon’s life was beaten to it by a cheaper experimental film starring Carol Lynley that barely scraped into theatres so this is the one that people remember, if at all. Adapted in part from Landau and Irving Shulman’s pulpy biography of the sex goddess by John Michael Hayes, this skips and jumps through Harlow’s life, eliminating altogether any direct reference to her relationship with William Powell (Connors plays a variation on him) or her co-star Clark Gable, more or less fabricating whole sequences and introducing an element of wantonness involving her stepfather that seems excessive even in this version of events. It’s rather lurid and seems to deviate from what is known of Harlow’s true character but it’s rather interesting to see the platinum blonde in vivid Technicolor with Edith Head making the most of the opportunity to create some stunning gowns. Baker had featured in the controversial Hayes adaptation of Harold Robbins’ The Carpetbaggers a year earlier and shot a famous nude scene in the role of Rina, a thinly veiled version of Harlow – so her casting here is no surprise given that Paramount produced both pictures. Effectively, then, this is a remake in part of part of a year-old film. Baker is a decade older than Harlow at the time of her death but her performance is tender and appealing, capturing some of the spirit of Harlow’s great characters against a melodramatic backdrop that nonetheless plays fast and loose with the facts including the circumstances of her demise. Lansbury and Vallone are extremely impressive as the lusty parental figures while Buttons is very good as the kind man who remains her one true friend. A fascinating insight into how Hollywood saw itself at one time. Welcome to the velvet prison. Hayes deserves his reputation as a great writer of dialogue and he manages to invest showbiz clichés with the ring of truth especially when uttered venomously by Connors. Julie Parrish appears uncredited as Connors’ wife and would make a couple of appearances opposite him on Mannix five years later. The production design by Roland Anderson, Hal Pereira and James W. Payne is jaw dropping. The theme song Lonely Girl is sung by Bobby Vinton. Directed by Gordon Douglas. There’s nobody deader than I am right now. Oh, I guarantee all of you I won’t be by tomorrow

Dr No (1962)

Dr No

You are carrying a double 0 number. It means you are licensed to kill, not get killed. British agent 007 James Bond (Sean Connery) by head of the Secret Service M (Bernard Lee) is sent to Jamaica to investigate the disappearance of a fellow British agent, Strangways (Timothy Moxon) to determine if it is related to Strangways’ decision to co-operate on a CIA case involving the disruption of rocket launches from NASA’s base at Cape Canaveral in Florida by radio jamming. When Bond arrives in Jamaica, he is immediately accosted by a man claiming to be a chauffeur sent to collect him who is really an enemy agent sent to kill him. Before Bond can interrogate him, following a struggle, the agent kills himself with a cyanide capsule. After visiting Strangways’ house, Bond confronts Quarrel (John Kitzmiller) a boatman who was collecting mineral samples from Crab Key for Strangways and who reveals that he is aiding the CIA, introducing Bond to agent Felix Leiter (Jack Lord), who is also investigating Strangways’ disappearance. Local geologist Professor Dent (Anthony Dawson) claims the samples are normal but Bond is not convinced. Dent travels to the underground base of megalomaniac Dr Julius No (Joseph Wiseman) a Chinese-German with prosthetic metal hands who is the operator of a bauxite mine on the Caribbean island of Crab Key (and a reclusive member of SPECTRE) who is plotting to disrupt the US space programme … Cyanide in a cigarette? Fantastic! The first in the series, based on Ian Fleming’s 1958 novel (the sixth in the book series) this really introduced Connery to the world. Shot with a relatively low budget, it’s fast-moving, whip smart and set the tone for a secret agent trend that has never really ceased. Fleming originally came up with the idea for the story as a screenplay for a film called Commander Jamaica with Dr No a riff on the character of Fu Manchu. That film never got made so Fleming adapted it into a novel. The screenplay for this was based on that as well as several other strands of Fleming’s work: Richard Maibaum and Wolf Mankowitz did the original draft which the producers rejected then Maibaum did one while Mankowitz removed his name; Irish writer Johanna Harwood who worked for Harry Saltzman rewrote that draft with thriller writer Berkely Mather. SPECTRE wasn’t mentioned until Thunderball, the 1961 novel that the producers had originally wanted to adapt first before legal issues complicated that plan. This may not have the bells and whistles of later films in the series but it has many of the iconic elements that became part of the identity of this long-running franchise including Ken Adam’s production design, Bond being introduced to the Walther PPK and an undertow of S&M. Connery’s performance is nigh-on perfect, a combination of violence, suave intelligence and droll wit; while shell diver Honey Rider’s (Ursula Andress) arrival like Venus on the beach is for the cultural ages. Directed by Terence Young. I do not like failure

Octopussy (1983)

Octopussy

Englishman. Likes eggs, preferably Fabergé. Likes dice, preferably fully loaded. British MI6 agent 009 drops off a fake Fabergé jewelled egg at the British embassy in East Berlin and is later killed at Octopussy’s travelling circus. Suspicions mount when the assistant manager of the circus who happens to be exiled Afghan prince Kamal Khan (Louis Jourdan), outbids 007 James Bond (Roger Moore) for the real Fabergé piece at Sotheby’s. Bond follows Kamal to India where Bond thwarts several ingenious attacks, kidnapping by Kamal and encounters Kamal’s ally, the anti-heroine of the title (Maud Adams), an international smuggler who runs the circus as a cover for her illegal operations. It seems that Orlov (Steven Berkoff), a decidedly rank and belligerent Russian general is planning to raise enough money with the fake Fabergés to detonate a nuclear bomb in Europe and then defeat NATO forces once and for all in conventional warfare… The West is decadent and divided. The thirteenth in the series and Moore’s seventh appearance as the sexy superspy as well as the first to feature Robert Brown as M following Bernard Lee’s recent death, this is derived from a number of Ian Fleming’s stories: the title is from his 1966 short story collection and there is a scene inspired by another story, The Property of a Lady (included in 1967 and later editions of Octopussy and The Living Daylights), as well as one brief bit of characterisation lifted from Moonraker; while the events of the titular story Octopussy form a part of the title character’s background which she relates herself; but the bulk of the narrative is original, the screenplay credited to novelist George MacDonald Fraser who suggested that it be set in India, series regular Richard Maibaum & producer Michael G. Wilson. In fact Moore had intended retiring from the role but was deemed the most profitable actor for the part when the rival production Never Say Never Again with former Bond Sean Connery was up and running at the same time: James Brolin was apparently due to take over from Moore – can you imagine! The perception of this as the weakest of Moore’s particular Bond films doesn’t hold up despite its apparently problematic heroine (her MO is a bit slight) but Bond’s seduction of a woman who is his equal is particularly well observed –  in fact they both have a death to avenge. The narrative is especially prescient – to have a nuclear bomb planned for Germany, at the time the centre of Cold War fears (see the TV show Deutschland 83 for a dramatic interpretation of the time), feels utterly relevant and Moore is given great space for both humour and action, pitched at a perfect balance here and decidedly lacking in camp. It’s probably the best written of all his Bond iterations. The chases (and there are quite a few) are brilliantly mounted, including trains, planes automobiles and elephants and there’s a great homage to The Most Dangerous Game when our man is the jungle prey. The climactic aerial stunts are some of the most astonishing you’ll ever see – utterly thrilling. Legendary tennis player Vijay Amritraj has a great supporting role as Bond’s MI6 ally in India and even Q (Desmond Llewelyn) gets in on the action with a fabulous hot air balloon! Jourdan makes for a suitably insidious villain and Berkoff (almost!) has a blast as the nutty military man who makes the KGB’s Gogol (Walter Gotell) look sane. There is a terrific performance by Kristina Wayborn as Kamal’s stunning henchwoman Magda – her exit from a night with Bond has to be seen! Adams had of course appeared opposite Moore in previous Bond outing The Man With the Golden Gun as Scaramanga’s doomed mistress and she gets to flex more muscles here albeit her entrance is not until the film’s second half. Watch out for former Pan’s People dancer Cherry Gillespie as Midge, one of Octopussy’s bodyguards.  It’s wonderfully paced, with each sequence superseding the action of the previous one and the flavourful locations are beautifully captured by Alan Hume’s cinematography: this has undergone a pristine restoration. Among the very best Bonds, an episode whose influence can clearly be seen in both the Indiana Jones and Mission: Impossible franchises.  The theme song, All Time High is written by John Barry and Tim Rice and performed by Rita Coolidge. Directed by John Glen, the second of his five outings at the helm. Perfect escapism. Mr Bond is indeed a very rare breed, soon to be made extinct

 

Please Turn Over (1959)

Please Turn Over

I do wish Julia would go out more. In a small English town a scandal ensues after bored teenage hairdresser Jo Halliday (Julia Lockwood) secretly writes a novel called Naked Revolt, turning versions of her family, friends and neighbours into sex-mad boozers.  Her father Edward (Ted Ray) is an inoffensive accountant now believed to be an embezzler, her mother Janet (Jean Kent) is thought to be carrying on with a retired soldier turned driving instructor Willoughby (Lionel Jeffries) whom people now assume is Jo’s father.  Her fitness-obsessed aunt Gladys (June Jago) is treated as an alcoholic having an affair with the local philandering doctor Henry Manners (Leslie Phillips). Although initially surprised to see themselves written into the book, everyone begins to learn more about themselves and each other through the novel, meanwhile Angry Young Playwright Robert Hughes (Tim Seely) is interested in adapting the novel to the stage and begins a relationship with Jo …. My goodness! That’s a highly sagacious aphorism, what’s its current application? Adapted from Basil Thomas’ play Book of the Month by Norman Hudis this is the British version of Peyton Place and it’s a much more anodyne portrait of small town secrets. Directed by Gerald Thomas and produced by Peter Rogers, this is a Carry On production but more subtle than its origins would suggest with a superb British cast of familiar faces like Joan Sims, Joan Hickson and Victor Maddern. Lockwood is the daughter of star Margaret Lockwood and acquits herself very well as the knowing ingenue. It looks good thanks to the cinematography of Ted Scaife. Good fun but unfortunately the author Basil Thomas didn’t live to see this on the screen – he died in 1957 aged just 44. Those that are the most affected are always the last to know

Beautiful But Dangerous (1954)

Beautiful But Dangerous

Aka She Couldn’t Say No. I do a lot of thinking when I’m driving and sometimes I just don’t notice small towns. Wealthy Corby Lane (Jean Simmons) returns to the American hamlet of Progress, Arkansas, whose residents had paid for a critical medical operation for her when she was a child. Now her father has died and she has returned from being educated in England, she decides to express her gratitude by giving them money anonymously but her goodwill bumps up against the homespun locals. The headstrong heiress clashes with the local doctor, Robert Sellers (Robert Mitchum), a confident type who foresees the resulting chaos and tries to woo her himself … I only got two ways of feeling. I either feel bad or I feel awful bad. A good cast wrestles with a dull script and the liveliest scenes are when Simmons goes fishing with little Jimmy Hunt who wises her up to the local scene. The score by Roy Webb fills in the gaps that the screenplay by D.D. Beauchamp & Williams Bowers and Richard Flournoy doesn’t reach. Lloyd Bacon’s final film. Is there anyone you’d care to marry?

 

Angel Face (1952)

Angel Face

I only ask questions and I love to dance. When wealthy Beverly Hills denizen Mrs. Catherine Tremayne (Barbara O’Neill) is mysteriously poisoned with gas, ambulance driver Frank Jessup (Robert Mitchum) meets her refined but sensuous stepdaughter Diane (Jean Simmons), who quickly pursues and infatuates him, taking him away from his hospital receptionist girlfriend Mary (Mona Freeman) who expects to marry him. Diane’s father Charles Tremayne (Herbert Marshall) is a formerly successful novelist who hasn’t written a word in a year and indulges his daughter. Diane persuades Frank to work as her family’s chauffeur and asks her stepmother to give him money to fund the former racing driver’s plan for a garage of his own. Despite fearing that Diane’s hatred of her mother could lead her to kill her, Frank goes along with her plan to run away but then both her stepmother and father have an accident and he finds himself embroiled in a court case … One acquires bad habits so early. Producer/director Otto Preminger spins a deeply subversive noir melodrama out of Frank Nugent and Oscar Millard’s screenplay (from a story by Chester Erskine) with uncredited contributions from Ben Hecht, almost removing the drama so that when the violence occurs – twice – it comes as more of a surprise than it would in a conventionally mounted suspenser. Mitchum is great as the sap who says he won’t be caught as the innocent bystander, while Simmons unleashes her inner demon to great effect. In their smaller roles, Marshall plays a typical Englishman albeit one whose charm has run out for his wealthy wife due to his spendthrift ways; while Mona Freeman is fine as the girlfriend who knows only too well she can’t outcompete Simmons. Leon Ames and Jim Backus have fun in the courtroom face-off. There’s a a lyrically misleading score from Dimitri Tiomkin and it’s beautifully shot by Harry Stradling. Quietly brilliant. All I want is you. I can’t let you go – I won’t

Action in the North Atlantic (1943)

Action in the North Atlantic

Aka Heroes Without Uniforms. We’ve run into a wolfpack. Merchant Marine sailors First Mate Joe Rossi (Humphrey Bogart) and Captain Steve Jarvis (Raymond Massey) survive the sinking of SS Northern Star by German U-boat U-37 en route from Halifax. After 11 days drifting they are rescued. Steve spends time with his wife Sarah (Ruth Gordon), while Joe meets and marries singer Pearl O’Neill (Julie Bishop). At the union hall, merchant seamen, including the Northern Star survivors, spend their time waiting to be assigned to a new ship. Over a round of poker, Johnnie Pulaski (Dane Clark) jokes about getting a shore job and reveals his fear of dying at sea. The others shame him into signing along with them on another ship. Alfred “Boats” O’Hara (Alan Hale, Sr.) is tracked down by his wife, who has apparently not seen him since he was rescued. She angrily serves him with a divorce summons. O’Hara, knowing he is headed back to sea, gleefully tears it up, saying Them ‘Liberty Boats’ are sure well named! When they are charged with getting supply vessel Seawitch to Russian allies in Murmansk as part of a sea convoy and the group of ships comes under attack from U-37 again, Rossi and Jarvis are motivated by the opportunity to strike back at the Germans but now have to dodge Luftwaffe bullets too  For a sailor’s wife this war is just another storm.  Tremendously exciting action adventure paying tribute to the men of the US Merchant Marine. The evocation of a group under pressure with their particular avocations and tics is expertly done and the characterisation is a model for war movies. There are all kinds of devices and diversions, from an onboard kitten and his successor; to envy of a Naval officer Cadet Ezra Parker (Dick Hogan); and the usual carping about the quality of the nosh. With a screenplay by John Howard Lawson (from a story by Guy Gilpatric) and additional dialogue by A.I. Bezzerides and W. R. Burnett you can be sure there are some riproaring lines: A trip to perdition would be like a pleasure cruise compared with what we’re going into. Wonderfully shot by Ted McCord with marvellous effects, you would never guess that this was shot on the studio lot due to wartime restrictions. Directed by Lloyd Bacon with uncredited work by Byron Haskin and Raoul Walsh. I’ve got faith – in God, President Roosevelt and the Brooklyn Dodgers – in the order of their importance!

Showdown (1963)

Showdown

Aka The Iron Collar. You can’t do this to a man. Not to a man! Two drifters, cowpoke Chris Foster (Audie Murphy) and veterinarian Bert Pickett (Charles Drake) go into the border town of Adonde. Bert gets in a fight after getting drunk and punches out the local sheriff during a card game and he and Chris are put in iron collars, chained to an outlaw and famed killer, LaValle (Harold J. Stone) at a post in the town square. He is there with his gang members Foray (L.Q. Jones) and Caslon (Skip Homeier). They manage to escape but La Valle wants them to rob a bank and they try to buy their way to freedom with some stolen bonds … The man who said he could never be caught. He’s collared now. Written by Bronson Howitzer (aka Ric Hardman) and directed by western stalwart R.G. Springsteen, this is standard genre fodder, albeit with appropriately noir overtones for this monochrome affair. Murphy acquits himself well, Stone is a convincing villain, Kathleen Crowley makes for an admirably cynical kind of femme fatale with a sympathetic backstory and Lone Pine stands in for New Mexico with well mounted if small-scale action. When I call you come or I put you back on the leash!

True as a Turtle (1956)

True as a Turtle

You’re in a taxi rank, skipper! Newly married Tony Hudson (John Gregson) offers his young wife Jane (June Thorburn) a cruise on a yacht as a honeymoon trip with his rich industrialist friend Dudley Partridge (Cecil Parker) who is sailing with his family, insurance man Harry Bell (Keith Michell) and his wealthy landlubber girlfriend Ann (Elvi Hale). Jane suffers from chronic seasickness but agrees and they go on board the Turtle, a fine ketch which initially has difficulty leaving port. A lot of misadventures await – including Partridge’s niece Susie (Pauline Drewett) catching German measles, crossing paths with a counterfeit gaming chip scam when they arrive at the French port of Dinard and then dealing with a real pea-souper fog that just might scupper their return … I hate boats. Don’t you? Jack Davies, Nicholas Phipps and John Coates adapted Coates’ novel, a marital comedy involving a lot of messing about in boats while the newlyweds really navigate their relationship. Gregson’s casting tips the wink that this is a kind of reworking of the beloved Genevieve, with Kay Kendall’s role being taken by Hale; while there are more than a few riffs on the plot of Brandy for the Parson but director Wendy Toye has a light touch and the intrigue and setting give this its own particular charm. It’s nicely shot on location in Dorset, Hampshire, London and France by Reginald Wyer. Look out for Clement Freud playing a croupier. You’ll soon get used to things being wet

Captain Boycott (1947)

Captain Boycott

I simply can’t understand a man like that. In 1880s Ireland Charles Stewart Parnell (Robert Donat) makes a rousing speech against the villainous property thefts by the British in Ireland but urges passive resistance, shunning rather than killing landlords. In a Mayo village, British landowner Captain Charles Boycott (Cecil Parker) dispossesses the townspeople who are being charged extortionate rents as his tenants and uses police and army to evict them, leaving them without hope. But when a passionate farmer Hugh Davin (Stewart Granger) creates an organised and nonviolent rebellion against the oppressor and falls in love with a beautiful newcomer Ann Killain (Kathleen Ryan) he proves that the Irish people are willing to fight for their rights ... You can’t make British soldiers fight for what any fool can see is an unjust cause.  Wolfgang Wilhelm’s screenplay makes light work of the systematic property rout and starving of Irish citizens described in Philip Rooney’s source novel, weaving a skein of complicity, action and politics that rings true. Co-written by director Frank Launder, with additional dialogue by Paul Vincent Carroll and Patrick Campbell,  the location shooting (with Westmeath standing in for Mayo) adding immeasurably to this history lesson about the infamous land agent who entered the lexicon because of the campaign of ostracising that brought him recognition. The cast is a Who’s Who of the British and Irish acting contingent of the era including the genial Noel Purcell playing Daniel McGinty a teacher who is also a crafty agitator, Mervyn Johns as a sneaky property dealer, Alastair Sim as a Catholic priest, Father McKeogh, and Maurice Denham as Lieutenant Colonel Strickland who is inclined to attribute Boycott’s conduct to a kind of personal pig-headed eccentricity rather than Anglo rule. Granger has a good role and is up to the witty and lively construction of this typical Launder and Gilliat production. William Alwyn’s spirited score captures the mood of the rebellion very well. Can you count pain – suffering – hunger – wretchedness?