Monday, September 26, 2022

Charles Bronson Seeks The Stone Killer

Charles Bronson as Torrey.
Made two years after Dirty Harry (1971), The Stone Killer stars Charles Bronson as a Harry clone named Lou Torrey. After being suspended for his violent behavior, police detective Torrey transfers from New York City to Los Angeles. After two quiet years, Torrey arrests a former mob hitman who warns that "something big" is about to happen. Torrey expresses little interest until the retired mobster is assassinated at an airport by a professional killer.

As Torrey investigates the case, he learns that Vietnam veterans are being recruited and trained to execute a series of mass killings. But who are the targets and who is behind this nefarious plan? And how is it linked to a series of mob killings that took place in 1931?

An interesting plot and a cast peppered with familiar faces highlight this middle-of-the-road gritty crime drama. The former can be credited to John Gardner, who wrote the source novel A Complete State of Death (a line uttered by Bronson in the movie).

Bronson is adequate as the lead, though there's no depth to his character. An opening scene reveals that Torrey is divorced and has an estranged daughter--but she appears to have been written out of the rest of the screenplay. 

Balsam heads the supporting cast.
Fortunately, the supporting cast include a bevy of seasoned veterans, such as: Norman Fell as Bronson's boss; Martin Balsam as a Sicilian crime boss; Stuart Margolin as a mercenary; Alfred Ryder as a mob gunman; and Ralph Waite as a lousy excuse for a police detective. Waite appears in one of the best scenes. When Torrey hops in a police car to chase a baddie, Waite's stranded detective calls headquarters to find out if he has to pay for a taxi back to the station or whether he can claim it as a business expense. Discerning viewers might also recognize a young John Ritter (yes, appearing in a film with Norman Fell three years before Three's Company).

Director Michael Winner, who teamed with Bronson frequently, heightens the action with a nifty downtown chase scene involving a car and a motorcycle. It's one of those crazy sequences in which a police car plows through a street market and crashes through a showroom window. One can only imagine the number of lawsuits subsequently filed against the city! There's also a decent shoot-out at a desert training facility and a better one inside a parking garage (though it's hard to tell the good guys from the baddies).

The Stone Killer doesn't rank with the decade's best crime dramas (e.g., The Taking of Pelham One Two Three) nor is it even the best collaboration between Bronson and Winner (that'd be Death Wish). However, it's an easily watchable action film with a good cast and a crisp, exciting plot. For the record, the title is mob slang for a professional killer.

Monday, September 19, 2022

Pamela Franklin Reveals the Third Secret and Takes on Miss Brodie

Actress Pamela Franklin.
With the exception of Hayley Mills, Pamela Franklin may have had the best 1960s career of any young actor. She started the decade with a spellbinding performance in The Innocents (1961). She sparkled in the offbeat Disney film A Tiger Walks (1964) and Hammer's underrated suspense film The Nanny (1965). However, Pamela Franklin's best performances were reserved for the unusual thriller The Third Secret (1964) and the Maggie Smith classic The Prime of Miss Jean Brodie (1969).

The Third Secret opens with the apparent suicide of renowned British psychoanalyst Dr. Leo Whitset. It's an unexpected event that shakes American journalist Alex Stedman (Stephen Boyd), one of Whitset's patients, who is convinced that the doctor wouldn't take his own life. When Whitset's teenage daughter, Catherine (Pamela Franklin), seeks out Alex, she expresses the same doubts. The two eventually team up to find Whitset's murderer, focusing their investigation on three patients: an art gallery owner (Richard Attenborough), a secretary (Diane Cilento), and a barrister (Jack Hawkins).

Pamela Franklin and Stephen Boyd.
The core of The Third Secret is the somewhat disturbing relationship between Alex and Catherine. At times, it projects a father-daughter vibe, but then it lapses into an uncomfortably adult-like friendship between a 33-year-old man and a fourteen-year-old girl. It's no wonder that Catherine's uncle assumes the worst when he finds the two of them alone in Catherine's bedroom in her empty home.

As she did in The Innocents, Pamela Franklin gives a remarkable performance as a youth who behaves well beyond her years. She keeps The Third Secret afloat as it rambles occasionally towards its surprisingly satisfactory conclusion. Incidentally, the first secret is what we don't tell other people and the second secret is what we don't tell ourselves. And the third secret is....well, I'm not telling (a good print of the movie is currently on YouTube).

Four years after The Third Secret, Pamela Franklin played one of the "Brodie Girls" in The Prime of Miss Jean Brodie, which was written by Jay Presson Allen (Marnie) and based on the 1961 novel by Muriel Spark. 

Maggie Smith as Miss Brodie.
Maggie Smith stars as the title character, a forceful teacher at a girls' boarding school in Edinburgh in the 1930s. Popular with her students and armed with tenure, Miss Brodie defies the school's headmistress and teaches whatever she wants (e.g., she sings the praises of Mussolini and Franco). Miss Brodie enters into a relationship with the school's conservative choir teacher (Gordon Jackson), but still harbors passionate feelings toward the married art teacher (with whom she had a brief fling).

As the years go by, Sandy (Pamela Franklin), one of Miss Brodie's favored students, becomes disillusioned toward her mentor. She becomes the art teacher's mistress, but breaks it off after learning he is still infatuated with Miss Brodie. Following the death of a fellow student, Sandy decides that Miss Brodie has become a dangerous influence and takes matters into her own hands.

Pamela Franklin as Sandy.
The Prime of Miss Jean Brodie is Maggie Smith's movie and her tour-de-force performance earned her both Oscar and BAFTA best actress awards. However, Pamela Franklin holds her own in the climatic confrontation between Miss Brodie and Sandy. She earned a BAFTA supporting actress nomination, but lost to her co-star Celia Johnson, who played the schools' headmistress. (For the record, Rod McKuen's song "Jean" was also Oscar-nominated; the singer Oliver's cover of it reached #3 on the Billboard Hot 100 later in 1969.)

Pamela Franklin's career stalled unexpectedly in the 1970s after a move to the U.S. She appeared in a Green Acres episode that served as a failed backdoor pilot for a sitcom called Pam. She was a frequent guest star in TV shows like Cannon, Medical Center, and Fantasy Island. She occasionally starred in movies, with The Legend of Hell House probably being her best film during this period. Pamela Franklin retired from acting in 1981 at the age of 31.

Friday, September 16, 2022

Classic Film Photo of the Week: Cary Grant and Dyan Cannon with Their Daughter

Embed from Getty Images

Cary Grant and Dyan Cannon with their three-month-old daughter Jennifer in 1966.

Monday, September 12, 2022

William Holden Seeks Revenge!

William Holden as Mr. Benedict.
Between 1969 and 1972, William Holden made three Westerns: the first was a bona fide classic (Sam Peckinpah's The Wild Bunch); the second was taken out of the director's control and became a notorious flop (Wild Rovers), and the third was a conventional revenge tale that borrowed its premise from The Dirty Dozen (1967). That last film, creatively titled The Revengers, is the subject of today's review.

Holden plays John Benedict, a former Cavalry officer who has settled down to raise horses and a family. His idyllic existence is shattered when a band of ruffians kill his wife and children while he's hunting a wounded cougar. Consumed with vengeance, he tracks down one of the murderers and learns that their leader has retreated to a well-protected hideout in Mexico.

Knowing that he will be outnumbered, Benedict visits a prison camp where the crooked commandant "sells" prisoners to work in mines. Benedict agrees to pay a premium if he can select his laborers--which he intends to use for his personal posse.

Ernest Borgnine looking grubby.
The relationship between Benedict and his men is the most interesting aspect of The Revengers. When he frees them, most of the former convicts abandon him...only to return the next day. Having spent their money, they have nothing more interesting to do! But as time passes, they develop respect and loyalty to Mr. Benedict and his quest becomes their quest.

The youngest rider, a Mexican named Chamaco, imagines that he is Benedict's son (conceived when the older man visited his birth town as a Cavalry officer). When he mentions this unlikely possibility to Benedict, the older man--who is still grieving the loss of his son--angrily rejects Chamaco. The young Mexican then shoots Benedict, apparently killing him. This paves the way for a much-too-long rehabilitation sequence with Susan Hayward, which supposedly causes Benedict to reevaluate his motives.

Woody Strode looking stoic.
William Holden lacks fire as Benedict, displaying none of the intensity that he captured so well in The Wild Bunch. Most of the supporting cast makes little impact, although Ernest Borgnine (Holden's brilliant co-star in The Wild Bunch) is colorful and Woody Strode exudes a powerfully calm screen presence. Mexican actor Jorge Luke is also convincing as the young Chamaco.

The Revengers marked Susan Hayward's return to the screen after a five-year absence following 1967's Valley of the Dolls. Alas, she has little to do as a lonely nurse who becomes attracted to Benedict.

I saw The Revengers with my parents when it was released theatrically. If it seems like an odd choice for a family film, I can explain. My mother would go see any movie with William Holden! Although Dad didn't say it, I'm sure he was disappointed. This Holden movie didn't have Kim Novak.

Monday, September 5, 2022

An Interview with Nancy Olson Livingston

Actress Nancy Olson Livingston shot to fame at the age of 22 when she earned a Best Supporting Actress nomination for Sunset Blvd. (1950). She subsequently became one of the most in-demand actresses of the 1950s, starring alongside William Holden (Union Station, Force of Arms, etc.), John Wayne (Big Jim McLain), Jane Wyman (So Big), Bing Crosby (Mr. Music), and Van Heflin (Battle Cry). Nancy reduced her workload in the late 1950s to spend more time with her family. However, she made occasional guest appearances on TV series such as Alfred Hitchcock Presents and The Big Valley. She also starred on Broadway in The Tunnel of Love, Send Me No Flowers, and Mary, Mary. Starting in 1960, Nancy Olson Livingtson appeared in five Walt Disney films over a 12-year period, including Pollyanna, The Absent-Minded Professor, and Snowball Express. Her autobiography A Front Row Seat: An Intimate Look at Broadway, Hollywood, and the Age of Glamour will be published this November.


Café:  How would you describe your experience of working with director Billy Wilder on Sunset Blvd.?

Nancy Olson in Canadian Pacific.
Nancy Olson Livingston:  It was a profound experience because I had only done one picture before Sunset Blvd. That was Canadian Pacific (1949) with Randolph Scott, who was old enough to be my father. At least, I had the experience of being in front of the camera and knowing what the set-up was and how it operated. I was also going to UCLA and majoring in theater arts. I was under contract to Paramount, which lent me to 20th Century-Fox to do Canadian Pacific. I was fascinated that I could walk around the Paramount lot and go to the commissary to have lunch. I did that to get acquainted with what the studio was all about. I certainly knew who Billy Wilder was. I had seen his films and I was a great admirer of his work. He would stop me on the lot and engage me in long conversations: “What was it like to be born and raised in the Midwest? Your father is a doctor, what was that like? Tell me about your college life at UCLA.” It was bizarre. Why in the world would Billy Wilder want to know all these things? When I was cast in Sunset Blvd. and read the script, I realized that my character, Betty Schaefer, was an aspiring writer. She had to innately have a way of speaking that would make you believe she was a writer. She had to be able to speak well, to use language well, to be confident. I eventually came to understand that’s why I was cast. I would visit the set before I started my scenes and was always warmly welcomed. I worked with Edith Head, who did the wardrobes, and I was wearing what she wanted me to wear. And Billy said: “I don’t like that. I like what she wore yesterday when she came to visit.” So, I wore my own clothes in Sunset Blvd. I had not been in California long enough to know where to shop. I did not have a great wardrobe. What was absolutely clear was that Billy Wilder wanted me to be me. Betty Schaefer was me.

Café:  What was your biggest challenge in Sunset Blvd.?

Nancy Olson Livingston:  The first day of work. It’s my first scene in the movie where Betty comes into the office of this producer and asks about the script that Joe Gillis (William Holden), who was sitting there, wrote. Betty didn’t know who Joe Gillis was, so she was very honest about what she thought about the script. We rehearsed that scene several times. When I said that we were ready, Billy said “Shoot!” and we started the scene. There was a moment where I kind of stuttered a little, but I kept going. When the scene was finished, I said: “Please, Mr. Wilder (eventually I called him Billy), could we please do it again?” I didn’t feel totally comfortable at that moment. But he said: “Nope. It was fine.” Now, this is something that Shirley MacLaine and I talked about years later. He never wanted to shoot a scene more than once. You often had the feeling that you could do it a little better, that you didn’t bring something into it that you wanted to. I was upset about that. But I learned that you better know what you’re doing from the beginning.

Café:  Why do you think Sunset Blvd. continues to resonate with film fans over 70 years after it was made?

Nancy Olson Livingston:  Sunset Blvd. resonates not only with film fans, but with the general public. I had an experience about a year ago when I went into Saks Fifth Avenue and I walked into the cosmetics department. This man, who was the general manager, suddenly came over to me and said: “I know who you are. I saw Sunset Blvd. three weeks ago. You’re Nancy Olson.” I was 91 or 92. When you watch Sunset Blvd., it’s old-fashioned—the clothes, the cars, everything is of a different era. And yet, it has an up-to-date understanding. It feels today. And that is because it reveals the truth. I wrote about that in my book: “Sunset Blvd. tells the brutal truth about a part of the motion picture business and how it can ruin one’s life. To be exploited for other people’s profit can be both painful and humiliating. Even though one is paid sometimes a great deal and receives tremendous ego-fulfilling rewards, to be portrayed as larger than life is distorting and destroys the delicate balance between reality and fantasy.” Everything about Sunset Blvd. tells the truth. Joe Gillis is a desperate man who is at the end of his rope. He can’t pay his car loan. He can’t pay his rent. And when he gets into Norma Desmond’s house, he decides to sell his soul for his survival. And Betty Schaefer, my character, falls in love with this man who has sold his soul. It’s about human nature. It’s about who we all are and how we conduct our lives. Movie stars were a commodity back then. Marilyn Monroe is a perfect example. She was so exaggerated, but she was also vulnerable. She was created bigger and bigger than she really was. Ultimately, movie stars are thrown away, like Norma Desmond and, to a great extent, Marilyn Monroe. So, Sunset Blvd. survives because it tells the truth about an aspect of life which is kind of generally true.

Café:  I also think Sunset Blvd. has one of the great openings in movie history, with Joe’s body floating in the swimming pool as he provides the voice-over narration.

Nancy Olson Livingston:  You want to know what the real beginning was? It was filmed with bodies in a morgue. Joe is under the sheets with all the other bodies and he starts to talk with them. When the studio showed the movie at a test showing, the audience laughed. People thought it was funny and kind of ridiculous. So, Billy went back and re-edited and started at the point where Joe’s body is floating in the pool.

Café:  You made four films with William Holden, whom you have described as a good friend. What do you think was the secret to the onscreen chemistry between the two of you?

Nancy Olson and William Holden in Sunset Blvd.
Nancy Olson Livingston:  We were very alike. He was from Pasadena. I was from Milwaukee. There was a common ground. We really began to love each other. I was married. He was married. He did make a slight pass at me during the shooting of Sunset Blvd., which I’ve written about. It became so clear to him that nothing was going to ever happen. That was the end of it and we became friends. We loved hugging and kissing (laughs). I don’t know why, but it felt wonderful and comforting to be held by him. We enjoyed each other and we liked each other. Years after Bill and I had stopped working together, I was at an airport with my husband Alan Livingston and, as we were walking to board a plane, I heard a voice from behind me: “Nancy!” I turned around and it was Bill. I cried out: “Bill!” And we spontaneously ran as fast as we could and went into an embrace. He gave me a kiss and said: “My God, how are you? I haven’t seen you for two years. I understand you’re remarried now. Are you happy?” It was one of those things. A man was walking by as we were talking and laughing and he taps us on the shoulder: “Excuse me, but this is better than watching an old movie.” 

Café:  You starred in five Walt Disney films over 12 years, starting with Pollyanna in 1960. What led to your Disney connection?

Nancy Olson in The Absent-Minded Professor.
Nancy Olson Livingston:  I had not done a movie for a long time and figured I wasn’t going to do another movie. I did not want to be a movie star. That was a lesson I learned in Sunset Blvd. Being a movie star was isolating and lonely and unreal. I was 32 and I thought it was over. So, I am in Majorca, picking up my children who were visiting their father and stepmother. And I got a phone call and it was Mr. Disney. He said: “Nancy, this is Walt Disney. We are working on a movie here and are spending a lot more money than we usually do. It’s an all-star cast. Every part has been cast with a star. We have John Mills’ daughter, Hayley, who is fantastic, to play Pollyanna. We have Jane Wyman, Richard Egan, Karl Malden, Adolphe Menjou, Agnes Moorehead…and we want you.” I thought that was interesting. He said they were shooting at the end of August. I was planning on going to California to visit my parents anyway. I was living in New York at the time. But I had to bring the children back to school. Walt said I’d be finished by the middle of September. I said I had a governess who could take the kids back to school. I told him: “You know something…I’ll do it.” And that began my work with Walt Disney. I enjoyed it. My children had fun coming and visiting me on the set. I finished Pollyanna and thought that was the end of it. I never even asked what he was going to pay me. That wasn’t an issue. About a year later, I get a call from my agent saying that Disney is doing The Absent-Minded Professor with Fred MacMurray and wanted me for Fred’s love interest. Fred was twenty years older than me. Casting at that time was really out of whack. I loved Fred MacMurray’s work. He was a brilliant actor. He just had a natural sense for it. I read The Absent-Minded Professor script and decided I'd do it. I made it and then went back to New York. The next year, they decided to do a sequel because The Absent-Minded Professor was a huge success. So, I did Son of Flubber. By the way, sequels are never as good as the original. At least, that’s my opinion. I felt very comfortable on the Disney lot. Walt Disney made everyone call him Walt—including the grips. There was a unique friendliness that pervaded the lot. It was interesting and different from any place I’d ever worked before. I think Walt Disney was from the Midwest, too, and a homespun, middle-class kind of background. He was a Republican. I’m a big Democrat. Fred MacMurray was a big Republican, so the two of them got along wonderfully. Fred grew up in Wisconsin so the two of us had a kind of bond and told stories to each other about our experiences growing up. Because I wanted to work every once in a while, the Disney folks would call me. I did Smith! (1969) with Glenn Ford and Snowball Express (1972) with Dean Jones, which was not a very good film. But if you ever see Snowball Express, that was the absolute best that I ever looked when I was photographed. I saw it the other day and I was amazed. 

Café:  I think the first half of Snowball Express was pretty good, but the second half just turns silly.

Nancy Olson Livingston:  But don’t you agree that I look very well photographed?

Café:  Well, you always looked good in your films. Now, you appeared with many of the biggest stars of the 1950s and 1960s: William Holden, Jane Wyman, Fred MacMurray, John Wayne, Bing Crosby, and Glenn Ford. Who were some of your favorite co-stars and why?

John Wayne and Nancy Olson in Big Jim McLain.
Nancy Olson Livingston: Making Big Jim McLain with John Wayne was an interesting experience. It was a terrible script. When I read it, I thought that nobody was going to see this film. It’ll come out, get terrible reviews, and get shown on Saturday nights with another big film. But I thought I should have the experience of working with a true icon like John Wayne and it was made in Honolulu, which I loved. I found John Wayne to be an amazing person and very mysterious as to who he really was. Everybody called him Duke; I called him John. He never corrected me. We became really wonderful friends. For years, whenever we saw each other, we embraced and were happy to see each other. He was not the least flirtatious. Now, Bing Crosby had cold blue eyes. He put himself at a distance from almost everyone. He had a group of cronies around all the time, buttering him up. However, he and I became friends. The whole cast, crew, and director (of Mr. Music) treated me like I was a kind of charming child and that was odd. I was beginning to date Alan Lerner, my first husband, so it didn’t much matter. But I realized I was much too young to play opposite Bing as his love interest. When I was in Battle Cry, my marriage to Alan Lerner was beginning to have terrible problems. He ultimately married eight times, so he was a man with problems. I was too young and naïve to understand them, because he was fascinating and brilliant and would be with the most interesting people. He knew the best writers and producers in New York and the theatre was extremely interesting at that time. I was very happy to marry him, but it eventually became obvious it was not going to end well. There was a point where Warner Bros. called and asked if I would do Battle Cry. I said yes. There were so many stars in Battle Cry that I had a limited story with Aldo Ray. Aldo, bless him, kind of fell in love with me. I needed that. Please understand that we never had an affair. But when we had a long scene, he would prolong it--and it felt good. 

Café:  Excluding Sunset Blvd., what was your favorite of your films and why?

Nancy Olson Livingston:  The first thing that pops in my head is The Absent-Minded Professor, because it was so much fun and such a wonderful script. Fred MacMurray was marvelous. But there were very few films that lived up to Sunset Blvd. That was just an amazing experience.

Café:  You played Lloyd Bridges’ wife in the 1984 TV series Paper Dolls, which revolved around the fashion industry. How would you describe that experience?

Nancy Olson Livingston:  I only worked one or two days a week and maybe not at all the next week. It was a great cast and we all became friends. It was a nice interruption and just fun to be on a set and act a little.

Café:  Were there any roles you turned down or wish you had pursued during your career?

Nancy Olson Livingston:  No. My acting career was only a third of my life and eventually an eighth of my life. It was interesting, but it was not my life. As I write about in my book, my experiences outside of films were just as interesting or more so. Life is a fascinating, extraordinary experience. I’ve lived a long time and I’ve been extremely lucky. I was lucky having the parents I did, growing up where I did, how I grew up. Even my first marriage, which ended so painfully, had its moments. My Fair Lady was dedicated to me. I sat there and watched it being created. I had the most amazing experiences with my second husband, Alan Livingston, the president of Capitol Records. He started at Capitol after he got out of the Army and college. He went to Paramount, where they wanted him to write children’s albums, which he had never even thought of doing. But he created Bozo the Clown and other albums that became bestsellers. Then, he put Frank Sinatra with the right conductor and changed his whole career. He made Nat Cole a soloist instead of a pianist. Then, he left Capitol and went to NBC television and created Bonanza. After several years, he went back to Capitol and signed The Beach Boys. I gave parties for The Beatles and The Band. Alan Livingston ended up with the first American company in China. So, my life was varied and anybody who lives this long will have success and failure, happiness and heartbreak, sadness and joy. You can’t live this long without having all of it.

Café:  Thank you so much for much for taking the time to talk with us today.

Nancy Olson Livingston:  I enjoyed it.


A Front Row Seat: An Intimate Look at Broadway, Hollywood, and the Age of Glamour by Nancy Olson Livingston will be published by the University of Kentucky Press on November 15, 2022. It's 408 pages and features 44 black & white photos.

Thursday, September 1, 2022

Basil of Baker Street is The Great Mouse Detective

Basil, the great mouse detective.
The 1980s was a rocky decade for Disney animated films. Several animators, led by Don Bluth, left the studio to create their own movies (e.g., The Secret of NIMH). Disney's much anticipated adaptation of Lloyd Alexander's The Black Cauldron--the studio's first PG-rated animated film--fizzled with critics and the public. Even The Fox and the Hound (1981) and Oliver & Company (1988) were considered disappointments, though each made a profit. Fortunately, Disney ended the '80s on a high note when The Little Mermaid (1989) redefined the animated musical and won two Oscars.

Yet, there was another memorable 1980s Disney film that seems almost forgotten today: The Great Mouse Detective (1986). Based Eve Titus's book series Basil of Baker Street, it features a mouse detective modeled closely after Sherlock Holmes. In fact, Basil lives in Victorian London at 221½ B Baker Street--underneath Sherlock's famous quarters. In lieu of Moriarty, Basil is obsessed with capturing another diabolical genius: Professor Rattigan.

Professor Rattigan, voiced by Vincent Price.
The fiendish rat has kidnapped an inventive toymaker called Flaversham as part of his plan to become "the supreme ruler of Mousedom." When Flaversham refuses to help Rattigan, the professor threatens to imprison the toymaker's daughter Olivia. What he doesn't know is that Olivia has sought the aid of Basil of Baker Street.

While the screenplay lacks the sparkle and wit of Disney classics like 101 Dalmatians (1961), it's still an entertaining yarn filled with colorful characters and clever details. Anyone who has watched a Basil Rathbone Holmes movie will take delight in the scene in which Basil and Dr. Dawson (the Watson equivalent) use disguises to infiltrate a seedy dive by the docks. However, the film's highlight is the climatic confrontation between Basil and Rattigan, which takes place inside and outside Big Ben during a thunderstorm. I think Sir Arthur Conan Doyle would have been pleased!

Miss Kitty performing her number.
The outstanding voice cast features Barrie Ingham as Basil, Vincent Price as Rattigan, Alan Young as Flaversham, and singer Melissa Manchester as Miss Kitty. Price has a grand time as the bigger-than-life villain and even gets to sing in the film's biggest musical number "The World's Greatest Criminal Mind" (co-written by Henry Mancini). Although The Great Mouse Detective is not a musical, it includes two songs. The best of those is "Let Me Be Good to You," an amusing dance hall pastiche written and performed with style by Manchester.

Given Disney's propensity to revisit its animated classics, it's surprising that the studio never made a direct-to-video sequel or a TV series for the Disney Channel. I would have watched the further adventures of Basil of Baker and Dr. Dawson.

Saturday, August 27, 2022

Classic Film Photo of the Week: Robert Taylor and Barbara Stanwyck

Embed from Getty Images Robert Taylor and Barbara Stanwyck after their elopement to San Diego in 1943.

Monday, August 22, 2022

The Alternate Movie Title Game (Burt Reynolds Edition)

Here are the rules: We will provide an "alternate title" for a Burt Reynolds film and ask you to name the actual film. Most of these are pretty easy. Please answer no more than three questions per day so others can play. You may have an answer other than the intended one--just be able to defend it!

1. Three Feet to Go.

2. Dominoe.

3. Country Music and the Crook.

4. Billy Clyde, Shake, & Bookman.

5. Moonshine.

6. Let's Make Haste.  (This one is a bit funky!)

7. Single Again.

8. Eight Dozen Weapons...Plus Four Bonus Ones, Amigo!

9. The Mississippiensis Nickname.

10. News Front.

11. The Sparkle of Diamonds.

12. The Boston Cops.

13. Kill Me, Please!

14. I Want a Baby.

15. The Chicken Ranch.

Sunday, August 14, 2022

Classic Film Photo of The Week: Joan Collins and Gardner McKay

Embed from Getty Images A smiling Joan Collins and a serious Gardner McKay are attending a party circa 1959 celebrating composer Jimmy McHugh's 35-year career. Collins had recently appeared in the 1958 films Rally 'Round the Flag, Boys! and The Bravados. McKay was then starring in the TV series Adventures in Paradise.

Monday, August 8, 2022

Atragon: The Super Submarine That Flies...and Drills!

Atragon's flying submarine.
The 1963 Japanese sci fi adventure Atragon is another one of those movies that played frequently on television when I was a youngster. Like many of those films, it seemingly disappeared into the ether for several decades before popping up unexpectedly on Amazon Prime Video. Except for a few images burned into my brain (e.g., a flying submarine!), I remembered very little about the plot--which is pretty wild.

The Empress of Mu and her minions.
It starts with the near kidnapping of Makoto, the daughter of a famous scientist/submarine commander who has been missing and assumed dead since the end of World War II. It turns out that the would-be abductor is an agent of the undersea Mu Empire, which announces--via a 16mm film--that it intends to conquer the world. The Mu are confident that no country in the world can stop them. Indeed, their only concern is a super submarine being developed by Makoto's father, Captain Jinguji, who turns out to be very much alive.

The disappointing Manda.
Jingjui is still bitter over Japan's defeat in World War II and has no interest in helping the rest of the world defeat the Mu Empire--despite even his daughter's pleas. Meanwhile, the Mu attack Tokyo and revive a giant serpent creature called Manda to wreak further destruction.

Atragon unfolds much like a 1940s serial with chapters devoted to the kidnapping, the rise of Mu Empire, Makoto's reunion with her father, the attack on the Mu, and so on. Even the film's "hero," a magazine journalist played by Tadao Takashima, reminds one of an intrepid protagonist from an old Hollywood serial. The comparison is intended as a compliment, for even though Atragon boasts a choppy narrative, it's rarely dull.

A sub that can drill through rock!
Eiji Tsuburaya, Toho Studio's special effects mastermind, created the often dazzling visuals in Atragon. Jinguji's flying submarine (which can also drill through rock) and the intricately-designed undersea Mu kingdom are the film's highlights. Sadly, the dragon-like Manda, the film's climatic "monster"--comes across as a disappointing afterthought. Its marionette movements lack fluidity and its fiery ray is too derivative of Godzilla's more memorable atomic breath.

Based loosely on the 1900 Japanese novel The Undersea Warship, Atragon performed well at the international box office. It was called Atoragon in many countries, which appears to be a combination of "atomic" and "dragon" (apparently in reference in Manda). However, in the U.S., its distributor American International Pictures, referred to the flying sub as Atragon in its publicity materials. That's confusing because the submarine's name in the movie is Gotengo. But, as often the case with movies retitled for their American release, the new title has persisted over the years.

Friday, August 5, 2022

Classic Film Photo of the Week: Suzanne Pleshette and Troy Donahue

Embed from Getty Images

Suzanne Pleshette and Troy Donahue were married in a civil cermony at the Beverly Hills Hotel on January 4, 1964. The guests included Rock Hudson, Richard Chamberlain, Gig Young, and Carl Reiner. The couple divorced just nine months later.

Monday, August 1, 2022

Seven Things to Know About Buddy Ebsen

Ebsen as Jed Clampett.
1. In his autobiography, The Other Side of Oz, Buddy Ebsen recalls Beverly Hillbillies creator Paul Henning pitching the show to him by reenacting scenes from the first script: "We were all laughing and wiping tears, and then I got a chilling thought. Most of the laughs were coming as a result of Granny, Jethro, Elly May, and (cousin) Pearl. Jed was not funny, it seemed. Granny and Jethro were. Jed had an occasional dry, philosophical, or naïve laugh line, but essentially he was the straight man. A guy could get lost in such a situation. The show sounded like a lot of fun, and I was supposed to be part of it, but how could I survive in it? Then the answer came: These hillbillies were rich. Worth $35 million. If Jed could always control the money, he'd never get lost."

With Lee Meriwether in Barnaby Jones.
2. When Buddy Ebsen's private eye show was being developed, producer Quinn Martin settled quickly on the first name of Barnaby. However, the last name did not come easily. Martin considered Flint or Cobb (which Ebsen didn't like). It was only after Ebsen described his character to Martin as "a cool, methodical human being, a shrewd judge of character" that Martin blurted out "Jones" and the show became Barnaby Jones.

3. Director Ron Howard originally offered the role of Art Selwyn in Cocoon (1985) to Buddy Ebsen. However, Ebsen was contractually obligated to the Matt Houston TV series at the time and he couldn't accept the part. Don Ameche went on to win a Best Supporting Actor for that role in Cocoon. Ebsen and Howard knew each from working together in the made-for-TV movie Fire on the Mountain (1981) and on The Andy Griffith Show (where Ebsen guest-starred in the episode "Opie's Hobo Friend").

4. Buddy Ebsen was not only originally cast as the Tin Man in The Wizard of Oz (1939), but he filmed several scenes with Judy Garland, Ray Bolger, and Bert Lahr. The make-up for Dorothy's three companions proved tortuous, especially for Ebsen. His costume and make-up were altered several times, but he could barely sit down and dancing was "an ordeal of pain." However, it was the aluminum dust used in his make-up that almost killed him. He began experiencing severe cramps and shortness of breath. He wound up being hospitalized for two weeks and recuperating for an additional six weeks. In the meantime, MGM recast the role of the Tin Man with Jack Haley.

5. Ebsen played a lighthouse keeper opposite orphan Shirley Temple in Captain January (1936), one of her most successful films. Of his young co-star, Buddy once said: "Of all the moppet stars to come down the pike, the most classic, enduring, and once-in-a-lifetime package of talent and stardom was Shirley Temple."

Ebsen as Georgie Russel.
6. Buddy Ebsen was set to play the lead role in Walt Disney's Davy Crockett (1954) limited series--before Disney saw Fess Parker in Them! and chose him as Davy. Ebsen's consolation prize was playing Crockett's sidekick Georgie Russel. Due to their heights, Ebsen (6' 3") and Parker (6' 5") had to perform most of their own stunts. In a scene in which Ebsen was loading a musket, the muzzle exploded in his face: "I lost my eyelashes, my eyebrows, and a good patch of my front hairline."

7. Buddy Ebsen was married three times and had seven children: two daughters with first wife Ruth Cambridge and four daughters and a son with second wife Nancy Wolcott. He and third wife Dorothy Knott had no children. Daughter Kiki Ebsen is a singer-songwriter who has released several albums.

Monday, July 25, 2022

An Interview with Will Hutchins on Sugarfoot, Elvis, and Working at Warner Bros.

Will Hutchins in 1971.
Star of the beloved Western TV series Sugarfoot (1957-61), Will Hutchins remains a familiar face to fans of 1960s and 1970s films and television series. In addition to Sugarfoot, he starred in the 1960s TV shows Hey, Landlord (the first sitcom created by Garry Marshall) and Blondie (with Patricia Harty, Pamelyn Ferdin, and Jim Backus). On the big screen, he co-starred in the Elvis Presley musicals Spinout (1966) and Clambake (1967) and alongside Jack Nicholson and Warren Oates in the unusual Western The Shooting (1966). He also guest-starred on TV series such as Gunsmoke, The Alfred Hitchcock Hour, Emergency, Perry Mason, and The New Perry Mason. In 2002, Will Hutchins received the Golden Boot Award, presented by the Motion Picture & Television Fund, in recognition of his “significant contributions to the genre of Westerns in television and film.”

Café:  How did you get into show business?

Will Hutchins:  I was a student at Pomona College from 1948 to 1952, which is in Claremont, California. We were the mighty Sagehens! I was the very first drama major. I was a slow reader…if I had been an English major, I would have been drafted and suffered that most dreaded of all diseases: “Gonna Korea!” Dick (Richard) Chamberlain came along a couple of years later. He was an art major. After college, I served in the Army in the Signal Corps, where I was stationed in Paris, France, for two wonderful years. When I got out, I worked for the postal department as a special delivery messenger. I decided I couldn’t do that for the rest of my life, so I went to the UCLA film school. During my time there, they had an all-points bulletin at NBC for a live show called Matinee Theatre (1955-58). It was on every day at noon for an hour. It was like doing a play every day with a different cast and story. I tried out and got roles in several episodes. Audrey Totter played my mother in one of them (“Letter of Introduction”). I was so in awe of her that I forgot my lines coast to coast—but she pulled me though. Dick Clayton, the agent of Tab Hunter and Jimmy (James) Dean, saw me on Matinee Theatre and called me. I went to work at Warner Bros., where I didn’t cost them a lot of money. Warners put me in films like Lafayette Escadrille and No Time for Sergeants (both 1958). 

Café:  What led to your casting as the star of Sugarfoot?

Will Hutchins: Warner Bros. put me in an anthology TV series called Conflict, which was on every other week after Cheyenne. There was an episode called “Stranger on the Road” and I played the stranger on the road. I was on the lam and I went to work for Barton MacLane on his ranch, even though I was a dude. There was one scene where I get on a horse backwards. At the end of the show, Rex Reason, the foreman, beat the crap out of me, but my character keeps getting back up and the foreman just quits in exhaustion. Warner Bros. thought that was a pretty good show. So, they redid The Boy from Oklahoma (1954), which was a Will Rogers, Jr. movie, and adapted it into Sugarfoot. I didn’t appreciate how good all those shows were until now. I'm watching them all now because I’m writing my last article (at westernclippings.com) about my admiration for my female co-stars on Sugarfoot. They were just brilliant. That was a wonderful five years at Warner Bros.

Café:  What is your favorite Sugarfoot episode and why?

Will Hutchins as Tom Brewster in Sugarfoot.
Will Hutchins:  Monty Pittman, one of my heroes at Warner Bros., wrote, directed, and acted in some of the studio’s best shows and movies. Monty asked me if I had any ideas for a movie. I remembered a film I saw with Wayne Morris called The Quarterback (1940). It’s about twin brothers that go to college on a scholarship; one is a brain that goes to classes and one is a football player. One day, the football player gets hurt, so the smart brother has to play quarterback. I thought that was just great. That provided the idea for The Canary Kid episodes on Sugarfoot, in which I played Sugarfoot and The Canary Kid. There were four episodes: “The Canary Kid,” “Return of the Canary Kid,” “Trial of the Canary Kid,” and “The Canary Kid, Inc.” The Canary Kid was the direct opposite of Sugarfoot. He did everything that Sugarfoot couldn’t do. He drank, gambled, and helped bank robbers. I don’t think he murdered anybody. He was the evil cousin of Sugarfoot so I got to play both parts. “The Trial of the Canary Kid” was my very favorite because I had to defend my evil cousin because my aunt, played by Frances Bavier from The Andy Griffith Show, talked me into it. It turns out the Kid was wrongfully accused and I get him off at the trial.

Café:  TV Westerns dominated the airwaves in the 1960s, but their popularity faded in the 1970s. What do you think happened?

Will Hutchins:  There was a glut. There were too many Westerns. They kept doing the same shows over and over again. Bob Hope called NBC “Nothing But Cowboys.” There were over 134 Westerns at one time or another. Everything changes and nothing stays the same. It’s just a natural course of events. I’ve been doing my column on old-time movies at westernclippings.com for 28 years. As Groucho Marx said: “Time flies like an arrow and fruit flies like bananas.”

Café:  In the mid-1960s, you starred in two movies with Elvis Presley: Spinout and Clambake. What was it like working with the King of Rock’n’Roll?

Will Hutchins:  Working with Elvis was kinda like Dorothy in The Wizard of Oz, leaving a sepia-colored farm and entering the three-strip Technicolor world of Oz. It was just magnificent. I’ll never forget the first day I went on the set. I played a cop named Tracy Richards (in Spinout). That was Dick Tracy backwards—no one ever got that gag. There was Elvis gyrating up there with this group of scantily-clad dancing girls. Brandon De Wilde happened to be there and I wanted to talk to him. He didn’t want to talk with me--he just wanted to watch what was going on! Elvis couldn’t have been a nicer guy, one of my favorite actors that I ever worked with. He was so natural and so much fun. However, working on Spinout was strictly business. (Director) Norman Taurog wanted to get the thing down and didn’t care about any byplay. But when I did Clambake, we had a great director (Arthur H. Nadel), who let things just sort of happen and Elvis was all for that. Clambake had kind of a Prince and the Pauper plot, where I’m the poor guy and Elvis and I change places. There was one scene when I’m on a speedboat with Elvis and he guns the motor and I fall overboard. There I am in the water—and the director doesn’t yell cut—so I call out: “Flipper!” Everybody on the set laughs. When the film is finished, I go to see it and, at the end of that scene, there goes Flipper the dolphin zooming out of the water. Clambake was also Elvis’s de facto stag party, because he married the lovely Priscilla a couple of weeks after we finished the movie. So, it was mayhem all the time and Elvis was going around saying: “He’p us out, everybody! Calm down.” So when we had the cast party, he gave me a giant picture of himself and autographed it with: “He’p us out, Will—Elvis.” It was too big for the house, so I had it in the garage. A few years later, the house was robbed and, of course, they took that portrait of Elvis.

Café:  Monte Hellman’s The Shooting (1966), which co-starred Warren Oates and Jack Nicholson, is often described as an existential Western (!). What do you recall about the making of that film?

Will Hutchins:  It was a de facto honeymoon. I had married my first wife (Carol Burnett's younger sister, Chrissie Burnett) in New York when I was doing the play Never Too Late. I had replaced Orson Bean in the lead role. I did it for two years and when it folded, I went right into The Shooting. My wife came along. We shot the film about an hour outside of Kanab, Utah, on an old Western town set that was built for the Frank Sinatra film Sergeants 3 (1962). I got top billing in The Shooting because I was better known at the time than the rest of the cast. Jack and Warren weren’t well known. Millie Perkins was famous for The Diary of Anne Frank (1959). It took a long time for the film to come out, but when it did, Jack Nicholson was the star and then Warren Oates. I saw it recently on TCM and all that Ben Mankiewicz talked about was Jack, Millie, and Warren. Just before the picture started, he said: “Oh, yes, with Will Hutchins.” Hmm.... Anyhow, I enjoyed working on The Shooting a lot. It was a beautiful script written by Carole Eastman, whose brother had a bit part in the movie. I remember one day I went back to Warners to try out for a movie by Francis Ford Coppola1—I didn’t get the part—and the guard at the gate says: “Sugarfoot, is that you? Have you learned to ride a horse yet?” I should have said to him: “Go see The Shooting.” I rode my guts out in that one, praying all the way that my horse wouldn’t step into a gopher hole. I rode like the wind.

Café:  Later in the 1960s, you starred in two short-lived TV series: Garry Marshall’s Hey, Landlord and Blondie (based on the famous comic strip). Which was the better show? 

Will Hutchins:  Hey, Landlord could have been the better show if they hadn’t cast me in it. I needed the work, so I took it. I was at a party at Lucille Ball’s house once and I was sitting there with her husband Gary Morton at dinner. He said: “Your show isn’t funny.” I couldn’t argue with that and I think a lot of it had to do with me. Garry Marshall was surprised the show lasted the whole season because our ratings were so lousy. He brought in Michael Constantine to play the cranky renter in the New York brownstone apartment house owned by my character. They also brought in Sally Field to play my sister. They tried everything. Now, I loved Blondie. My wife at the time said I was a natural Dagwood! Unfortunately, Pat Harty (who played Blondie) wasn’t happy because the producers told her she’d be another Lucille Ball and I got to do all the crazy stuff. Peter Robbins, who played my son, went on to provide the voice for Charlie Brown in the animated specials. Sadly, he committed suicide this year. Pamelyn Ferdinplayed my daughter. We were like a family. I enjoyed doing a lot of slapstick stuff. I even did an impersonation of James Cagney singing “Yankee Doodle Dandy,” complete with choreography. One of the Blondie guest stars was Bruce Lee (in the episode “Pick on Someone Your Own Size”). It was great working with him. He was so spiritual. We did a scene where he was showing me how to defend myself against the town bully, Bruce Gordon, and it was beautiful choreography. I‘d love to have a copy of that episode.

Café:  Two of your films have become cult favorites: the made-for-TV movie The Horror at 37,000 Feet (1973) and the Warner Bros. potboiler Claudelle Inglish (1961). Do you have any interesting stories from making those movies?

Will Hutchins and Diane McBain in Claudelle Inglish.
Will Hutchins:  We shot The Horror at 37,000 Feet at the old David O. Selznick studio and that was a big thrill. The façade for Tara was still there. We did the scenes inside the plane at CBS. The make-up artist told me one of the other actors—I won’t say his name—was wearing a toupee. He apparently didn’t want anyone to know. When the make-up artist asked him if he wanted anything done with his hair, he replied no, that he had just washed it that morning! As for Claudelle Inglish, I enjoyed working in it, but my Mom thought I stank. I did the best I could. I had a love scene with Diane McBain, who was beautiful in the movie. It was shot in the backlot at night on a Western set. You wouldn’t know it because we were mostly in a car. After the scene, the director Gordon Douglas tells me: “That was fine, but give me 70%.” I did another scene where my character is getting hysterical and gets in a fight to the death with Robert Colbert. Arthur Kennedy, who was wonderful to work with, called me to the side. He said he was in a play with James Dean3, who did this scene where he was really hysterical and it was way too much. Arthur Kennedy said he had to tone James Dean down a bit. I think that’s what he wanted me to do. I did it and I think it came out pretty well.

Café:  I always enjoy asking this question: Who were some of your favorite co-stars?

Anita Gordon, Will Hutchins, and
Peter Brown in the "Hideout" episode.
Will Hutchins: 
Three people come to mind. I had a big crush on Anita Gordon, who guest-starred on the Sugarfoot episode "Hideout." The plot was similar to The Petrified Forest with Anita in the Bette Davis role and me in the Leslie Howard role. She shines above all other actresses that I starred with. Adam West was just a brilliant and funny guy. One of his first shows at Warner Bros. was a Sugarfoot episode (“The Mysterious Stranger”) in which he played a concert pianist from Poland and had to use an accent. It was directed by Paul Henreid, who had so many interesting stories to tell about working on Casablanca. The second is Charles Bronson, with whom I did two episodes. He was not famous yet. In one Sugarfoot episode, his character supposedly killed this girl. He really didn’t do it, but knew he didn’t stand a chance of getting a fair trial. I chase him to this cave and there’s a cave-in. We spent most of the hour in that cave together. It got very claustrophobic. We finally get out and a man with a rifle shoots Charlie Bronson. He falls down, but it turns out he has a cross hanging from his neck and the bullet hit that cross. That episode was called “The Bullet and the Cross.” Charles Bronson was such a strong guy. One day, we were outside and he went up to his horse and put his hand on the saddle’s pommel and just pulled himself up like a gymnast. 

Café:  Your wife Barbara was an extra in such memorable films as Midnight Cowboy, Carrie, and Hello, Dolly. How did the two of you meet and was it love at first sight?

Will and Barbara Hutchins at a festival.
Will Hutchins:  I’ll tell my story. I was doing Never Too Late on Broadway in 1964 and I was engaged to my first wife. I’m coming to work one day and there are these sweet girls waiting to get my autograph. The first one came up to me, called me Mr. Hutchins, and said: “May I have your autograph. My name is Barbara Torres and I’m a national thespian.” And I said: “Just call me Will.” And that became the beginning of a beautiful friendship. We stayed in touch over the years and we eventually got hitched. We’ve been married 33 years now. We were living together in sin for five years—sin is a small town outside of Glendale.

Barbara Hutchins:  It’s sort of right. I was in the city with some girlfriends who adored him. I didn’t have much of a stake in the game, but I took them into the city. We did wait for him to come to the theatre. I walked up to him, but I didn’t ask him for his autograph. I said: “Hello, Mr. Hutchins. My name is Barbara Torres and I’m a national thespian.” And he looked down at me and said: “Call me Will.” And the moment he said “call me Will,” my heart stopped and I fell in love with him. As luck would have it, I was in the city going to acting classes. I was just out of high school. And he let me come and see the show from backstage and that’s where it all began. We started to write to each other. Of course, it was all very platonic. He married Chris and did The Shooting. I thought, well, it’s a show business marriage and it will never last. Three years later, it didn’t. In 1970, I chased him out to L.A. and the rest as they say is history. We got married in April of 1988 and here we are.

Will Hutchins at home in 2022.
Café:  I strongly encourage any classic film & TV fan to peruse your column A Touch of Hutch at westernclippingscom. It’s grand fun! It also leads me to my last question: Is there anyone who made Westerns in the 1960s that you didn’t know?

Will Hutchins:  In those days, we all knew each other. It was like a brotherhood. We’d get together for Western film festivals and reunions. We were always running into each other. Most of the guys I knew really well were at Warner Bros. 

Café:  Thanks so much to both of you for taking the time to talk with me today.

Barbara Hutchins:  It was fun...hope that it was for you, too!


The Francis Ford Coppola movie was Peggy Sue Got Married (1986).

Pamelyn Ferdin later provided the voice for Lucy in the animated Peanuts specials. So, the child actors who provided the voices of Charlie Brown and Lucy both starred in Blondie with Will Hutchins.

James Dean and Arthur Kennedy appeared together in the 1952 Broadway play See the Jaguar, which closed after five performances.

Monday, July 18, 2022

A Disappointing Ride Up the Elevator to the Gallows

Maurice Ronet as Julien.
Florence and Julien are madly in love. The only obstacle to their happiness is Florence's husband, Simon, who happens to be Julien's boss. Julien devices a near-perfect plan to murder Simon and make it look like suicide.

"Near-perfect," I said. After Julien coolly commits the crime, he realizes a critical mistake and quickly heads back to retrieve an incriminating piece of evidence. There's only one problem: It's Saturday and, as Julien rides the elevator to the dead man's office, a security guard shuts off the building's power and departs for the weekend. That leaves Julien trapped between floors.

A revolver to the head.
The opening twenty minutes of Louis Malle's debut film Elevator to the Gallows (1958) provide a master class in efficient filmmaking. The murder sequence contains minimal dialogue, relying on its stunning black-and-white visuals to grab the viewer's attention. A highlight is when Malle cuts from a close-up of the revolver pointed at the victim's head to a secretary sharpening a pencil, which substitutes for the sound of the gunshot. One suspects it's the kind of intelligent film craftsmanship that would make Hitchcock smile.

However, the trouble with Elevator to the Gallows is that the rest of the movie can't live up to its brilliant opening. Julien's dilemma in the elevator takes a backseat to two other stories: a rebellious young man and her girlfriend who takes Julien's roadster for an extended joyride and Florence's confusion over Julien's failure to rendezvous at the appointed place and time. 

Moreau bathed in natural lighting.
The only thing that saves the latter plot thread is that Florence is played by Jeanne Moreau. Few actresses of her era used their facial expressions to convey their thoughts and emotions with such visual dexterity. Director Malle bathes her face in deep shadows, blinking neon lights, and rain. It's just a shame that Moreau's role consists mostly of walking around a lonely Paris at night.

In contrast, too much time is spent on the youths played by Georges Poujouly and Yori Bertin. The young man's disenchantment with his monotonous life leads him to assume Julien's identity with disastrous consequences. Malle's challenge is that these characters are not compelling, even though one could argue the angry young man is the forerunner to Jean-Paul Belmondo's reckless "hero" in Godard's 1960 New Wave classic Breathless.

Fans of jazz music may enjoy the improvised soundtrack by jazz legend Miles Davis. It was supposedly recorded in one night while Davis and four other musicians watched scenes from the film. 

While Elevator to the Gallows fails to live up to its reputation, it did launch Louis Malle's impressive career, make a star of Jeanne Moreau, and cement Miles Davis's reputation as an influential jazz artist. Those may be sufficient reasons to watch it. However, I still can't help but wish that Elevator to the Gallows could have sustained the brilliance of its opening scenes.

Monday, July 11, 2022

The Alternate Movie Title Game (Kirk Douglas Edition)

Here are the rules: We will provide an "alternate title" for a Kirk Douglas film and ask you to name the actual film. Most of these are pretty easy. Please answer no more than three questions per day so others can play. You may have an answer other than the intended one--just be able to defend it!

1. Einar in Love.

2. Carnival.

3. The 21st Precinct.

4. Whiskey and Burns.

5. To Tell Jocelyn?

6. Nightingale for Senate.

7. Esmeralda and Me.

8. Saboteurs in the Snow.

9. The Magic Note.

10. Build My Gallows High.

11. Gloves of Steel.

12. Timber Baron.

13. Tribute to a Bad Man.

14. The Exploding Head.

15. Doyle & Long.

Monday, July 4, 2022

Chandler: Not Raymond, but Warren Oates

Warren Oates as Chandler.
After a long career as a supporting actor, Warren Oates was ready to headline a major motion picture in 1971. He had garnered good notices in Sam Peckinpah's controversial Western The Wild Bunch (1969) and earned more acclaim as the lead in Two-Lane Blacktop (1971), a low-budget film that became a critical darling. He was poised for a star-making role, but then he made Chandler (1971).

Mike Laughlin, who had produced Two-Lane Blacktop, signed on as producer. Leslie Caron was cast as the female lead. MGM planned to distribute it. In the biography Warren Oates: A Wild Life, Caron notes that her husband, whom she considered a good judge of film properties, was impressed with the script. Chandler must have sounded like a promising endeavor, but, alas, the final product is a convoluted mess.

Oates plays the title character, a washed-up private eye in contemporary L.A. who has gotten desperate enough to pawn his Smith and Wesson. When an old friend offers him a job trailing a woman, Chandler senses something is amiss. However, he needs the money...and perhaps a little self-respect.

Leslie Caron as Katherine.
The woman turns out to be Katherine Creighton (Leslie Caron), the mistress of an East Coast gangster, who wants to start a new life. Neither she nor Chandler realize they are serving as, respectively, the bait and the patsy in an elaborate plot to lure Katherine's ex-boyfriend to Monterey and then kill him.

I suspect the idea behind Chandler was to transplant a tough private eye and a mysterious lady--familiar characters in 1940s film noir--to modern times. The two leads, especially the world-weary Oates, are up to the task of playing a couple of lost souls who find each other. Unfortunately, they are saddled with a muddled plot and esoteric dialogue. (Katherine: "What are we going to do now?  Chandler: "Nothing. Something.") And since Chandler was made in the early 1970s, that means there's always a chance that the ending will be left up in the air (at least partially).

I will say that writer-director Paul Magwood makes maximum use of the on-location filming in Carmel and Pebble Beach. The ocean views almost had me calling a travel agent. However, in addition to the pretty backdrops, Magwood adds some realism to his film by shooting scenes in a real hotel, a pest extermination office building, and along the winding roads of Carmel.

Mitchell Ryan as one of the villains.
It would turn out to be Magwood's only directorial job. He would spend the rest of his career working as an assistant director on TV shows and an occasional movie, like the excellent Time After Time (1979).

A nice surprise in Chandler is what amounts to a cameo by Gloria Grahame as one of Oates' friends.  In the biography Gloria Grahame, Bad Girl of Film Noir, author Robert J. Lentz writes that Magwood and producer Laughlin took out a full page ad in The Hollywood Reporter to apologize for Chandler. They claimed that MGM executive James T. Aubrey had the film re-cut, added scenes, and changed the music score. That is likely true given the film's running time of under 90 minutes and its horribly inappropriate music.