Third Man on the Mountain

James MacArthur as Rudi.

I'm hoping that Disney+ will eventually provide an outlet for some of the studio's lesser-known live action films, such as The Sword and the Rose, The Fighting Prince of Donegal, and Third Man on the the Mountain. The subject of this review, Third Man on the Mountain (1959), chronicles the fictitious exploits of young Rudi Matt, whose father died while trying to reach the peak of a Swiss mountain known as The Citadel in the mid-1800s.

Rudi (James MacArthur) daydreams of scaling the treacherous rocks while working as a dishwasher. In his spare time, he seizes every opportunity to climb the smaller mountains surrounding his village. One day, he hears a distress call and rescues Captain John Winter--a famous mountain climber--who has become trapped in a crevasse. Winter wants to find an experienced guide to help him scale The Citadel. Rudi realizes this may be an opportunity to realize his dream, but first he must convince others that he's worthy of the climb.

Michael Rennie as Captain Winter.

Walt Disney, who enjoyed skiing vacations in Switzerland, acquired the screen rights to James Ramsey Ullman's 1955 novel Banner in the Sky. A winner of the prestigious Newbery Honor, Banner in the Sky was inspired by Edward Whymper's first ascent of the Matterhorn in 1865.

The film adaptation was shot in 1958 in the Swiss village of Zermatt, with the Matterhorn standing in for the fictitious mountain The Citadel. Allegedly, it was during his visits to the set that Disney came up with the idea for the famous Matterhorn attraction at his Disneyland theme park.

In the lead role of Rudi, Walt Disney casts James MacArthur, the adopted son of actress Helen Hayes and author Charles MacArthur (The Front Page). MacArthur had previously starred in Disney's The Light in the Forest (1958) and would go on to appear in classics such as Swiss Family Robinson and Kidnapped (both 1960).

Janet Munro as Lizbeth.

A likable, enthusiastic actor, MacArthur lacked the screen presence to carry a film on his own. Thus, Disney surrounded him with a bevy of talented performers, such as: James Donald (Quatermass and the Pit); Michael Rennie (The Day the Earth Stood Still), Laurence Naismith (Greyfriars Bobby); and Herbert Lom (A Shot in the Dark). For Rudi's chaste love interest, Disney cast the talented Janet Munro, who had signed a five-picture deal with the studio (though she'd only complete four films). She and MacArthur would team up again in Swiss Family Robinson.

Third Man on the Mountain is shock full of thrilling mountain climbing sequences and jaw-dropping scenery. In fact, there's almost too much footage of Rudi and company scaling up the rocky walls and rappelling down them. The movie could have trimmed 15 minutes easily and told the story just as effectively. Still, the mountaineers obviously fascinated Walt, who devoted an episode of The Wonderful World of Disney to a behind-the-scenes look of the on-location shooting (which doubled as great "free" advertising, too).

While it doesn't rank with the top tier of Disney's live action adventures (e.g., 20,000 Leagues Under the Sea, Swiss Family Robinson), Third Man on the Mountain is a worthy juvenile tale of a young man achieving his dream. However, I am curious to find out whether mountain climbers back then actually wore the coats and ties depicted in the movie. I would have thought they'd opt for warmer clothing. So, if you're reading this and you're a mountain climber, please let me know in the comment section below!

Michael Caine and Shirley MacLaine Execute a Gambit

Shirley MacLaine as Nicole.

This review contains a spoiler. 

In  the first 29 minutes of Gambit (1966), we see art thief Harry Dean (Michael Caine) execute the perfect heist with the aid of dance hall girl Nicole (Shirley MacLaine) and his partner Emile (John Abbott). Of course, it turns out that the entire sequence is merely Harry describing his plan to Emile. When it comes time to actually pull off the robbery, almost nothing works out as Harry envisioned.

In Harry's plan, he and Nicole, disguised as a wealthy British businessman and his wife, are met at the airport by the hotel's limo. They are given the royal suite and invited by the hotel's reclusive owner to dinner in his rooms. Later, Harry steals the most valuable piece in the hotel owner's art collection.

Michael Caine as Harry.

When it comes to execute the caper for real, there is no limo (the hotel no longer sends one for VIP guests), they don't get their desired suite, and the hotel's owner--already suspicious of them--invites them to lunch on his yacht. Furthermore, Harry's target, an invaluable bust, is protected by a new electronic security system.

A playful caper film, Gambit has plenty of twists, so knowing the first one doesn't negate the enjoyment of the others. Still, it's the first twist--the 29 minute "planning" sequence--that the film is known for. It has fooled me both times I watched it (albeit my viewings were several decades apart). And there are plenty of clues that something is amiss during the sequence. First, Shirley MacLaine's character doesn't speak a word of dialogue, which struck me as peculiar. Secondly, it's apparent that Harry isn't a first-class thief, so it seems odd that everything goes so smoothly.

The most amusing part of Gambit is the role reversals between the plan and the execution. In Harry's plan, he is totally in charge and Nicole follows his every instruction. During the execution, Nicole's quick thinking and knowledge of art saves Harry and his plan on multiple occasions.

Herbert Lom as Shahbandar.

Shirley MacLaine and Michael Caine are a delightful duo. It's a shame that this was their only movie together (other than a few scenes in the anthology Woman Times Seven). However, the unheralded star of Gambit is Herbert Lom, who plays the reclusive art collector. Lom was a highly versatile performer, appearing in horror films (The Phantom of the Opera), historical epics (Spartacus), and comedies (A Shot in the Dark). His surprising flair for physical comedy resulted in his best-known work, as Peter Sellers' nemesis, Chief Inspector Dreyfus, in the best Pink Panther films.

On of Nicole's gowns.

Gambit was nominated for three Academy Awards for Best Set Design, Best Costumes and Best Sounds. The film, Shirley MacLaine, and Michael Caine were all nominated for Golden Globes. MacLaine lost to Lynn Redgrave for Georgy Girl while Alan Arkin nabbed Best Actor in a Comedy with The Russians Are Coming, the Russians Are Coming.

The screenplay for Gambit was based on a story by Sidney Carroll, who penned scripts for The Hustler and A Big Hand for the Little Lady (which also features a famous twist). The Coen Brothers adapted Carroll's story for a 2012 version of Gambit starring Colin Firth, Cameron Diaz, and Alan Rickman.

The Phantoms of the Opera

Claude Rains as the Phantom.

Just eleven years after Lon Chaney thrilled audiences in The Phantom of the Opera (1925), Universal was planning a remake. However, it wasn’t until 1941 that the production got the green light for a Technicolor extravaganza. Studio executives wanted Deanna Durbin as the female star and considered Charles Laughton as the Phantom. In the end, those parts went to 18-year-old Susanna Foster (a virtual unknown) and the inimitable Claude Rains.

The screenwriters jettisoned the plots of both Gaston Leroux’s 1910 novel and Chaney’s classic. The new plot cast Rains as Erique Claudin, a violinist in the Paris Opera’s orchestra. When a health condition with his left hand impairs his playing, he is dismissed from the orchestra after 20 years. He has no savings, for he has used all his money to secretly pay for voice lessons for a promising soprano named Christine (Foster). He hopes to improve his finances through the publication of a concerto.

Susanna Foster as Christine.

However, due to a most unfortunate misunderstanding, he believes the publication house has stolen his work and, in a fit of rage, he murders one of its employees. In the process, another worker flings a pan of acid in his face. Screaming in agony, Claudin runs into the dark streets and finds refuge in the catacombs underneath the opera house. He eventually adopts the persona of the Phantom and dedicates himself to ensuring that Christine becomes the opera house’s newest star.

For a studio known for its thriftiness, Universal went all in on Phantom of the Opera and the visual treats are plentiful. It's no wonder that Phantom won Oscars for its color cinematography and set decoration. The elaborate opera house set used in Chaney's film was refurbished and still looks impressive. The famous chandelier, though, is not the same one from the earlier film (that one was destroyed). This time around, the chandelier was dropped with a wire to prevent it from crashing onto the floor. Then, it was painstakingly disassembled to look like it was smashed.

The Paris Opera House set and chandelier.

Claude Rains insisted that his face not be totally scarred and that the mask only partially cover his feature. The latter decision works well, since it allows Rains to at least act with his mouth when playing the Phantom. (And yes, Rains was good enough an actor to convey emotion with his mouth alone.)

Yet, while Rains gives his usual first-rate performance and Phantom impresses from a technical standpoint, it lacks verve. It's more of a musical than a horror film and the opera set pieces drag down the pace even at 93 minutes. The other problem is that the Phantom is really a nice guy that becomes an outcast through unusual circumstances. The audience sympathizes with Claudin--we're never afraid of him.

Nevertheless, The Phantom of the Opera was a big boxoffice hit and Universal announced a sequel within weeks of its release. It was to reteam Susanna Foster, Claude Rains, and Nelson Eddy. Unfortunately, the stars' schedules couldn't be aligned and so Universal paired Foster with Boris Karloff in The Climax (1944), another horror picture with an opera setting.

Herbert Lom as the Phantom.

In 1962, Hammer Films, having successfully revived Dracula, Dr. Frankenstein, and the Mummy, decided to mount its own version of The Phantom of the Opera. According to producer-writer Anthony Hinds, Cary Grant was briefly interested in starring it (though there are various stories about which role). In lieu of Hammer favorites Christopher Lee or Peter Cushing, the studio settled on Herbert Lom as the title character.

The Hammer version follows the same basic plot as the 1943 film, but with some notable differences. The Phantom's origin is revealed in flashback late in the movie so the story unfolds like a mystery. The Phantom has a silent assistant who does his bidding, which includes murdering an innocent stagehand and a rat catcher. And, best of all, there is also a true villain in the guise of a lecherous, greedy opera impresario played with gusto by Michael Gough.

Michael Gough and Heather Sears.

The Hammer remake also dispenses with the famous scene in which Christine snatches the Phantom's mask. Instead, with the chandelier about to fall and crush Christine, the Phantom rips off his mask and swings on a rope from a balcony to push his protege out of the way.

Speaking of the mask, it completely covers Lom's face, except for one eye. It's a credit to the actor that he's able to create a memorable character essentially with his voice. Indeed, Lom is quite effective and gets strong support from Heather Sears as Christine (her singing voice was dubbed).

Although not as opulent as Universal's 1943 version, this Phantom may be the better of the two movies. At least, it strives to be a horror film and does not let the music take over the proceedings. It was nonetheless a boxoffice disappointment. When it appeared on U.S. television several years later, Universal (not Hammer) shot additional footage so it was long enough to run in a two-hour time slot.