Doris and Rock Engage in Pillow Talk

Doris Day as Jan.

Interior designer Jan Morrow shares a party line with composer Brad Allen--and that's a problem. You see, Brad (Rock Hudson) is a lothario who uses the telephone to woo his admirers. When Jan (Doris Day) complains to the telephone company, it sends a female representative, who immediately succumbs to the handsome Brad's charms.

Brad is equally frustrated with Jan until he sees the pretty professional at a nightclub. Knowing that she would never give him the time of day, Brad invents a new persona: a naive Texan named Rex Stetson, who is visiting New York City. Sparks fly between Jan and "Rex." She believes she may have found the perfect gentleman. Brad thinks he can make Jan one of his conquests within five days (at most).

Rock Hudson as Brad.

Made in 1959, Pillow Talk is a smart, well-written comedy that benefits from brilliant casting. It was the first of three films made with Doris Day and Rock Hudson. The two were already big stars, but their on-screen chemistry is far greater than the sum of its parts. Hudson, who had made over a dozen dramas during the previous five years, was not known for his comedic skills. However, his funny side blossoms alongside Doris Day. That works to her advantage because she doesn't have to carry the comedy all by herself, as she did in later films with Rod Taylor (The Glass Bottom Boat) and Richard Harris (Caprice).

Brad goes drinking with Alma.

It helps, of course, to have Tony Randall and Thelma Ritter in the supporting cast. The typically delightful Ritter actually has a small role, but it includes a wonderful scene in which Brad unwisely tries to get her drunk. Randall has a field day as a quirky millionaire pursuing Jan while trying to mount a Broadway musical with his good friend Brad. He also gets many of the best one-liners. Upon learning that Brad has been rejected by Jan, he quips: "The great Brad Allen, chopped down to size, floating down the river with the rest of us logs."

Director Michael Gordon injects Pillow Talk with a playful sense of humor. He uses split screens periodically throughout the film to show Jan and Brad talking on the party line. The technique is especially effective in the opening scene in which we see Jan, Brad, and one of Brad's girlfriends all at different locations talking on the phone. In a later split scene, Jan and "Rex" seem to touch feet romantically as they talk on the phone. However, an even more effective technique is allowing the audience to hear the thoughts of Jan and Brad as voiceovers (check out the clip at the end of this review).

Interestingly, Michael Gordon specialized in serious dramas early in his career (e.g., An Act of Murder, Cyrano de Bergerac). His career was interrupted when he was blacklisted in the early 1950s. Pillow Talk (1959) was his first feature film in eight years. He directed Doris Day again in Move Over, Darling (1963). He was the grandfather of actor Joseph Gordon-Levitt (3rd Rock from the Sun, 500 Days of Summer).

Pillow Talk earned five Oscar nominations, with its writers winning the award for Best Screenplay. Doris Day was nominated for Best Actress and Thelma Ritter for Best Supporting Actress. Doris, Rock Hudson, and Tony Randall reteamed for two more comedies: Lover Come Back (1961) and Send Me No Flowers (1964). The best of their three films is the sparkling classic Lover Come Back. But if it's their #1 film, then Pillow Talk is #1a!

Rock Hudson Gets Caught in an Avalanche!

Rock Hudson makes a call!

A 3.7 rating (out of 10) on the IMDb and a 7% (out of 100%) audience score on Rotten Tomatoes might lead one to believe that a movie may be a turkey. Yet, there's always that "may" and, besides, I'm a Rock Hudson fan and have a bit of a soft spot for disaster movies. Thus, I spent 91 minutes watching Avalanche so you wouldn't have to.

Rock stars as David Shelby, a rugged developer who has risked his entire fortune on a newly-opened, sprawling snow resort (you know he's rugged because he boldly wears a light-green plaid flannel shirt with a white turtleneck underneath). In addition to launching his new business, he's dealing with a messy situation involving a crooked politician and trying to woo back his ex-wife Caroline (Mia Farrow). She catches the eye of rugged photographer Nick Thorne (you know he's rugged because he lives in a cabin by himself on a snow-covered mountain).

Mia Farrow looking concerned.

Nick (Robert Forster) warns David of bad incoming weather and an unstable slope; there's also mention of a deadly avalanche that occurred in the 1880s. (Such foreshadowing is often a standard element in disaster movies). No one seems concerned about the snowfall, though, including the two figure skaters, Shelby's secretary, his mother (Jeanette Nolan), and a studly skier ("I ski like I breathe or talk...or make love").

After an hour or so of tedious plot, the avalanche finally comes when an airplane collides with the top of the mountain. The big event consists of a lot of stock footage interspersed with what appears to be foam blocks rolling into people. When the moving mounds of snow stop, the big rescue begins.

Avalanche was produced by Roger Corman during the period in which his New World Pictures was trying to compete with the bigger studios. Even so, it's borderline shocking to see the likes of Rock Hudson and Mia Farrow in a Corman picture. Unfortunately, I think most of the film's budget went to their salaries. The best disaster movies (e.g., The Poseidon Adventure, The Towering Inferno) benefit from the kind of well-known cast that Roger just couldn't afford.

Robert Forster tries to save the day.

It still might have worked in the hands of a better writer and director. Corey Allen had a long successful career as a TV director and an actor before that (he was Buzz in Rebel Without a Cause). So, perhaps, he just had a bad experience making Avalanche--I don't know how else to explain his shoddy work behind the camera and as co-writer. Robert Forster, who gives perhaps the best performance, inexplicably disappears for most of the film's second half. In some sequences, Allen cuts back-and-forth between scenes so quickly that it's dizzying. His characters are poorly-developed and uninteresting and there's no logical narrative to the film. Heck, a few juicy subplots would have made a world of difference!

Still, I guess Avalanche must have affected me on some innate level for I found myself looking for another New World Pictures disaster film: Tidal Wave (1975). It starred Lorne Greene, though the disaster footage was lifted from a big-budgeted Japanese movie called The Submersion of Japan. I thought for sure I'd find it on YouTube...but not yet.

Rock and Dorothy Write It in the Dusty Wind; Leslie Caron Can't Replace Doris

Dorothy Malone may have won a Best Supporting Actress Oscar for Written on the Wind (1956), but Rock Hudson benefited more from the film's success. Along with Giant (1956) and his Jane Wyman pairings, Written on the Wind propelled Hudson into a major star. Thus, he was at the peak of his career while Malone's film roles were fading when they teamed up with Kirk Douglas in The Last Sunset. Malone's guest appearance in a 1961 two-part episode of Route 66 signaled the beginning of her transition to a television career that eventually resulted in the hit nighttime drama Peyton Place.

In The Last Sunset (1961), Malone plays the wife of a drunken, cowardly rancher (Joseph Cotten) who unknowingly offers a job to his spouse's former lover Bren O'Malley (Douglas). A Texas lawman named Stribling (Rock Hudson) wants O'Malley for the murder of his brother-in-law. The two men encounter each other at the ranch and, surprisingly, agree to put their showdown aside to help Malone and Cotten drive a herd of cattle through dangerous territory.

Considering the talent involved, including former blacklisted writer Dalton Trumbo and director Robert Aldrich, The Last Sunset should have been a better film. Nevertheless, the cast keeps it interesting and Kirk Douglas makes Bren one of the most poetic cowboys in American cinema, as evidenced by the passage below:

Find yourself a nice, big boulder with the waves breaking against it. Look deep. Dream of seahorses and they'll come. Not many people know of it. Not many people care. But the sea is a place where the seamen shoe the hooves of the wild sea mare. Not many men have seen it or caught the faintest gleam of the ice green cave in the deep green sea in the heart of the cold sea stream, but the sea mare hides her young sea colt wrapped in a shy sea dream. But probably all the people know and can absolutely say that the foam on the sea is the sign that you see the mare and her colt at play.

Carol Lynley, in one of her first major roles, has the best scenes as Malone's daughter. Ironically, the two actresses share a Peyton Place connection. Carol played Allison in the film Return to Peyton Place (1961), while Dorothy Malone later portrayed Allison's mother on the 1964-69 TV series.

Malone might have improved her performance in The Last Sunset by toning down the glamour. One can almost overlook the soft blonde curls, but her heavy pink lipstick and eye shadow seem inappropriate for a woman driving the chow wagon on the cattle trail.

Finally, one can't discuss The Last Sunset without mentioning a climatic revelation that may make some viewers cringe. It's not that the revelation is surprising--I suspected it from the beginning. It's that the screenwriters insert a scene that will convince many viewers that their suspicions cannot be correct. Thus, when the "truth" (assuming Malone's character isn't lying) is revealed, the realization of what happened (and what could have happened) is an "oh my" moment. If this paragraph doesn't make sense, read it someday after you've seen the movie.

Chadwick talking with two girlfriends
at the same time.

Rock Hudson's versatility and popularity made him one of the busiest actors in the 1960s. In A Very Special Favor (1965), he trades his Western duds for a business suit as a New York-based "trouble-shooter" named Paul Chadwick. He defeats a French attorney, Michel Boullard (Maurice Chevalier), in court by sleeping with the female judge. The elderly Boullard admires Chadwick's way with the ladies. In turn, Chadwick bonds with Boullard and, feeling bad about how he won the case, offers to perform a future favor.

It turns out that Boullard is visiting New York City to spend time with his daughter--whom he hasn't seen in many years. He learns that she is a female psychiatrist (Leslie Caron) who completely dominates her fiance (a very funny Dick Shawn). Deciding that his daughter needs someone who can ignite her passion at least once, he calls in his very special favor with Chadwick.

Leslie Caron.

What follows is the kind of sex farce that Rock Hudson and Doris Day carried off so effortlessly in Lover Come Back (my fave), Pillow Talk, and Send Me No Flowers. The problem with A Very Special Favor is that Leslie Caron lacks Doris' comedic chops--and there's no Tony Randall!

It's still amusing to see Rock, who was a fine comedian, play a ladies' man masquerading as a sensitive guy who's afraid of the opposite sex. His performance, though, is just a variation of the role he played to perfection in Lover Come Back. And without Doris Day--the ying to his yang--A Very Special Favor falls flat too many times.

Ice Station Zebra: The (Seasonal) Comfort Movie

Most film buffs have one or more "comfort movies" that they enjoy revisiting on a frequent basis. For Howard Hughes, that movie was apparently Ice Station Zebra, the 1968 adaptation of Alistair MacLean's 1963 adventure novel. Back in the days prior to VCRs, Hughes would call up a TV station that he owned in Las Vegas and request that Ice Station Zebra be broadcast. The film's frequent airings must have baffled local Vegas TV watchers!

Rock Hudson as Capt. Ferraday.

Rock Hudson stars as stoic hero Captain James Ferraday, who commands the atomic-powered submarine USS Tigerfish. High-ranking officials send Ferraday and crew to the Arctic Circle in response to a distress signal sent out by the inhabitants of a meteorologic research station. Ferraday knows there is more to his mission--he's just not privy to the details. His civilian passenger, who calls himself Jones (Patrick McGoohan), refuses to satistfy the submarine commander's curiosity: "You'll know all you need to know as the need arises." Later, Jones does reveal the nature of his occupation: "I know how to lie, steal, kidnap, counterfeit, suborn, and kill. That's my job. I do it with great pride."

Brown and Borgnine.

By the time the Tigerfish reaches Ice Station Zebra, it has picked up two more passengers: a Russian defector (Ernest Borgnine) and a Marine captain (Jim Brown) with experience in special operations. The Tigerfish has also dealt with attempted sabotage that killed one crew member and injured others. Who is the saboteur? What is Jones trying to recover at Ice Station Zebra? And why are Russian paratroopers making their way to the research station?

Ice Station Zebra lacks the exciting exploits of the best Alastair MacLean adapatations, specifically The Guns of Navarone (1961) and Where Eagles Dare (which was also released in 1968). It's really more of a suspense film despite the sabotage sequence and a shoot-out between the Americans and Russians. I suspect the intent was to keep viewers guessing about the identity of the saboteur, with Jones, his Russian friend, and the Marine captain being the suspects. However, it's rather obvious who's to blame--you can probably guess it from this review alone.

Patrick McGoohan.

The movie works best when it focuses on the natural conflict between Ferraday and Jones, two "type A personalities" that clash from the beginning. For the film's first half, they trade barbs and eye each other suspiciously, which makes them a rather engaging odd couple for viewers. Hudson and McGoohan are well cast, though Rock does seem a bit grim at times and Patrick gets the script's best dialogue ("The Russians put our camera made by our German scientists and your film made by your German scientists into their satellite made by their German scientists").

Ice Station Zebra received Oscar nominations for Best Cinematography and Best Special Effects. Those accomplishments are all the more impressive when one considers that the film was shot inside a studio. (Note that you can't see the characters' breath. Not to go off on a tangent, but I always liked that Orson Welles shot a snowy sequence for The Magnificent Ambersons inside an icehouse so it would look more realistic.)

While it's not one of my comfort movies, I enjoy Ice Station Zebra and often pop it into the VCR (yes, I still have one) on snowy days--when I'm nice and cozy inside. Heck, maybe it is one of my comfort movies if one factors in seasonal preferences.

A Rock Hudson-Piper Laurie Double Feature

For much of the 1950s, Universal Studios paired Rock Hudson with its most promising young actresses in modestly-budgeted films. Sometimes, he was the star (Captain Lightfoot); other times, he played a supporting role (Bend of the River). He appeared in five movies with Julie Adams, four with Yvonne De Carlo, and two with Barbara Rush. Two of my favorite Rock Hudson films of this period are his pairings with Piper Laurie.

Charles Coburn in a familiar role.

Has Anybody Seen My Gal (1952). This sprightly 1920s comedy is really a vehicle for veteran Charles Coburn. He plays Samuel Fulton, a millionaire hypochondriac with no relatives, who wants to leave his fortune to the family of the woman who turned down his marriage proposal. He credits her rejection with providing the drive that led him to discover gold in Alaska and oil in Texas. He decides to learn about the now-deceased woman’s family before bequeathing the money.

James Dean in a bit part at the soda fountain.

Moving to Hilverton, a picturesque slice of Americana, Fulton—using an assumed identity—ingratiates himself with the Blaisdell family. He ends up living in their house and working as an assistant soda jerk in their drugstore. He becomes fond of the family, especially daughters Millicent (Piper Laurie) and Roberta (Gigi Perreau). However, everything changes when Fulton gives them a check for $100,000 anonymously through his solicitor.

Charles Coburn, who started making films in his late fifties, specialized in playing cigar-smoking, crafty curmudgeons. He’s right at home playing the Blaisdells’ secret guardian angel, getting son Howard out of gambling trouble and playing matchmaker to Millicent and nice guy/soda jerk Dan (Rock Hudson).

Gigi Perreau as Roberta.

Coburn also teams effectively with Gigi Perreau, a very likable child performer. Their scenes together display a natural charm, leaving one to wonder why they weren't teamed in another movie. Surprisingly, Perreau’s film career petered out after appearances in Bonzo Goes to College and The Man in the Gray Flannel Suit. She worked regularly, though, in television throughout the late 1950s and 1960s.

Piper Laurie and Rock Hudson.

Rock and Piper don’t have a lot of scenes together, but they make an endearing couple. They were good friends in real life and that comes through on the screen. His performance is a bit stiff; he hadn't developed the light touch that would make him a fine comedian. Piper relies on her innate effervescence and it serves her well. She even gets to sing a little. Plus, she also looks adorable in a parade of colorful dresses and hats.

One suspects  that both young performers wanted to sink their teeth in meatier roles. Still, they provide energy and youth appeal to this pleasant comedy that effectively recreates the 1920s on Universal’s backlot.

The Golden Blade (1953). While this studio-bound adventure can’t be described as high drama, it still provided a more rewarding challenge for the two young stars. They are clearly the headliners of this Baghdad opus about the (magical) Sword of Damascus.

Harum finds the amulet.

Rock plays Harum, a young man from Basra, who seeks revenge on the person responsible for his father's death and destruction of his village. His only clue to the villain's identity is an amulet his dying father ripped from his killer’s neck. Shortly after his arrival in Baghdad, Harum finds a sword made out of gold with the inscription: “Let him who can unsheathe this sword claim any crown as his reward.”

Harum gets to try out the golden blade when some soldiers try to quiet an outspoken young woman. It takes awhile for Harum to learn that the spunky lass is also a princess in disguise. Initially, they don't like each other, but--in this kind of movie--that's code for they're really attracted to each other, but don't want to admit it.

Harum pulls the sword out of the stone.

The Golden Blade isn't an original action flick, borrowing liberally from the legend of King Arthur and his sword Excalibur. Indeed, at one point in the film, the blade gets embedded to a stone wall and no one can remove it--except Harum, of course. Later, there's even a jousting tournament  for the hand of Princess Khairuzan. While this uneasy mixture of Arabian Nights and medieval knights seems disconcerting, Nathan Juran (The 7th Voyage of Sinbad) leaves little time to dwell on it. At a scant running time of 80 minutes, the closing credits of The Golden Blade are rolling before you know it.

I love their facial expressions.

Rock Hudson always fared well in action roles and he seems to be having a grand time as the swashbuckling hero. Piper Laurie comes across as playful when disguised as a boy and later transforms into an elegant beauty. She and Rock have more scenes together than in their earlier film and their comfort level is once again visible on the screen. They both still look young, but there's more confidence in their acting--even if The Golden Blade is nothing more than a programmer.

Piper Laurie decked out in gold.

Rock would hone his skills for two more years before hitting it big opposite Jane Wyman in Douglas Sirk's melodramatic Magnificent Obsession. Piper Laurie would get an occasional good role (e.g., Smoke Signal), but ended her Universal contract out of frustration. She worked in live television and eventually landed a role opposite Paul Newman in The Hustler (1961). It was a supporting performance that would earn her the first of her three Academy Award nominations.

Julie Adams Chats with the Café about James Stewart, the Gill Man, Elvis, and Her Autobiography

Julie Adams' amazing career as a film and television actress has spanned six decades. She worked with screen legends such as James Stewart, Rock Hudson, Angela Lansbury, William Powell, and even Elvis Presley. Her most famous leading man was the tall, 
silent--and wet--type, the Creature from the Black Lagoon. In 2011, she wrote her autobiography, with son Mitchell Danton, The Lucky Southern Star: Reflections from the Black Lagoon. Ms. Adams is currently on a book tour, but took time out of her schedule to talk with the Café.

Café: You co-starred with James Stewart, Arthur Kennedy, and Rock Hudson in one of the finest Westerns of the 1950s: Bend of the River. What was it like working with that all-star cast and director Anthony Mann?

Julie Adams and Arthur Kennedy in
Bend of the River.

Julie Adams: Some of my fondest Hollywood memories came from acting in Bend of the River. Working with James Stewart was an incredible learning experience for me; he was such a fine screen actor. Arthur Kennedy was also a real pro. He had a great deal of stage experience and that brought a unique acting style to the ensemble. Rock Hudson and I became pals and later co-starred in another one of my favorites, The Lawless Breed. I also became friends with Lori Nelson, a lovely young actress. Today, we share a bond through the Creature trilogy of films. Lori played the Gill Man's object of desire in the second movie, Revenge of the Creature. I also loved working with director Anthony Mann, who had great energy. It was an action picture, so his upbeat nature brought a good tempo. We all enjoyed working with him. There was a sense of unity in trying to make the movie good.

Café: Nineteen years later, you played James Stewart's wife on the television sitcom The Jimmy Stewart Show. How did you come to be cast in that role?

James Stewart and Julie Adams
in The Jimmy Stewart Show.

JA: As I recall, a lot of women read for the role of Martha Howard, the wife of Professor James K. Howard (Jimmy Stewart). The day I tested for the part with Jimmy, I brought into play my genuine friendship and admiration I had for him as a person. I think that came through on the screen; we had nice chemistry together. After the screen test, he gave me a little nod and as I walked back to my dressing room I thought: "I think I have this part!" I was so thrilled. The show was not a success, and only lasted 24 episodes. But, as I've often said: "My idea of heaven was going to work with Jimmy Stewart every day for six months." 

Café: You're probably asked this a lot, but what do you remember most fondly about Creature from the Black Lagoon?

One of the most famous stills
in 1950s science fiction cinema.

JA: I think it was all of the creative people who worked on the movie. Jack Arnold did a magnificent job directing, making a fantastic story believable. Makeup artists Bud Westmore and Jack Kevan were great friends and so very talented. The look of the Creature still captivates audiences today. I also became good friends with Ben Chapman and Ricou Browning, the men who portrayed the Creature on land and underwater. Of course, Richard Carlson and Richard Denning are compelling as two of the lead scientists on the expedition. The astonishing afterlife of this film never ceases to amaze me. I'm proud that it has entertained so many movie fans for so long.

Café: You began your career while there was still a "studio system" that groomed stars. Do you think the demise of the studio system was a good thing or a bad thing?

JA: I know several actors who had varied experiences with the "studio system." For me, it was a chance to work a lot and establish a name for myself in the movies. I had virtually no contacts when I came to Hollywood, and having a home base at Universal was a wonderful thing for me. I got to work with movie stars that I never would have even met were it not for the studio system. I'm not sure if its demise was a good or bad thing. Personally, I think it's harder for newcomers to establish themselves these days without the resources of a major studio behind them.

Julie Adams and Elvis Presley
in Tickle Me.

Café: You starred opposite Elvis Presley in Tickle Me (1965), once describing the plot as "the reverse of a boss chasing the secretary around the desk." What was your impression of Elvis as an actor? 

JA: Despite his status as a superstar singer and stage performer, Elvis took his acting very seriously. He was always prepared, and did a good job in the roles he was given. When he did his musical numbers in Tickle Me, sometimes walking from table to table in a nightclub set, he did them perfectly in one take! 

Café: You guest-starred in some of the most memorable TV series of the 1960s, from Perry Mason to Alfred Hitchcock Presents to 77 Sunset Strip. If you had to name one favorite, what would it be?

JA: I loved working on all of them, but the one that stands out for me is Perry Mason. I guest-starred in four episodes between 1963 and 1965. Fans still remember one of my episodes vividly: "The Case of the Deadly Verdict," which is said to be the only case Perry Mason ever lost. I've gotten a lot of fan mail about that one, which is wonderful. I also thought Raymond Burr was one of the finest actors on television at that time, so working with him was always a pleasure.

Adams as Eve Simpson in
Murder, She Wrote.

Café: You played real estate agent Eve Simpson in several episodes of Murder, She Wrote. What was it like working on that show with Angela Lansbury?

JA: My character, Eve, was quite eccentric. She liked money and she liked men, and I had a lot of fun playing her. Eve would often say something outlandish that would leave Angela's character, Jessica Fletcher, speechless. Of course, Angela was a joy to work with. Playing comedy with an actress of her caliber was like driving in a fast car without the danger. I felt like I always had to be at the top of my game when I was playing a scene with her. I feel blessed to have had an opportunity to play a part on her hit show, Murder, She Wrote.

Café: How would you describe the experience of writing your autobiography The Lucky Southern Star: Reflections from the Black Lagoon?

JA: It was a lot of work putting my life story into words, but I enjoyed reliving the memories from my long career. Working with my son on the book was a lot of fun. He helped me research some of the lesser known projects I was involved with. The book is also filled lots of photographs that help bring the story to life for the reader. It has been rewarding that people who have read the book have enjoyed it. That is the greatest gift of all!

Café: John Wayne, William Powell, Rock Hudson, Tyrone Power--you've worked with many of the most famous actors of the classic film era. Excluding James Stewart (we know he's a favorite), what actors did you most enjoy working with and why?

Rock Hudson and Adams in
The Lawless Breed.

JA: Rock Hudson and Tyrone Power were so great, each in their own way. Rock and I were about the same age, and many of the leading men I worked with were a decade or more older than me. So when Rock and I got to star in a movie together, The Lawless Breed, it was like the kids had taken over the candy store. I must confess that we goofed around a bit between takes, but I think our friendship and fondness for each other came though on the screen. Tyrone was a thrill to work with on The Mississippi Gambler. He was a real movie star, and when he walked on the set, it was as if a row of flood lights had been turned on. He just radiated charm and charisma. Despite being such a big star, he made everyone on the set feel at ease, which was so wonderful. We lost both of these handsome and talented leading men much too soon.

Piper Laurie, Tyrone Powers, and Julie
Adams in The Mississippi Gambler.

Café : You keep a busy schedule with your appearances at movie conventions and signing copies of your book. Are there any upcoming events you'd like to share with our readers?

JA: These events come out of the blue sometimes, but two that I've booked months in advance are the San Jose Super Toy and Comic Book Show (August 17) and Spooky Empire in Orlando, Florida (October 25-27). Ricou Browning (who portrayed the Creature underwater) will be at Spooky Empire as well, which should be exciting for fans of Creature from the Black Lagoon.

You can learn about Julie Adams and order signed (or unsigned) copies of The Lucky Southern Star: Reflections from the Black Lagoon at www.julieadams.biz. You can also "friend" Julie on her Facebook page.

Douglas Sirk vs. Delmer Daves for the "King of the Movie Soaps" Title

OK, Douglas Sirk fans, I'm calling you out! It's not that I don't enjoy Douglas Sirk soaps like Imitation of Life and All That Heaven Allows. They're glossy, well-crafted, and entertaining. It's just that Sirk has been anointed as "King of Movie Soaps" (helped in large part by 2002's Far from Heaven, a classy Sirk homage which sparked renewed interest in his films). I'm contending that there's another director with a claim to the Movie Soap crown--and that's versatile writer-director and Stanford law school graduate Delmer Daves. So let's get down to this clash among movie soap titans (ignoring their work in other genres, of course):

Sirk's favorite leading man and Daves' principal star.

Round 1 - Daves did more with less in regard to his stars. For a leading man, Douglas Sirk had Rock Hudson...but Daves had Troy Donahue. While good-looking and likable, one could never confuse Troy with a good actor. Cinema history validated Rock as a genuine star and Troy, well, he pretty much faded after the 1960s. It's not a knockdown, but this round goes to Daves. (Of course, Sirk did use Troy as a bad boy in Imitation, but that doesn't count.)

Round 2 - Delmer Daves did a masterful job of integrating story locations into his films. The most lasting image from A Summer Place is of Troy and Sandra Dee holding each other passionately on the beach... desperately in love, aching to be together, trying to find a secret place to be alone...as the ocean splashes on the shores (OK, it's not From Here to Eternity, but it's still memorable). Likewise, the New England tobacco fields in Parrish and the stunning California coast of Susan Slade enhance these tales of young love. In contrast, it seems like the settings are incidental in Sirk's films, with the possible exception of Written on the Wind (and even then, most of the action takes place indoors).

Susan Slade: An example of Daves' integration of location.

Round 3 - Douglas Sirk used film like a canvas, skilfully employing color, framing, and objects to enhance character traits and themes. In Written on the Wind, Lauren Bacall's conservative character sports a wardrobe of muted colors while the "bad girl" (Dorothy Malone) drives a bright red car. At the end of the film, Malone's character--who has lost Rock to Lauren--clutches a phallic model oil well in her office. Delmer Daves' soaps are lushly photographed, but the nod here goes to Sirk.

Hudson and Bacall in muted colors in Written on the Wind.

Round 4 - No soap director used music better than Delmer, but then he had a great composer come up with great themes: Max Steiner's Theme from A Summer Place is still the best-selling instrumental of the rock'n'roll era and I'll never understand why Steiner's equally melodic love theme from Parrish seems to have been forgotten. Sirk, on the other hand, frequently employed Frank Skinner, whose scores ranged from lush (All That Heaven Allows) to mush (Magnificent Obsession).

Round 5 - Sirk's admirers claim that his soaps are rife with subtext: All That Heaven Allows is an indictment on social conformity; Imitation of Life takes aim at racial inequality, etc. Of course, one could make similar arguments for Daves' films: out-of-wedlock pregnancies play a key role in Parrish, A Summer Place, and Susan Slade. In the latter two films, the teenage mothers become social outcasts (societal conformance is so strong in Susan Slade that the pregnant girl's mother passes the child off as her own!). This is pretty much a draw, but I'll give the edge to Sirk because his films have garnered more documented critical acclaim--and even got the Criterion treatment.

Grant Williams worked for both directors.

Round 6 - Both directors were adept at peppering their films with great supporting actors. Sirk's soaps featured Agnes Moorehead, Juanita Moore, and Dan O'Herily. Delmer Daves had Dean Jagger, Dorothy Maguire, Lloyd Nolan, Dub Taylor, and Constance Ford. This round is a close one; we'll call it a draw. (Interestingly, in addition to Troy Donahue, both directors used Grant Williams. He played Conn White in Susan Slade and Biff Miley in Written on the Wind--gotta love those character names!)

If you've followed my scoring of this fight, it's three rounds to Delmer, two to Doug, and one tie. The winner--by decision--is Delmer Daves. He's now the undisputed "King of the Movie Soaps." It's a title he has long deserved. Anyone interested in staging a rematch? If so, I'd love to hear your thoughts.

The Five Best Rock Hudson Performances

Following a recent less-than-flattering review of Magnificent Obsession (1954), someone on Twitter asked why I didn't like Rock Hudson. Nothing could be further from the truth! Over the last decade, I have become a Rock Hudson fan, which prompted the following list of what I consider his five best performances:

Doris mistakes Rock, fresh from a
fishing trip, for a scientist.

1. Lover Come Back - After mostly dramatic roles in the 1950s, Rock Hudson developed into a gifted comedian with Pillow Talk (1959) and this delightfully delirious follow-up. Rock stars as Jerry Webster, an unethical Madison Avenue advertising executive who will do anything to beat his rival, Carol Templeton (Doris Day). When Carol mistakes the womanizing Jerry as a nerdish inventor, he plays along--even to the point of emphasizing he's "never been with a woman." This leads to Rock's best scene, as Jerry tries to encourage Carol to seduce him in her apartment--during which a convenient phone call enlightens her about his true identity. While Lover Come Back is sometimes described as a variation of Pillow Talk, it's actually a superior film, with clever jabs at the advertising industry and sparkling supporting performances (especially from Tony Randall and Edie Adams).

Rock as Brad playing "Rex Stetson."

2. Pillow Talk - That's not to say that Pillow Talk isn't a first-rate--and very funny--film about a swinging bachelor (Rock) and a conservative interior decorator (Doris) who share a party line...but have never met. Brad (Rock) exploits the situation by posing as Rex Stetson, a sincere Texas millionaire rancher, who takes an interest in Jan (Doris). This wacky scenario allows Brad to disparage Rex when talking on the phone with Jan--and then later have Rex act in exactly the same manner as Brad predicted. The brilliance of Rock's performances in both Pillow Talk and Lover Come Back is that he makes unlikable characters likable, long before the love of a good woman makes them better men. Simply put, without his innate charm and expert comic timing, neither of these comedy classics would work.

Yes, that's Rock...in Seconds.

3. Seconds - Rock Hudson's best dramatic performance can be found in this seldom-shown, disturbing 1966 film about a wealthy middle-aged man dissatisfied with his life. An organization called the "Company" approaches him and promises him a fresh start. It fakes his death, makes him look younger through plastic surgery, and gives him a new identity. But all is not what is seems and his "new" life is not what he expected. Directed by John Frankenheimer, Seconds is a downbeat film, which may account for its infrequent appearances on cable TV. Still, it's well-done and creepy and Hudson skillfully captures the conflict of an older man living in the body of a younger one.

With Liz Taylor in Giant.

4. Giant - I am not a huge fan of this sprawling Texas family saga, but I still admire Rock's performance as Jordan "Bick" Benedict, a wealthy rancher who marries an East Coast socialite (Elizabeth Taylor), clashes with a former friend, and struggles to develop relationships with his children. He allows us to see both the good and the bad in his strong-willed character. That's the only reason it's listed here in lieu of All That Heaven Allows, an immensely likable film about the romance between a middle-aged widow (Jane Wyman) and a younger gardener (Rock).

5. Send Me No Flowers - In a great change-of-pace role, Rock plays a hypochondriac who becomes convinced he's going to die and sets out to find the ideal husband for his wife (Doris Day). It's a nice contrast to the suave bachelors portrayed in earlier comedies, though overall, the film is not on the same level as Lover Come Back and Pillow Talk.

Honorable Mentions:  a friend of mine is a huge fan of The Spiral Road (I'm gradually beginning to appreciate it); World War III (a now-obscure TV movie featuring Rock as a U.S. president trying to thwart a war with the Soviet Union); and Ice Station Zebra (one of his better action film outings).

If one of your favorites is missing (and I'm sure there are some Written on the Wind fans), please leave a comment!

Bad Movie Theatre: Magnificent Obsession (1954)

I'm afraid I can't agree with the trailer.

Let me begin by stating that I hold big screen soaps in great affection (I'm always game to revisit A Summer Place). And while I favor director Delmer Daves over Douglas Sirk in this genre, I admire Sirk's classy Imitation of Life  (1959) and his quintessential sudser All That Heaven Allows (1955). So, it's with heavy heart that--after recently rewatching Magnificent Obsession--I must pronounce it a dreadful way to spend 108 minutes.

The film's promotional spots highlighted
Douglas's novel (and Jane's hand).

The plot owes more to the 1935 film version than to Lloyd C. Douglas' best-selling 1929 novel. Rock Hudson, in his first starring role in an "A" picture, portrays irresponsible, millionaire playboy Robert Merrick. Following a reckless boating accident, Merrick is revived with the hospital's only resuscitator. Without that critical piece of medical equipment, philanthropist Dr. Phillips dies from a heart attack. Merrick tries to purge his guilt by writing a $25,000 check to Phillips' widow, Helen (Jane Wyman)--but she refuses the money.

Merrick (Hudson) begins to get serious.

After a drunken Merrick crashes his car, he meets Edward Randolph (Otto Kruger), a close friend of Phillips, who shares a common "pay it forward" philosophy. Inspired by Randolph, Merrick tries to make amends with Helen, but inadvertently causes her to be struck by a car...and lose her sight.

One day, Merrick encounters Helen by the lake and the two begin talking. He calls himself Robinson (Robby for short) to avoid revealing his identity. As love begins to grow, Merrick starts pursuing his medical studies again and vows to do all that he can to restore Helen's sight.

Lana Turner in the superior
Imitation of Life.

It's easy to see why a Magnificent Obsession remake appealed to Douglas Sirk. The novel and the earlier film adaptation were character-driven dramas that focused on changing the course of one's life for the better. That's a theme that Sirk explores in later (better ) films. In Imitation of Life, Lora (Lana Turner) progresses from a low-income single parent to a Broadway star--with the help of African American best friend Annie (Juanita Moore). In All That Heaven Allows, affluent widow Cary (Jane Wyman) eventually realizes that true happiness lies with the simple life espoused by Ron, her young, handsome gardener (Rock Hudson). Incidentally, both these films also tackled the challenges of being a social outcast: Ron is rejected by Cary's friends and family; in Imitation of Life, Annie's daughter tries to pass herself off as white.

Alas, while Magnificent Obsession has good intentions, it never comes close to becoming a good film. The screenplay condenses Lloyd C. Douglas' philosophical underpinnings to a ten-minute conversation that sounds like a paid ad for a self-help book. The banal dialogue doesn't help, with my favorite line being Merrick's response to a comment about painting: "As far as I'm concerned, art is just a guy's name." But the script's biggest problem is that nothing much happens after Helen reveals she has known Robby's identity for a long time. There's no conflict in the film's final 40 minutes as it lumbers toward its obvious conclusion.

Hudson and Wyman share an embrace.

Jane Wyman (who was Oscar-nominated) does what she can with her character, but Rock Hudson struggles to get a handle on the playboy-turned-surgeon. I also think he was still honing his skills as an actor, especially given some of his wooden line readings. Magnificent Obsession catapulted Hudson to bigger and better parts (he made Giant two years later)--although I believe his success with this film had more to do with his good looks and earnestness than to his performance.

From a production standpoint, Magnificent Obsession is a blotch on Sirk's otherwise stellar career as a celluloid craftsman. While the color scheme is interesting, the use of painted backdrops and rear screens give the film a cheap look (that said, there are some stunning outdoor shots at the beginning of the film). However, the biggest distraction is the overly melodramatic score by Frank Skinner, which opts for sweeping violins and a chorus of "ah"'s at the tiniest whiff of emotion.

Magnificent Obsession has its share of admirers...and you may be one. (Heck, it was even released in a deluxe edition by Criterion). If you're among its fans, I encourage you to leave a dissenting comment. However, I was obsessed to write this review and state how magnificently lame I found it to be.

" Oh Mac" it is...McMillan and Wife

When Rock Hudson's film career began to fade, he decided to star in the TV series McMillan and Wife, which may have been inspired by the Thin Man films. Hudson was a gifted comedian and the series gave him a opportunity to share his talent in ways he had not been able to do since his pairings with Doris Day in Pillow Talk, Lover Come Back, and Send Me No Flowers.

In the TV series McMillan and Wife, Rock Hudson plays a San Francisco police commissioner, Stewart McMillan, with a much younger, flower power wife, Sally (Susan Saint James). The story lines sometimes had Mac and Sally attending glamorous parties and charity events while solving robberies or murders. John Schuck performed as the lovable character Sgt. Charles Enright and Nancy Walker was Mildred, the couple's sarcastic maid.

Fun Fact: The interior set of the McMillans' home in the pilot episode was Rock Hudson's real home. In the second episode, they moved and the exterior shots were done on Greenwich Street, in San Francisco. The address for the couple was once given in the show as 250 Carson Street. In later episodes, a different house was used as the exterior shot of the house. In the final season, McMillan moved into an apartment .

Video from the pilot episode: McMillan and Wife (TV series 1971–1977), Once Upon a Dead Man. Sally, drags the commissioner to a charity auction where a theft takes place, which leads to a murder.



Because of a contract dispute between Saint James and the studio, the characters of Sally and their never seen (sometimes mentioned) son were killed off in an airplane crash during the fifth season. With one of the main characters missing, the show was renamed McMillan. Other cast changes included: Mildred left to run a diner (actress Nancy Walker departed to star in her own sitcom); Mac got a new apartment and a new housekeeper, Agatha (Martha Raye), who was Mildred's sister; Sgt. DiMaggio (Richard Gilliland) assisted Mac as Schuck also left for his own series.

Universal Studios Home Entertainment released the first season of McMillan and Wife on DVD in 2005-2006. On May 21, 2010, Visual Entertainment announced it had acquired the rights to distribute McMillan and Wife, releasing seasons 2 and 3 on June 7, 2011, followed by seasons 4 and 5 on July 5, 2011.

Susan Saint James (born August 14, 1946). Some of her early television performances were two episodes of the first season of Ironside ("Girl in the Night", December 1967 and two months later, playing a different role in the episode "Something for Nothing"). She also had a supporting role in Where Angels Go, Trouble Follows (1968).

From 1968 to 1971, she performed in the series The Name of the Game, winning an Emmy Award for her role in 1969. At the same time she had a recurring role as "Chuck", Alexander Mundy's partner in crime and "friend with benefits" in four episodes of the series It Takes a Thief. She also performed in the pilot episode of Alias Smith and Jones (1971). From 1971 until 1976, she played Sally McMillan opposite Rock Hudson in the series McMillan and Wife and received four Emmy Award nominations.

When she left the show, she co-starred with Peter Fonda in the film Outlaw Blues. She also performed in the vampire comedy, Love At First Bite (1979). Between films, she made a guest appearance in the 1980 episode of M*A*S*H (episode 192: War Co-Respondent). She returned to television, performing in the comedy series Kate and Allie opposite Jane Curtin from 1984 until 1989. She received a additional three Emmy Award nominations for this role. She also performed in guest roles, as the mother of (her real-life niece) Christa Miller in the first season of The Drew Carey Show, and ten years later, as a defense attorney on the February 28, 2006 episode of Law and Order: Special Victims Unit. She also starred in the 1999 Warner Theatre production of The Miracle Worker. On June 11, 2008, Saint James was honored with a star on the Hollywood Walk of Fame.