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Post by Fading Fast on Apr 22, 2023 11:38:37 GMT
I have not seen all of director Robert Wise's movies (based on IMDB, I've seen about half), but every single one has been worth watching and most have been outstanding. I am at the point that if a movie he directed pops up, I will give it a watch simply because he directed it.
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Post by topbilled on Apr 22, 2023 13:57:14 GMT
I have not seen all of director Robert Wise's movies (based on IMDB, I've seen about half), but every single one has been worth watching and most have been outstanding. I am at the point that if a movie he directed pops up, I will give it a watch simply because he directed it.
I think A GAME OF DEATH (1945) is a brilliant remake of THE MOST DANGEROUS GAME and have reviewed it in the RKO thread. A lesser film like CRIMINAL COURT (1946) is decent and engaging, because he's at the helm. |
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Post by Fading Fast on Apr 22, 2023 14:45:10 GMT
You noted two of his I haven't seen, but absolutely want to.
"Blood on The Moon" from 1948, another Wise offering, gets my vote for one of the most-underrated Westerns. Wise grafted a noir world right over a Western. You never hear about this insanely good movie, but should. My comments on it here: "Blood on The Moon"
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Post by topbilled on Apr 22, 2023 16:10:44 GMT
You noted two of his I haven't seen, but absolutely want to.
"Blood on The Moon" from 1948, another Wise offering, gets my vote for one of the most-underrated Westerns. Wise grafted a noir world right over a Western. You never hear about this insanely good movie, but should. My comments on it here: "Blood on The Moon"
I don't think Barbara Bel Geddes generates much heat in this picture. They were in the middle of production when Howard Hughes took over the studio...and he quickly terminated Bel Geddes' contract at RKO, claiming she lacked sex appeal. I hate to say it, but I think he was probably right in this case...she was never going to project any sort of kittenish quality like an Ava Gardner, Jane Russell or Faith Domergue would.
Bel Geddes moved over to Fox where I think she found roles that suited her personality better...playing Richard Widmark's patient wife in PANIC IN THE STREETS and playing Richard Basehart's worried wife in FOURTEEN HOURS. |
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Post by Fading Fast on Apr 22, 2023 16:32:07 GMT
You noted two of his I haven't seen, but absolutely want to.
"Blood on The Moon" from 1948, another Wise offering, gets my vote for one of the most-underrated Westerns. Wise grafted a noir world right over a Western. You never hear about this insanely good movie, but should. My comments on it here: "Blood on The Moon"
I don't think Barbara Bel Geddes generates much heat in this picture. They were in the middle of production when Howard Hughes took over the studio...and he quickly terminated Bel Geddes' contract at RKO, claiming she lacked sex appeal. I hate to say it, but I think he was probably right in this case...she was never going to project any sort of kittenish quality like an Ava Gardner, Jane Russell or Faith Domergue would.
Bel Geddes moved over to Fox where I think she found roles that suited her personality better...playing Richard Widmark's patient wife in PANIC IN THE STREETS and playing Richard Basehart's worried wife in FOURTEEN HOURS.
I can't argue with you as Bel Geddes doesn't have the lift-off-the-screen sexuality of a Gardner or Russell, but in this one, she just looks so darn adorable and young and fresh, that you could see how a man tired of the dirty world, like Mitchum was, would like the dewiness of Bel Geddes versus someone with a more overt sexuality. But as a career driver, you are spot on that alluring sexuality was not going to be Bel Geddes' draw.
Sadly for her, she found her spot in the movies you note and, IMO, in "Vertigo" as the "friend" who loses the guy she pines for to the uber-hot woman, in that case, Kim Novak. |
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Post by jamesjazzguitar on Apr 22, 2023 19:00:43 GMT
You noted two of his I haven't seen, but absolutely want to.
"Blood on The Moon" from 1948, another Wise offering, gets my vote for one of the most-underrated Westerns. Wise grafted a noir world right over a Western. You never hear about this insanely good movie, but should. My comments on it here: "Blood on The Moon"
I don't think Barbara Bel Geddes generates much heat in this picture. They were in the middle of production when Howard Hughes took over the studio...and he quickly terminated Bel Geddes' contract at RKO, claiming she lacked sex appeal. I hate to say it, but I think he was probably right in this case...she was never going to project any sort of kittenish quality like an Ava Gardner, Jane Russell or Faith Domergue would.
Bel Geddes moved over to Fox where I think she found roles that suited her personality better...playing Richard Widmark's patient wife in PANIC IN THE STREETS and playing Richard Basehart's worried wife in FOURTEEN HOURS.Agree with your take on Bel Geddes. For me Phyllis Thaxter was much more engaging as the older sister, especially in that final scene with Preston when she discovers he has played her for a sap. Blood on the Moon has a solid cast of supporting actors, with Walter Brennan, Tom Tully, and Charles McGraw. A unique and very modern western by RKO. |
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Post by topbilled on Apr 28, 2023 13:48:33 GMT
This neglected film is from 1953.
A return to law and order
This is a vibrant western from the folks at 20th Century Fox. The story is based on the legend of Wyatt Earp and Doc Holliday with revised names and modified scenarios. It has a lot going for it as fictional entertainment. In addition to the vivid larger-than-life characters, the whole thing is shot in Technicolor, and the outdoor sequences have been recorded on location at Glacier National Park in Montana.
Rory Calhoun, soon to leave the studio and begin freelancing, is cast as the Earp stand-in– a lawman and miner called Chino Bull (a play on ‘Bull in a China shop’ perhaps?). When his prospecting buddy (Frank Ferguson) is killed while he’s left camp for supplies, Calhoun gives up panning for gold and returns to town permanently. He decides it’s time to wear the badge again.
The man he meets next is a Doc Holliday type (Cameron Mitchell). But instead of being a dentist ailing from tuberculosis, Mitchell’s character is a general physician with a brain tumor. Calhoun and Mitchell strike up an unusual friendship.
Calhoun is still determined to follow leads on a man (Carl Betz) he suspects of having bushwhacked Ferguson. The twist is that Mitchell had killed Ferguson in self-defense, then took the gold, but he’s afraid to tell Calhoun. He knows that if he confesses, this will undoubtedly lead to a showdown, which is exactly what happens at the end of the picture when Calhoun learns the truth. Tense stuff.
Added into the mix of gold, lawlessness and gunfire is the presence of two attractive females. They provide the necessary romantic complications.
Corinne Calvet is a saloon madame known for her skills as a card dealer. She is in love with Mitchell, though she realizes he’s ill. He eventually dies in her arms because of the brain tumor, a highly emotional scene for a movie of this sort.
The other gal is an east coast transplant (Penny Edwards). She’s come to track Mitchell down since they share a past. But she instead falls in love with Calhoun, after she is shot and must be saved.
Most of this is fairly routine, but there’s plenty of drama and excitement. And Calhoun is perfectly at ease as the lawman. He ensures that this is an enjoyable and above average western effort.
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Post by topbilled on May 8, 2023 13:50:13 GMT
This neglected film is from 1950.
Situation comedy that wins with viewers
THE JACKPOT is a fun situation comedy from the folks at 20th Century Fox that reminds me of SITTING PRETTY. This time, instead of Robert Young & Maureen O’Hara, the suburban couple is played by James Stewart & Barbara Hale. They have two kids in the form of Natalie Wood and Tommy Rettig; plus an assortment of memorable friends and colleagues.
This is the postwar era and American life is all about progress and upward mobility. The family depicted on screen is comfortably middle class, but Stewart would still like a promotion at the department store where he works. As luck would have it, they get bumped up an income bracket when Stewart takes a call one night and wins a jackpot in prizes totaling around $24,000 on a radio giveaway program.
Some of the scenes surrounding the live radio show, with Stewart stressing over his ability to provide the correct answers, are quite uproarious. Adding to the zaniness is his wife’s role on the sidelines cheering him on, observed by their kids and neighbors.
I’ve never really thought of James Stewart as a skilled comedian, but he does very well with the lighter material presented in this farce. He seems to be enjoying the basic premise and he has good chemistry with Miss Hale, who also excels despite her role being a bit more limited in scope.
The same domestic sets that were used in SITTING PRETTY are reused here, which explains my comparing the two films. But it’s a welcome sort of deja vu, since we know none of this will result in any huge surprises, just a cheery family film. Of course, several dilemmas occur after Stewart wins.
The middle portion of the film involves itself with the arrival of the prizes. Some of the items are practical, and some of them are not practical at all. As one onlooker says, they already have a lot of these things in their home anyway. Among the more frivolous gifts that show up on their doorstep: a pony and trailer; an interior designer (Alan Mowbray doing his best Clifton Webb imitation); and an attractive portrait painter (Patricia Medina). One amusing bit involves Stewart helping Medina with a cramp in her neck.
In addition to deciding where to put everything, Stewart and Hale have to deal with an unexpected development. All this “loot” is considered income by the government, and the I.R.S. will require they pay taxes on everything. This causes a headache for Stewart and Hale and leads to a decision to start selling the prizes off. At one point, Stewart tries to get rid a few of these items at the store where he is employed. This jeopardizes the raise he’d like and temporarily results in his being fired.
The nice thing about this story is that takes a pretty nifty gag and keeps stretching it like a rubber band until everything finally snaps back into place. The family’s status quo is eventually restored, and despite a near break-up, Stewart reconciles with Hale. In the end, Stewart realizes that his wife, kids and job are the real jackpot. He doesn’t need anything else.
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Post by Fading Fast on May 8, 2023 14:11:14 GMT
That's a good review. It's been awhile since I've seen this one, but it is a fun movie if you don't take it seriously. You can feel the 1950s/'60s TV sitcom plot at its core, which is why stories like these would drift more to TV over the next couple of decades. I am not a "stuff" guy and actually got hinky when all the items they won started piling into the house.
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Post by topbilled on May 8, 2023 14:19:44 GMT
That's a good review. It's been awhile since I've seen this one, but it is a fun movie if you don't take it seriously. You can feel the 1950s/'60s TV sitcom plot at its core, which is why stories like these would drift more to TV over the next couple of decades. I am not a "stuff" guy and actually got hinky when all the items they won started piling into the house.
I bet viewers in 1950 were amused by the references to radio show giveaways...though a short time later, these programs would be replaced by popular TV game shows.
According to William Katt, his mother (Barbara Hale) was pregnant with him during the making of this movie and during the make of her next film LORNA DOONE. But she looks rather thin in her scenes, so she must have found out she was pregnant right at the end of filming. She does not look like an expectant mother at all.
LORNA DOONE was a historical drama at Hale's home studio Columbia, so they probably used the elaborate costuming to camouflage her pregnancy in that picture. But in THE JACKPOT, there is no real indication she's going to have a baby...and they are not hiding her behind the furniture. In fact she has several medium shots and long shots where we can see how thin she is. |
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Post by topbilled on May 8, 2023 14:50:55 GMT
Okay, so my curiosity got the better of me...since I've never seen LORNA DOONE, I searched for a few pics online...
Barbara Hale definitely looks fuller in the face.
It's obvious they are concealing her pregnancy under big dresses...
And shawls.
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Post by topbilled on May 16, 2023 14:41:41 GMT
This neglected film is from 1938.
Richly produced Technicolor drama
The film’s stars, Loretta Young and Richard Greene, had already been teamed by Zanuck in John Ford’s FOUR MEN AND A PRAYER. As a result, they have an easy rapport which combined with their considerable charms, helps put this over. Joining them in the richly produced Technicolor drama is Walter Brennan as Miss Young’s uncle, an irascible old fellow who’s still holding grudges from the Civil War days. He still likes to believe the South won!
At first, I couldn’t figure out why Mr. Brennan earned an Oscar for his performance. The role is nothing more than a standard character part that any actor his generation could’ve played in their sleep. But in a way, Uncle Peter is the central force, certainly the one with the strongest ties to Kentucky history…and Brennan does do a decent job with a rather shocking death scene at the end.
The performers that stand out more are two other skilled character actors. Moroni Olsen plays Greene’s estranged banker father– they have a quarrel about money– and Mr. Olsen does well conveying conflict, stubbornness and regret. The reconciliation scene that occurs later is particularly good.
Another actor is George Reed, a veteran of silent films. He is simply superb as the Negro grifter who changes loyalties and uses the problems between Young’s family and Greene’s family to his distinct advantage. He’s playing a trickster character, and we can’t help but like him because of his self-deprecating humor. I almost wish the movie revolved around him, because his scenes are highly entertaining.
Some modern reviewers, wading in the stream of political correctness, will find fault with the depiction of post-Civil War blacks. I won’t defend any of that, except to say this is right around the time GONE WITH THE WIND was produced. There was an overly romanticized notion regarding the historical relationship between white landowners and the impoverished blacks that worked for them and lived with them.
I do not think any of the blacks in the story are presented too negatively here. There are no murderers or adulterers among them. And when Reed’s character steals, he quickly demonstrates a guilty conscience.
Part of the film’s focus is the history of Kentucky and the importance of horses to the economy. Young and Greene train a prized racehorse together with Brennan’s help. We even get to see Miss Young take off on a horse during a dramatic storm. To my knowledge, she never had a scene of this type in any of her other movies. It’s an exhilarating ride, from start to finish.
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Post by Fading Fast on May 16, 2023 15:53:54 GMT
⇧ I enjoyed your excellent review as it opened my eyes up to a few things I missed when I saw the movie. I found the picture a bit slow going in places, but just seeing lovely Ms. Young more than made up for that. I agree with your comments on the presentation of blacks in the movie.
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Post by topbilled on May 24, 2023 14:12:31 GMT
This neglected film is from 1950.
Tall dark handsome brute
It doesn’t happen too often, but sometimes a star in an earlier version will have another key role in the remake. When 20th Century Fox remade 1942’s gangster comedy TALL DARK AND HANDSOME eight years later, the studio rehired Cesar Romero. He had played the likable lead character the first time around, and now this time, he was cast in a supporting role as the villain.
Actually the villain was supposed to be played by Richard Basehart who was too busy doing other projects at Fox, so producer Darryl Zanuck decided to utilize Romero’s talents again…probably because the actor knew the material from the original production and because he had the necessary charisma to go up against Paul Douglas, who was now playing the main part.
Romero and Douglas play rival hoods who battle each other for control of urban territory in 1928. Prohibition is in full swing, but these men know how to make money through various rackets, not all of them involving the illegal sale of alcohol. The twist is that Romero, the picture’s true bad guy, is a homicidal killer, but Douglas is not. However, the police mistakenly think that a lot of the city’s recent murders have been committed by Douglas and his men, though most of those killings were Romero’s handiwork and Douglas is getting the ‘credit’ for it!
As if this weren’t enough, Douglas bemoans the fact that he has no girl or family. He’s about 40 and experiencing a midlife crisis. When he meets a governess (the always appealing Jean Peters), he decides she’s the girl for him because she’s pretty and has a kind way with children. Only she’s heard of his reputation as a brute killer and she is afraid to have anything to do with him. Eventually, she is convinced to take a job working for Douglas at his mansion.
Added into the mix we have assorted oddball characters, like a loyal butler (Arthur Treacher); a loyal maid (Joan Davis, in a role played by Charlotte Greenwood in the original); a loyal pal (Keenan Wynn, on loan from MGM); and a very disloyal spoiled brat (Peter Price). The kid steals all the scenes he’s in, and he’s a perfect foil for Douglas who is trying to ‘adopt’ the little delinquent, to show Peters he is decent and can be husband and father material.
One slight issue I had with the film is that the editing seemed a bit disjointed in a few sequences. It was almost as if a few scenes from the 1941 version were left out and they didn’t know how to smooth over the gaps. But I could overlook some of that, because the story, as nonsensical as it is at times, works largely thanks to Douglas and the rapport he has with the rest of the cast. All in all, it’s a pleasant diversion, nothing too exciting or offensive…with a predictable but still satisfying ending.
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Post by topbilled on Jun 9, 2023 13:49:57 GMT
This neglected film is from 1957.
Remake is let down by cast
When Fox decided to remake 1939’s JESSE JAMES as THE TRUE STORY OF JESSE JAMES in 1957, the emphasis wasn’t on what actually was true, but what might have been true. In other words, what some people wanted to be true about Jesse (Robert Wagner) and brother Frank (Jeffrey Hunter).
As in the case of the first film, the studio is relying on two pretty boys under contract to capture viewers’ hearts and make them swoon. Of course the real-life James brothers were not this good looking. They were dangerous men who didn’t have time for hair and makeup adjustments in between robberies and killings.
The remake begins in Minnesota, surrounding the legendary raid in Northfield. There is a lot of shooting and death. At this point some of the gang have become too fat or too drunk to survive. The brothers are chased by a band of local men who’ve formed a posse. So there is considerable action right away. The first film started with the James family losing their farm in Missouri because of the railroad, then had them become marauders, robbing trains as a sort of payback.
The original film and its sequel, THE RETURN OF FRANK JAMES, were both made in Technicolor. But neither one of those productions had the benefit of CinemaScope as this one does. Since some footage involving the stunt work from the first film is reused in the remake, the producers had to adjust that earlier footage so it blended in with the CinemaScope images, but a keen eye can still detect where the old footage has been inserted into the narrative because the color process in 1957 is not exactly the same.
Agnes Moorehead is cast as elderly Mrs. James. The 1939 version depicted the mother (played by Jane Darwell) being killed early on, while crooked men employed by the railroad fought with her sons. But in this case, we learn in the early scenes that Ma is still alive and looking forward to the boys returning from Minnesota, in time to celebrate Jesse’s birthday.
I don’t quite buy Miss Moorehead as either Robert Wagner’s mother or Jeffrey Hunter’s mother, since she does not resemble them. And I think she has a tendency to overdo some of the dramatic moments. This is hardly a subtle performance.
The broad acting style exhibited by Moorehead and some of the supporting cast, like John Carradine (who was in the original) seems to have been egged on by director Nicholas Ray.
Previously, Ray encouraged James Dean to give a near cartoon-like performance in REBEL WITHOUT A CAUSE. There are a few theories that Ray intended to cast Dean here as Jesse James, but I sincerely doubt it, since Dean was leaving Warner Brothers for MGM when he died; he was not headed to 20th Century Fox. Plus Fox activated this project to give its matinee idols, Wagner and Hunter, something to do.
If Dean had played Jesse, things might have been more entertaining. Unfortunately Wagner doesn’t quite get into character, and Hunter is just too wooden to be believed as Frank. It’s not surprising there wasn’t a sequel to this film, focusing on Frank. Jeffrey Hunter was no Henry Fonda.
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