Doris Triple BillCalamity Jane (1953) -
www.imdb.com/title/tt0045591/referenceAs fizzy as a Sarsparilla. Calamity Jane is directed by David Butler and written by James O'Hanlon. It stars Doris Day, Howard Keel, Allyn Ann McLerie, Phillip Carey & Dick Wesson. The score features music by Sammy Fain and lyrics by Paul Francis Webster. Out of Warner Brothers, the film is seen as a response to the success of MGM's production of Annie Get Your Gun in 1950, where Keel was also starring. Plot here is loosely based on the life of Wild West heroine Calamity Jane (Day) and explores the relationship between Wild Bill Hickok (Keel) and herself.
I guess the first thing that should be said is that this is no biography of one Martha Jane Cannary Burke (AKA: Calamity Jane), in truth this is more a comedy musical romp built around that famous frontiers woman, so with it being very basic on narrative and direction, this is predominantly appealing to the film fan with musical leanings. However, on that score the film is utterly delightful, such as it is fronted by the spirited lead performances from Day & Keel and a handful of truly great tunes headed by the Oscar winning "Secret Love" (Day luminous and vocally on peak form).
Pic also earns some bonus points for giving Day the chance to play something other than the naive innocent girl next door type (it was a personal favourite role of hers). She gets to be spunky and brash without ever losing that adorable appeal that carried her throughout her career. The play on sexual stereotypes is rather humorous without being twee, something that you feel director Butler was under appreciated for, while Wilfred M. Cline's gorgeous colour photography enhances the playfulness of it all.
Seen now as a feminist fantasy with a gay following thanks to "Secret Love", there's no denying the film is all very Hollywoodized - with characters so animated they could actually burst. But all told, if one is able to forgive and see past its tiny flaws then this is a film guaranteed to light up the darkest of wintry days. 7.5/10
Midnight Lace (1960) -
www.imdb.com/title/tt0054084/referenceMatilda Shouted Fire. Midnight Lace is directed by David Miller and adapted to screenplay by Ivan Goff and Ben Roberts from the play Matilda Shouted Fire by Janet Green. It stars Doris Day, Rex Harrison, John Gavin, Myrna Loy, Roddy McDowall and Herbert Marshall. Music is by Frank Skinner and cinematography by Russell Metty.
Kit Preston (Day) is being stalked, but she can't get anyone to believe her. Is she going mad?
The "woman in peril" thriller has always proved popular since the advent of film, Midnight Lace may not have the class or menace of something like Gaslight or the best of Hitchcock, but it's a splendid mystery thriller yarn. Pic sets its goals out from the start, as the delightful Miss Day is pursued through the pea souper fog by person unseen. Then the phone calls start, a weird voice at the end of the line issuing less than complimentary advice, but nobody is sure if she is really suffering these harassments.
So, enter a whole ream of suspects from weasels and schemers to the unbalanced and the too suave to be true, red-herrings now rule the roost and it's great fun. As things progress Kit's hysteria goes up a notch at a time until it's all out psychological bedlam. The big reveal is not exactly a surprise, but the enjoyment was in getting there. Unfortunately the production loses points for some sloppy editing and poor design for the London setting, the latter rendering the already fanciful story a fake feel that's hard to shake off, the theatrical origins evident for sure. Which is a shame because Metty's photography is sublime, the principal colours positively spanking (check out those greens).
Still, Harrison and Day can pretty much sell these characters in their sleep, and they are backed up by Gavin and Loy enjoying themselves. It makes up for what it doesn't have in atmospherics or freshness of formula, with honest to goodness entertainment values. 7/10
Send Me No Flowers (1964) -
www.imdb.com/title/tt0058571/referenceLook, you're dealing with your wife. You can forget the Constitution. Send Me No Flowers is directed by Norman Jewison and collectively written by Julius J. Epstein, Norman Barasch and Carroll Moore. It stars Doris Day, Rock Hudson, Tony Randall, Clint Walker, Edward Andrews, Paul Lynde and Patricia Barry. Music is by Frank De Vol and cinematography by Danial Fapp.
A hypochondriac believes he is dying and makes plans for his wife, which creates many misunderstandings for themselves and everyone around them...
The pairing of Hudson and Day was an utter joy, producing romantic comedy escapism from the upper echelons of such genre stations. Send Me No Flowers is the last of their collaborations, so how wonderful to find it to be a grand way to bow out.
In parts it's thunderously mirthful, even joyously tasteless in the process, in others it's mature and smart about the subjects to hand. Cast are on fire across the board, but this is undoubtedly Hudson's show all the way. He puts a gracefulness into what is a tricky role, while his sly comedic timing - both visually and vocally - is top dollar.
This is a guaranteed bad mood lifter, a pic to blow away the black clouds for a while. The actors are great company to be in, the writing cunning with humorous intent. From some nifty animation at pic's start to introduce Hudson's character's hypochondria, to the sight of the hulking Clint Walker getting out of the world's smallest car! this never lets up on the passion to entertain us. 8/10
Just the one from my 1947 quest this week because of watching Doris instead.
Deep Valley (1947) -
www.imdb.com/title/tt0039308/referenceAin't no valley low enough - Ain't no river wide enough. Deep Valley is directed by Jean Negulesco and adapted to screenplay by Stephen Morehouse Avery and Salka Viertel from the novel written by Dan Totheroh. It stars Ida Lupino, Dane Clark and Wayne Morris. Music is by Max Steiner and cinematography by Ted McCord.
Libby Saul (Lupino) lives in a run down farm house with her unfeeling and estranged parents. Having developed a stammer due to her stmyied life, her only solace comes from walking in the woods with her dog. Then one day she happens upon a convict work party and takes interest in one of them, Barry Burnette (Clark).
He's free too...
Off the bat you have to be warned that this is very slow going for the first two thirds - almost painfully so. So with the story hardly being compelling in the first instance, or credible of course, it's on shaky ground and becomes tough to recommend with confidence. However, there's plenty to enjoy as it plods along and the final third is well worth waiting for.
The whole look of the piece is an atmospheric delight, McCord bringing some monochrome magic. The inside of the cottage is oppressive, director and cinematographer neatly marrying the visuals up to how Libby feels. Other scenes are pure visual treats, such as out in the barn as the sunlight shines through gaps in the wood to reveal a ghostly mist, or subtle shots like river ripples reflected onto Libby's face, there's enough tech skills on show to keep you interested. Add in yet another superb performance from Lupino and you should want to stay all the way here.
Narratively it comes down to finding love under trying circumstance, and that of the big decisions we face in life. Libby is faced with a choice, the bad boy or safe boy conundrum rearing its potent head. It all builds to a finale of substance that tantalises the heart and head in equal measure. No great film by any stretch of the imagination, the tech credits better than the actual play itself, but it warrants respect and worth a viewing for sure. 6/10
Pitfall (1948) -
www.imdb.com/title/tt0040695/referenceIn a rut and it's six feet deep. Pitfall is directed by Andre De Toth and adapted to screenplay by Karl Kamb and William Bowers from the novel written by Jay Dratler. It stars Dick Powell, Lizabeth Scott, Jane Wyatt and Raymond Burr. Music is by Louis Forbes and cinematography by Harry Wild.
Married insurance adjuster John Forbes (Powell) falls for femme fatale model Mona Stevens (Scott) while her boyfriend (Byron Barr) is in jail. And with Private Investigator J.B. MacDonald (Burr) fiercely attracted to Mona the consequences for everyone could well be critical.
The reluctant fatales!
Not for the fist time I wandered into a film directed by Andre De Toth and came out feeling invigorated by the under valued director. Pitfall falls under the film noir banner but actually subverts what we know as film noir conventions. Mona Stevens is a femme fatale of sorts, but not maliciously so, the key fatale role falls to John Forbes, who is bored with his comfortable life and becomes our homme fatale. But again, this is not malicious or scheming, though since this is noirville it has knock on effects of dire consequence.
What makes a dream? - The mind is a camera.
As our two central adulterers go about their confused passion filled way, the characters it affects become prominent in the story's ultimate resolutions. MacDonald is a brute (Burr in his element), and an unrealistically stupid lech into the bargain but his constant menace throws us a classic noir characterisation. Out there in prison is Mona's boyfriend, who is being made aware of his loved one's indiscretion and counting down the hours till his release. While back at the Forbes home is John's adoring wife (Wyatt enjoying a feisty role) and son (Jimmy Hunt), the innocents who we wonder will suffer from the actions of others?
Dialogue is often sharp, witty and rapid-fire, you instantly know that Bowers (Criss Cross/Split Second) had pen in hand and it was red hot. There's some nice photography on show, with Wild (Cornered/They Won't Believe Me) treating us to shadows and light tactics. However, I lament that there wasn't someone like Krasker or Musuraca on photographic duties, for this cries out for some chiaroscuro wonders. Elsewhere It's sad to report that Byron Barr as the outraged convict is simply not menacing enough, one has to hanker for a McGraw, Brand or Brodie in the role.
As for the finale? Well the makers have their cake and eat it. Having baited the Hays Code with crafty glee, pic leaves things open ended - baiting us the viewers in the process, and it works. Smartly performed by the principal players, waspishly written by Bowers and astutely steered by De Toth, this may not be in hidden gem territory, but it definitely has to be recommended to lovers of the noir form. 7.5/10
Maverick (1994) -
www.imdb.com/title/tt0110478/referenceFrom the moment I slapped eyes on this hombre, I smelled trouble. And re-fried beans. Maverick is directed by Richard Donner and written by William Goldman. It stars Mel Gibson, Jodie Foster and James Garner, with support coming from Alfred Molina, Graham Greene and James Coburn. The music is scored by Randy Newman and Vilmos Zsigmond is on photography. It's based on the 1950s television series of the same name and the plot finds Gibson as Maverick and follows his attempt to take his place in a major five-card draw poker tournament. With Foster and Garner in tow, there's plenty of adventures and misadventures along the way.
After Costner's Dances With Wolves and Eastwood's Unforgiven had reignited interest in the Western genre in the 90s, Richard Donner and his team felt the time was right to unleash a light hearted Western on the mainstream audience. Timing was important, as was the casting, but Maverick is the sort of family friendly fun that could in truth be released at any time in any decade and still be a hit at the box office. It's not particularly clever in narrative or themes, but with its blending of action, romance and comedy seamlessly coming together as a whole, Maverick is practically hard to dislike. Even the cast seem to be having a real good time, with Gibson smooth and roguish, Foster dainty yet spunky and Garner (the original Maverick from the TV show) offering up a sort of stoic maturity over proceedings; with all three playing the comedy with ease (how great it is to see Foster in such a role). Donner and Goldman have also shown respect to both the TV show and the Western in general (check out those lovely landscapes), while it's always fun to play spot the numerous stars in the cameos.
Harmless fluff, then, but always watchable and never once over reaching itself by trying to be something it's not. 7.5/10
The Quick and the Dead (1995) -
www.imdb.com/title/tt0114214/referenceNice try from Raimi, but ultimately it creeps just above average. The Western is a tough genre to tackle in the modern age, more so when it's post Dances With Wolves and Unforgiven's masterclasses 101. But tackling both these challenges is nothing to the one which director Sam Raimi asks of the audience in his stab at the genre.
A female gunslinger is here played by a Hollywood beauty, Sharon Stone, but she isn't right for the lead role. She obviously looks gorgeous and she broods and pouts better than most of her modern day peers, but she lacks a menacing streak, a bit of believable nastiness that just might have lifted the film to better heights. We understand and expect the vulnerability she shows, but to succeed here in the testosterone fuelled town of Redemption, she's going to have to convince as a tough gal. And Stone just isn't up to the task.
The film does have good points to enjoy though, very much so. The story, although gimmicky, works well as an entertaining popcorn munching tale, while the cast list reads like a whose who of solid and quality thespers, (Gene Hackman wandering in from Unforgiven to play Little Bill's ghost, Russell Crowe, Leonardo DeCaprio, Keith David, Pat Hingle & Lance Henriksen). Also into the plus column is the always impressive cinematography from Dante Spinotti, and there is no denying Sam Raimi's keen eye for detail, with his zooming shots a real treat during the shoot out sequences - his Spaghetti Western leanings further enhanced by Alan Silvestri's pasta influenced score.
Yet in spite of this bravado attempt, and acknowledging that the makers have tried something different, The Quick & The Dead isn't quite quick enough on the draw to outlive the leading lady misstep. 6/10
Alien (1979) -
www.imdb.com/title/tt0078748/referenceThere is a clause in the contract which specifically states any systematized transmission indicating a possible intelligent origin must be investigated...Alien is directed by Ridley Scott and written by Ronald Shusett and Dan O'Bannon. It stars Tom Skerritt, Sigourney Weaver, Veronica Cartwright, John Hurt, Yaphet Kotto, Ian Holm and Harry Dean Stanton. Music is by Jerry Goldsmith and cinematography by Derek Vanlint.
The space merchant vessel Nostromo receives an unknown transmission as a distress call and land on the moon where the call had come from. Bad idea...
Back on release it was one of the most talked about movies of 1979, backed by a terrifically tantalising trailer - which itself was backed by one of the greatest tag-lines of them all, the weight of expectation of a genre blending classic was colossal. This was only after all director Ridley Scott's second feature length film, could a sophomore pic really be all that? History as we now know has proven that to be the case.
On plot synopsis it's standard format, where the haunted house and a killer on the loose has been replaced by a space ship in space. Yet once the pic plays its alien hand, and it becomes a battle of survival in one location, it dawns on you there is really no escape. No running into the garden and down the street, no hiding in the attic hoping the killer saunters off home, this is find and destroy or be destroyed yourself - with the future of mankind depending on the humans to succeed.
Some still go into a viewing of Alien nowadays and decry it for being too much of a slow burn, yet this is one of the pic's biggest assets. Time in space is slow anyway, and lonely one would guess, so Scott wisely lets the characters be introduced, lets us understand just enough about their psychological make up before things go belly up (literally as it happens). When the pot finally boils over it's terrifying, the bar well and truly raised for horror/sci-fi hybrid conventions.
With art design by H.R. Giger and Goldsmith producing eerie musical rumbles, the whole piece has a disquiet about it, notably with distressing sexual connotations and symbolism that haunts the mind as the body horror unfolds. The quiet passages are nerve shredders, Alien across the board is a visceral experience, especially for those who have ever watched it on a big screen in a darkened theatre.
It made a star of Weaver, who unbeknown to those on first viewing is the main character, another masterstroke by Scott, with Ripley the character in Weaver's hands shunting women's character's in big budget films forward by some considerable margin. All the cast are on great form, there's no showy stars in here, a collection of hard working British and American actors feeding off their director for super returns.
Now 40 years old, Alien shows no sign of losing its classic status, and rightly so. A seminal class act that still holds all the qualities it had back in 1979. In space no one can hear you scream - indeed! 10/10
Done!