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The Naked Jungle (1954)
Incredible special effects
Filmed on location in Central America, you'll get to see some beautiful exotic locales behind the beautiful stars in The Naked Jungle. Eleanor Parker gave her audition for Baroness Schraeder in this movie with her frosty voice and calm composure. She's a mail order bride who travels from the United States to Brazil to marry Charlton Heston, and her finery and ladylike manners are a bit out of place. As in the classic Hollywood tradition, she's dressed in nearly an entirely white wardrobe to show how ill-equipped she is to handle life in South America. By contrast, Chuck is rugged and uncouth, and completely at home on his cocoa plantation. He runs an incredible business and has focused solely on work his entire life. He's never been with a woman, and when entrusting his brother to arrange his marriage, he's hopeful to wed a woman as inexperienced as he is. He's extremely disappointed to learn Eleanor is a widow, and he's extremely rude and cold to her. While it might not be believable that Charlton Heston is as virtuous as an altar boy, he certainly convinces the audience of his frustration and need for female companionship. Do you think Eleanor might win him over? She's strikingly beautiful, seductive, and has a killer figure. I'm betting she might.
The rest of the story focuses on Chuck's plantation and the natural obstacles he faces. There are incredible special effects that take you on a wild ride when the place is overrun with killer ants - special effects that won the film a Hot Toasty Rag award for Best Director! The action scenes are impressive enough to drop your jaw, especially when you take into consideration that there were no computers to help, and it was really Charlton Heston with very little assistance from a stunt double! I'd definitely recommend this one; it's quite a lot of fun and full of adventure.
Above and Beyond (1952)
Robert Taylor finally acts!
I'm not the biggest Robert Taylor fan, but Above and Beyond might be my favorite of his performances. Perhaps the subject matter really spoke to him, or perhaps he responded well to his directors Melvin Frank and Norman Panama. He stars as a test pilot whose professional work affects his personal life. His wife Eleanor Parker is tired of worrying about his safety, as well as the long absences when he's up in the air. However, there is great love between them, and whenever he is on the ground, they try to work on their marriage.
The big crux of the situation comes when Robert is hired to pilot the Enola Gay aircraft. He's sworn to secrecy, but the magnitude of his assignment weighs heavily on him - and the fact that he can't talk to his wife about it threatens the little trust they have left. Both leads give great performance, but believe it or not, Robert is the one who shines. If you've only seen the movies where he looks like he can't act (pretty much all his other films), consider renting this one to see what he's been hiding up his sleeve.
Chain Lightning (1950)
Only for test pilot fans
In Chain Lightning, Humphrey Bogart takes on a different type of role. He's not a gangster, he never wears a trench coat, and he's not particularly tough. He's a pilot in the Air Force who, after the war, continues to be a test pilot and takes enormous risks to his personal safety. The film cuts back and forth from the wartime to the present time; in the war he was romantically involved with Eleanor Parker until his transfer parted them, and in the current timeline they are brought back together when he's hired by the company she works for.
Unless you love movies about test pilots, this movie probably won't capture your attention. There is a fair amount of screen time devoted to the second chance romance, but Humph never really seems to value Eleanor as much as he does his flying. Since that's exactly how his character is written, we can't really root for him to win her back. If he wants to win her back after all those years of heartache, he should learn to value her.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. Every time Humphrey Bogart goes up in the air, the camera turns and tilts, and it might make you sick. In other words, "Don't Look, Mom!"
The Very Thought of You (1944)
WWII inspiring fare
I always got the feeling that in the vast majority of her films, Eleanor Parker felt she was "slumming it". Her talents were seldom utilized, and somehow, it came across through the screen to me that Eleanor knew she was capable of far better. You can watch Caged, Interrupted Melody, The Man with the Golden Arm, and The Sound of Music for proof of her incredible talent. But in The Very Thought of You, Chain Lightning, and The Voice of the Turtle, any other actress could have been cast. Eleanor Parker's particular brand of high intensity and passionate dramatics weren't necessary or required. However, since she is a very beautiful woman, it never hurts to watch her in these movies. In The Very Thought of You, she gets involved in a whirlwind romance with a soldier on leave, Dennis Morgan. Dennis's friend, Dane Clark, also has a whirlwind romance with Eleanor's friend, Faye Emerson. The foursome bond over Thanksgiving weekend, and Eleanor's mother, Beulah Bondi completely disapproves. Her father, Henry Travers, is more supportive, and actually helps cover up the surprise when Eleanor runs away and elopes with Dennis. This movie is a World War II romance that serves no real purpose other than to bolster the women who are waiting for their men in uniform to return. It's not a very good movie, but it probably made the audience feel inspired and hopeful. If you are looking for a good quality movie of a wartime romance over a holiday during the holiday, check out Joseph Cotten and Ginger Rogers in I'll be Seeing You.
The Woman in White (1948)
Eleanor Parker is lovely
I don't know why Alexis Smith got top billing in the film The Woman in White when Eleanor Parker not only played a dual role, but one of the roles was the titular character. There must have been some dispute amongst the ladies' contracts, but Miss Smith was absolutely not the lead in this movie.
Eleanor Parker plays both the insane woman who has escaped from her asylum and always dresses in white and a fine, well-bred lady who lives with Alexis and her guardian, Sydney Greenstreet. Also in the house is the scene stealing John Abbott, a hypochondriacal, nervous wreck; he's very funny in his dramatic outbursts, and the movie probably would have been more entertaining, if not less productive, had he been given more scenes. In any case, the story revolves around Gig Young, hired as a private art tutor for the girls, discovering a mystery about the house and the insane young lady. He shares his findings with Alexis, and together they try to protect both Eleanors before it is too late.
If you like old Victorian Gothic mysteries, you will probably be entertained by this one. I was a little bit bored, but I did appreciate the work that went into it and the originality of the story of its time. Plus, Eleanor Parker was an extremely beautiful woman, so it was always a pleasure to watch her in a movie regardless of how riveting the plot line is. When I saw how easy it was for her to play an insane woman, I was once again reminded as to what travesty it was that she was not cast as Blanche Dubois.
Warning Shot (1966)
What a cast!
It was a great casting choice to pick David Janssen as the lead in the thriller Warning Shot. As he was extremely popular in The Fugitive, playing a man who was falsely accused and had to clear his name, in this movie, he's also a man who's falsely accused and has to clear his name. He plays a police officer who's a very upstanding citizen with no vices; in addition to not drinking alcohol, he also doesn't smoke a single cigarette in this film - very rare for him. While on a stakeout, he sees a suspicious man crawling prowling, and when he orders the man to freeze, the man runs. After he sees the man pull out a gun from his pocket, Dave shoots and kills the man. When the gun is never uncovered, the public tries to crucify Dave for killing whom they believe was an unarmed man. There is picketing outside the courthouse, and the people holding signs call for a shutdown of the police force. Sound familiar?
Made in 1966, the movie was ahead of its time. Obviously, it takes a stand with Dave as he tries to find the missing gun. Dave believes he is right, and no one can convince him otherwise: not his partner Keenan Wynn, police chief Ed Begley, soon-to-be ex-wife Joan Collins, lawyer Walter Pigeon, the victim's widow Eleanor Parker, or the kind-hearted little old lady who was as close to a witness as the prosecution could get, Lillian Gish. Also in the supporting cast are George Sanders, Carroll O'Connor, Stefanie Powers, Sam Wanamaker, George Grizzard, and Steve Allen.
Up until the last five minutes, which felt a little contrived, Warning Shot was very entertaining. I love David Janssen so I would pretty much sit through any movie he was in, but I also enjoyed seeing the large supporting cast. There must have been quite a lure to this movie for so many people to want to have tiny parts - or else everyone was a huge fan of The Fugitive and wanted to act alongside David Janssen even if just for a few minutes. Lillian Gish had a very cute part, but I couldn't help feeling sorry for Eleanor Parker. She had only one scene and spent her few minutes of screen time drinking and kissing her co-star. Personally, I would have signed on for a movie where I could kiss David Janssen and not even ask for a salary, but I don't know if Miss Parker shared my crush. You would think coming off of The Sound of Music, she would have wanted a bigger role. In any case, don't watch this movie for her. Watch it for the very compelling protagonist (even if you don't think he is extremely sexy like I do, he's still great in a thriller and easy to root for) and the fast-paced story that will keep you guessing until the end.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. In the beginning, when David Janssen is on his stakeout and chases the prowler, the camera is handheld and swerving. Also, when Dave gets beaten up by the four punks, the camera uses a warped visual effect; the same effect is used when his drink gets drugged - and it will make you sick. In other words, "Don't Look, Mom!"
The Seventh Sin (1957)
Different, but well acted
Hardly similar to the 1934 film The Painted Veil, Eleanor Parker starred in a 1957 remake, The Seventh Sin. I saw the cast list of Bill Travers and George Sanders, and naturally I assumed George would be the rigid, unforgiving husband with Bill as the young lover. Imagine my surprise to find that Bill was cast as the husband!
Eleanor's young lover was a French actor, Jean-Pierre Aumont, and George played a friend in their new surroundings when they relocate to treat the cholera epidemic. I absolutely loved George in this movie, both his character and the spunky delivery he brought to his lines. He's funny and charming, but without the acerbic Addison Dewitt typecast. Eleanor and Bill are also very good in the film, and with both characters being extremely flawed, it's hard to make them likable. But you feel very sorry for Bill, and Eleanor is so beautiful, it's hard to believe she ever does anything wrong. Even though Bill treats her infidelity as justification for a thinly-veiled death penalty, he acts out from being in pain rather than from cruelty. If you have never seen version of this classic story, you can try either film. This one has a different ending than the original, but don't let that stand in your way. Pick which cast appeals to you and get ready for a very good acting and in a very heavy story. And just forget about Ellen Corby's "French" accent.
Caged (1950)
Tour-de-force for Miss Parker
With the film Caged, you're getting more than just an incredible tour-de-force from its leading lady Eleanor Parker. You're getting more than just a classic prison movie. This film takes a definite stance and proves its point. Eleanor starts the film as an innocent and lovely young lady, who only goes to jail because of her boyfriend's wrongdoing. But her time inside destroys her and corrupts her. Between a sadistic lesbian prison warden and the unsavory, unscrupulous inmates, Eleanor's life view changes. She no longer tries to see the good in people, and she no longer tries to do the right thing. She learns she will be punished for being honest, and that people are out to harm rather than help her.
This is a very upsetting story, and while I do recommend it so that you can see Eleanor Parker's incredible talent, it is not a movie I would ever want to watch again. It is a very gritty, bleak depiction of prison life. In one very upsetting scene, Eleanor is held down by her fellow inmates as her head is shaved. In another, a baby kitten is smuggled into the prison and later killed in a brawl.
Prison movies usually feature a scene where the lead character is up for parole and pleads his or her case to the parole board. In this movie, when Eleanor screams and begs to be paroled or else she will turn into the criminal that the court thought she was, the audience completely believes it is true. At that point in the movie, she has just a slim chance left of returning to humanity and civilization. If she stays any longer inside the prison, there will be no more hope for her.
Watch at your own risk, but if you do, just remind yourself that Judy Holliday won the Academy Award that year for Born Yesterday.
Kiddy Warning: Obviously, you have control over your own children. However, due to an upsetting scene involving an animal, I wouldn't let my kids watch it.
The Great War and the Shaping of the 20th Century (1996)
Incredible production
If you have eight hours to spare and are interested in learning the truth (or as close to it as modern historians can get to it) about World War One, I'd recommend watching the PBS documentary The Great War: 1914-1918. The United States version was given a different subtitle "And the Shaping of the Twentieth Century" which was very apt. The eight-part miniseries showed how nothing was the same after the war, leading the path to modern society and modern warfare. Also, in the American version, there was a different narrator (but how I would have loved to have heard Judi Dench instead!) Salome Jens's voice was quite irritating, and I'm sure Miss Dench would have been much more soothing.
However, there are lots of other voices you'll get to hear. It's a lot of fun to perk up your ears and try to guess who they are. The regulars are Jurgen Prochnow, Michael York (but don't listen for an Englishman...), Leslie Caron, Ian Richardson, Jeremy Irons, Ralph Fiennes, Tim Pigott-Smith, Martin Landau, Malcom McDowell, Liam Neeson, Jeroen Krabbé, Kai Wulff, Rupert Graves, and David Keith. Those who lent their voices to only one or two episodes are Hellen Mirren, Natasha Richardson, Helena Bonham Carter, Rene Auberjonois, Louis Gossett Jr., Timothy Bottoms, Nastassja Kinski, Imogen Stubbs, Jean Stapleton, Jane Leeves, Ned Beatty, Martin Sheen, and countless others. This is an A+ production that was an incredible labor of love for all involved. I couldn't believe the amount of footage that was available (and in good enough quality to use). Although this series mirrors the format of the great Ken Burns documentaries, with historians being interviewed, most of the visuals you'll see in The Great War is actual video footage from the war or the homefront. It's incredible.
It's also incredible to learn the truth that you weren't taught in school. Neither my mother, I, nor my nieces were taught the true nature of the start of WWI. We were taught that Germany was always a bully who wanted to take over the world, and so they started two world wars. That's not what happened! They were merely allies who got roped in, just like all the other countries. The documentary also explained the start of the anti-German propaganda that started during the war, which was really shocking. The series itself still suffered from a bit of lasting western bias; in one notable case, the narrator declared that the French suffered a devastating loss of 400,000 lives after one battle. "German losses were similar." Well, then if they were similar, why wouldn't the narrator declare that both sides suffered devastating losses? Still, my admiration goes out to the creators of this documentary to daring to expose the truth.
True historians might be bored, but the average person will undoubtedly be riveted and shocked. I tried recommending it to my brother by enticing him with a few facts I'd learned. Instead of being surprised as I'd been, he merely finished the stories for me and added even more historical tidbits that even the documentary didn't include! But he's a genius. For the rest of us, we can learn a lot by watching The Great War.
Dragnet (1954)
How can something this boring be popular?
I can't believe how boring Dragnet was! How could something this boring be the subject of a nine-season radio show, two television series (twelve seasons collectively), and three theatrical films? I think if I were forced to watch everything, I'd develop permanent narcolepsy. I suppose it was the grand-daddy of modern audiences' love of true crime, but that's also a genre I can't get behind.
If you like Dragnet, you'll probably want to watch this 1954 movie to add to the entire collection. If you've never seen it, give it five minutes. If you can't stand it, you won't be able to stand it. The monotonous delivery, the glib quips that attempt to add humor to a dramatic situation, and the terrible acting, don't get any better the rest of the ninety minutes.
A Thunder of Drums (1961)
Boone steals the show
There are lots of young, pretty faces in A Thunder of Drums, but don't be disappointed if they're just eye candy. George Hamilton, Richard Chamberlain, Charles Bronson, and James Douglas (also known as George Hamilton's stunt double) all compete as to who can get the most attention from the women in the audience - but Richard Boone is the one who acts. He's the captain at an outpost in the middle of Indian country, and his character has such an interesting background, I would have liked to read an entire book about it. (The film is unfortunately based off a short story, so I doubt reading the original would give me more information.) Richard has seen much violence and much incompetence, and he's beyond frustrated when young cavalry officers get sent to the fort and wind up dead. When Richard Chamberlain gets a broken arm as a result of an Indian ambush, Boone explodes at him, saying he doesn't care a bit about the minor injury, but instead that several other men were killed. He's a great character because although he's gruff and unduly prejudiced against George, you completely understand why he holds his opinions.
Sometimes, like in The Kremlin Letter and Vicki, Richard Boone seems to phone in his performance. But this western is one of the reasons why I like him. He takes an already interesting character and turns it into one we're dying to know more about. There is a side plot involving George lusting after James's fiancé, Luana Patten, but that's not as interesting as the commanding officer at the fort. This is a movie I'd definitely watch again, so if you're looking for a solid western drama and you've already seen all the good Randolph Scott ones (Boone is in The Tall T and Ten Wanted Men) rent it over the weekend.
Vicki (1953)
Which is which?
As the phrase in my family goes, "Poor Helen!" My sister-in-law has great difficulty differentiating between similar looking actors, and in Vicki, she would have been completely hopeless. Jeanne Crain and Jean Peters play sisters, and it's extremely difficult to tell them apart until they open their mouths. Crain has her "I've have elocution lessons" dialect, and Peters is still working off her "I sling hash" one from the same year's Pickup on South Street.
When the film starts, one of the sisters is dead. I didn't know which one, though, since all the newspapers and magazines showed were still photographs; it wasn't until Crain started talking at the police station that I realized it was Peters who had perished. At the station, police detective Richard Boone (who was on vacation until he saw the headlines and insisted on returning early to head the case) questions Craine, Elliott Reed, Casey Adams, and Alex D'Arcy about their last memories with Peters. Even though she's dead, she still has a sizeable role, since there are a lot of flashbacks throughout the story.
If you check out Vicki, it won't be for the acting. Crain acts as though she's glad her sister has died, and the love quadrangle between Peters and her three admirers (those being questioned) is unconvincing. The men couldn't be less interested in her, and they comparatively make Richard Boone look Prince Charming (no offense, buddy). You'll probably be watching it because you love Jean Peters and she didn't make many movies. But you could also just watch Pickup on South Street again.
Winter Kills (1979)
Great follow-up to 'Executive Action'
Six years after the incredibly brave film Executive Action, which showed the American public what really happened during the JFK assassination, two other movies were released that threatened to show the same thing. If you're a Francophile, check out I...for Icarus starring Yves Montand; if you prefer English, rent Winter Kills. With an all-star cast of Jeff Bridges, Anthony Perkins, John Huston, Richard Boone, Eli Wallach, Toshiro Mifune, Dorothy Malone, Sterling Hayden, Ralph Meeker, and Elizabeth Taylor, it's a powerful film. It wasn't allowed a wide distribution (unsurprisingly), but whenever it was allowed to be shown in a theater, audiences flocked to see it. People wanted answers.
In the film, back in 1960, President "Kegan" was assassinated. His brother, played by Jeff Bridges, is approached in the present time (1979) by a man who confesses his part in the assassination. He dies before he tells who hired him, but he leaves Jeff enough clues to start down a very dangerous rabbit hole. Fans of The Parallax View will love this one, as it has conspiracy theories amidst conspiracy theories. Jeff doesn't know who to trust, and since the cast is full of folks who usually play bad guys, the audience figures he shouldn't trust anyone.
Of all four of these assassination movies, I would obviously name Executive Action as the best. It's also the most upsetting, since it uses real footage and doesn't fictionalize any names. If you are interested in the subject but don't want to see real footage, I'd recommend the Jeff Bridges one.
The Shootist (1976)
Too sad
The Shootist was John Wayne's last movie, and the premise made it hard to watch for all his fans. Our only consolation is that he didn't die immediately after (or during, like some actors who were ill while filming their final movies) but hung on for several more years. In the film, he plays an aging cowboy who has terminal cancer. How sad is that?
He hand-picked Lauren Bacall to be his last leading lady, and while that must have been flattering for her, I'm sure it also must have been very difficult to see him in such similarly poor health as her late husband. I've read in several biographies that Lauren (Bette to her friends) was a very kind woman. Hopefully, John derived great comfort from her.
I'm very conflicted as to recommend this film or not. If you're a John Wayne fan, you'll either want to support him by watching his last film, or you'll want to preserve his memory by not watching him when he's sick. If you're not a fan, there's no reason to watch it. It doesn't present him in a very good light, and you won't be a sentimental cheerleader. Most of us love him, and you'll have to make that decision for yourself. It's tough to make, since The Shootist is a very sad story. In the cast supporting the Duke are James Stewart, Richard Boone, Ron Howard, Sheree North, Scatman Crothers, Harry Morgan, and John Carradine.
Rio Conchos (1964)
How is this movie acceptable?
In Rio Conchos, Richard Boone stars as a man who hates Apaches because they destroyed his wife and daughter. We don't know exactly what they did to them, but rape and evisceration come to mind at the expression on his face when someone casually describes the actions as "kills". So, while he would like to personally wipe out the entire tribe, his vengeance will have to wait. He's been hired to join forces with Stuart Whitman, a Union officer (Richard fought for the Confederacy), to find out about a secret meeting to sell guns to Apaches. Richard brings along his Mexican sidekick, played by Anthony Franciosa, and Stuart brings along his black sidekick, Jim Brown. Neither have any character development. The foursome who dislike each other have to work together to find the arms dealer (but since the object of their search gets the "and" in the credits, I think it's safe to say they find him) before it's too late.
I'm not quite sure what the point of the film is. If Richard is supposed to be wrong in his hatred, the filmmakers didn't convince me. The Apaches are portrayed as monsters in this film. They're shown attacking innocent women and children in their homes, giving cruel and unusual punishment to their prisoners - and even their women are in on it. Eventually, Wende Wagner (dolled up in "Jennifer Jones getup" to look like an Indian, complete with pancake makeup, bright yellow polyester blouse, and push-up brassier) softens up, but only after her tribesman kill a newborn baby. The film actually shows the baby swaddled in a bloody blanket, crying in pain. Why anyone in Hollywood thought that was acceptable is beyond me. Call me a villain, but I just can't root for a group of people who murder babies and women sleeping in their beds.
Kiddy Warning: Obviously, you have control over your own children. However, due to an upsetting scene involving a child, I wouldn't let my kids watch it.
Lizzie (1957)
Inferior film, superior actress
The very same year Joanne Woodward won an Oscar for The Three Faces of Eve, Eleanor Parker played in a nearly identical film released a few months earlier. She, too, played an unstable woman with three personalities who seeks help from a therapist. Some of the scenes were so similar, it's as if one of the screenplays was a rough draft of the other! When Richard Boone hypnotized Eleanor and asked, "May I speak to Lizzie?" you can't help but recall when Lee J. Cobb hypnotized Joanne and asked, "May I speak to Eve Black?"
When you research the similarities between the film, you'll find a sickening backstory: 20th Century Fox tried to "hurry up" the publication of the book behind The Three Faces of Eve because the book behind Lizzie (produced by MGM) had been a hit and sparked public interest in multiple personality disorders. One movie is very famous, and one is obscure and has never been heard of. It's not fair, but that's Hollywood for you.
Lizzie is an inferior movie, but once again, it's not really fair. Eleanor Parker is a far superior actress, and she doesn't falter in anything she's asked to do. However, the screenplay is weak and the production obviously wasn't given as much money. Script versus script, Joanne is given a lot more to do to shock the audiences; but had the cast been reversed, Eleanor would have been more than capable of handling it-and much better.
Basically, if you like the story of The Three Faces of Eve and want to see the "original" with Eleanor Parker, Richard Boone, and Joan Blondell instead, or if you want to give justice its due by watching the movie that came first with an open mind, rent it. If you do, you'll get to see a twenty-year-old Johnny Mathis performing "It's Not for Me to Say" and "Warm and Tender" at the piano bar! You'll also see Richard Boone in a totally against-type performance as an intelligent and sympathetic therapist (far more convincing than Lee was), and Eleanor Parker showing off her wonderful acting chops as much as she's allowed to with a B-picture screenplay.
The Kremlin Letter (1970)
Good for Cold War spy fans
If you like Cold War spy movies, check out The Kremlin Letter. It wasn't very well received at the time, but has later been better appreciated. I don't know why 1970 audiences didn't like it, since movies like The Spy Who Came In from the Cold were very popular. I don't happen to like this subgenre of thrillers, since I generally find them confusing, but I watched it because it was Richard Boone's week on Hot Toasty Rag. In this, he plays one of the big bosses who trains Patrick O'Neal to get ready for a massive undercover operation in Russia. Along with Patrick, there's George Sanders, a knitting transvestite, and Barbara Parkins, a safecracker who can use only her feet, and who is anxious to gain experience as a seductress. No, I'm not kidding. This may be a spy movie, but it also has more than its fair share of naughtiness to keep the folks interested even if they get completely confused. In addition to Barbara falling for Patrick after her first-ever night of passion, Patrick's cover when he gets to Russia is as a male hooker. No, I'm not kidding. His assignment is to get hired by Bibi Andersson and rock her socks so she starts getting sloppy with her pillow talk. Bibi is married to Max von Sydow, one of the big Russian bad guys who tortures people for information.
You'll also see Dean Jagger, Nigel Green, Orson Welles, Lila Kedrova, and a cameo by the director, John Huston. My takeaways (and remember, I don't like these kinds of movies) were that Richard Boone thought his "I don't give a hoot" delivery of all his lines was more effective than I did, I didn't know what was happening during the first hour, and the last ten minutes were extremely good. And Max von Sydow looked really cute.
Kona Coast (1968)
Richard Boone hula dancing!
It's Richard Boone as you've never seen him before! Usually an evil villain in westerns, in this Honolulu-set movie, he's an islander in every sense of the word. He wears tropical shirts, he has blonde highlights in his hair from the sunshine, he hula dances with babes in bars, and he seduces women on his yacht. It's no wonder he co-produced this movie himself! It's clear this isn't exactly an A-tier movie, but I couldn't stop watching it. He was laughing and grinning in every scene; how rare is that? Vera Miles also gets to play a different part. She has a tearful monologue about her sordid life, right after a steamy kiss scene with Richard - pretty different from her Disney movies like Follow Me, Boys!
Richard Boone lived in Hawaii for several years, so that probably explains why he wanted to be a part of this movie. However, as much fun as the ancillary scenes are, the plot is actually a drama. Richard's daughter dies of a drug overdose, and rather than rely on the incompetent and disinterested police, he takes matters into his own hands. He enters the seedy drug world and tries to kill the men who got his daughter hooked. As a parent, you totally understand his anger and resignation that he has nothing left to lose. If you're not a parent, you can just appreciate the scenery and relaxed Hawaiian energy. Although this movie shows that bad things do happen in Paradise, you can still have fun while seeking revenge.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. The entire opening sequence shows a drug-induced party, and the camera swirls, shows double vision, and uses quick editing that will make you sick. In other words, "Don't Look, Mom!"
Halls of Montezuma (1951)
Blending drama with hope
Had this movie been made during the height of WWII, it probably would have been one of the biggest hits of the year. It has a very inspiring message that borders on being corny - except when you remember the subject matter. There's a blend of fact and fiction, blind optimism and harrowing drama, but in 1951, audiences didn't care. They were living the Golden Fifties, and they didn't want to be reminded that a few short years earlier, they were afraid everyone would either be killed or conquered by Nazis.
The first half of the war drama features a bunch of flashbacks as a group of Marines await a dangerous beach landing. Richard Widmark is a schoolteacher in the same unit as one of his young students, Richard Hylton. Karl Malden is a doctor who knows Widmark has debilitating migraines, but in balancing professional integrity and friendship, he covers for him. Skip Homeier had a terrible relationship with his mother before shipping off. Three other youngsters include Walter "Jack" Palance, Robert Wagner, and Martin Milner. There's Reginald Gardiner, Jack Webb, Neville Brand, Bert Freed, Philip Ahn (as a POW) and Richard Boone in his film debut. Several of these brave men have huge dramatic scenes where they either die or watch a friend die, and since the film was directed by Lewis Milestone, it's no surprise that he wanted to show audiences the darker side to war. He also mixed in real footage with Hollywood scenes, not only adding realism but saving the world needless explosions and ruined vessels. If you like this type of war drama, with hope persevering amidst terrible death, check out Hell Is for Heroes, Edge of Darkness, and Men in War.
In Broad Daylight (1971)
Not as good as "Psyche 59"
Richard Boone didn't often get a chance to branch out from his western villain stereotype, but when he did, he certainly made the most of it. In Broad Daylight is a tv drama that features him in the leading role as a blind man who finds out his wife is cheating on him. Stella Stevens is the mean lady who isn't pleased to have an invalid husband on her hands. Rather than confront Stella, Richard bides his time until he can plan the ultimate act of revenge...
In the supporting cast is Suzanne Pleshette, as Richard's hospital-appointed helper, and John Marley as a policeman who might or might not let Richard get away with his master plan. All in all, this isn't that great of a movie. But if you like the premise, you can check out a similar theatrical film, Psyche 59, in which Patricia Neal stars as a blind woman whose husband cheats on her.
The Hobbit (1977)
Delightful and timeless
As the opening song plays to start the television cartoon version of The Hobbit, is there anyone who isn't plunged back into their childhood? I remember watching this cartoon so vividly as a kid, I didn't even have to read the book when it was required in school. In fact, I've never been able to take the "real people version" seriously because I look at it as a children's story and told better through cartoons.
Whatever is too scary, too violent, or too complicated, this excellent cartoon version softens for kids to be able to watch and understand easily. The adults instantly recognized the voices of John Huston (Gandalph), Richard Boone (Smaug), Hans Conried, Otto Preminger, Paul Frees, and Orson Bean (Bilbo), but the kids (who are now the adults showing their own kids this cartoon) probably recognized the actors later in "real people movies" from their voices.
The Garment Jungle (1957)
Solid union drama
Remember Susan Hayward's I Can Get It for You Wholesale? If you're looking for a more cutthroat depiction of the garment industry, but still within the magical era of the silver screen, check out Lee J. Cobb's turn in The Garment Jungle. Lee is a very hardworking factory owner who puts his blood, sweat, and tears into his company. He pays very handsomely for "protection" from Richard Boone and his thugs, so that his company will still be around and thriving by the time his son, Kerwin Matthews, gets back from the war. When Kerwin does come home and takes his place by his father, Lee is greatly disappointed by his attitude: Kerwin is pro-union. Lee and Richard are working tirelessly to keep a union from forming!
So, no, this movie doesn't have the beautiful Susan Hayward to keep you entertained. And it doesn't have Sally Field holding up a "Union" sign to inspire you. But it has some intensely menacing fellows frightening you and making you wonder if the bad guys might actually win. This is a solid drama for fans of On the Waterfront. It's not as grizzly as Hoffa, but it is certainly dark. Great performances and a story that will upset you but nevertheless keep you very invested.
Master of the Game (1984)
Fascinating characters, full of melodrama
If you love soap opera sagas, you've got to check out Master of the Game. It's a completely engrossing seven-hour miniseries about a family who created and maintained a diamond empire in South Africa. It starts off with an elderly Dyan Cannon celebrating her birthday with some remaining family members and friends around her. She's wealthy and famous, but as she looks at family portraits, she laments the course certain members took. What mistakes have been made? Who has died, and who has betrayed her? The rest of the seven hours are dedicated to a linear telling of her family tree.
Her father's story is beyond fascinating. Ian Charleson is an Irish immigrant in South Africa, looking to make his fortune in a diamond mine. He gets swindled by the evil Donald Pleasance (who else?) by signing a "partnership contract" in case he stakes a successful claim, but no one expects Ian to return from his expedition. When he does, Donald tries to steal his fortune (and even tries to kill him!) and Ian vows to get revenge. Ian's character changes over time, and he's incredibly well-written. You understand why he hardens, and no matter how harsh he acts sometimes, you still root for him and want to learn more.
Usually, the historical portions of a miniseries are riveting, but as time becomes more modern, those characters get exponentially less interesting, until the audience has nothing left invested in the family. That's not the case in Master of the Game. Although Ian's journey is definitely the most interesting, his descendants still have highly dramatic paths that keep you guessing and glued to the screen. I can't recommend this series highly enough to those who like the genre. It's enormously fun to try (and fail) to guess what's going to happen next, to root for some and against others, and to see how the dynasty was built. Dyan ages nearly seven decades, and I was very impressed by how she handled her movements, posture, and speech as an old woman. I also loved her character, as I did Ian's. You understand how she became wary and jaded, and why she's willing to risk everything for the company.
I've already ordered a copy of Sidney Sheldon's original novel and can't wait to read it! In the vast supporting cast, there's Cliff De Young, Harry Hamlin, Johnny Sekka, David Birney, Liane Langland, Cherie Lunghi, Barry Morse, Angharad Rees, Fernando Allende, Maryam d'Abo, David Suchet, and Leslie Caron.
A final compliment goes to Raymond Hughes, the costume designer. It's an absolute travesty Mr. Hughes wasn't nominated for his work during the awards season. In every scene, the women are draped in beautiful period clothes; I actually pressed pause several times so I could admire the garments frozen in time on my television set. Whether you love costumes, melodramas, or family empires, rent this 1984 classic. It's fantastic.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. When Angharad Rees gets a dizzy spell on the stairs, the camera blurs for a few seconds; and when the twin girls are playing on the staircase, the camera is a little handheld, and that will make you sick. In other words, "Don't Look, Mom!
Let It Be Me (1995)
Patrick Stewart and Leslie Caron steal the show
When you first start watching Let It Be Me, you'll think you're in for the original version of Shall We Dance: businessman Campbell Scott is about to take public transit home from work when he's struck by the sight of a lovely woman teaching dance lessons in the window of her studio. He starts secretly taking dance lessons and gets a crush on his teacher.
That's where the similarities stop, though. This is simultaneously a delightful romp and a complex drama with characters you want to get to know. Eventually, Campbell tells his fiancé (Jennifer Beals) about his lessons and gets her to accompany him. But as a fellow student (Josh Mostel) warns him, couples get into arguments when they try to learn something together. Instead of bonding and letting themselves get in tune with the ebbs and flows of each other's bodies, they bicker, lay blame for failure, and get jealous of the specialized attention of the teachers. Yes, you read that correctly: teachers. There are two instructors, Yancey Butler and Jamie Goodwin. They're both lovely to look at, so when Jennifer teases Campbell about getting too close to Yancey, you understand. Campbell has a chip on his shoulder as well, since Jennifer and Jamie have intense chemistry together. As the movie unfolds, it turns out everyone has secrets. Dance lessons end up being far more unsettling than one would originally suspect.
My favorite part, by far, of the film is the pairing of Leslie Caron and Patrick Stewart. Upon their entrances, they delight the audience and make them wish the entire film were about their backstories and relationship. Patrick is a down-on-his-luck dancer who begs for a teaching job. To prove that he can bring a different kind of class and clientele to the studio, he approaches the very wealthy Leslie and asks for a dance. She's charmed, we're charmed, and he gets the job. With a flattering hairpiece and mustache, and a genuine warmth that was noticeably absent from his usual performances, it's as if the Patrick Stewart who played Captain Picard had a brother who also tried his hand at acting.
Leslie is absolutely adorable in this movie and ever the lady, as a gentle courtship blooms. I don't know if Patrick has a dancing background or studied it for the film, but he clearly knows how to move his body. I hope it was a thrill for him to dance with the great Leslie Caron! They have wonderful chemistry together, making audiences hope they fell in love in real life, got married, and danced happily ever after. I'd definitely recommend watching this movie just for Leslie and her beau, even though they're not the leads.
War & Peace (2016)
Masterfully created
Believe it or not, this 2016 version of War and Peace is the third one I've watched. Although a classic story, it's not one audiences typically want to watch over and over again - which begs the question, why are there so many remakes? In any case, yours truly is one audience member that watches it over and over again. This six-hour miniseries has the draw of name recognition, which one of the Russian versions I saw did not. Paul Dano stars as Pierre, James Norton as Andrei, and Lily James as Natasha. Amongst the grown-ups (sorry kids, I should call them the 'older generation') you'll see Greta Scacchi, Jim Broadbent, Stephen Rea, and Adrian Edmondson.
There's really nothing bad to say about this adaptation. Tons of work went into it, from slogging through the teleplay, costumes, war battles, and of course, acting. The several coinciding plot points were made extremely clear, so if you don't know the story at all, you won't be confused. The pace is excellent, keeping audiences interested, paying attention, and cutting to the different characters and story arcs at precisely the right time. Nothing dragged and nothing was rushed. Writer Andrew Davies has my ultimate respect. It's difficult to get immersed in Tolstoy but keep a perspective as to the audience's attention span and interest.
Director Tom Harper also had his hands full, not only juggling intimate family dynamics with epic war scenes, but with a whole cast of actors who undoubtedly believed each were the true stars of the story. In a huge, dramatic story with everyone getting their "big moment", it's a fine line to walk between overacting and underacting. Everyone in War & Peace is allowed to shine, and the ebbs and flows feel completely natural. This is a true ensemble piece that was masterfully created. If you like the story, or if you're looking to delve into it, you'll really appreciate this miniseries.
Kiddy Warning: Obviously, you have control over your own children. However, during the end of Episode 5, there is graphic war violence, and I wouldn't let my kids watch it.
DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. In Episode 5, when Paul Dano gets thrown by the explosion, the camera turns upside down with him as he flies through the air, and later when he wakes up in his recovery bed, the camera does a 180-degree rotating closeup on his face; it might make you sick. In other words, "Don't Look, Mom!"