The Thief (1952).

Review #2254: The Thief (1952)

Cast: 

Ray Milland (Allan Fields), Martin Gabel (Mr. Bleek), Harry Bronson (Harris), Rita Vale (Miss Philips), Rex O'Malley (Beal), and Rita Gam (the Girl) Directed by Russell Rouse (#549 - The Oscar)

Review: 

I'm sure you haven't heard of this film before, unless of course you admire old films or happen to admire bad puns when writing opening sentences for reviews. That is because this is a film where, well, no dialogue is spoken the whole way through, complete with the smallest possible use of verbal communication possible: seeing a telegram message (there is sound of course). It is basically a test to see how much one can get out of an actor, and a former Academy Award winner in Milland seems apt here. The film was written by Clarence Greene and Russell Rouse, who had written a handful of films together since The Town Went Wild (1944). Most notably, they co-wrote D.O.A. (1950) and the story for Pillow Talk (1959), with the latter resulting in an Academy Award. Rouse had rose up all the way from props (and a background related in film from his father and great uncle), and The Thief would be the second of ten features he directed from 1951 (The Well was first, which he co-directed with Leo C. Popkin to considerable notice) to 1967; Greene either co-wrote or produced all of Rouse's films. Rouse continued to write until a few years before his death in 1987 at the age of 73.

 

Really this is the kind of movie where using your imagination might help with a film as strangely involving as this one is. Dwelling in the shadows of fear where a man is alone is interesting when you don't know the motives behind such things for a strange 86 minutes. I suppose it is important to make a movie that show the methods of work as one that isn't so much about action or wordplay but instead wordless grind that can and will turn one inside out. Imagine a movie where one can see some legs in a film that really does go to show that actions speak louder than words. In that sense, Milland is up to the challenge, one filled with weary dread for the business that he has signed himself. The guilt for where his responsibilities now lie is a palpable one that especially leads one to imagine where we would be in his shoes. It isn't exactly a blank slate, but I think you can see where films like Silent Night (2023) found interesting inspiration to try and mold something with weary (silent) abandon. Gabel simply just has to stare in the manner that arises from men in shadows that have no use for fear or heavies when procedure is enough. This is a film for those that would like to see just what makes a clock tick beyond just sounds. Sure, there are moments that seem to contort to follow the rules it sets for itself, but it doesn't hurt it completely when one thinks about low-budget cheapies that either made up their own rules or went with the flow (or alternatively, improvisation). The ending of the film is probably predictable for the era it was made (take a guess where a guy taking photos for "the enemy" is going to end up beyond either jail or death), but it doesn't detract from the overall achievement of the film in curiosity.

Overall, I give it 7 out of 10 stars.

High Noon.

Review #2083: High Noon.

Cast: 

Gary Cooper (Marshal Will Kane), Thomas Mitchell (Mayor Jonas Henderson), Lloyd Bridges (Deputy Marshal Harvey Pell), Katy Jurado (Helen Ramírez), Grace Kelly (Amy Fowler Kane), Otto Kruger (Judge Percy Mettrick), Lon Chaney Jr (Martin Howe), Harry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Mildred Fuller), Morgan Farley (Dr. Mahin), Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Robert J. Wilke (Jim Pierce), and Sheb Wooley (Ben Miller) Directed by Fred Zinnemann (#1377 - The Men)

Review: 

"Sheriffs are people and no two people are alike. The story of High Noon takes place in the Old West but it is really a story about a man's conflict of conscience. In this sense it is a cousin to A Man for All Seasons. In any event, respect for the Western hero has not been diminished by High Noon."

It is never a bad time for a Western, particularly ones with interesting stories beyond the camera. The film is based on the short story "The Tin Star", as seen in 1947 in Collier's magazine that was done by John W. Cunningham. Carl Foreman (the credited screenwriter of the film) claimed later that he had written an outline that apparently seemed similar to Cunningham's story, which led to him buying the rights to the story. However, Richard Fleischer claimed in his autobiography (written decades after the fact) that he had helped Foreman develop the story while they had been working together in The Clay Pigeon (1949). Anyway, let's talk about Foreman for a bit. He had studied at the University of Illinois at Urbana–Champaign as a teenager, dropped out to seek out Hollywood, went back to Illinois to study at the John J. Marshall School of Law, and then dropped out of there to work a variety of jobs (writer, reporter, and even carnival barker) before eventually returning back to Hollywood by the late 1930s; during that time, he became a member of the Communist Party, which he left by the dawn of World War II, which saw him serve with the U.S. Army Signal Corps. Foreman had done his first writing in film with the 1941 film Bowery Blitzkrieg in an uncredited manner, but he got onto a more regular pattern of work with story/writing credits for Dakota (1945) and So This Is New York (1948) - the latter was the first Foreman made in association with Stanley Kramer (who he met when they both were serving in World War II). There would be a handful of films that Foreman made as a writer for Kramer's company, which included The Men (1950), as directed by Fred Zinnemann. At any rate, Foreman's career took a beating due to the House Un-American Activities Committee (HUAAC), who labeled him as an unfriendly witness after he admitted to being a party member but did not want to name names. He later called the film a parable against blacklisting, one that seems apt when considering that Kramer essentially shortchanged him when it came to having him sell his share in the company and even tried to get him booted off the production prior to the meeting with the HUAAC (because he feared he would be implicated by Foreman, assocation or not). Living mostly in London for the rest of his days, Foreman was given the cold shoulder from Hollywood for the rest of the 1950s that saw him either work on the side away from Hollywood or with modified credit that ranged from The Bridge on the River Kwai (1957); he also did a hand of producing in addition to writing for films such as Mackenna's Gold (1969); Foreman died in 1984 at the age of 69.

Fans of the Western know that Howard Hawks made Rio Bravo (1959) as a response to what he thought about this film that he felt didn't make much of a good Western, which naturally starred John Wayne (incidentally, he called High Noon "un-American", which is probably the silliest thing ever said by Wayne in the 1950s). Of course, Zinnemann years later responded by saying he wished Hawks would leave his films alone, so there's that. It seems only apt to have Cooper here, since the film that made him a key presence for bigger things in film was The Virginian (1929), which incidentally was a film that dealt with a man recently finding love in the West having to deal with the ramifications of an old foe coming into town for revenge in a shootout. The amusing point in all of this is that the two films are basically the same in quality anyways, ones that serve as being pretty good for what they are with distinct human qualities that make for a useful Western. The anguish and fear shown in its lead character (with credit going to Zinnemann and cinematographer Floyd Crosby) make a resounding effort to make a panicky piece of entertainment that makes a suitable morality tale that also is a sharp real-time thriller of conscience. In the end, a town may be a town, but it is nothing if there are no good people willing to stand side by side with folks in need of help, whether that involves men bound to their duty and honor or not. It is the kind of film that enforces the idea that beyond the one person bound to serve and protect folks sees them exposed for who they are (cowardice, resentment, jealousy, or bad timing) when the cards are down, which isn't always the easiest thing to confront when seeing human nature that leads to a man needing to make a decision (in Zinnemann's words) "according to his conscience." Cooper makes the ideal lead to make this grand quandary worth watching, which works pretty well when presented with a collection of various recognizable presences that make the lineup of human frailty (well, aside from the Quaker and an assertive presence of who stands by their man most) that even overshadow the outlaws (a quartet led by MacDonald), which somehow seems right. Kelly makes a decent pacifist in the middle, but really the most suitable presence to counter Cooper in pursuit is Bridges or Jurado, who each show the side of just what past loyalties mean when it comes to pride. The climax proves worthwhile in showing the chase of just how much pride and devotion mean when staring at a frontier where guns are in the picture rather than the idea of safety. As such, High Noon is a worthwhile effort in showing the nature of man and pride in a story that is distinct from the general Western tales and myths that arise from gunslingers and towns of man and dirt. Analyze all you want about just where the best Western lies, but this one is a pretty good one to go along with no matter where you encounter it in your travels.

Overall, I give it 9 out of 10 stars.

The Ringer (1952).

Review #2019: The Ringer (1952).

Cast: 

Herbert Lom (Maurice Meister), Donald Wolfit (Dr. Lomond), Mai Zetterling (Lisa), Greta Gynt (Cora Ann Milton), William Hartnell (Sam Hackett), Denholm Elliott (John Lemley), Norman Wooland (Inspector Bliss), Dora Bryan (Mrs. Hackett), and Charles Victor (Inspector Wembury) Directed by Guy Hamilton (#280 - Diamonds Are Forever, #289 - The Man with the Golden Gun, #291 - Goldfinger, #293 - Live and Let Die, #612 - The Devil's Disciple)

Review: 

Admittedly, Guy Hamilton really is just known for his work with the James Bond films if he is mentioned among British directors for random conversation, and that is fine. He directed 22 films, and four of them were part of the Bond series, but it never hurts to give focus to other works that someone does beyond saying that he directed one of the best Bond films in Goldfinger (1964) (and probably one of the lesser of them with Diamonds Are Forever, but thats another story). He had an ambition to become a filmmaker from a young age, but he had to deal with other matters first, such as serving in the Royal Navy in World War II with the 15th Motor Gunboat Flotilla. After the war, he found work as an assistant director (under the hire of Alexander Korda), which saw him work with people such as Carol Reed and for films such as The African Queen (1951). Hamilton would get his first chance to direct with this film when Reed inspired him to play hardball with Korda unless he got a directing job. Hamilton never looked back and directed for the next three decades in a variety of genres, such as the POW story The Colditz Story (1955), the historical drama The Devil's Disciple (1959, done after he replaced Alexander Mackendrick) or countless action flair like Remo Williams: The Adventure Begins (1985). The film is an adaptation of the 1929 play of the same name by Edgar Wallace, which was in turn was a re-working of his 1925 novel The Gaunt Stranger. Wallace was a prolific writer of his time in the early 20th century that ranged from journalism to nearly 1,000 short stories to even screenplays, which includes the original first draft for King Kong (1933) before his sudden death from diabetes that year. At any rate, there were four prior adaptations of Wallace's work in 1928, 1931, 1932, and 1938 (one was a silent and one was even a German-Austrian film). This was made on the tail end of the career of Alexander Korda as a producer, who made hundreds of films as either director/producer until his death in 1956 (by sheer coincidence, Korda actually expressed an interest in making a film of Ian Fleming's 1954 novel Live and Let Die, which Hamilton would later get to do as director in 1973). 

It is evident how stage-bound the film is, since it basically utilizes two places for most of its 78 minutes, which seems about right for a low-budget British production. I can say this much: it is a pretty decent way to start a career for a first-time director, one with a share of composed thrills and a solid cast to make a useful curiosity for those who like quick films to view from an age long ago. I do applaud the fact that Lom is given some room to play the lead role as a heel. He was a versatile presence in film for years because of the way he carried his voice in any type of role. It works here with a role that probably would've been an adversary in a different thriller but is instead one that is being stalked (British "stalked", not really stalked). Wolfit was actually an actor-manager who toured Shakespeare productions for many years, but he did do his share of acting from time to time (this was the second film he did from his return after not doing one from 1939-1951), although his legacy is perhaps best captured in The Dresser, a play-turned-film about a dresser close to an actor that was written by a one-time dresser of Wolfit. He fuzzes about as someone who seems to have nothing better to do than lurk between the foreground and background, which is mildly interesting when interacting with Gynt, who has charming curiosity for someone who is basically there to see watch potential downfall. It is a calm cat-and-mouse game, not one for scene-chewing. With that in mind, Zetterling is also pretty charming in a role meant to counter Lom when it comes to "normal folks". Hartnell once described himself as a "legitimate character actor" when it came to work in theatre and film, and given that he played a mix of police, solider or toadies in film, it isn't surprising to see him here, albeit with him trying to do a Cockney accent, which goes over fine for a mildly amusing role. You may or may not have a good guess on who ends up being the title character, since "master of disguise" is something that has little room for hard questioning with the amount of people who have lines in the film, but the film at least doesn't throw many red herrings to play tricks. There aren't any scenes that distract from the mystery or drive on to start waving their hand in the "move it along position", which generally means it is on the right foot. It is a quickie represented, not one going on mayhem, which is probably best represented by the eventual turn in its climax, which is quite enjoyable in the curious amoral way it closes things out without being too neat and tidy. As a whole, it probably won't be the first pick on anybody's list for thrillers, but if you came across it, you would be just fine with what you end up seeing, and it makes some sense to see Guy Hamilton go on to better things.

Overall, I give it 7 out of 10 stars.

Park Row.

Review #1790: Park Row.

Cast: 

Gene Evans (Phineas Mitchell), Mary Welch (Charity Hackett), Bela Kovacs (Ottmar Mergenthaler), Herbert Heyes (Josiah Davenport), Tina Pine (Jenny O'Rourke), George O'Hanlon (Steve Brodie), J. M. Kerrigan (Dan O'Rourke), Forrest Taylor (Charles A. Leach), Don Orlando (Mr. Angelo), Neyle Morrow (Thomas Guest), Dick Elliott (Jeff Hudson), Stuart Randall (Mr. Spiro), and Dee Pollock (Rusty) Written, Produced and Directed by Samuel Fuller.

Review: 

"Film is like a battleground ... Love, hate, action, violence, death. In one word, emotion!"

Generally, maverick directors are an interesting breed to consider when it comes to film. Samuel Fuller is no different, even if he had the interesting quirk of directing both studio features and independent features. Born in Massachusetts but later raised in New York, his first job was a copyboy of the New York Journal, doing so at the age of thirteen. He eventually moved to become a crime reporter for the San Diego Sun. He took up writing in the 1930s: Hats Off (1936) was his first screenwriting credit (he co-wrote it with a handful of writers). One of his novels, The Dark Page (written in 1944) was even adapted into a film in Scandal Sheet years later. He served in World War II for the United States Army in the U.S. Army’s 1st Infantry Division that saw him fight in various countries and saw him awarded with the Silver Star, the Bronze Star, and the Purple Heart. He directed his first film with I Shot Jesse James (1949) at the age of 37. Fuller's films may not have always enjoyed success, but he did receive considerable attention from countries abroad (particularly in France), and he appeared in a handful of films from other directors. He made over two dozen feature films in a career that spanned four decades, for which he did a variety of genres that ranged from war dramas to Westerns to thrillers (studio-based and independent), with notable films such as The Steel Helmet (1951), The Naked Kiss (1964), The Big Red One (1980), and White Dog (1982).

Well, there are some interesting historical tidbits one can find through this film. For one, Park Row refers to the variety of newspapers in the late 19th century that were located in New York City near City Hall, such as The New York Times. Later, newspapers would have early skyscrapers built as headquarters, and newspapers would stay around there until the 20th century. People from history are utilized here in the bridge jumper Steve Brodie (believed to have jumped from the Brooklyn Bridge) along with Ottmar Mergenthaler, inventor of the Linotype machine. A newspaper (New York World, published by Joseph Pulitzer) did indeed help fund the Statue of Liberty (which had begun fundraising in 1882 but did not start construction until 1885), in that it helped raise funds for the pedestal (which had started in 1882) that helped keep the statue in New York that published the names of the contributors in the paper. Park Row was the fifth feature film for Fuller, and he funded it entirely on his own, as one might expect from someone making a clear passion project. In fact, Fuller later stated that this was his favorite film of his. Of course, the film did not do well with audiences, suffering from a lack of big-name stars or even a gimmick to attract enough interest to earn Fuller his money back (dedicating it to the nation's papers did do some publicity, but not quite enough). He persisted in making this an independent feature (as opposed to making at 20th Century Fox, where he had made some of his first few films) as his studio employer suggested making it in color or even as a musical. So, for $200,000 (give or take) and sixteen days to shoot, Fuller did it himself, with most of the budget going to making a replica of the famed Park Row. As a whole, it is a decent movie, one that certainly has pulpy filming methods utilized exactly to what Fuller wants in efficient moviemaking that is meant to pull a useful punch for the craft of news making that succeeds in most of its goals. Granted, its ties to history are a bit fast and loose, but it is the enthusiasm that pulls through more than anything, one that prevents the movie from falling into the trap of becoming history hokum or murky sentimentality. 

Evans first attracted the interest of Fuller he was casting for The Steel Helmet (1950); Fuller threw a rifle at him, and Evans responded by inspecting it like a soldier, which convinced Fuller to want him for the lead role no matter what (which despite demands by producers for others was allowed). He apparently lost over forty pounds to do the film. He certainly seems right for the role, in that he fits the pace of the film with harsh determination. He seems like the kind of hero that Fuller would love to be - one who fights for truth in both print and his fists, for which one will likely appreciate. This was the first and only film appearance of Welch, who was primarily a stage and television actress before her sudden death in 1958. Fuller later described her in his autobiography as "beautiful, self-possessed woman with an inner strength that shone through her personality." He seems apt in his statement, in that she does pretty well with a steely role that eventually shows layers in those sequences paired with Evans, which is interesting. Heyes is the "elder" character, and he does what is needed in a role that could have screamed of pap (such as say, the scene where two characters are reading his "obituary", for example). At any rate, there is enough present in 83 minutes when it comes to its handful of interesting sequences that keep its message of truth on level, whether involving the assembling of the fictional newspaper to be featured in the film or when it comes to scenes with a bit more punch to them (the sequence where Evans punches a man who did a terrible crime to the paper in front of two statues is the showstopper). By the time one gets to the end (one with predictability that you could see coming for a passion project that doesn't look like a depressing time), learning a bit of history within a movie made fast and cheap with dependable character actors and a suitable presence behind the camera results in a decent movie. Whether one sees it as their first Fuller experience or not, Park Row makes a serviceable impression seventy years later.

Overall, I give it 8 out of 10 stars.

Next Time: I Bury the Living (1958).

O. Henry's Full House.

Review #1687: O. Henry's Full House.

Cast:

Charles Laughton (Soapy, segment "The Cop and the Anthem"), Dale Robertson (Barney Woods, segment "The Clarion Call"), Anne Baxter (Joanna Goodwin, segment "The Last Leaf"), Fred Allen (Samuel Brown, segment "The Ransom of Red Chief"), Jeanne Crain (Della Young, segment "The Gift of the Magi"), Marilyn Monroe (Streetwalker, segment "The Cop and the Anthem"), Richard Widmark (Johnny Kernan, segment "The Clarion Call"), Jean Peters (Susan Goodwin, segment "The Last Leaf"), Oscar Levant (William Smith, segment "The Ransom of Red Chief"), Farley Granger (Jim Young, segment "The Gift of the Magi"), David Wayne (Horace, segment "The Cop and the Anthem"), Richard Rober (Chief of Detectives, segment "The Clarion Call"), Gregory Ratoff (Behrman, segment "The Last Leaf"), Lee Aaker (J.B. Dorset, segment "The Ransom of Red Chief"), Richard Garrick (Doctor, segment "The Last Leaf"), Fred Kelsey (Mr. Schultz / Santa Claus, segment "The Gift of the Magi"), with John Steinbeck as narrator. Directed by Henry Koster (#1607 - Harvey), Henry Hathaway (#1314 - True Grit), Jean Negulesco (#1380 - Phone Call from a Stranger), Howard Hawks (#951 - The Big Sleep, #1352 - His Girl Friday, and #1399 - Rio Bravo), and Henry King.

Review: 

There have been a number of anthology movies to have come around the corner in film, whether in horror, a unified theme (such as a city like Tales of Manhattan (1942), released by 20th Century Fox), or in trying to bring short stories to the screen, and O. Henry's Full House is merely in the middle of a regular era for this kind of movie, with one early example being If I Had a Million (1932). Another example is Quartet (1948), which adapted four stories by the writer W. Somerset Maugham while having him appear from time to time to talk about them. The success of that film inspired two follow-up films in Trio (1950) and Encore (1951) and 20th Century Fox evidently wanted to play on that success with adapting short stories for one film, with O. Henry selected. Actually, they had wanted to do a film based on the writer in 1943, and a film of "The Gift of the Magi" in 1945 was thought of before fizzing out. The writer (born William Sydney Porter, who lived from 1862 to 1910) was a North Carolina native but found his success when he moved to New York (which he called "Bagdad-on-the-Subway") in 1902. He wrote over 300 stories, which generally were known for their wit and their clever endings; one of his most well-known stories was "The Caballero's Way" (1907), which was adapted by Fox for In Old Arizona (1928), and short films based on his works had been done as early as 1909. Left with needing someone to introduce the stories, Fox went to John Steinbeck (a Pulitzer Prize winner and future Nobel laureate in Literature), known for novels such as The Grapes of Wrath (1939), East of Eden (1952), and various other works - this was the first and only film appearance for Steinbeck. 

So let us recap the stories one by one in the order shown (oddly enough, bad screenings involving the Hawks-directed story led to it being removed before it was formally released), which runs at 117 minutes. The first is "The Cop and the Anthem", which was written by Lamar Trotti with direction by Henry Koster. It involves an eccentric on the streets that has plans to spend the cold winter in jail. Laughton is right at home with a role that requires a bit of quizzical timing and an astute sense of self that he plays right to what is needed for those twenty-ish minutes. Monroe is technically in the film as a star, in that she is there for a minute to exchange with Laughton (since the character believes that harassment will help his jail case), which goes fine, while Wayne tags along at times. Technically this is the story with the clearest ending seen coming (well, there is Magi, but come on), but it is a solid A-/B+ kind of story to get it all going. "The Clarion Call" was written by Richard L. Breen while directed by Henry Hathaway, involving a detective in debt to a friend-turned-murderer. It reunites Hathaway and Widmark, who worked on Kiss of Death (1947) to a tremendous debut for the latter actor; he essentially is reprising his role from that film for this one, which was reportedly inspired by the character of The Joker from the Batman comics. Strangely enough, Widmark's performance would influence Frank Gorshin when it came time to play The Riddler in Batman (1966-1968), which seems evident with the laugh uttered by Widmark when we first hear him. He seems to overshadow Robertson, who makes for a decent detective when it comes to wrapping away his guilt in a small cat-and-mouse game with the dangerously playful Widmark. Overall, it is a fairly solid B kind of segment.

"The Last Leaf" was written by Ivan Goff and Ben Robers and directed by Jean Negulseco. Here, we have a story about a lady who believes she will die when the last leaf falls off a tree near her bed. Honestly, the highlight is probably Ratoff, who was actually both an actor and director in his time, and he plays the eccentric artist with fair gusto to counter the dour stuff needed by Baxter and Peters. I think the twist here works better than the ones done in the last two, but a B+ grade seems fairly warranted here in its useful pacing. "The Ransom of Red Chief" was written by Ben Hecht, Nunnally Johnson and Charles Lederer while directed by Howard Hawks (Johnson wanted his name off the script, which was re-written by Hecht and Lederer at the request of Hawks because it was originally written by Johnson with Clifton Webb and William Demarest in mind for stars). To be honest, I fail to see exactly why this was thought of as the clunker among the five, because it is quite amusing, featuring two radio mainstays with Allan and Levant, who play bumbling kidnappers of a snotty kid. It's a chuckler that one will be quite familiar with, because I'm sure most of us have seen/experienced taking care of someone who enjoys taking things into their own hands, whether with a bear or other means, which ultimately means a B- grade. "The Gift of the Magi" was written by Walter Bullock while directed by Henry King. It is likely the most famous of the five stories, and it is probably washed in sentimentality as the aforementioned Leaf story ripe for the spirit of Christmas. You've probably read this story at least once (probably in high school), and it ultimately is a decent if not completely heartwarming tale that we all see coming. Crain and Granger are a decent pair to go along with what is needed in balancing selfless nature without falling into the trap of pap. It is a solid B episode, not exactly the weakest story, and it closes the film out just fine in encapsulating the feel of what the movie yearns to show in generating interesting characters to go with plots that go with useful turns that make for a fairly solid anthology film on the whole. It serves as an interesting piece in depicting an author's work onto film, efficient in what needs to be shown for any viewer curious enough for it.

Overall, I give it 8 out of 10 stars.

Kansas City Confidential.

Review #1381: Kansas City Confidential.

Cast: 
John Payne (Joe Rolfe), Coleen Gray (Helen Foster), Preston Foster (Tim Foster), Neville Brand (Boyd Kane), Lee Van Cleef (Tony Romano), Jack Elam (Pete Harris), Dona Drake (Teresa), and Mario Siletti (Tomaso) Directed by Phil Karlson.

Review: 
"This was so far ahead of itself that I say these pictures have been copied and recopied so many times. Unfortunately Phil Karlson never got the credit for it because I've never been a publicity hound. I come from the school where what we want to be judged by is up on the screen, not by how well I know so-and-so or so-and-so."

One can always find themselves in the mood for a hardboiled noir, whether it has a budget behind it or stars to look forward to. This falls right into the alley for producer Edward Small, who had a lengthy career of 53 years from his first Who's Your Neighbor? (1917) to The Christine Jorgensen Story (1970). Small produced a variety of genres and worked with various studios in his time through his production company, such as Eagle-Lion Films with Raw Deal (1948) and United Artists with films such as Witness for the Prosecution (1957). One particular director that worked with Small was Phil Karlson, with this being one of eight films that the two worked on together. Karlson worked on a variety of small films for a various group of studios from his start at Monogram Pictures to Columbia Pictures that worked for a variety of actors, such as John Payne, Elvis Presley, Dean Martin, and Joe Don Baker in a career of 31 years that had standouts such as The Phenix City Story (1955), The Silencers (1966), and Walking Tall (1973). Three further films were made with the Confidential title in New York Confidential (1955), Chicago Confidential (1957), and Hong Kong Confidential (1958), all of which were produced by Small.

One can see the makings of an interesting little film with its semi-documentary look and a composed pace of 99 minutes that generates a neat noir worthy of consideration from the public domain. One film that seems to have taken some inspiration from this was Reservoir Dogs (1992) with its aspects of the robbery. The screenplay was done by George Bruce and Harry Essex, while Harold Greene and Rowland Brown did the story. Payne (known for his musical and noir roles) does a fine job in his weary urgency, capable of throwing a punch alongside casual criminal conversation. Gray accompanies the film once the film jumps to its real setting (Mexico, filmed in California), and she makes for a fair innocent presence in a film with plenty of shade around her. Foster proves to be a sharp careful presence as the film's big bad, one that differs from the usual in being a good cop gone bad. Brand, Van Cleef, and Elam make for adequate heavies to view alongside the blunt nature of the film, comprised of the perfect caper and the attempts to escape its consequences. It follows plenty of noir aspects to a T with its own blunt edge that overcomes some of its low-budget limitations. Sure, it is the kind of film that you can see coming with its endgame, but it is all in the chase that really matters in the long run, where darkness has a little light at the end of the tunnel. In that regard, this is a fair experience to behold, one with plenty of punches to pack in its little cynical world without becoming a parody of itself, filled with a carefully picked cast and capable directing to make a fair gem worth thinking about at least once.

Overall, I give it 7 out of 10 stars.

Phone Call from a Stranger.

Review #1380: Phone Call from a Stranger.

Cast: 
Gary Merrill (David Trask), Shelley Winters (Binky Gay), Michael Rennie (Dr. Robert Fortness), Keenan Wynn (Eddie Hoke), Evelyn Varden (Sally Carr), Warren Stevens (Marty Nelson), Beatrice Straight (Claire Fortness), Ted Donaldson (Jerry Fortness), Craig Stevens (Mike Carr), Bette Davis (Marie Hoke), and Helen Westcott (Jane Trask) Directed by Jean Negulesco.

Review: 
Have you ever felt a connection with a human being that you didn't see coming? It happens every day, often in unexpected places all around the world, whether one is at home or not, so it only makes sense to have a film about strangers becoming fast friends at an airport, complete with name actors to try and spruce up interest for moments required to fill 105 minutes. It should figure that the responsibility to direct such name actors fell to Jean Negulesco. Although he isn't a particular household name for directors, the Romanian-born painter-turned-filmmaker directed his first feature film at the ripe age of 36. with Crash Donovan (1936). He had started in Hollywood as a sketch artist and technical advisor for The Story of Temple Drake (1933), and he would soon move up to second-unit director to associate to eventually directing shorts, which he would do for over a decade (even after moving his way to features). He had a few notable standout films, such as The Mask of Dimitrios (1944), Johnny Belinda (1948), where he received a nomination for Best Director at the Academy Awards while directing his leading lady Jane Wyman to a Best Actress award, and How to Marry a Millionaire (1953), the first feature to be entirely filmed in CinemaScope. In total, Negulesco directed films in five decades before his death in 1993 at the age of 93.

The film was written by journalist-turned-writer/director Nunnally Johnson and writer I. A. R. Wylie (who had thirty of her works turned into films in her lifetime). The end product is a casual yarn, appropriate for a rainy day as the random choice in the pile of drama/noir-ish movies that will prove adequate for entertainment. Merrill leads the film with a relaxed presence, one will a by-the-numbers plotline to follow with seeming like an observer in his own feature, since one will get to know the actors around him with more than a batted eye. After all, each of the main three besides him had distinguished careers, such as the bombshell-turned character actress star in Winters or the dignified British-turned-Hollywood star in Rennie or the character player-in-demand talent of Wynn, and each get a sliver for themselves to express themselves, which works out mostly for Rennie, although Wynn does deliver a clownish chuckle and Winters proves diverting. The supporting cast is headlined by Davis, who shows up in the last twenty minutes (having asked for the role since she felt it was a good part to play) and is just as sturdy a presence as she ever was, supporting role or not. One knows what they are in for after the film eliminates three of its main four it had focused on, where it now becomes a series of vignettes about each of the departed's home life before leading up to the inevitable conclusion (departing your wife and kids for an unstated reason? Take one guess of how that plays out) that will leave the crowd pleased if not shrugging their shoulders in saying how it may be average, but it's their kind of average film to go to, where you can find something in yourself with at least one of these four strangers and find yourself satisfied in the long run.

Overall, I give it 7 out of 10 stars.

Ivanhoe (1952).

Review #946: Ivanhoe.

Cast:
Robert Taylor (Sir Wilfred of Ivanhoe), Elizabeth Taylor (Rebecca), Joan Fontaine (Rowena), George Sanders (Sir Brian De Bois-Guilbert), Emlyn Williams (Wamba), Robert Douglas (Sir Hugh De Bracy), Finlay Currie (Sir Cedric of Ivanhoe), Felix Aylmer (Isaac of York), Francis de Wolff (Front De Boeuf), Norman Wooland (King Richard), and Basil Sydney (Waldemar Fitzurse) Directed by Richard Thorpe (#327 - Jailhouse Rock)

Review:
Based off the historical novel of the same name by Sir Walter Scott, Ivanhoe manages to shine as a fine piece of entertainment, filled with Technicolor spectacle and costumes to go with it. I can't say it's as good as The Adventures of Robin Hood (#505), for example, but it is at least a pretty interesting piece of work. Robert Taylor is a capable lead, managing to give off a commanding presence pretty quickly. An interesting fact is that Taylor, along with Thorpe and producer Pandro S. Berman, would later make two more films together in the next few years (Knights of the Round Table and The Adventures of Quentin Durward), forming an unofficial trilogy. Elizabeth Taylor does a fine job in this sweet but also capable character. Fontaine doesn't have as much to do, but she gives off a competent feel. The three form an interesting love triangle that does prove somewhat compelling, alongside the main plot, anyway. Sanders is the main adversary, and he does an alright job in making him somewhat three dimensional, particularly around the end of the film. The Norman-Saxon plot is decent, though nothing too special. Miklós Rózsa does a fine job with the music score, being quite heroic and quite fitting for the movie. The jousting sequence is well executed, and the battles are also pretty well done in capturing excitement and pacing.  Within its 106 minute run-time is a movie that balances a fine line between action and structure that does not drag itself too often, and while it may succeed more in the former than the latter, it definitely is worth consideration, with its spirit of thrills outweighing the risks.

Overall, I give it 8 out of 10 stars.

The Narrow Margin.

Review #870: The Narrow Margin.

Cast:
Charles McGraw (Det. Sgt. Walter Brown), Marie Windsor (Mrs. Frankie Neall), Jacqueline White (Ann Sinclair), Peter Virgo (Densel), Gordon Gebert (Tommy Sinclair), Queenie Leonard (Mrs. Troll), David Clarke (Joseph Kemp), Don Beddoe (Det. Sgt. Gus Forbes), and Paul Maxey (Sam Jennings) Directed by Richard Fleischer.

Review:
With a cast of unknowns and a low budget, this is a film that manages to be a serviceable efficient little film noir. There is some sense of suspense within itself, not spending too much time wasting away, establishing characters without much effort. They have the characteristics of ones you might notice in other noirs of the time, but this manages to click at the right points in part due to its cast. McGraw is a pretty good everyman, and Windsor is also pretty alluring as well. They have a fine amount of banter mixed with bits of cynicism that is engaging enough to work. White is also pretty interesting, having some decent chemistry with McGraw. The rest of the cast also does fine (Maxey stands out in part due to his scenes with McGraw), and even the kid actor (Gebert) isn't too annoying. The train setting helps keep the movie compressed and interesting. There is some action (and at least one fight on a train), which is nice and dandy to watch. The twist at the end is pretty clever as well, not being too far fetched or too unknown. On the whole, this is a nice flick because of it goes through the motions in a satisfactory manner.  As such, the directing is good for the time, having some fairly decent shots and a fairly balanced plot that more often then not knows what it wants to be. Quite simply, if you like film noirs, old cinema, or movies that don't overstay their welcome, this is the one for you.

Overall, I give it 8 out of 10 stars.

Talk About a Stranger.

Review #824: Talk About a Stranger.

Cast
George Murphy (Robert Fontaine Sr), Nancy Davis (Marge Fontaine), Billy Gray (Robert 'Bud' Fontaine Jr.), Lewis Stone (William J. Wardlaw), Kurt Kasznar (Dr. Paul Mahler, aka Matlock), and Anna Glomb (Camille Wardlaw) Directed by David Bradley.

Review
I suppose you could classify this as a film noir. There are some shots in the film that are noteworthy to watch, but on the whole it is at best an okay movie. Gray is the main one the movie focuses on, and while at times he does okay at showing anguish, the rest of the time he comes off as either annoying or mean spirited, but then again this is a child actor we're talking about. There really isn't any mystery to it, coming off as a slog even at 65 minutes. I guess the lesson one could learn is how people aren't always what they appear to be (which you could learn in a book from fifth grade), but I think a better one would be to not go on a vendetta type of investigation and vandalize people's stuff just because you don't like them. The movie could be summarized like this: Mysterious guy moves into town. Kid's dog dies soon after. Vendetta investigation ensues. Kid finds his dog wasn't murdered. The end. Obviously there's a part about trying to keep the citrus from freezing, but it isn't much to talk about (also: while one could summarize almost any movie with a few sentences, I'm trying to demonstrate why I didn't particularly care for this film). There isn't much in terms of mystery (compelling mystery, anyway), or much of a lively cast (Murphy and Davis are manageable, but not given much to do), but if you're looking for a 50's film, I guess it works, though I could not get into it.

Overall, I give it 6 out of 10 stars.

Movie Night: Bela Lugosi Meets a Brooklyn Gorilla.

Review #535: Bela Lugosi Meets a Brooklyn Gorilla.

Cast
Bela Lugosi (Dr. Zabor), Duke Mitchell (Himself), Sammy Petrillo (Himself), Charlita (Nona), Muriel Landers (Saloma), Al Kikume (Chief Rakos), Mickey Simpson (Chula), and Cheeta (Ramona the Chimp) Directed by William Beaudine (#463 - Billy the Kid versus Dracula)

Review
The title alone tells all you need to know about the film. Lugosi's in it, and there's a gorilla, though the only one from Brooklyn is actually one of the main characters who just happened to be from Brooklyn who is transformed into a gorilla half way through. The title came because the producer decided it would be foolish not to exploit Bela Lugosi's appearance in the film. When the only way to attract people to watch your movie is by shamelessly put the actor's name in the title, there isn't much hope. The only other reason this film was made was take advantage of the success of Dean Martin-Jerry Lewis films at the time, made (of course) on a cheap budget. Is the movie funny? Laughable to look at, but not really funny. Lugosi looks tired, though maybe he's tired of Petrillo's screaming, or the fact that he agreed to a movie with a gorilla in it. Maybe it's Petrillo's voice that bugs me so much, because it always sounds like wailing, which gets tiresome quickly. It is sad to see Lugosi be in a film as low as this, in a film that feels so soulless and so rushed. There are many words you could use to describe this movie: Stupid, rushed, idiotic, campy, non-funny, insolvent, irrelevant, but my favorite one is: Bad. While it may be easy to find, it's hard to tell if you want to find it. Take this film...forget it, you don't want to take the risk. The movie won't get a 0 because I do have some pity for Bela Lugosi. The only question you can ask about this movie is which is better, the next film on this week, or this film? What is the next film, you ask? Glen or Glenda. Stay tuned.

Overall, I give 1 out of 10 stars.

Movie Night: Plymouth Adventure.

Review #484: Plymouth Adventure.

Cast
Spencer Tracy (Christopher Jones), Gene Tierney (Dorothy Bradford), Van Johnson (John Alden), Leo Genn (William Bradford), Barry Jones (William Brewster), Dawn Addams (Priscilla Mullins), Lloyd Bridges (First Mate Coppin), Noel Drayton (Miles Standish), John Dehner (Gilbert Winslow), Tommy Ivo (William Button), and Lowell Gilmore (Edward Winslow) Directed by Clarence Brown (#423 - A Woman of Affairs and #433 - Angels in the Outfield)

Review
In light of Thanksgiving, I decided to review this film, as I get to talk about Spencer Tracy once again (Along with mention this being Clarence Brown's last film, who directed films for five decades), which is usually fun. This...is okay. The effects are good for the time, and the model of the Mayflower isn't too shabby. The actors are alright, they certainly do look good in the costumes and Spencer Tracy is alright, though for some reason he looks better in black and white then in color, but that's just me. I'm not entirely sure on the film's accuracy, but at least it doesn't look like it takes severe liberty with the history. The film isn't that entirely interesting on its own, and that may be the reason this was a minor failure when first released, as it didn't recoup the budget. But if you want some sort of way to not have to read books about the Plymouth Adventure (which is a bizarre title to begin with, even for a movie), this sadly might work. That....or read books, as Movie Night (mostly) recommends reading a book at least once in a lifetime.

Overall, I give it 6 out of 10 stars.

Movie Night: This is Cinerama.

Review #259: This is Cinerama.

Cast
Lowell Thomas. Directed by Merian C. Cooper.

Review
Cinerama simultaneously projected images from three synchronized 35 mm projectors onto a huge, deeply-curved screen, with this being the first Cinerama film (Other being How the West Was Won) How did I see this? On a special presentation by TCM will a reconstruction to the nearest degree in Smilevision to make it feel like Cinerama. How is it? It's decent. It shows some real good shots and real nice things (The only credited person for the film is Lowell Thomas, who is seen in the first few minutes.) It's a film that was revolutionary for its time that influenced widescreen as we know today.

Overall, I give it 8 out of 10 stars.

Movie Night: Singin' in the Rain.

Review #227: Singin' in the Rain.

Cast
Gene Kelly (Don Lockwood), Donald O'Connor (Cosmo Brown), Debbie Reynolds (Kathy Selden), Jean Hagen (Lina Lamont), and Millard Mitchell (R.F. Simpson) Directed by Stanley Donen (#137 - Bedazzled) and Gene Kelly.

Review
Eugene Kelly was born on August 23, 1912, which was 100 years ago. Kelly revolutionized dancing and singing in movies. You might be wondering why this is important to list. Because what I happen to review today is all that and more. The whole cast does a great job (especially Kelly and Reynolds) I have to admit, the music and songs are good. I have reviewed a musical before, let me use some words from it: "This is a good film with music in there that helps the story and does not ruin anything, unlike some other musicals," (#073 - The Lion King) In this film, the music does makes you smile and laugh at times and truly doesn't ruin a thing. After 60 years, the film's legacy has grown to be considered one of the greatest musicals/films ever.

Overall, I give it 10 out of 10 stars.