willowgreen Reviews

Oliver! (1968)

A fond childhood memory

[28 February 2003]

Though I've seen it since (and still enjoy it thoroughly), it was back in 1968 when I first saw this magical musical in the theatre. I was eight years old and completely captivated: came out of the State imitating Oliver Twist, while my friend was likened to the Artful Dodger! Truly one of the last great musicals, it takes the viewer back to an atmospheric London of the early nineteenth century where the most colourful characters imaginable are fascinations to watch. The entire cast is sterling: Mark Lester makes a sensitive, very appealing Oliver while Ron Moody is perfect as Fagin. The rascally Artful Dodger is synonymous with Jack Wild, Bill Sikes is suitably boorish as played by Oliver Reed & Shani Wallis is a very vivacious as Nancy. The dance choreographer, Onna White did a great job with the musical numbers, and although the musical score isn't spectacular, it's certainly well sung. Particularly memorably beautiful is the scene in Mayfair where Oliver is seen looking out of his bedroom window while the various street peddlars inquire hauntingly WHO WILL BUY? Deservedly the BP AA winner of 1968, its a timeless delight full of thrills, laughter and tears.

What Ever Happened to Baby Jane? (1962)

A camp field day for a macabre Bette Davis

[27 February 2003]

This undisputed camp classic of the thriller genre will no doubt please generations to come. Even given the fact that it's in many ways a "cheap-jack" film, it merits countless viewings due to the one-and-only legendary teaming of the two greatest movie divas Hollywood ever knew: Bette Davis & Joan Crawford. The film deserves its cult status. As the demented alcoholic slattern Baby Jane Hudson, Davis frankly shocked the public and critics alike with her fearless portrayal of a grotesque misfit who can't forget that she was once a child star in Vaudeville. It's fitting, by the way, to show Blanche as the older sister in the prologue: Davis was a full four years younger than her screen rival in real life. The film goes on and on in a light dimmer than necessary, and the cop-out ending isn't exactly Hitchcock, but the performances are indeed striking. The wig Davis wore for her interpretation of the title role was an old bleached-out wig reputedly once worn by Crawford in either a twenties silent or in the 1939 fiasco ICE FOLLIES OF 1939: no one seems to know for sure. As the wheelchair-bound crippled Blanche, Crawford wisely underplays Davis, and her performance is admirably restrained - if a mite deceiving: she's not all sugar and spice, it turns out! During the filming, director Robert Aldrich had to contend with each actress individually griping about the other: somehow he drew two nicely contrasted performances instead of totally letting the two icons chew each other up & spit each other out. The house in which the film was shot still stands in the Hancock Park section of Los Angeles. Maidie Norman and Victor Buono are terrific in their roles of Elvira the maid & Edwin Flagg respectively. Anna Lee has a cameo as the nosey neighbour, Mrs. Bates - whose daughter is played by Davis's fourteen year-old daughter B.D. Indeed, talent must skip a generation...

Wuthering Heights (1939)

A Goldwyn-Wyler-Bronte Masterpiece

[27 February 2003]

One of the finest romantic films ever filmed, this 1939 Samuel Goldwyn production rates with many - including myself - as being the most beloved version of Emily Bronte's haunting novel. Although it stops at chapter seventeen and the ending is seen as a bit trite by some, it's a brilliantly enacted, finely mounted production with beautiful photography and authentic period detail set-wise. Merle Oberon is well-cast as the selfish, vain and rather shallow Cathy. What makes her character so intriguing and interesting is that no matter what happens to her materially, she has an undying love for the gypsy-blooded heathen named Heathcliff. Laurence Olivier, never a great success in films prior to this, gives a brutally honest account of everything Bronte's Heathcliff should be: proud, bold, vengeful & darkly brooding -a tortured soul in general. Wyler's guiding hand is patent throughout: it was Olivier himself who gave credit to the meticulous director in teaching him the particular ropes of screen acting: it shows! Lady-like Isabella is well-played by the Irish Geraldine Page, while Ellen, the long-suffering servant is played sympathetically by the fine character actress Flora Robson. David Niven, ideally cast as the milquetoasty Edgar Linton, actually had a clause in his contract which freed him from having to do crying scenes! A timeless masterpiece of the "haunting" love story genre, this was Goldwyn's personal favourite of all his films.

To Kill a Mockingbird (1962)

Leisurely paced & beautifully enacted

[26 February 2003]

Based on Harper Lee's sole 196O Pulitzer Prize-winning novel, this film is a special favourite for many who relish it as a reminder of their own rural childhoods: I'm one such viewer. A beautifully haunting movie, it casts a strange, almost poetically wistful spell over the viewer coupled with some genuinely chilling & emotionally affecting moments. Gregory Peck is wholly believable and suitable personality -wise in his portrayal of Atticus Finch the forty-something widower of two children, Jean Louise, better known as Scout, and Jeremy, whose nick-name is Jem. The magnificent black-and-white photography makes the painstaking 3O's ambience seem genuinely realised and Elmer Bernstein's wisfully haunting score is recognised as a classic composition. Mary Badham's playing of Scout is so natural-like that she can be likened to actually being the character she plays. As Jem, Philip Alford isn't far behind & together they are wholly believable as siblings. Dill Harris was described as a towhead in Lee's novel, but he is generally accepted by fans who associate John Megna's somewhat bizarre interpretation of the lad who was based on Harper Lee's childhood friend, Truman Capote. Colin Wilcox as Violet Ewell is an inspired piece of casting: she brings real conviction to her role as the pathethically desperate white trash daughter of an illiterate drunk. Alice Ghostley is briefly seen as the funny Miss Stephanie and Estelle Evans plays Calpurnia with warmth: she is the children's surrogate mother. A long, nostalgic journey into 1932 Alabama, this film is both funny and sad, scary and tearjerking.

Caged (1950)

An Vastly Underrated Film

[26 February 2003]

*MILD SPOILER*For years, I have thought that this is one of the great films nobody ever talks about: a harrowing, beautifully enacted account of one woman's descent into Prison hell. Although I haven't viewed this film in many years, I remember being quite impressed with the memorably gritty and realistic performances from a great many of the performers. Eleanor Parker was great as the young girl, a semi-innocent type who was in bad company & in the wrong place at the wrong time: her metamorphasis into a hardened inmate is wholly believable. Hope Emerson is unforgettable as the brutally cruel and sadistic amazonian matron: her comeuppance is probably the film's most memorable scene. Agnes Moorehead is dignified as the kind superintendent who tries to help Parker to no avail while Lee Patrick & Betty Garde do great jobs in their roles as fellow female inmates. A memorable scene is when Parker is talking to an older woman who states "now I'm a lifer". Not an upbeat film by any means, but probably the finest, most effective film about women in prison ever made.

All About Eve (1950)

A Magnificent Film Classic

[26 February 2003]

What more can be said about this greatly cherished account of backstage life in the world of theatre? A brilliantly acted film with a superlative screenplay, ingeniously cast with fine direction & a memorable music score, this movie really couldn't miss - and it didn't. It is very doubtful that there will ever be another film which will equal (or even rival) this incisively cynical & sophisticated comedy/drama masterpiece from 195O. Bette Davis - as a replacement for the assigned Claudette Colbert who hurt her back - gives what many believe to be her finest, flashiest performance as Margo Channing, the insecure 4O year-old diva of the theatre. Davis plays her role with such assured relish that it's practically unthinkable that another actress could be more effective in the part. During the production, Davis strained her vocal chords, which gave Margo that distinctive husky voice a'la Tallulah Bankhead: it was an ironically lucky stroke of timing! So much has been written about this film, so I will try to shed some rarer light on it. It was noted that Claudette Colbert deeply resented Davis due to the fact that felt helplessly "robbed" of this prime dream role: she alternately envied and despised Davis for taking Margo away from her and playing her with such brilliance. George Sanders was perfection personified as poison pen critic Addison DeWitt: he won the Best Supporting Actor AA. Months later, at a cocktail party, Sanders recalled that Davis spat at him after he remarked "What's wrong, Bette? Sour grapes"?. Davis intimidated Marilyn Monroe, bluntly stating that her "baby talk" voice was atrociously ridiculous. When Celeste Holm would appear on the set and spread a cheery "Good morning", Davis would disgustedly respond "Oh, these TER-RI-BLE good mannahs!" Holm was cool to "the Queen Bee of Warners" as she referred to Davis ever after. Most fans know that Davis coveted the New York Film Critics Award for her playing of Margo and that she and Gary Merrill fell into a rather lusty love affair during production. As Margo's loyal companion, Birdie Coonan, Thelma Ritter is tops & Celeste Holm is perfect as the kindly humble Karen: she and Margo have a most interesting contrast in personalities, which is best showcased in the classic scene in the car while Lloyd is out fetching some emergency gasoline. For years, the film held the record for being nominated for the most Academy Awards: 14. If you want to see this gem in all its glory, invest in the DVD version: it's crisp, sharp & clear. My favourite goof? Look at the clock on Margo's bedside table: time stands still!

Rebecca (1940)

DuMaurier & Hitchcock Classic

[26 February 2003]

A big, prestigious production from 194O. This movie had a lot going for it: a great gothic mystery best-seller by Daphne DuMaurier for its foundation, David O. Selznick as its producer, British director Alfred Hitchcock making his American directorial debut and actors perfectly suited to their roles: it really couldn't miss. And it didn't. Joan Fontaine was a most inspired choice for the shy, awkward, almost gauche young woman whose employer is a repulsive old society matron (played to the hilt by Florence Bates): she makes her mousey character charming and believable. As Max DeWinter, Olivier is sometimes surprisingly a bit wooden at times, but overall, he gives an effective portrayal as the tortured master of Manderley, the beautiful Cornish manor which is psychologically haunted by the memory of his first wife, Rebecca. A good example of the type of picture Hollywood seemingly can't make anymore, it is a masterpiece of the romantic mystery genre. In the supporting cast, Judith Anderson stands out most notably as the very intimidating Mrs. Danvers, while George Sanders, Gladys Cooper and Nigel Bruce are fine in their varied roles. It is known that Olivier was displeased that his exquisite wife, Vivien Leigh didn't quite fit the role Fontaine coveted & he was unhappy during filming. The film won the AA for Best Picture of 194O: I feel that Joan Fontaine should have won for her effectively restrained portrayal of Mrs. DeWinter. Ginger Rogers won the AA for her badly dated portrayal of KITTY FOYLE instead. Pity.

Hush...Hush, Sweet Charlotte (1964)

Campy Southern Gothic Chiller

[25 February 2003]

Whatever flaws this film may have, it is an undeniably entertaining viewing experience for fans of fun chiller dillers! Bette Davis, as the reclusive aged Charlotte Hollis, a faded Southern Belle, gives a typically bravura performance. Many people in the sixties actually relished the sight of Miss Charlotte acting like a crazed animal, chewing the scenery and being unmercifully slapped by her conniving cousin, Miriam Deering. The root of the plot concerns a macabre murder which took place back in 1927. There are many over-the-top scenes, such as a head rolling down a staircase (which Davis herself thought a "bit much") but the film certainly keeps the viewer's attention. As the witchy harridan housekeeper Velma Cruther, Agnes Moorehead is marvelously hammy. Olivia de Havilland gives an effective performance as the sly Miriam, who even surprises the morally debauched Drew (an egotistically wooden Joseph Cotten performance). Mary Astor is really good as the "stoney broke" & dying Jewel Mayhew, as is Cecil Kellaway in his role as the old man she confides in. Originally, Joan Crawford was to have played the role of Miriam, but there was so much friction during production (between she and Davis) that she psyched herself ill: although fans will never know just how effectively Crawford's playing against Davis in their second round would measure up, Olivia was an excellent replacement.

Stage Door (1937)

Fascinating comedy/drama with a personality-plus cast

[25 February 2003]

A rare treat for fans of vintage films, this one is special for the frankly eclectic cast, a good story & a snappy script. Katharine Hepburn plays the aristocratic Terry Randall, a young lady not too unlike her real self: she wants to prove to her dad that she can cut the mustard as an actress. The Footlights Club is the roominghouse in which she stays with the likes of wise-cracking Eve Arden, cheeky Lucille Ball, cold & cynical Gail Patrick, fun Ginger Rogers, sensitive Andrea Leeds & lanky Ann Miller. Adolphe Menjou is fine as Anthony Powell, the producer who lures various young hopeful actresses into his apartment via pretexes while Constance Collier is regally funny as the matronly Shakespearean actress who sees great potential in Miss Randall. Ginger Rogers is flippant and earthy as Jean Maitland: wish she played in more comedies! As the gangly Stringbean, Ann Miller was incredibly only fourteen years of age (!): she's cute and competent. Lucille Ball gives a rather uneven performance as Judy Canfield: it is obvious she was still finding her niche in films. Eve Arden, as Eve is just as cynically wise-cracking as she was in her later film roles: Arden, unlike Ball, found her niche earlier in her career - Ball would ultimately became a legendary icon via television, whereas Arden was cherished for her more manicured deliveries a'la Connie Brooks in that medium. Hepburn's career - somewhat in trouble by 1937 - was boosted a bit by her honest, fresh and zesty performance as Terry who quotes the immortal line "The calla lillies are in bloom again..." As Kaye Hamilton, Andrea Leeds delivers a decent performance, although one can't help to think of her as being a poor man's version of Olivia de Havilland: her career never really took off in the movies, somehow. All in all, spontaneously amusing - albeit a bit dated - this movie is a treasure trove of various giants of Hollywood talent, both in their prime and infancy of fame. Personal favourite line: Jean (Ginger) is speaking to a pal on the phone when the witchy Linda (Gail Patrick) comes into view. Jeans says confidentally "Hold on. Gangrene just set in!"

Camille (1936)

Garbo's Best Performance

[25 February 2003]

In my opinion, Garbo deserved an AA for her playing of the doomed courtesan Marguerite Gautier in this 1936 masterpiece which was brilliantly directed by George Cukor. Few "classic" films can hold up to their reputation after 65+ years: this one does. The period detail is nigh flawless, Cukor's direction is carefully inspired and Garbo gives a magically eloquent performance which is only rivalled by her playing of QUEEN CHRISTINA. 25 year-old Robert Taylor plays the ridiculously handsome & naive Armand with surprising restraint: certainly his portrayal isn't guilty of callowness. As Marguerite's fair weather friend, the greedy, well-dressed bawd Prudence Duvernoy, Laura Hope Crews is amusing, while the rarely-seen-in-films stage star Lenore Ulric, playing the rather eclectic role of Olympe, comes off brilliantly. Henry Danielle is sauve perfection as the wealthy but cynical & middle-aged Baron de Varville. Unfortunately, Lionel Barrymore is somewhat miscast as Monsieur Duvall: too histrionically American. No matter. CAMILLE is a timeless romantic film of the highest order, the final reel containing some of the most unforgettable scenes in the history of film, solely due to Garbo's magnetic and believable performance as the tragic "Lady of the Camellias".

The Devil's Daughter (1973 TV Movie)

Of the genre, not bad at all

[23 February 2003]

Only having seen this TV movie once, back in 1973 when it originally aired, I can only say that it did a commendable job entertainment-wise, it being rather unusual in its day for depicting the theme of witchcraft. Belinda Montgomery is lured by the seemingly charming Shelley Winters (as Lilith) - a "friend" of her deceased mother - into a ghastly nightmare. I vaguely remember Winter's performance as being marvelously hammy: it seemed she relished playing this off-beat role. And I remember being semi-thrilled at seeing Jonathan Frid (Barnabas Collins in the cult TV favourite gothic soap DARK SHADOWS) cast in a bit as the mute chauffeur. Interestingly enough, I was visiting my Grandparents in Pacific Grove, California when this movie was shot there. Scenes were shot on location in the cemetery across from Point Pinos Lighthouse and at a mansion & elementary school on Lighthouse Avenue.

A Taste of Evil (1971 TV Movie)

Barbara Stanwyck Chiller

[23 February 2003]

Although I've only seen this film once, it lingers in my memory: I saw it at age 1O in 1971 when it was originally broadcast on television. Although the rest of the cast, i.e. William Windom, Roddy McDowall & Barbara Perkins, etc. did fine jobs with their roles, it's Stanwyck's playing of Miriam Jennings which lingers in my memory: talk about an unsympathetic role for an older Hollywood star to take! If fans of Davis and Crawford doing their bits in the macabre thought Stanwyck stopped with THE NIGHT WALKER, think again! This is definitely her tour-de-force in the thriller genre. Although it probably looks a bit tired and dated today, I remember the diabolical twist as being memorably sadistic and cruel plus there was a helping of LES DIABOLIQUES in the plotline. The atmosphere was creepy - thunder and lightning and all - and I remember sinister Barbara dismissing her gardener (Arthur O'Connell) thusly: "You have until noon"...

What Ever Happened to Aunt Alice? (1969)

Marvelously enjoyable thriller

[23 February 2003]

Although this movie looks a tad dated in certain respects - for instance a stupid subplot could have been eliminated and no one would have missed a thing - it works because of the brilliant playing of Ruth Gordon and - especially - Geraldine Page. I first watched this film at age the age nine when it was released theatrically: it was actually more enjoyable than the supposed "bigger" picture of the double feature! It is very obvious that Geraldine Page relished playing her role of Claire Marrable: she's totally awesome, so witchy and natural-like in her acting technique. Ms Marrable is a rather narcissistic woman who goes through an astonishing array of household help. Enter Ruth Gordon, a sly fox who comes to Marrable for a position in her lovely desert home. Once hired, the viewer is in for a tour-de-force game of cat-and-mouse. Played to the hilt, this little sleeper creeper is most enjoyable.

Rosemary's Baby (1968)

A Chilling Masterpiece of Horror

[23 February 2003]

Really Creepy. Even Today. This 1968 Roman Polanski directed classic of the macabre is a brilliantly terrifying excursion into modern day NYC & the lives of a newlywedded young couple. What makes this movie work so well is the off-beat, hippie-ish way in which its told. It made it seem so much more believable & it made the commonly seen, cliched horror films of the day looked uninspired & unsophisticated by camparison. Both this film and the best-selling novel by Ira Levin were phenomenally popular with the masses back in the late sixties. I can remember my mom reading the book & telling me how scary the movie was - which I was too young young to see owing to its rating. I thought Mia Farrow's portrait of the title character was finel y etched and that she put a lot of "feeling" into her unusual role. John Cassevettes does fine as Guy. Ruth Gordon, hammy and hilarious, steals the show as Minnie Castevet, the eccentric nosey neighbour. She won her best supporting AA for this: "I can't tell ya how encouragin' a thing like this is at my age" should told the academy during her acceptance speech. Her playing of Minnie, when seen today, borders on being overdone in some respects, especially when she makes those animated faces while eating & serving up cake in her apartment. Her apathetic attitude toward the death of the dope addict girl cracks me up: "Oh, yeaah" * but her "nude" scene is a creepy turnabout for her character. Sidney Blackmer is excellent as her "fascinating" husband while Ralph Bellamy easily gives his finest latter-day performance as Rosemary's "concerned" doctor. A MUST for horror fans!

The Ghost and Mr. Chicken (1966)

An Enjoyable Cornball Flick

[23 February 2003]

*VERY MILD SPOILER*A timid type-setter spends the night in the haunted house located in a rural Kansas town on a dare. Although I am sometimes lovingly regarded as being a staid "classic film snob" by my peers, the fact that I find this corny venture into 1966 enjoyable should disperse any further such labels! If one wanted to get technical, this is probably a film which could be classified as being so bad it's good. Don Knott's most successful movie is a fond memory for many baby boomers like me who originally saw it as kids. The supporting cast plays like a tribute to sitcom characters: everyone from Darren Stephens to Otis Campbell appear in various roles. It has been widely implied that this movie is based on an episode in THE ANDY GRIFFITH SHOW in which Opie and his friends lose their baseball in Mayberry's notorious "haunted house". Reta Shaw is hilarious as the hefty Psychic Society matron who dominates his milquetoast husband Milo. After reading him the riot act, she babies him: "Milo, you haven't eaten your tapioca". Dick Sargent plays himself is Luther's cynical co-worker and as Ollie, Skip Homeier is good as a rival for Luther's affection for Alma. Jesslyn Fax, Lurene Tuttle and Nydia Westman are three veteran character gems who reside in Luther's boardinghouse. Liam Redmond, Philip Ober, Ellen Corby & Hope Summers are also featured, doing well in their varied roles. In the sixties, kids like me took the creepy/corny Vic Muzzy organ music quite seriously: that was creepy stuff for a six year-old!

Roman Scandals (1933)

Depression musicomedy with a silvery hue

[23 February 2003]

This 1933 Samuel Goldwyn production is generally regarded as being Cantor's most successful thirties film. A fascinating depression-flavoured movie, it is a bit reminiscent of THE WIZARD OF OZ in that there are "reality book-ends" the majority of the film being a dreamer's fantasy. Rather than having a Technicolored centre, however, this film benefits from Gregg Toland's famous silvery hued cinematography. The rarely seen in films Ruth Etting had her only movie role of any merit as Olga: fortunately her character's dialogue is kept to a minimum for it's rather poorly delivered. As Emperor Valerius, Edward Arnold does fine in a surprisingly modern-styled comedy performance, and the usually wooden and boring David Manners delivers an refreshingly against-type performance as the sprighty Josephus. As Princess Sylvia, a luminously youthful Gloria Stuart is lovely. The film premiere at Graumann's Chinese Theatre and was broadcasted via radio & the film made a million dollar profit. Contrary to popular belief, this wasn't Lucille Ball's film debut: she had appeared in both BROADWAY THRU A KEYHOLE & BLOOD MONEY in bits priorly. However, the lovely young blonde girl in the film's beginning who enthusiastically informs the locals "Here comes Eddie!" is indeed a 22 year-old native of Jamestown, New York named Lucille Ball.

The Wizard of Oz (1939)

The Most Beloved Film Ever

[18 February 2003]

Sooner or later, it was inevitable that I'd do a review for this beloved 1939 classic which I've easily seen more times than any other film: about 4O. Based upon Lyman Frank Baum's 19OO book, this film surely ranks as THE most beloved film among the masses. Rather than go into details plot-wise, I'm just going to "ramble" a bit. First off, Shirley Temple was the original choice for the role of Dorothy (2Oth Century Fox wouldn't lend her to M-G-M, thank goodness). Although Temple was closer to Dorothy's age - and somewhat resembled the W.W. Denslow drawings in the original OZ books - 16 year-old Judy Garland was destined to be Dorothy & the film made her a star. As a little kid, Margaret Hamilton scared me silly as the Wicked Witch of the West - who even came close to her definitive portrayal of a classic Halloween witch come to life? Truly a magnetic incarnation. Billie Burke was inspired casting (that voice kills me) as Glinda - she certainly looked much younger than her 53 years. The film was beautifully directed by Victor Fleming and the musical score is legendary right down to the malevolent little theme which is heard while Miss Almira Gulch is seen riding her bicycle. There are few fun flubs: Dorothy's hair is seen in various lengths during her stay in Oz & the Witch mentions that she's "sent a little insect on ahead to take the fight out them" which makes absolutely no sense, since the song THE JITTERBUG was deleted. And then there's the scene towards the end when one of Dorothy's friends is seen unravelling the tie to the hot air balloon. No matter. This evergreen perennial film is a timeless diversion for the perpetually young-at-heart.

The Lucy Show (1962–1968)

Vivian Vance made the show work

[17 February 2003]

I am in complete agreement with the majority of the previous reviewers in that the first two seasons in black-and-white with Vivian Vance playing Vivian Bagley (television comedy's first divorcee) where undoubtedly the finest of the series. I am second to none in my admiration for Lucy, but after Vivian's character vanished, I thought the shows got more grating, annoying, repetitious and less funny as a rule. Vance was indeed a great co-star for Ball, they played off each-other beautifully and had genuine "star chemistry" between them. Mr. Mooney yelling at Lucy Carmichael got to be distractingly boring, uninspired and plain stupid. I have always been a great fan of Vivian Vance: in my thinking she was a vastly underrated comedy performer who had a unique voice, delivery style and physical mannerisms. Lucy was indeed fortunate to have had Desi finding Vivian playing in a play in La Jolla back in 195O. Lucy wouldn't have been nearly as successful without the special magic this actress brought to Ethel & Viv!

The Innocents (1961)

An Excellent Chiller

[9/10 · 17 February 2003]

Based upon the classic novella THE TURN OF THE SCREW by Henry James, this movie is a superior ghost story full of creepy moments which ingeniously keep the viewer mesmorized throughout the film. Deborah Kerr is perfection personified as the Governess who is hired by Redgrave to care for Flora and Miles. Few are films which take place back in the 18OO's which take the viewer into a genuine feeling for that era: this is one of them. The film is leisurely paced and beautifully (and suitably) photographed in black and white. The acting is top-notch even to Megs Jenkin's portrayal of the illiterate housekeeper who is afraid of the evil which looms over the two children - and the house in general. Really a kind of cat-and-mouse game between deceased spirits, the two children & Miss Giddens, this is one of the most original and satisfying of all films of the ghost genre: the ending is traumatically heartbreaking, and the film is expertly handled in every respect. 9/1O

Hazel (1961–1966)

Shirley Booth's the whole show

[17 February 2003]

This series provided Shirley Booth with a suitable character with which she could apply her undeniable acting talent towards making HAZEL a truly believable version of the nosey, know-it-all but loveable maid. Based on the once nationally syndicated comic strip character by Ted Key, Booth won an Emmy for her portrayal which she added to her Oscar and Tony awards. In an interesting revelation discovered after Booth's death, for obvious reasons, she took a full decade off her birthdate, making her over 65 by the series cancellation in 1965! The supporting actors weren't exactly inspired: Don DeFore and Whitney Blake were rather wooden as George and Dorothy Baxter, and Bobby Buntrock was rather annoying as Harold, while the color looks cheap and faded. Performers such as Norma Varden, Cathy Lewis (as George's snotty shrike sister Deidre) and Maudie Prickett (as Rosie, Hazel's maid friend) came off marginally better. Mr. Griffin, anyone?

The Twilight Zone (1959–1964)

A Uniquely Bizarre Series

[17 February 2003]

Growing up in California in the 196O's, I can remember watching these shows at the ages of 4,5 & 6 - and, boy, they have lingered in my memory to this day! There are so many episodes which will be forever in my memory: the man who had the the gold watch which caused the world to freeze, the lady (Inger Stevens?) whose car would die on the railroad tracks, the Mardi Gras masks which transfigured a rich man's greedy relatives into grotesques, William Shatner and the hideous face he sees outside his window on the airplane! As a four year-old, flying to Scotland with my mother in 1964, I awoke going across the stormy Atlantic Ocean to find my mother wasn't there in the seat beside me. That episode with Shatner came alive & I yelled: my mom had gotten up for a magazine! Another timeless classic is Burgess Merideth as Mr. Bemis. I would be *GREATLY* appreciative if someone could remember an episode of this or OUTER LIMITS in which a LOG is found in a deserted house and no matter what the people do to get rid of it, it reappears - in the closet (via the roof?) for instance. It's haunted me all my life because it seems strangely evasively symbolic. Also an episode I saw as a child: The ghost of a blind man's dog haunts a bank with his barks. Creepy.

Auntie Mame (1958)

Rosalind Russell Shines

[8/10 · 17 February 2003]

Definitely a worthy showcase for the unique talents of Rosalind Russell, this movie only seems to improve with age, somehow. Mame Dennis is an eccentric, kind-hearted & free-spirited woman who lives a rather bohemian life in Greenwich Village of the 192O's. When Ms Dennis is appointed the legal guardian of her little nephew, Patrick, she doesn't inhibit her zany self, but rather, this vastly colourful woman shows the young lad that "life is a banquet"...In the role of Mame, Russell is perfection personified: surely even fans of Lucille Ball (like me) couldn't give her later musical version more kudos than this original gem. As Mame's self-indulgent best-friend, Vera Charles, Coral Browne does a great job. As Gloria Upson, Joanna Barnes is hilariously annoying (this versatile player also played Brian Keith's girlfriend in THE PARENT TRAP) and Peggy Cass is likewise as Agnes Gootch. I get tickled at the part where Mame is offered a daquiri from Mr. Upson - which is made with honey (ugh) and his wife's canopies made with tunafish and peanut butter...The movie is wisely filmed as a pseudo-play so the audience knows that the funfest isn't supposed to be taken at all seriously. Fred Clark and Connie Gilchrist excel in their supporting roles, and Forrest Tucker has perhaps his best film role as the likeable Beauregard.

The Night of the Hunter (1955)

A Mystical, Terrifying Parable

[7/10 · 17 February 2003]

Certainly one of the most unusually frightening films ever conceived, this 1955 film was a box-office failure upon its release, it being quite ahead of its time. Many consider the role of the psychotic "preacher" Harry Powell, to be Mitchum's greatest performance. Although I do appreciate the film, there are certain aspects such as the too-phoney set where Ruby goes to "find love" which I find a bit distracting. The symbolism for the most part is beautifully etched by Charles Laughton in his sole directorial effort: unfortunately, this film simply isn't deemed very frightening by today's standards: it's more of a work of art in its Germanic cinematography and over-the-top performances by such veterans as Evelyn Varden as Icey Spoon. I loved the performance of John's old uncle played by that great character actor James Gleason & I thought Lillian Gish was most effective as Rachel, the kindly woman who takes in wayward homeless children. Shelley Winters is all right in her role, but hardly colorful. Billy Chapin, who plays John does well, but I have some reservations about Pearl singing that song while on riverboat with John: too hokey. The musical score by Walter Schumann is bizarrely haunting.

The Ghost and Mrs. Muir (1947)

A Beautiful Romantic Fantasy

[9/10 · 17 February 2003]

This 1947 film is a timeless delight for fans of classic Hollywood romantic films. Gene Tierney is stunningly beautiful as the independent widow Mrs. Lucy Muir, who takes her daughter (Natalie Wood) and housekeeper (Edna Best) along with her to live in the seaside abode known as Gull Cottage. The rumours of the cottage being haunted don't bother this rather bold young lady one whit - in fact, she's quite amused by the idea. As Captain Gregg, Rex Harrison is suitably manly and gruff: the chemistry between he and Tierney make the film work - in less capable hands, the film would appear ridiculously ludicrous in some ways. Edna Best is fine as Lucy's loyal companion/servant and Anna Lee is memorable as the uncommonly empathic wife of a roving cad - who is played with expertise by George Sanders. The black and white photography is exquisite and the special effects are first-rate. The ending will bring a "happy tear" to many an eye, so be forewarned & keep a tissue handy!

The Egg and I (I) (1947)

A delightful if not rollicking rural comedy

[7/10 · 17 February 2003]

The book on which this film was based upon was a phenomenal best-seller in the mid-forties: readers loved the earthy tang and hilariously funny situations of Betty Smith's novel of the same name. Although this film version is rather a tame adaptation of the wonderful book, it definitely provides enough warmth, charm & chuckles to please viewers who aren't too discriminating. Claudette Colbert - in her last great film role - plays Betty with her particular warmth & charm: she and Fred MacMurray have an undeniable chemistry. Although they weren't youngsters here, they make you believe them youthful (Claudette was 44 & Fred was 39 here). For reasons which are unclear, Colbert never cared for this film, but the movie-going public just loved it! The film is perhaps most notable in introducing the characters of Ma & Pa Kettle as played by Marjorie Main and Percy Kilbride respectively. The public howled at the personalities and antics of this loveable country bumpkins, and they were on the road to a hugely popular series of their own which spanned from 1949-1957. It is really Main's AA-nominated performance of Ma which lingers in the memory: she was born to play the no-nonsense, down-to-earth but loveable Ms Kettle! Note that the Kettle's oldest son, Tom is played by none other than Richard Long, who would star as Jarrod Barkley in the beloved TV western series THE BIG VALLEY eighteen years later. Birdie Hicks is played to hilarious perfection by the acid- tongued Esther Dale.