FEMALE JUNGLE

Burt Kaiser and Lawrence Tierney

FEMALE JUNGLE (1955). Director: Bruno VeSota.

An actress is strangled to death and a heavy-drinking cop, Jack Stevens (Lawrence Tierney), fears he may have had something to do with the murder in a black out. Suspects also include columnist Claude Almstead (John Carradine of Death at Love House), who was in love with the actress, and caricaturist Alex Voe (Burt Kaiser), who is married to waitress Peggy (Kathleen Crowley of The Flame Barrier) but is carrying on with Candy (Jayne Mansfield). As the night proceeds Almstead takes Peggy out for a ride and Stevens and Sgt. Duane (Duane Grey) interrogate Almstead; Duane is convinced that the columnist is guilty. But on this he may be fatally mistaken.

John Carradine

Female Jungle has only been remembered, if at all, because future brief star Jayne Mansfield has a small role. She has a credible death scene but otherwise her performance is undistinguished; leading lady Crowley is much, much better. Tierny and Carradine are solid, but the most impressive performance is given by Burt Kaiser, who also co-wrote the screenplay and produced. Despite his good looks and acting ability, Kaiser only made one film and had a very few TV credits. Connie Cezon, who plays another club employee, was receptionist Gertie on Perry Mason. Director Bruno VeSota gives himself a small role -- Cezon's husband -- but his direction is nothing to rave about and even in a clear print the film is criminally under-lit. Dull in spots, the picture goes on too long after the climax.

Verdict: Some good acting and a decent plot, but the execution is mediocre. **.   

SKY CAPTAIN AND THE WORLD OF TOMORROW

SKY CAPTAIN AND THE WORLD OF TOMORROW (2004). Director/writer: Kerry Conran.

This is an unfortunate attempt to recreate the excitement and craziness of the old Republic serials with some high-tech effects and computer imagery (so much of it that the movie almost resembles a cartoon). The movie takes place not in the future but circa World War Two, and features a battle between the heroic Sky Captain (Jude Law), a Blackhawk-type mercenary, and the evil Dr. Totenkopf, who attacks New York City with giant robots, and forces scientists to create strange animals (including, inexplicably, an elephant shrunken to the size of a stuffed toy). Totenkopf's plan is to build a space ark that will take his animals off into the cosmos while the Earth itself is vaporized. Helping Sky Captain is the intrepid reporter Polly Perkins (Gwyneth Paltrow) and – in what amounts to a bit – female pilot Franky Cook (Angelina Jolie). Giovanni Ribisi is the captain's pal and associate Dex, who is kidnapped at one point. Although there are some fine FX and interesting scenic design and a few exciting moments (including the climax on the space ark) Sky Captain is never as entertaining as any of those old Republic serials, and both continuity and story are stilted, to say the least. Law is better in the heroic part than one would imagine, and Paltrow is also good as his partner-in-peril. The tongue-in-cheek script has some amusing moments, but after awhile its cliches become wearisome. In an improbable bit of stunt casting “Sir Laurence Olivier” is billed as Dr. Totenkopf, although the character turns out to be dead and is only seen as a withered corpse. Did the producers use Lord Olivier's voice? Who cares? Nothing could make this production particularly memorable.

Verdict: As expected, there were no sequels. *1/2.

THE DESCENT

THE DESCENT (2006). Written and directed by Neil Marshall.

A group of athletic women friends come together a year after a shattering tragedy – one of their number lost her husband and daughter in a terrible accident – and decide to explore a nearby cave for an adventure. Unfortunately, the most experienced spelunker among them, fearing that this particular cave is merely a tourist trap, leads them into a different unexplored cave instead without telling them. This really becomes a problem when a rock slide traps them in the cavern, as not only does no one know where they are, but they have no maps to show them another way out of the cave. 

one of the creatures

This claustrophobic nightmare only gets worse when the women slowly realize that there are horrid, carnivorous, humanoid creatures living down in the caverns, and the women have become their latest food supply. Although these slimy rodent men aren't exactly original – they remind one a bit of the cannibalistic Morlocks in H. G. Wells' novel "The Time Machine" – they are fearsome, fast-moving and shuddery creations nonetheless, and they jump out at the women and the viewer in some very creepy sequences. The acting is generally convincing, and the picture is very well-directed and briskly edited for maximum scares and impact. Wisely, scenes are never over-lit, which only increases the dread and the claustrophobia. While the idea of women becoming warrior-like after winding up in a kill-or-be-killed situation is not new, this is a highly interesting variation. Although there is probably not as much sub-text as some critics have seen – and the all-female cast (or victim) business is probably not misogynous in intent – the movie does have a more “serious” tone than similar pictures. Atmospheric, chilling, and undeniably poignant.

Verdict: A notable if imperfect horror film. ***1/4.

THE DEMON'S DEN

 

THE DEMON'S DEN. The Hardy Boys # 81 (1984). Franklin W. Dixon (house pseudonym). 

When a boy who is tall for his age is kidnapped from a camp, the chief suspects are members of a cult who fear the oncoming apocalypse. Frank and Joe, however, think the head of the camp may be involved. The cultists believe the boy was taken by the “devil,” whose minions are as “tall as trees.” Meanwhile Fenton Hardy, our heroes' private eye dad, is trying to find a scientist who was involved in dangerous genetic experiments. The fellows wind up deep in the Canadian wilderness, where some of the frightened loggers actually believe in the stories of Paul Bunyan, and his equally large son is supposedly ruling over the territory. Undeterred, Frank and Joe proceed in finding Bunyan’s – or “the devil’s” HQ – coming across outsized footprints and the like. As usual, there is a more realistic explanation for things involving a race of supermen. This is an above-average latter-day Hardy Boys adventure. Gary Lang’s cover illustration depicts Frank and Joe the way they would actually look, like handsome young men who are mature-enough looking to not only be taken seriously by those they question during their investigation but who certainly look as if they can acquit themselves nicely in a fight with desperadoes. 

Verdict: This has its silly aspects, but it's an exciting adventure story for kids of all ages. ***. 

LADY GANGSTER

LADY GANGSTER (1942). Director: Robert Florey. 

A failed actress, Dot Burton ( Faye Emerson), gets in with a gang of hoods and becomes embroiled in a bank robbery scheme. She winds up doing time with an interesting bunch of lady inmates, and then things get really complicated. This fast-paced, lively and very entertaining "B" movie is so unpredictable for the most part that it would be criminal to give away any more of the plot elements. It has the very casual immorality of most of these kind of movies. Emerson gives a vivid and adept performance as Dot, as does Ruth Ford as "stool pigeon" Lucy, Julie Bishop as inmate Myrtle, Dorothy Adams as "Deaf Annie," and Virginia Brissac as the warden Mrs. Stoner. Hedda Hopper's son William, herein billed as "DeWolf Hopper," has a small role, as does "The Great One" -- Jackie Gleason (billed as Jackie C. Gleason). Hopper is as stiff as ever (except when he was on Perry Mason), but Gleason makes a nice impression as a pleasant member of the robbery gang who has a soft touch for Dot. Roland Drew as gang leader Carey looks surprisingly good in drag. Frank Wilcox is only adequate as Kenneth, the old friend of Dot's who turns her in and then tries to help her. Robert Florey also directed The Beast with Five Fingers. Bishop, Ford, Drew, and Wilcox were all in The Hidden Hand. 

Verdict: A pleasant surprise. ***.

VOYAGE TO THE BOTTOM OF THE SEA (1961)

Robert Sterling and Walter Pidgeon

VOYAGE TO THE BOTTOM OF THE SEA (1961). Produced and directed by Irwin Allen.

Admiral Nelson (Walter Pidgeon) has come up with an amazing nuclear submarine, the Seaview, with features that "Jules Verne never thought of." When the Van Allen radiation belt catches fire and the world seems doomed by rising heat and fire, Nelson comes up with a scheme to prevent catastrophe by shooting a missile at it, thrusting the fiery belt into space. His scientific colleagues think he's crazy, and he also meets opposition from Captain Crane (Robert Sterling) and Dr. Susan Hiller (Joan Fontaine), a headshrinker come to study the men who thinks the admiral is off his rocker. With armed subs chasing the Seaview, a saboteur on board, the rising possibility of mutiny, and other assorted dangers including floating mines and a huge octopus that grabs the sub, Nelson may never get the chance to fire his missile. 

the sky is on fire!

Irwin Allen may have been inspired by the success of Disney's 20,000 Leagues Under the Sea as well as Fox's Journey to the Center of the Earth, but he came up with a winner with this fast-paced and very entertaining fantasy-adventure. Pidgeon gives one of his best performances, and the others -- including Barbara Eden as his secretary and the Captain's fiancee, and Peter Lorre [The Beast with Five Fingers] as Nelson's friend and associate Commander Lucius Emery -- are all on target throughout. The picture has a very good script by Charles Bennett and Allen that maximizes the potential of the storyline and adds suspense and tension at every opportunity. 

Sterling, Fontaine and Eden

Not everything is perfect. A scene with a big prop and unconvincing squid attacking Crane as he tries to tap into an underwater cable seems to go on forever and is not that well done to begin with (at least the octopus that shows up later is real). But the business with deadly floating mines that jeopardize the ship is quite tense and there are other exciting sequences as well. It's also fun watching Pidgeon slapping disrespectful seaman Frankie Avalon [Horror House] in the face and a certain lady falling into the shark pool. Winton Hoch photographed the film -- the splendid Seaview looks terrific -- and Sawtell and Shefter contributed an effective score. The whole business with Nelson having to fire the missile at an exact day and moment from the Mariannas is gobbledygook but who cares? The movie was successful enough to engender a TV series that lasted for four years.

Verdict: One of Allen's very best. ***1/4. 

THE MAN FROM PLANET X

Margaret Field and Robert Clarke

THE MAN FROM PLANET X (1951). Director: Edgar G. Ulmer. 

A cosmic body known only as "Planet X" is approaching the earth. Reporter John Lawrence (Robert Clarke) travels to an isolated Scottish island to consult with Professor Elliot (Raymond Bond) and the sinister Dr. Mears (William Schallert), while romancing Elliot's daughter, Enid (Margaret Field). One late evening Enid comes across a strange vehicle out on the moors, and gets a shock when she sees its inhabitant, a grotesque-looking alien in a helmet. The question for our cast is if this alien is friendly or not, and if his attitude toward us will be changed by the selfish motivations of Dr. Mears. Before long, people are being mind-controlled even as Planet X comes closer and closer to Earth. 

The alien appears to earthlings

The science of The Man from Planet X is about on a 1950's comic book level, so the viewer has to suspend disbelief to get into the movie, which has its eerie moments on the moors and is modestly entertaining. The acting is solid, with the normally genial William Schallert essaying a distinctly negative character and doing it very well. Roy Engel is also effective as the constable, who is up against something he never thought he'd have to face in his career. The production makes the most of its low budget. This is one of director Ulmer's [Daughter of Dr. Jekyll] better-regarded pictures, possibly because one can never be sure about how the alien feels about earthlings, and the pace of the film is reasonably swift. Clarke, Field and Schallert all appeared together in the bizarre Captive Women. 

Verdict: Has a certain minor charm. **3/4. 

FANTASTIC VOYAGE

The Proteus in a capillary

FANTASTIC VOYAGE (1966). Director: Richard Fleischer.  

After an important scientist is attacked and nearly killed by "the other side," his bodyguard, Grant (Stephen Boyd), is called in to the HQ of CMDF (Combined Miniature Deterrent Forces). There he learns to his horror that an operation on the scientist's brain must be performed from the inside. That's right -- the entire medical team, along with a queasy Grant, will be shrunk to microscopic size, inserted into a blood vessel, and sent via submarine, the Proteus, on a "fantastic voyage" to save the man's life. But is it possible the lead surgeon, Dr. Duval (Arthur Kennedy of Impulse), is a traitor? Or is it one of the others -- the pilot, Owens (William Redfield), Dr. Michaels (Donald Pleasence of Circus of Horrors), or Duval's shapely assistant, Cora (Raquel Welch)? 

Pleasence, Kennedy, Boyd, Welch

With its totally absurd premise and situations -- surely the scientist's brain could be operated on in the normal way? -- one has to suspend disbelief from start to finish when it comes to Fantastic Voyage. Once you accept that, you're in for an unparalleled thrill ride, with one startling emergency situation after another: a tear in a vessel's tissue causes a whirlpool that nearly shakes the sub apart; Grant is nearly lost in a wind-blown lung cavity; a noise in the operating theater when the Proteus must proceed through the inner ear causes anti-bodies to attack Cora; and so on. The special effects for the movie, combined with impressive and well-dressed sets, done in the days before CGI, still hold up all of these years later. The film is a visual knock-out -- especially in widescreen -- and although the pace is on the deliberate side, the suspense and tension is continuously sustained.

A tense moment on board the Proteus

On the debit side, all of the characters are one-dimensional, although in general the acting is solid. Welch never seems quite real, however, almost like a walking Barbie doll. Monitoring the sub via a tiny radioactive particle are Edmond O'Brien and Arthur O'Connell as General Carter and Colonel Reid, respectively. These two manage to get across the stress they are undergoing while the actors on the Proteus may, at times, seem a little too cool under pressure. But none of that really matters: Fantastic Voyage is a fun and eye-popping ride and one of the most original movies ever made. 

Verdict: Excellent sci-fi/fantasy -- a remake is not in order. ***1/2. 

BILL AND COO

 

BILL AND COO (1948). Director: Dean Reisner.

A monstrous winged creature swoops down to earth periodically to bring death and terror to earth's inhabitants. No, it isn't the monster bird of The Giant Claw, but rather a big black crow known as "the Black Menace." In the town of Chirpendale, a cabbie named Bill loves a pretty bird named Coo and life might be idyllic for them and their neighbors were it not for the Black Menace. In this oddball one-of-a-kind movie all of the characters are played by actual birds -- some wearing little outfits -- on a tiny set. Once the novelty wears off -- after about five minutes -- what's left is a vaguely "cute" but generally tedious time-waster that might amuse very young children -- or not. The problem is that compared to dogs, cats, and chimps, the birds in this don't have a hell of a lot of personality. It gets points for originality, certainly. But it doesn't compare favorable to such all-animal (and animatronics) movies like Babe.

Verdict: For bird lovers -- or bird-brains -- only. **.

JIGSAW

 

JIGSAW (aka GUN MOLL/1949). Director: Fletcher Markle.

Howard Malloy (Franchot Tone) investigates a secret organization that appeals to people's racism in order to sell uniforms and other materials for profit. Charles Riggs (Myron McCormick) is a crusading reporter who detests racism and is out to expose the group no matter what. Angelo aka "The Angel" Agostini (Marc Lawrence of Inside Job) is a hood who gets sexy model Barbara Whitfield (Jean Wallace) to romance Malloy. Grace Hartley (Winnifred Lenihan) is a political widow and one of Malloy's mentors. There are interesting elements to the movie, but it never quite jells, and the most notable thing about the production is seeing famous guest stars doing cameos -- Marlene Dietrich walks out of a nightclub called The Blue Angel where Henry Fonda is a waiter! Seeing these two in such a cheapie production as this is a little bit surreal. Another plus: the ending is quite unexpected. The actors are at least professional.

Verdict: Okay but no cigar. **.