STRAIT-JACKET

Joan Crawford

STRAIT-JACKET (1964). Produced and directed by William Castle. Screenplay by Robert Bloch.

Lucy Harbin (Joan Crawford) comes home unexpectedly, discovers her handsome husband Frank (Lee Majors) in bed with a local trollop, and takes the ax to both of them. Twenty years later Lucy is released from an asylum, and comes to her brother, Bill's (Leif Erickson) farm, where he lives with his wife, Emily (Rochelle Hudson), and Lucy's daughter, Carol (Diane Baker). Carol seems anxious to help her mother, dolling her up with a new dress and a visit to a wig maker, but when Lucy's Dr. Anderson (Mitchell Cox) comes a callin', he thinks Lucy might have to return to the hospital with him. Before he can do so however, Anderson is dispatched with an ax by a shadowy figure. More beheadings follow ... 

Crawford comes on to John Anthony Hayes

You can certainly pick apart Strait-Jacket in any number of ways, but it's actually one of William Castle's better and more entertaining movies. Crawford is terrific, on top of every emotion that Lucy has to display, be she humble and confused or overwrought and angry, and in general the rest of the cast follows suit: Diane Baker [The Ghost of Sierra de Cobre] as the daughter; John Michael Hayes as her suitor (his first film); Erickson and Hudson as the concerned, somewhat frightened brother and sister-in-law; Howard St. John and especially Edith Atwater (of Die Sister, Die!) as Hayes' upper-crust, disapproving parents. And let's not forget George Kennedy as Leo Krause, the blackmailing handyman who comes to a nasty end in the movie's best and most suspenseful sequence. 

Joan Crawford and Diane Baker

Robert Bloch wasn't crafting any kind of serious drama when he wrote Strait-Jacket -- it has the gimmicky, somewhat far-fetched twists that you associate with the writer -- but it's amazing how well he (and the actors) delineate the fears and concerns of those in Lucy's orbit, all of them trying to be as solid and compassionate as possible while also trying to avoid the elephant in the room: the grisly facts of Lucy's actions years ago. That dreary farm setting and the black and white cinematography (Arthur E. Arling) work well with this infinitely depressing storyline. As if acknowledging that, the film has a very funny final gag. 

Verdict: A gruesome black comedy with fascinating aspects and a fine Crawford performance. ***. 

FIEND WITHOUT A FACE

One of the fiends goes on the attack!

FIEND WITHOUT A FACE (1958), Director: Arthur Crabtree, Colorized. 

Canadian locals near an American air base with an atomic power plant blame the Army for everything from less milk from the cows to too many noisy flights overhead, but then when dead bodies start turning up everyone gets worried. Townspeople and military people alike are beset by invisible creatures that are somehow able to suck out brains and spinal cords from victims through two holes in the skull. The foolish Professor Walgate (Kynaston Reeves) has managed to materialize his thoughts in the shape of living, malevolent brains that have now strangely multiplied and are on the attack. The brains use the atomic power to become visible to Walgate, Major Cummings (Marshall Thompson of It, the Terror from Beyond Space), Barbara Griselle (Kim Parker), whose brother was the first victim, Captain Chester (Terry Kilburn) and others in the exciting climax. Will the brains take over the town?

Kim Parker and Marshall Thompson

Fiend Without a Face is a silly but fun monster flick with some decent acting and more than decent stop-motion animation of the brains, along with excellent, creepy sound effects. The brains are not only able to pull themselves along the ground by using their attached spinal cords, but can actually launch themselves into the air! The whole thing is very much like a comic book story, with absurd "science" and a great deal of illogic. Walgate tries to explain how the brains came to be in one sequence, but his explanations only cause more confusion. But in the long run it doesn't matter as Fiend is short, fast-paced, and very entertaining and amusing. Thompson manages to keep a straight face throughout and always claimed that he actually directed much of the movie. James Dyrenforth, who plays the ill-fated mayor, was also in The Giant Behemoth. Arthur Crabtree also directed the zesty Horrors of the Black Museum. 

Verdict: You can't beat those brains! 

SCORPIUS

SCORPIUS. John Gardner. Putnam's; 1988.

Absolutely one of Gardner's best 007 efforts, and one of the most entertaining and chilling Bond novels ever written. Bond takes on a malevolent cult leader named Father Valentine, who turns out to be none other than loathsome arms dealer Vladimir Scorpius, who has switched from selling mechanical weapons to marketing the services of his brainwashed cult members, The Society of the Meek Ones, as human bombs. A campaign of terror reigns in England as these human bombs blow themselves up at public gatherings, taking many public officials and innocent spectators and police officers with them. Father Valentine has also issued a smart card, a credit card, Avante Carte, to his members, and it also has menacing possibilities. Bond joins forces with Harriett Horner, an American IRS agent, and a military man named Pearlman whose daughter is a member of the cult. But Bond isn't certain that either can be trusted, as someone seems to know his every move... It all winds up on Hilton Head Island, off South Carolina, where Valentine/Scorpius has his headquarters, and Bond tries a thrilling escape through a nest of hundreds of scorpions, and a run across a beach occupied by dozens of deadly snakes whose one bite means near-instantaneous death. The thrilling climax has Bond desperately trying to prevent a final attack on both the Prime Minister and the President.

Scorpius is prime Bond. It pulls the reader along from the first paragraph and never lets go. The supporting cast is more interesting and dimensional than usual, and more than one of the characters comes to a moving fate. The novel also taps into contemporary fears of cults and terrorists and human bombs, who have become all too common in the real world. As an in-joke, Gardner has Bond watch The Untouchables on an airplane in which “a favorite actor of his” played a Chicago cop. (The role was essayed, of course, by Sean Connery.) Possibly expressing his own feelings about the death penalty Gardner has Bond, improbably, make the comment that “I don't believe this eye-for-an-eye business... I've been in the game too long, and there's something particularly vile about snuffing out life if there's another way.” Not so improbably, Bond forgets all of this stuff and deliberately engineers the death of the truly miserable villain at the end. (Bond would try not to take a life if he could help it – he was certainly never as casual about death as the movie 007 is -- but he would take pleasure in snuffing out certain despicable and merciless parties if it came to it.)

Verdict: Despite some suspect or illogical moments, Scorpius is the real deal.***1/2.

SURF PARTY

Bobby Vinton and Patricia Morrow

SURF PARTY (1964). Director: Maury Dexter. 

Terry (Patricia Morrow) and her friends Sylvia (Lory Patrick) and Junior (Jackie DeShannon) drive out to California and the surf district in their camper and encounter the friendly shop owner, Len (Bobby Vinton), who teaches them about surfing. Terry's brother Skeets (Jerry Summers) lives in a ritzy beach house that is actually owned by his paramour Pauline (Martha Stewart). While Terry is getting closer to Len and Junior is cuddling up to the nerdy Milo (Ken Miller) -- who is injured surfing near pilings -- Sylvia is falling for Skeets, not knowing that he is kept by a cougar. Sgt. Neal (Richard Crane) casts a suspicious eye on all of them. 

Jerry Summers and Lory Patrick

DeShannon and Vinton were both very popular pop singers of the sixties and later. Vinton doesn't just sing a song or two in this, he is the full-fledged male lead, and I have to say I think I like his very credible acting a bit more than his singing. One wishes he had had a bigger acting career although he did appear in a couple of westerns, as well as TV shows, sometimes playing himself. (His son played Vinton in Goodfellas.) Jerry Summers is also notable as the aging gigolo; Summers started out as a stunt double then became an actor with a long list of credits. Starting out as a child actress, Morrow eventually appeared on more than one Peyton Place TV series. Martha Stewart had appeared in a few well-known movies but had only one more television credit after this movie. Jimmie Haskell's surprisingly somber score (for the dramatic scenes) is good and there are some bouncy song numbers: "Never Comin' Back;" "Pearly Shells;" and "If I Were an Artist." Maury Dexter also directed The Young Swingers. Released by 20th-Century Fox. 

Verdict: Not as bad as I expected although there are a couple of dull stretches. **1/2. 

CORKY OF GASOLINE ALLEY

Scotty Beckett and Jimmy Lydon

CORKY OF GASOLINE ALLEY (1951). Written and directed by Edward Bernds. Based on the comic strip Gasoline Alley by Frank King.

In this sequel to Gasoline Alley, the Wallet family, headed by Walt ((Don Beddoe of Jack the Giant Killer), deal with a number of problems. Corky (Scotty Beckett) is still running a diner with his wife Hope (Susan Morrow of Cat-Women of the Moon), and his brother Skeezix (Jimmy Lydon) has a repair and automotive shop. Skeezix' partner has gone into the service so that the fellow is short-handed and not certain how to sell or repair the many TV sets in the place. Then there's the freeloading cousin Elwood (Gordon Jones), who simply moves in with the Wallets, taking advantage of their generosity. When he allegedly hurts his back and is bedridden, the Wallet's daughter Judy (Patti Brady)  tries to trick him into revealing that he's faking; her scheme is clever. Better than the first film, Corky of Gasoline Alley is amiable and has a fair amount of laughs. 

Verdict: Basically a theatrical sitcom but with some rewards for fans of the comic strip. **3/4. 

SUDDEN FEAR

Joan Crawford

SUDDEN FEAR (1952). Director: David Miller. Colorized. 

Wealthy playwright Myra Hudson (Joan Crawford) turns down the actor Lester Blaine (Jack Palance) for a role in her new stage work because he lacks "romantic" looks. Nevertheless, Blaine seems more than romantic enough when she encounters him on a train to California and he wins her over. It isn't long before the two are dating, and then married, living in her fabulous San Francisco mansion. But one day Myra hears something that was inadvertently recorded on her dictaphone, and realizes with a sickening shock that Lester may not be as enamored of her as she thought. Her money, however, is a different matter. The feisty Myra makes up her mind to fight back ... 

Jack Palance and Gloria Grahame

Sudden Fear not only features an exemplary Crawford performance -- she received an Oscar nomination -- but is an excellent, suspenseful thriller that has tense moments that remind one of Hitchcock. The film's climax, set all over the rolling streets of the city (but actually filmed in Los Angeles unlike the rest of the movie), is outstanding. Crawford isn't the only cast member operating at top level: Jack Palance  -- nominated for a supporting Oscar -- and Gloria Grahame as his lover are also on target all the way through, and there's fine work from Mike Connors [Voodoo Woman] in his first role, billed as "Touch" Connors; Virginia Huston [Flight to Mars]; and Bruce Bennett. It's fun seeing Crawford exchanging small talk with Arthur Space of Panther Girl of the Kongo in a party scene. Fine David Miller direction, a good score from Elmer Bernstein, crisp Charles Lang cinematography, and very sharp editing by Leon Barsha. This version is also beautifully colorized, which only adds to its appeal. NOTE: To read further analysis of the film and go behind the scenes read Joan Crawford: The Essential Biography by Quirk and Schoell. 

Verdict: One could quibble about certain illogical plot points, but basically this is all systems go! ***1/2.

OUTLAW WOMEN

Richard Avonde and Marie Windsor

OUTLAW WOMEN (1952). Directors: Sam Newfield; Ron Ormond. In Cinecolor.

"Six-gun sirens that shoot to thrill!"

Dr. Bob (Allan Nixon) is shanghaied to the town of Las Mujeres, which is run by women, particularly the tough and feisty "Iron" Mae McLeod (Marie Windsor), owner of the Paradise saloon and casino. The bartender has succumbed to pneumonia before he can arrive, but Bob sticks around on account of pretty Beth Larabee (Carla Balenda), although her prettier sister Ellen (Jacqueline Fontaine) also makes a play for him. Others in Las Mujeres include crook Frank Slater (Richard Avonde) and the mysterious Woody (Richard Rober), who is almost always in the company of Peyote Bill (Jackie Coogan). Mae finds herself beset on all sides by men who want to "deal" with her: Woody wants to take over the Paradise and make her a mere employee and Frank wants to rob the bank -- where most of Mae's money is. But she may have a plan to outwit them all ...

"cat-fight!"

Outlaw Women is a fun, morally-ambiguous western with some colorful action -- including a nifty "cat fight" -- and performances. Despite the fact that she isn't exactly on the side of the angels, you may find yourself rooting for Mae, who had to take over because the chauvinistic men in her life wouldn't exactly play fair. Windsor is as snappy as ever, and the other women, especially Fontaine (introduced in this picture although she'd appeared previously in The Daltons' Women and others) are fine. Most of the male actors were generally limited to "B"s or TV shows, no harm in that. Lyle Talbot, Billy House [Naked Gun], and Tom Tyler are also in the cast and the Four Dandies sing a peppy version of "San Francisco Bay." From Lippert Pictures. 

Verdict: Scrappy Windsor is always fun to watch. ***.

THREE FOR JAMIE DAWN

Thankless role: Marilyn Simms

THREE FOR JAMIE DAWN (1956). Director: Thomas Carr.

In New York City socialite Jamie Dawn (Marilyn Simms) loses her temper -- to put it mildly -- and puts about as many bullets into her man as Bette Davis did in The Letter. Before long Jamie is being represented by defense lawyer Martin Random (Richard Carlson of The Magnetic Monster), who decides the only thing he can do to get dear Jamie off is to bribe as many witnesses as he can. He and his associate Murph (Regis Toomey) zero in one three especially vulnerable individuals: George Lorenz (Ricardo Montalban of Mystery Street), who has a wife, Sue (Laraine Day) and children as well as severe financial troubles; Lorrie Delacourt (June Havoc), an out-of-work actress who is desperate for a new part in a hit play; and Anton Karek (Eduard Franz of Sins of Jezebel), a Czech with a wife, Julia (Maria Palmer), and a young son who is still behind the iron curtain. Which if any of these needy people will succumb to Murph's entreaties and bribery? And will they be worse or better off it they do?

June Havoc and Tristram Coffin

One can only imagine what actress Marilyn Simms might have thought when she was told she had the title role in Three for Jamie Dawn, but then read the script and saw she had not a single line of dialogue. No wonder the poor woman only had two credits despite her distinctive appearance. As for the other actors, Carlson is effective if a little too obvious as the sleazy lawyer, but the other performances cannot be faulted. June Havoc scores as the flamboyant and desperate actress -- Tristram Coffin who essays a playwright, is also notable  -- Montalban proves again that he was more than a Latin Lover boy; Day is lovely as his wife; and Franz and Palmer are perfect as the couple who are dying to see their little boy again. Regis Toomey gives one of his best performances as the equally sleazy Murph, all surface charm and heartless bravado. Dorothy Adams has a good turn as an associate of the defendant. The picture is absorbing and suspenseful, it not quite top-notch. Nice theme music by Walter Scharf. Thomas Carr also directed The Daltons' Women.

Verdict: Good story line, interesting characters, and some fine performances in this. **3/4. 

PROJECT MOON BASE

Ross Ford and Donna Martell

PROJECT MOON BASE (1953). Director: Richard Talmadge.

A foreign agent named Roundtree (Herb Jacobs) engineers the substitution of a prominent scientist, Dr Wernher (Larry Johns), for a duplicate whose mission is to destroy the U.S. space station. (From there the Americans hope to eventually build a base on the moon.) During the switch, Roundtree pretends to be a bellboy! Colonel Briteis (Donna Martell) is to pilot a ship to the moon but there is a slight contretemps when she learns her co-pilot is to be her former boyfriend, the handsome Major Moore (Ross Ford of Reform School Girl). "Wernher" comes along with the bickering couple -- who are secretly in love, of course -- but gives the game away when he doesn't know the name of the Brooklyn Dodgers baseball team -- he must be a spy! 

the space station

Very little happens even after this revelation, as the phony scientist is easily subdued and not very threatening in any case. There's a lot of talk and minimal, if decent, special effects work. Project Moon Base was the pilot for a television program that was released to theaters instead, where people had to pay to see something that wouldn't have been worth watching for free. Hayden Rorke, who plays the project head, later wound up on I Dream of Jeannie, and indeed he plays General Greene as if he were in a sitcom. Barbara Morrison also plays reporter Polly Prattles (!) as if this were a sitcom. James Craven of innumerable cliffhanger serials has a small role. The only really interesting thing about the movie, which was co-scripted (and disavowed) by Robert Heinlein, is that both the chief moon pilot and American president are women. 

Verdict: Pretty bad. *1/2. 

MASK OF THE DRAGON

Sheila Ryan and Richard Travis

MASK OF THE DRAGON (1951). Director: Sam Newfield.

In Korea Lt. Dan Oliver (Richard Emory) is asked to take a package containing a Jade dragon back to the United States. He has barely arrived when he is murdered and his luggage searched. Oliver's partner, Phil Ramsey (Richard Travis), investigates his murder along with Ramsey's gal pal, Ginny (Sheila Ryan). Ginny isn't thrilled when Phil shows an interest in blonde singer Terry Newell (Dee Tatum), who appears on an L.A. TV show and was in love with Oliver. While Phil kibbitzes with Lt. McLaughlin (Lyle Talbot), sinister art dealer Kim Ho (Jack Reitzen) and his associates Murphy (Sid Melton), Kingpin (Karl Davis) and Simo (Charles Iwamoto, billed as Mr. Moto) try to find the Jade dragon and beat up or dispose of anyone who gets in their way. Major Clinton (Michael Whelan) is convinced that Oliver was up to some funny business, a notion that infuriates Phil.

Curt Barrett and the Trailsmen

Mask of the Dragon was undoubtedly made back to back with Travis' earlier film Fingerprints Don't Lie, as it has the same director, writer, stars and virtually the same cast in both pictures. It is an even worse movie, however. At one point the action stops dead so that we can be treated to the song stylings of Curt Barrett and the Trailsmen, who aren't terrible but do little to add to the intrigue. Mask of the Dragon seems cobbled together from outtakes, with a script hastily scribbled on toilet paper to make use of the footage and the cowboy singers used to pad out the running time. Like other mystery films Travis starred or co-starred in, Dragon was cut down to half an hour and shown on television as part of a mystery series. Dudley Chambers' organ score is another minus. The actors do the best they can. 

Verdict: Even singing cowboys can't save this. *1/2.  

CAT-WOMEN OF THE MOON

Susan Morrow, Suzanne Alexander, Carol Brewster

CAT-WOMEN OF THE MOON (1953). Director: Arthur Hilton. Colorized. 

A rocket ship heads for the first ever moon landing. Aboard are the commander, Laird (Sonny Tufts of Serpent Island), second-in-command Kip (Victor Jory of The Shadow), radio operator Doug (William Phipps), Walter (Douglas Fowley of Freddie Steps Out) and biologist Helen (Marie Windsor). Helen seems to not only know that they should land on the dark side of the moon, but exactly where they should go once they disembark. Helen leads the men to an air-filled cavern complete with giant spiders and a bevy of beautiful, black-clad "cat-women." These women are not only able to maintain mind control over Helen, but plan to murder the men and take over the Earth! 

Victor Jory and Marie Windsor

Originally released in 3D, Cat-Women is a middle of the road "babes in space" movie, better than Queen of Outer Space but not nearly as much fun as Missile to the Moon (which is basically a remake). The colorization process is done well in this version, and increases the limited enjoyment level. Some parts of the screenplay were never filmed, and the climax almost occurs off-screen! A decided asset is the score by Elmer Bernstein, who would go on to far superior pictures. The acting in this is possibly better than the movie deserves, with everyone giving it their all no matter how ridiculous the situations. Carol Brewster plays Alpha, the leader of the cat-women; Suzanne Alexander is Beta; and Susan Morrow plays the sympathetic Lambda, who falls in love with handsome Doug and vice versa. Arthur Hilton also directed The Big Chase.

Verdict: Dig that giant spider! **1/2. 

UNMASKED

Raymond Burr may need Perry Mason 

UNMASKED (1950). Director: George Blair. 

Roger Lewis (Raymond Burr of Abandoned) is a ruthless man who publishes a rag exposing the peccadilloes of prominent citizens. His main backer is actress Doris King (Hillary Brooke of Confidence Girl), a barracuda who wants to divorce her husband -- down on his luck producer Harry Jackson (Paul Harvey) -- and marry Roger, although he's much more interested in his secretary, Mona (Grace Albertson). Early in the film Roger gets rid of the annoyingly insistent Doris and manages to pin the murder on her estranged husband. As detective Jim Webster (Robert Rockwell) tracks down Jackson, his devoted daughter, Linda (Barbra Fuller), tries to get him to turn himself in. Meanwhile both Jim and Linda are determined to prove that the reptilian Roger Lewis is actually behind the murder, but Lewis may be too clever for them ... 

Barbra Fuller

Unmasked is a minor suspense film that is bolstered by a terrific lead performance by Raymond Burr, who seemed to specialize in bad guys (a la Rear Window) before landing the plum assignment of Perry Mason. Rockwell, most famous as the principal on Our Miss Brooks, is pleasant but unexciting as the detective, Brooke is snappy in her customary fashion, Harvey is suitably desperate, and Fuller offers a good, intense performance as Linda. Norman Budd also makes an impression as "Biggie," a character who unwittingly and unwisely pits Lewis against his main enemy, the mobster Johnny Rocco (John Eldredge, who is also excellent). Barbra Fuller figured that taking an "a" out of her first name would be more distinctive, and she did it years before Barbra Streisand did the same thing. George Blair also directed Insurance Investigator with Eldredge and Brooke.

Verdict: Despite several good performances, this doesn't really make the grade. **. 

G. I. HONEYMOON

Peter Cookson and Gale Storm

G. I. HONEYMOON (1945). Director: Phil Karlstein (Phil Karlson). 

Ann (Gale Storm of Gambling Daughters) and Lt. Bob Gordon (Peter Cookson) get married but things keep conspiring to keep them apart. They wind up renting an apartment in a place that was once a gambling casino -- leading to further complications -- and Ann incurs the wrath of the owner, Ace Renaldo (Jerome Cowan), when she manages to get a train compartment away from him via a little flirting and subterfuge. Renaldo makes certain the Military Police are informed that the place is off limits when Bob has a whole bunch of superior officers over for a cocktail party. Alleged pandemonium results. 

Gale Storm and Frank Jenks

The main strength of G.I. Honeymoon is the acting from the entire cast. Even in these early days Storm was an old pro, and Cookson displays his usual charm and adeptness. Cowan gives another excellent performance, and Frank Jenks (of The She Creature) scores a bullseye as Cowan's associate, "Blubber" Malloy. Arline Judge, Virginia Brissac (of The Mysterious Mr. M), and Jonathan Hale are also on hand and are also good, along with an uncredited actor who plays the love-smitten "Casanova." Although there are a few laughs in the film, there just aren't enough of them, with the picture coming off more as busy and frenetic than hilarious. From Monogram studios, of course.

Verdict: Just misses being a really funny movie. **1/4. 

OTTO BINDER: THE LIFE AND WORK OF A COMIC BOOK AND SCIENCE FICTION VISIONARY

 

OTTO BINDER: THE LIFE AND WORK OF A COMIC BOOK AND SCIENCE FICTION VISIONARY. Bill Schelly. North Atlantic Books; 2016. 

Otto Binder was a science fact, science fiction, and comic book writer -- one of the most prolific in the business -- who began by writing for the pulp magazines and then turned to comics when they paid more money. He wrote more stories about Captain Marvel and his friends and enemies than anyone else, and at DC Comics was instrumental in adding characters and interesting developments to the Superman mythos. Later on he wrote science articles, as well as books on investigations into UFOs. Binder's personal life was often beset with both financial and private problems, and he suffered one terrible family tragedy that nearly derailed him. This is a respectful, absorbing, well-written and researched biography that gives Binder his due while also giving an honest assessment of his work, both good and bad. This is far more than a "fan-boy's" tribute, but a fully-realized biographical and career study of an important figure in both science fiction and comic book circles. 

Verdict: Excellent Binder biography. ***1/2. 

FINGERPRINTS DON'T LIE

Richard Travis and Sheila Ryan

FINGERPRINTS DON'T LIE (1951). Director: Sam Newfield. 

At the murder trial of artist Paul Moody (Richard Emory), fingerprint expert James Stover (Richard Travis of Missile to the Moon) must give damning testimony. The theory of the prosecuting attorney (Tom Neal of Jungle Girl) is that Moody, angered because Mayor Palmer (Ferris Taylor) turned down his mural proposal because he objected to Moody's dating his daughter, Carolyn (Sheila Ryan of Railroaded), bashed Palmer on the head with a telephone, killing him. James points out Moody's fingerprints on the murder weapon, and it all seems cut and dried. But Carolyn insists that her boyfriend is innocent, and that there must be some other explanation for the fingerprints. Knowing that a man's life is at stake, James investigates with Carolyn's assistance. 

Defendant: Richard Emory

The premise of this film is that fingerprints can be duplicated -- in other words, faked -- which can be done, although it's rare. Suspects for this devious activity include Police Commissioner Frank Kelso (Michael Whalen), gangster King Sullivan (George Eldredge), gun moll Connie Duval (Dee Tatum), even Lt. Grayson (Lyle Talbot). Also in the cast are Margia Dean and Syra Marty as artist's models. Travis is okay in the lead and the supporting performances, especially Eldredge, are more than adequate, but the movie is minor-league. Sid Melton is genuinely amusing, for a change, as the hapless photographer, Hypo Dorton. An in-joke has him checking out a wanted poster that has his real name on it.  Dudley Chambers' lousy score consists of terrible chorale writing and organ music. 

Verdict: Despite some intriguing elements this is mostly a time-waster. **1/4. 

SERPENT ISLAND

Mary Munday and Sonny Tufts

SERPENT ISLAND (1954). Written and directed by Tom Gries. Produced,  photographed, and edited by Bert I. Gordon. 

Pete Mason (Sonny Tufts) is a laid-back sailor who knows a lot about Haiti, and is importuned to sign on as a crew member for the dyspeptic Kirk Ellis (Tom Monroe). He is doing this at the request of Ricki Andre (Mary Munday), who insists that there is a treasure in Haiti that belongs to her family  -- all somebody has to do is find it. The three set sail and have a number of arguments, even as different people keep trying to steal a letter that has clues to the treasure's location. Pete suggests that the treasure is not on Haiti, but on a nearby island, where he re-encounters a woman named Ann Christoff (Rosalind Hayes) and her sinister, machete-wielding companion Jacques (Don Blackman). But then there's also a malevolent boa constrictor to deal with.

Ricki "struggles" with a boa constrictor

Be forewarned that the above synopsis makes Serpent Island sound more interesting than it actually is. In fact for most of its length it's an indifferently photographed (by Bert I. Gordon) travelogue with scenes of supposed Haitian ceremonies that seem to go on forever. The sequence when Ricki wrestles with a large boa is unintentionally hysterical. The acting is actually okay, with a feisty Munday going on to have many more credits. Don Blackman has a striking presence and also had several future credits. Tufts, who became better-known for his off-screen drunken shenanigans than for his acting, is perfectly convincing as the laconic Pete. Bert I. Gordon switched from photography to directing and helmed quite a few movies that are much more entertaining than this. Munday and director Gries were married after filming. 

Verdict: A real stink bomb. *.

THE BIG CHASE

THE BIG CHASE (1954). Director: Arthur Hilton. 

Peter Grayson (Glenn Langan of The Amazing Colossal Man) is a new police officer and his wife, Doris (Adele Jergens of Blonde Dynamite) is expecting their first baby and fears complications to her pregnancy. Pete's buddy, Lt. Ned Taggert (Douglas Kennedy of Rockabilly Baby), hopes that his pal will try to become a detective but he has other plans. Meanwhile Brad Bellows (Jim Davis) is planning a payroll robbery before he even gets out of prison. When the day comes for the attack on an armored car, Bellows is accompanied by his wife (uncredited), Kip (Lon Chaney Jr.), and others. Just as Doris goes on the operating table, Pete and his partner are off in pursuit of Bellows and his confederates. This results in a chase sequence that is certainly not as exciting as the film's poster would indicate (someone jumps out of a copter at one point, but no one falls to their death). 

The Big Chase looks cobbled together from TV outtakes, and the two storylines -- Peter and his wife, and the robbery -- never quite jell. The acting is fine, however, and the pace is swift enough so that the running time -- less than an hour! -- doesn't seem padded. Lon Chaney hasn't a line of dialogue and his scenes -- along with half of this movie -- were lifted from an earlier film, a color 3D short entitled Bandit Island. Joe Flynn, the exasperated commander from McHale's Navy, plays a reporter to whom Kennedy tells the story. Langan and Jergens were married for many years in real life. 

Verdict: Not much to recommend in this soggy suspenser. *1/2. 

STRANGE CONQUEST

Peter Cookson

STRANGE CONQUEST (1946). Director: John Rawlins.

Dr. Mary Palmer (Jane Wyatt) is quite put out when told that she can't join  Dr. Harris (Lowell Gilmore) at a research post in Sumatra because she's a woman. She's even more annoyed when she learns that her replacement is Dr. Bill Sommers (Peter Cookson of Fear), whose family is backing the foundation. When Bill arrives in Sumatra he is not warmly welcomed by Dr. Harris or his associate Bert (Milburn Stone of Swing It Professor), because they were expecting a more experienced doctor. Harris and Sommers both try to concoct a vaccine (or "serum") for something called "Black Grass Fever," which has already killed the man Sommers is replacing. Half an hour later in the running time Mary does get to meet Dr. Harris, although by this time he's impersonating Dr. Sommers. And then  Sommer's wife (Julie Bishop of Lady Gangster) shows up ...

Peter Cookson with Lowell Gilmore

I have withheld some of the plot details because the movie is unpredictable unless you've seen the previous version, which is called The Crime of Dr. Hallet. I think this film is meant to be ennobling and touching but it simply isn't convincing enough to do so. For that the actors cannot be faulted because everyone is perfectly on target, especially Cookson in one of his best portrayals. Cookson played Morris Townsend on Broadway in "The Heiress," but when the film was made the better-known Montgomery Clift got the part. Cookson would also have been marvelous and might have had an entirely different career had he been in the film version. Instead he mostly did cheap pictures for Monogram, and on occasion, bigger studios like Universal, which released Strange Conquest. 

Gilmore with Jane Wyatt

Lowell Gilmore was also an attractive and talented leading man type, but after a few movies, including The Picture of Dorian Gray, most of his credits were for television series. Jane Wyatt became more famous for Father Knows Best than anything else, but she did quite a few films earlier in her career. The synopsis on IMDB.com makes this sound like a film about a romantic triangle, but that is not the case. Wyatt is the only actor in this who is billed above the title. 

Verdict: Half-baked melodrama has a very adept cast. **1/2. 

UNDEREXPOSED: THE 50 GREATEST MOVIES NEVER MADE

UNDEREXPOSED: THE 50 GREATEST MOVIES NEVER MADE. Joshua Hull. Abrams: New York; 2020. 

Underexposed looks at various movie projects that may have showed great promise but for one reason or another never actually made it into production. As these movies don't actually exist, it's only natural that Hull has to pad out the book with sections detailing the backgrounds and former movies (that were actually produced) of the participants, as there isn't that much to say about movies that never came to be. However, Hull does look at the maddening processes that go into a film not getting made, explaining why some pictures never get out of the developmental hell they are in, sometimes for decades. Non-films covered include such unappetizing items as Plastic Man, The Diary of Jack the Ripper, Batman vs. Godzilla, and others. Hull only mentions two classic directors , Alfred Hitchcock and Henri-Georges Clouzot. With the exception of unrealized films by these two directors, I can't say these never-to-be-seen movies will be missed.

Verdict: While the book is not as much fun as you might have hoped for, it is a good, well-researched read. ***. 

A WHITE DRESS FOR MARIALE

Ida Galli and Ivan Rassimov

A WHITE DRESS FOR MARIALE (aka Un bianco vestito per Mariale/1972). Director: Romano Scavolini.

Paolo (Luigi Pistilli), who lives in a cluttered castle on an isolated estate, is married to the emotionally-disturbed Mariale (Ida Galli). Unbeknownst to her husband, she has invited several of their friends to their home. These include Massimo (Ivan Rassimov of The Strange Vice of Mrs. Wardj), Mercedes (Pilar Velazquez), Sebastiano (Ezio Marano), Jo (Giancarlo Bonuglia), Semy (Shawn Robinson), and her rather racist boyfriend Gustavo (Edilio Kim). As the evening proceeds the guests indulge in fun and games, dressing up in costumes they find in the basement. After an hour -- yes an hour -- of what mostly amounts to sheer tedium, at last there is a murder (and the almost obligatory lesbian love scene), after which virtually the entire cast is violently dispatched. Is the killer Mariale or Paolo? Who do you think? (The sinister butler, Osvaldo, played by Gengher Gatti, is one of the first to go.)

Luigi Pistilli

I would not be surprised if the ugly estate featured in this movie came first, with a script being hastily built around the location. Poor Luigi Pistilli [Your Vice is a Locked Room and Only I Have the Key], who was a serious theater actor in addition to being in several of these giallo films, has little choice but to wander around the castle in a state of bored ennui, just waiting for the damn thing to be over -- like the audience. One sequence shows an apparent wind storm that somehow manages to occur in the basement, but even this doesn't stay very interesting for long. There is absolutely no elan to the many murder sequences, and the whole thing has a disjointed, cheapjack ambiance to it. 

Verdict: Simply terrible giallo. *.