ANGEL FACE

Robert Mitchum with Jean Simmons

ANGEL FACE (1952). Produced and directed by Otto Preminger. Colorized.  

Frank Jessup (Robert Mitchum) is an ambulance driver who encounters Diane Tremayne (Jean Simmons) when her stepmother, Catherine (Barbara O'Neil), nearly dies due to an "accident" in her home. Although he has his misgivings, as well as a steady date in Mary (Mona Freeman of Shadow of Fear), he is drawn to Diane and eventually becomes her family's chauffeur. Although Frank warned himself not to get involved with the dangerous Diane, he winds up on trial for murder -- along with Diane -- when a terrible accident results in two deaths. The defense attorney (Leon Ames) cooks up a scheme that might free them -- or might not. 

Leon Ames with Simmons

Angel Face is a film that I really enjoy every time I see it, and I find it far more compelling and entertaining than Laura, the film arguably most associated with Preminger. Simmons underplays beautifully throughout the movie, so that you're never quite certain what she's up to, and Mitchum offers his typical rough-hewn portrayal and is equally effective. O'Neil and Herbert Marshall (of Midnight Lace) as her husband and Diane's father are also excellent, and Leon Ames nearly walks off with the show in his incisive turn as the lawyer. Jim Backus as the prosecutor and Kenneth Tobey [It Came from Beneath the Sea] as another ambulance driver are also in good form, along with Freeman as the cast-off girlfriend who can't quite imagine a life with Mitchum at her side. 

Simmons with Robert Mitchum

While it is interesting to muse what Angel Face might have been like had it been directed by the great Alfred Hitchcock, Preminger does a nice job with the picture and keeps things moving (although others have found it slow). Are there improbable moments -- most likely, as is the case in most of these thrillers today and back then, but nothing out of the ordinary. Many have argued that Mitchum's actions at the very end seem rather stupid, but nobody ever said that Frank Jessup was a genius. In any case, Angel Face has a nice score by Dimitri Tiomkin and is well photographed by Harry Stradling, Sr. Apparently Ben Hecht contributed to the screenplay by Nugent and Millard. 

Verdict: Something about this picture ... and it's not just the smash of an ending! ***1/2. 

RADAR MEN FROM THE MOON

Commando Cody takes to the air!

RADAR MEN FROM THE MOON (12-chapter Republic serial/1952). Director: Fred C. Brannon. Colorized. 

With their air running out and facing extinction, aliens on the moon, led by Retik (Roy Barcroft), decide to wipe out earth and take it over. To do this they send one man -- that's right, one man -- Krog (Peter Brocco) to our planet, where he enlists the aid of criminals such as Graber (Clayton Moore of The Lone Ranger), to commit acts of sabotage (which in retrospect are kind of pointless without an army to back it up -- however the Radar Men do have a deadly ray weapon).

Bakewell, Wallace, Towne

Up against the moon menace are Commando Cody (George Wallace) who flies through the air with his jet pack, and his associates Ted (William Bakewell) and plucky, brave Joan (Aline Towne), as well as an associate they report to, Henderson (Don Walters). For twelve chapters our intrepid trio try to get material and weapons from the Radar Men (flying to the moon in their own ship on two occasions), while Graber and his buddies try to wipe them out and destroy their rocket. The good guys face explosives, poison gas, ray guns demolishing their planes, automobiles going over cliffs, a flow of molten rock in a moon cavern, and so on in some exciting cliffhangers. While Radar Men from the Moon may not be an outstanding serial, it is nevertheless fast-paced, silly fun with a more than competent cast. Clayton Moore would eventually graduate from villain roles to serial hero. Footage from previous Republic serials, especially King of the Rocket Men,  is sprinkled liberally throughout this cliffhanger.  

Verdict: Whatever its flaws, this is a fun serial. ***. 

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. ***.

BOMBAY WATERFRONT

Dainton, Bentley and Arthur Hill

BOMBAY WATERFRONT (aka Paul Temple Returns/1952.) Director: Maclean Rogers. 

Scotland Yard man turned mystery writer Paul Temple (John Bentley of Calling Paul Temple) and his wife, Steve (Patricia Dainton of The Third Alibi), get embroiled in the case of a mysterious figure known only as the Marquis, who has committed multiple murders for unknown reasons. Steve comes to suspect Inspector Ross (Ronald Leigh-Hunt) to the incredulity of his boss, while Paul is highly suspicious of the strange Sir Felix Raybourne (Christopher Lee of Alias John Preston) whose beautiful home is full of incense and other weird accoutrements. Others involved in the case include Storey (Grey Blake), whose fiancee was one of the victims, and Slater (Robert Urquhart), an actor who once appeared in one of Temple's plays and is now in the employ of the villain. 

Patricia Dainton with Christopher Lee

Bombay Waterfront is smooth and entertaining, with Bentley as good as usual as Temple -- his third and last time playing the character -- but Chris Lee, as expected, offers the most flavorful performance as Felix Raybourne. Grey Blake is also notable as the distraught Storey. Dan Jackson plays Sakki, the brother of the Temples' original Indian manservant. Arthur Hill has a very small role as a friend of the Temples. While the musical score is too often inappropriate, the picture does manage to build up suspense, and there are a few exciting scenes, although many will not be much surprised when the Marquis' identity is finally exposed.  

Verdict: Satisfying if unspectacular Paul Temple adventure. **3/4. 

HAMMER THE TOFF

Patricia Dainton and John Bentley

HAMMER THE TOFF (1952). Director: Maclean Rogers. 

Susan Lancaster (Patricia Dainton of The House in Marsh Road) is the niece of a professor (Ian Fleming, not the creator of James Bond), who has developed a secret formula for a certain process useful in defense. When he is murdered via a hypodermic needle in a briefcase, Richard Rollison (John Bentley of The Flaw), aka The Toff, takes it upon himself to protect Susan from a nefarious character called the Hammer. Up to now the Hammer has been seen as a kind of Robin Hood, helping the poor people of the East End of London, but now he and his gang are resorting to murder. Or is there another person calling himself the Hammer? With the help of Inspector Grice (Valentine Dyall), Sergeant Barrow (Ben Williams) and Rollison's major domo Jolly (Roddy Hughes), the Toff tries to find out the truth. Then Susan is kidnapped ... 

John Robinson with Bentley 

Hammer the Toff is the second of two films starring Bentley as the John Creasy creation the Toff -- the first was Salute the Toff -- and it is much better than the first, with a more complicated storyline and a lot of action. Bentley is perfection as the Toff. The entire cast plays this kind of light yet dramatic material with panache. John Robinson gives a smooth performance as a suspect and never quite gives away his guilt or innocence. Wally Patch is the crusty but likable bar owner who briefly turns against the Toff when he thinks he's betrayed an associate to the police. 

Verdict: Well turned out British suspense film. ***. 

WHISPERING SMITH VS. SCOTLAND YARD

WHISPERING SMITH VS. SCOTLAND YARD (aka Whispering Smith Hits London/1952). Director: Francis Searle. 

Famous American detective Steve "Whispering" Smith (Richard Carlson) comes to England for a Welsch vacation but is immediately importuned to solve a murder in London. A young woman named Sylvia has been found drowned, an apparent suicide, but her father is convinced it was murder. His secretary, Ann Carter (Rona Anderson of The Flaw), begs Smith to take the case but at first he seems more interested in romancing her. Smith goes about interviewing several people who knew Sylvia: her lawyer, Hector Reith (Alan Wheatley); her fiance, a puppeteer named Roger Ford (Herbert Lom of Mysterious Island); and one of her best friends, Louise Balfour (Greta Gynt). When someone tries to run over Smith and Ann it's clear that somebody is violently opposed to his investigation. 

Richard Carlson and Greta Gynt

Whispering Smith, a character first introduced in a novel and then in movies, was actually a 19th century railroad detective known for being rather quiet, hence "whispering." Alan Ladd played the part in a 1942 western. In this one-shot movie starring Richard Carlson the character has been updated to the 20th century, but he doesn't seem very quiet, but rather brash in the way of most American private eyes. Carlson gives a very good performance, Rona  Anderson is cute and charming, Greta Gynt radiates a certain sensuality and menace, and Wheatley and Lom make convincing antagonists; Lom is especially effective, as usual. Reginald Beckwith [Doctor in Love] is cast as a man who was a victim of vicious blackmail. Usually a comic figure, he gives a good, if brief, dramatic performance in this. An interesting element has to do with a sinister nursing home called Star Opaque, which is actually a mayhem-for-hire outfit run by the creepy Dr. Taren (Daniel Wherry). An early production from Hammer studios, this is better than their usual mysteries, well-acted, with an interesting plot (even if the ending is not that big a surprise) and characters and a swift pace. Nice score by Fred Spencer.

Verdict: Some more Whispering Smith films with Carlson would have been welcome. ***. 

CONFIDENCE GIRL

Hillary Brooke

CONFIDENCE GIRL (1952). Written and directed by Andrew L. Stone. 

Roger Kingsley (Tom Conway) is a supposed insurance investigator who is working with the police to bring down confidence woman Mary Webb (Hillary Brooke). In reality Mary is Kingsley's girlfriend and his helpmate in various crooked shenanigans. Kingsley has gone so far as to circulate a phony picture of Mary and to pass off the fingerprints of an unidentified dead woman as Mary's. Kingsley's latest scheme involves setting Mary up as a genuine psychic in the hopes that it will lead to lots of cash. But will the cops be fooled so easily? 

Tom Conway and Hillary Brooke

The cheaply-made Confidence Girl is more entertaining than it might seem at first, though one has to take it with a large grain of salt. Some of the tricks that Mary and Roger use to fleece people seem very genuine, but the business with the psychic is another matter. Doing her act in a nightclub, Mary is given tips about people in the audience from the parking attendant and the hat check girl. Reasonable so far. But then we learn that there's a whole group of people working upstairs with peepholes over every table and hidden mikes. How Roger hopes to make any money by employing over a dozen people to help Mary in her act is a question that's never answered. Mary tries to unveil a murderer at one point, and when she realizes that some people could be fleeced out of their life savings she develops a conscience. 

Confidence Girl begins well as Mary and Roger play their cons on a department store (for a mink coat) and on a pawnbroker who gets greedy when he thinks a cheap violin is worth thousands, but the business with the psychic and a man accused of murdering someone with poisoned liquor doesn't quite work. Andrew L. Stone went on to much better things, such as The Last Voyage and The Steel Trap. 

Verdict: Entertaining enough if minor-league. **1/4. 

CAPTIVE WOMEN

Gloria Saunders and Robert Clarke

CAPTIVE WOMEN (aka 1000 Years from Now/1952). Director: Stuart Gilmore. 

In 3000 A.D. after a nuclear holocaust, mankind has developed into two groups. "Mutates," who are disfigured and can't give birth to normal children, and "Norms" who were spared the ravages of radioactivity. In the shattered ruins of Manhattan, the Norms live in the abandoned subways while the Mutates have a conclave in New Jersey and send raiding parties out through a secret underwater passageway, probably the Holland tunnel. What the mutates are raiding for are "norm" females in the hopes that one will give birth to a normal child, which is strange as the mutates hate the norms and vice versa, so you'd think they'd want their children to be mutates.

Ron Randell

In any case, another problem for this particular tribe of norms is a man named Gordon (Stuart Randall), who leads another norm tribe that resides upstate; Gordon wants to take over the Manhattan tribe. He chooses to do this on the wedding day of Rob (Robert Clarke), son of the Manhattan chief, and Catherine (Gloria Saunders), daughter of the High Priest. Unfortunately, the sluttish Catherine is in league with slimy Jason (Douglas Evans), who is in league with Gordon. One of the best scenes in the movie shows Gordon giving an unsuspected and violent "reward" to Jason for helping him take over the tribe. Rob and his friend Bram (Robert Bice) are taken captive, along with some women, by the mutates, who are led by Riddon (Ron Randell). Not as disfigured as the others, Riddon is hoping for peace between the two groups, as is a lovely norm lady named Ruth (Margaret Field). But will Gordon allow this to happen? 

Saunders with Douglas Evans

Captive Women pre-dates Roger Corman's post-nuclear film Teenage Caveman by several years, but it, unfortunately, doesn't include any monsters, radioactive or otherwise, which it could have used. Instead it's a fairly straightforward, somewhat absorbing, and generally unexciting look at bigotry and jealousy, as well as another rip-off of Stephen Vincent Benet's classic short story "By the Waters of Babylon." On the plus side are some of the performances. Ron Randell, with an inappropriate British accent (the actor was actually born in Australia) that doesn't quite ruin his portrayal but somehow adds to it, comes off best, giving a genuine performance when others might have phoned it in. William Schallert is also notable as another mutate who tries to take leadership away from Randell, and Clarke is fine as the noble Rob. Saunders is zestily nasty betraying everyone right and left, and Margaret Field (Sally Field's mother), Bice, and Evans are perfectly competent. The picture has plenty of atmosphere. The prologue sequence, which makes it all too clear for the atomic age that what follows is a cautionary tale (but is really just the same old schlock with pretensions) is at least well done. The sixties comic book Mighty Samson, which also took place in a ravaged post-nuclear New York City , was a lot more entertaining. 

Verdict: This could have used a big lizard or a giant spider or two. **1/4.

ZOMBIES OF THE STRATOSPHERE

Judd Holdren and Leonard Nimoy

ZOMBIES OF THE STRATOSPHERE (12 chapter Republic serial/1952.) Director: Fred C. Brannon. 

Marex (Lane Bradford) has come from the dying planet Mars to plant bombs that will knock earth out of its orbit so that Mars can take its place. Marex has enlisted the help of two earth thugs -- Roth (John Crawford) and Shane (Ray Boyle) -- who somehow think it's not only okay that everyone on earth but them will die, but that they will spend the rest of their days on Mars. Marex also has a Martian helpmate on earth named Narab, who is played by a 21-year-old Leonard Nimoy, and there is a traitorous earth scientist named Dr. Harding (Stanley Waxman), who is helping him build a hydrogen bomb. Narab has a conscience, and Nimoy displays some ability in his unusual role. 

Judd Holdren

Battling Marex and his boys are Larry Martin (Judd Holdren), who wears the rocket man outfit from King of the Rocket Men, and his associates Bob Wilson (Wilson Wood), and Sue Davis (Aline Towne), as well as their rocketship pilot, Dick (Gayle Kellogg). Chapter four has a bunch of bad cowboys trying to get away with some uranium for Marex, while a large metal robot robs a bank in chapter five -- there are subsequent lively scenes with the robot. The following chapter has an underwater knife fight, and in one of the best cliffhangers Sue is pulled off a dock and into deep water when a rope with an anchor attached is wound around her ankle in chapter seven. Roy Barcroft and Tom Steele have smaller roles. 

Verdict: Zombies of the Stratosphere is another fun, fast-paced Republic serial. ***.