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. 

THE HOUSEMAID

Amanda Seyfried and Sydney Sweeney

THE HOUSEMAID (2025). Director: Paul Feig. 

Millie (Sydney Sweeney), who is keeping a few secrets, gets a job as housekeeper to a young couple with a small daughter. Nina Winchester (Amanda Seyfried) seems warm and welcoming at first, but has a habit of throwing fits and becoming jealous. Her husband, Andrew (Brandon Sklenar of Drop), is handsome and charming and seems to do his best to keep Nina under control. But the Winchesters are keeping secrets, too, as Millie learns when Nina and her daughter go out of town and Andrew asks Millie to accompany him on an innocent excursion to the theater ...

Brandon Sklenar

During much of its length The Housemaid resembles another one of those Lifetime movies with couples and nannies and housekeepers and the like where you know nothing good is going to come out of this particular hire. The Housemaid is a little trickier than that, although nothing that is that out of the ordinary. It's no big surprise who the big bad person will turn out to be, as it's almost obligatory in this day and age. Despite that, the film is absorbing enough and very well acted by all. All told, it's entertaining but not that memorable, although it has several compelling -- and even sexy -- sequences. Paul Feig also directed A Simple Favor and Another Simple Favor. 

Verdict: Very good performances in a credible if minor suspense flick. **1/2. 

ISLAND OF LOST WOMEN

Jeff Richards and John Smith

ISLAND OF LOST WOMEN (1959). Director: Frank Tuttle. Colorized.

Radio commentator Mark Bradley (Jeff Richards) and his pilot Joe Walker (John Smith of Hot Rod Girl) run into engine trouble and make a landing on what appears to be a deserted island. However, there are several occupants, including three beautiful women: Venus (Venetia Stevenson of The Big Night); Urana (Diane Jergens); and Mercuria (June Blair). Their father, Dr. Paul Lujan (Alan Napier of The Mole People) ran away from the world with his now-dead wife and small daughters because he could see what was coming, as he was an associate of Einstein's and an expert in nuclear fission. When the two men discover who he is, Bradley wants to break the story of the missing scientist when he gets back to civilization, only Lujan wants to hold them prisoner. After Lujan destroys their plane with a flame-thrower gun, Mark and Joe concoct a plan to build a raft and leave the island. But then the gals want to go with them ... 

John Smith with the women

Island of Lost Women is a mediocre timewaster with an interesting premise, but not that much is done with it. The performances are all competent, although Richards has been seen to better advantage elsewhere, and the talented Venetia Stevenson is pretty much wasted. John Smith makes a better impression, even if he's getting by mostly on charm. The other gals are cute and Napier does the best he can with an under-written and rather sappy role. This reminds one a bit of Fire Maidens of Outer Space -- a father and daughters in an isolated habitat -- but even that was more fun than this!

Verdict: At least there's a rather good-looking cast! **. 

GIRL WITH AN ITCH

 

Kathy Marlowe

GIRL WITH AN ITCH (1958). Director: Ronald V. Ashcroft. 

Hitchhiking Mari Lou Waverley (Kathy Marlowe) is picked up by Jake (Scott Douglas) and taken to a ranch owned by widower Ben Cooper (Robert Armstrong) to pick the crops. But Ben has other plans for Mari Lou and invites her to stay in his house, where they begin a relationship. Mari Lou also continues flirting -- and more -- with Jake, and makes a play for Ben's son, Orrie (Robert Clarke of The Incredible Petrified World), who wants nothing to do with her. Before long Ben is using the payroll to buy expensive clothing for Mari Lou and Orrie is having none of it. Does the scheming blonde have her hooks tight enough in Ben or will his son be a more formidable opponent than she can handle? 

Scott Douglas, Kathy Marlowe, Robert Armstrong

Kathy Marlowe was an eternal starlet with mostly uncredited bits and this was her one big, starring role, and she delivers. Unfortunately, not enough people probably saw the film to make much of a difference. Robert Armstrong of King Kong fame and Gang Busters gives a solid performance, as does Clarke as his concerned, angry son. Patti Gallagher of King Dinosaur plays Jake's girlfriend, Emma, and gets into a watery catfight with her at one point. Scott Douglas certainly makes an impression as Jake, although most of his credits were for TV shows. He was also a professional dancer and the long-time companion of a well-known male choreographer. While none of the characters are as well-developed as they should have been, Girl with an Itch is well-acted and absorbing.

Verdict: Entertaining minor melodrama with good performances. **3/4.  

SUNSET SERENADE

Roy Rogers listens as Gabby Hayes sings

SUNSET SERENADE (1942). Director: Joseph Kane.

Although Vera Martin (Joan Woodbury) thought she was going to inherit a ranch from the deceased owner, it actually goes to his nephew, a one-year-old baby in the care of Sylvia Clark (Helen Parrish of X Marks the Spot). Sylvia doesn't know that Vera and her friend, Jackson (Onslow Stevens), are scheming to get the ranch away from her for a song. Wouldn't you know that Roy Rogers, Gabby Hayes, Bob Nolan (of Heldorado) and his Sons of the Pioneers ((including Pat Brady) are in the vicinity, out of work cowboys who are practically starving. In exchange for vittles, most of which are "et" by Gabby, Roy and his buddies help out Sylvia. Later on they have a shoot-out with Jackson's gang when he tries to steal cattle that Sylvia just sold to Clifford Sheldon (Frank M. Thomas) and Roy saves the man from a rushing river when a dam is exploded. There are also some forgettable songs sung by Roy, Bob, Pat and even annoying Gabby. Trigger doesn't have much to do in this one. Roy Barcroft of G-Men Never Forget plays one of the gang of bad guys. A "modern" western from Republic studios. 

Verdict: Acceptable but mediocre Roy Rogers entry. **. 

THE DELINQUENTS

Eddy (Richard Bakalyan) checks out Scott (Tom Laughlin)

THE DELINQUENTS (1957). Written and directed by Robert Altman. 

Scotty (Tom Laughlin) is a nice young man who is going steady with 16-year-old Janice (Rosemary Howard), whose parents think she is too young to be dating one older boy. Encountering Cholly (Peter Miller) and his pals during a misadventure at a drive-in, Scotty is grateful when Cholly offers to pretend to be Janice's date, pick her up, and deliver her to Scotty -- the catch is they have to go to a party the gang is  holding without permission on an isolated estate. Thinking that Scotty tipped off the cops about the party, they basically kidnap him and then Janice -- and things get worse from there. 

Peter Miller and Richard Bakalyan

This alleged study of juvenile delinquency was written and directed by Robert Altman, his first film. Supposedly -- and inexplicably -- Alfred Hitchcock was so impressed that he hired Altman to helm some of the episodes of his TV series. (Let me make it clear that except for That Cold Day in the Park and maybe Popeye, I've never been a particular Altman admirer.) There is little impressive about this picture aside from the fact that it moves at a fairly good pace and is well acted by most of the cast. Laughlin certainly makes an impression in this. Years later he directed and starred in Billy Jack, a film that cost little to make and grossed 65 million! (Despite that, he never quite made the A list in Hollywood.) Peter Miller and Richard Bakalyan are also effective as the nastier members of the gang; Bakalyan had an especially long career. 

Verdict: They smoke, they drink, they make out -- and it's still not that interesting. **1/4. 

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. 

SWORD OF VENUS

"catfight" at the Black Cat tavern: Clarke, Stapp, De Marco

SWORD OF VENUS (1953). Director: Harold Daniels.

Robert Dantes (Robert Clarke) is the gal-and-life loving son of Alexander Dumas' famous Count of Monte Cristo, who got revenge on those who had him falsely convicted and confined. Now some of these enemies, especially Baron Danglars (Dan O'Herlihy), want to get even with the Count via a diabolical plot to frame his son and steal the family fortune. At first Claire (Catherine McLeod) goes along with the scheme to entrap Robert, but later her conscience gets the better of her. Nevertheless Danglars forces her to continue, along with certain associates, such as the drunken lawyer Valmont (William Schallert). Sentenced to hard labor in a rock quarry, how can Robert get his life back?  

Robert Clarke and Marjorie Stapp

Robert Clarke is best-known for a number of low-budget sci fi films, but he did work in other genres, including this sequel to "The Count of Monte Cristo." It has many of the diabolical twists and turns of Dumas' original book, but the film itself is only moderately successful. Both Clarke and especially Dan O'Herlihy, marvelously underplaying in a most sinister fashion, give good performances, along with the rest of the cast, but a certain intensity and panache is missing. The liveliest sequence is when Robert takes the married Countess Lily (Marjorie Stapp) to the notorious Black Cat tavern, where she gets into a catfight with the dancer Suzette (Renee De Marco). The two really give each other some good whacks! 

Verdict: Minor-league historical melodrama with some good performances and a zesty "catfight." **1/2. 

THE POSSESSED

Peter Baldwin

THE POSSESSED (aka La donna del lago/1965). Directors: Luigi Bazzoni; Franco Rossellini.  

A novelist named Bernard (Peter Baldwin) tells his unseen girlfriend that he is obsessed with a young woman he met some months ago and has to go see her. Arriving at the village where this lady, Tilde (Virna Lisi), worked at the Lakeside Hotel, he takes a room there and tries to find out what happened to her. Speaking to the hotel's proprietor, Enrico (Salvo Randone), he learns that Tilde supposedly committed suicide. However, a photographer named Francesco (Pier Giovanni Anchisi) tells him that Tilde was actually murdered, but that this was covered up. There are rumors that she was pregnant and either Enrico or his son, Mario (Philippe Leroy), may be responsible. Bernard determines to find out the truth, whatever it may be ... 

striking photography

The Possessed is a moody, strikingly photographed (Leonida Barboni) picture but I'm at a loss as to what genre it belongs to. It's not a horror film, and as a suspense film or murder mystery it falls short. Deliberately-paced, to put it mildly, the film offers some wonderful images as well as close-ups of the poetically handsome Peter Baldwin, but the story is only mildly intriguing and the denouement -- if you can even call it that -- is completely unsatisfying. Pia Lindstrom, the daughter of Ingrid Bergman -- who later became a television journalist -- appears in a small role as Mario's wife. Valentina Cortese is cast as Enrico's daughter, Irma. Both ladies make a positive impression in this. Virna Lisi has too little to do and although Baldwin is credible -- it's hard to judge his dubbed performance -- his chief asset seems to be his looks. He later became a director. 

Verdict: Very good to look at, but it's too "arty" for its own good and never catches fire. **. 

THE LOUISIANA HUSSY

Peter Coe and Nan Peterson

THE LOUISIANA HUSSY (1959). Director: Lee Sholem. A Bon-Air Production. 

In a stretch of the bayou called The Pit, brothers Jacques (Peter Coe) and Pierre (Robert Richards) love the same woman, Lili (Betty Lynn), but she prefers Pierre. On their wedding day a stranger who calls herself Minette (Nan Peterson of The Hideous Sun Demon) shows up in town, and is taken in by the newlyweds. Right away Minette is making passes at Pierre -- which he initially does little to reject -- and then moves in on -- and with -- Jacques. Pierre and Lili are convinced that Minette is bad news so they decide to investigate her past, bringing them to an estate and a drunk, grieving widower named Clay Lanier (Harry Lauter of It Came from Beneath the Sea). 

Betty Lynn, Robert Richards, Harry Lauter

An atmospheric melodrama, The Louisiana Hussy is reasonably absorbing and mildly titillating, although some of the love scenes are kind of intense for a fifties movie. Although Nan Peterson is rather  average-looking to play a femme fatale, with her push-up bra she manages to assert her sexuality in scene after scene. Betty Lynn is best known as Barney Fife's girlfriend on The Andy Griffith Show and she's bland but adequate in this. Richards had only a few credits, Peterson twice as many, and Coe amassed over eighty appearances. Also in the cast, as a doctor, is Tyler McVey of Attack of the Giant Leeches. 

Like many movies from this period and after, the film is hypocritical when it comes to the question of marital affairs. This is one of those films in which the trampy gal who goes after married men is seen as being much, much worse than the husbands who simply don't abstain, and get all moralistic about the mistress while ignoring and justifying their own behavior. Lee Sholem also directed Pharaoh's Curse.

Verdict: Sizzles but never quite boils. **1/4. 

SPY SHIP

Maris Wrixon and Craig Stevens

SPY SHIP (1942). Director: B. Reeves Eason. Colorized. 

Pam Mitchell (Irene Manning) works for a committee that wants to keep the United States out of WW2, but she is actually a spy for the Axis powers, paid good money by German agents operating out of a ship in New York's harbor. Her sister, Sue (Maris Wrixon), has no idea of this but disagrees with her public isolationist policy. Sue is the girlfriend of reporter Ward Prescott (Craig Stevens of The Hidden Hand), who has become suspicious of Pam's activities; Pam's father (George Irving) seems to actively hate her. Pam is stringing along a poor sap named Gordon (Tod Andrews of From Hell It Came) but is secretly in love with another traitor, Martin Oster (William Forrest), who is more interested in getting his hands on some incriminating letters he sent her. Then Koshimo Haru (Keye Luke) shows up on the ship to tell him that Japan is about to take certain steps -- the next day Pearl Harbor is bombed. 

Stevens on the story

Despite everything going on, including the bombing of Pearl Harbor, Spy Ship is dull and seems much, much longer than an hour. Irene Manning makes a good villainess, but the death of this horrible creature occurs off-screen, providing no catharsis for the audience. It is also unbelievable that Ward's editor (Frank Ferguson of The Big Night), would get so excited about covering her murder on the very day of Pearl Harbor -- that's all that anyone would be talking or reading about! Craig Stevens walks through the movie with one expression, and his character never seems to get all that excited about anything. Maris Wrixon is acceptable as the good sister, but she's too bland to be memorable. 

Verdict: Not even Keye Luke can save this. *1/2. 

ROADRACERS (1960)

Joel Lawrence

ROADRACERS (1960). Director: Arthur Swerdloff. 

Rob Wilson (Joel Lawrence) has a difficult relationship with his father, Harry (John Shay). Harry is obsessed with car racing and sort of forced his son into the sport. When a man dies during a race, Harry blames Rob, who takes off for Europe. Coming home he takes up racing again, but tells his father he hates it -- and him. He is also upset over his former girlfriend, Liz's (Marian Collier) relationship with a rival racer, Greg Morgan (Skip Ward). It doesn't help that Harry has decided to sponsor Greg instead of his own son.  Naturally the two drivers will have a grudge match at the American Grand Prix in Riverdale, California.  

Rivals: Joel Lawrence, Marian Collier, Skip Ward

Roadracers, a slick black and white flick from American International, has some good acting and a script that leaves many cliches of the genre intact: the rival drivers after the same girl; the conflict between a father and his son; the driver haunted by someone's death in a race etc. The script at least tries to flesh out the characters and the performances help, but the movie sort of strains for dramatic currency. The racing scenes are fairly exciting but they've been done better elsewhere. The good-looking lead, Joel Lawrence, is solid as Rob but mostly appeared on television after starring in this picture. Ditto for Skip Ward, although he also played Hank the driver in Night of the Iguana. Marion Collier sings the memorable "Here You Are" at one point but doesn't have much of a voice. However, she's much better than Jimmie Madden croaking out "Leadfoot" over the opening credits. Sally Fraser and Mason Alan Dinehart are also in the cast. 

Verdict: Standard race track meller with some decent acting. **1/2. 

ALIAS JOHN PRESTON

Christopher Lee

ALIAS JOHN PRESTON (1955). Director: David MacDonald.

Sally Sandford (Betta St. John), who lives with her parents in the staid British town of Deanbridge, is rather unsatisfied with her boyfriend, Bob (Peter Grant), even though he's felt they would get married ever since childhood. Into town comes the striking and wealthy industrialist John Preston (Christopher Lee of The Gorgon), who begins buying up buildings and businesses and sweeps Sally off of her feet. When Sally accepts John's proposal, the latter realizes that he needs to enter married life with a clean slate, so to speak, so grudgingly speaks to psychologist Peter Walton (Alexander Knox of Son of Dr. Jekyll) about recurring nightmares in which he murders a blond woman, Sylvia (Sandra Dorne), with the complicity of her jilted French husband (Patrick Holt). But are these really dreams, or is something more sinister going on? What do you think?

Patrick Holt with Lee

It's a good thing Christopher Lee wound up in Horror of Dracula or he might have been doomed to be in lousy movies like Alias John Preston for the rest of his career. Clumsily directed and edited, the film has virtually no suspense or excitement. Lee gives a good enough performance, as do most of the other cast members, but as a mystery -- if that's even what this is -- the flick is a stinker. Sally seems rather plain to be attracting so many men from the town and Bob turns out to be not so tightly wrapped. Lee has decided presence in the film, but even his participation can't save it. Another low-budget British misfire. Sandra Dorne and Patrick Holt appeared together in The Gelignite Gang. 

Verdict:  Stick with Lee in Hammer horror films where he really made an impression. *1/2. 

MOTORCYCLE GANG

Steve Terrell and Anne Neyland

MOTORCYCLE GANG (1957). Director: Edward L. Cahn.

Randy (Steven Terrell of Invasion of the Saucer Men) importunes tough motocycle gal Terry (Anne Neyland) to join his club, but she isn't crazy about the rules set down by Lt. Watson (Russ Bender). Neither is Nick (John Ashley), who has just finished a 15 month spell in prison for which he blames Randy. Randy and Nick now hate each other and compete for Terry while a discarded Marilyn (Jean Moorhead of The Violent Years) can only simmer. The rivalry really erupts when Terry convinces Randy to accept Nick's challenge to race on the railroad tracks, which will surely end in disaster. 

Anne Neyland, Jean Moorhead, John Ashley

The performances in Motorcycle Gang, aside from the ever-mediocre Jean Moorhead, really aren't terrible, but the cliche-ridden script doesn't ask too much of its players. Steve Terrell is as appealing in this as he was in all of his movies. The same year this drek came out leading lady Anne Neyland, who has a certain saucy insolence, also had decent parts in Jailhouse Rock and was John Payne's leading lady in Hidden Fear. Alas this only led to a few minor TV credits; even Moorhead did better, so to speak. Clowning around all through the movie is a goofy character named Speed, whom I did not recognize at all as Carl "Alfalfa "Switzer of Little Rascals fame; he's okay. The picture has a spurt of excitement at the very end when Nick and his moronic buddies try to terrorize a cafe owner, his wife, and others only to get their clocks cleaned by Randy and his buddies. Overall this is rather dull.  

Verdict: Try to miss it if you can. *1/2. 

SENSATION HUNTERS (1945)

Doris Merrick and Robert Lowery

SENSATION HUNTERS (aka Club Paradise/1945). Director: Christy Cabanne.

Julie Rogers (Doris Merrick) has an unpleasant home situation with a grumpy father (Byron Foulger), drunk brother, pregnant sister-in-law and so on, but she does have a sympathetic boyfriend in aspiring musician Ray (Eddie Quillan). But things go awry when Ray takes her gambling and the joint is raided, resulting in Julie being thrown out of the house. She goes to work as a dancer at a dumpy gin mill called the Paradise Club. As Ray rises in the world and gets his own band, Julie becomes hung up on a good-for-nothing heel and gambler named Danny Burke (Robert Lowery), but this relationship may only lead to tragedy. 

Constance Worth and Lowery

Sensation Hunters could easily be sub-titled "When Good Girls Go Bad Due to Bad Guys." At 62 minutes the film certainly moves fast, but it could have used a lot more character development. Lowery is okay in the thankless and generic role of the good-looking creep who essentially lives off of women and has little back story. Doris Merrick's part is also under-written, but she does get across the confusion and desperation of her character. Constance Worth of G-Men vs the Black Dragon is excellent as Irene, the lady who runs the Paradise Club and is also carrying a torch for Danny. Wanda McKay of Roaring City scores as Helen, Julie's alleged friend who romances Ray and then goes after Danny herself. Isabel Jewell plays a singer at the Paradise who has seen better days, and Nestor Paiva is a loan shark who is after Danny for money. This is the second of two films that Monogram Studios released with the title of Sensation Hunters. Robert Lowery was the second screen Batman. 

Verdict: Not as sensational as you might hope. **. 

THIS IS NOT A TEST

Seamon Glass as Deputy Sheriff Colter

THIS IS NOT A TEST (1962). Director: Fredric Gadette. Colorized. 

Deputy Sheriff Dan Colter (Seamon Glass) stops a motley group of people on the highway when he gets news of an impending nuclear attack on a nearby city. These people include Sam and Karen Barnes (Norman Winston and Carole Kent); truckdriver Al Weston (Alan Austin); Junie (Aubrey Martin) and her grandfather, Jake (Thayer Roberts); fast-driving Cheryl (Mary Morlas) and her boyfriend Joe (Michael Greene); and an honest-to-goodness serial killer escapee, Clint (Ron Starr). 

Aubrey Martin and Ron Starr

Colter thinks that the little group may survive if they empty out Al's truck and take shelter inside it, an idea that both Jake and Sam find ludicrous. They figure the blast will probably obliterate the entire countryside and Junie hates the idea of being shut up in the truck with little food, water or air. As tensions arise both inside and outside of the truck, Al and Karen form a sexual connection that leads to tragedy. There are other surprising developments as the picture proceeds; one of the movie's assets is its general unpredictability. 

Carole Kent and Alan Austin

This is Not a Test is clever and memorable low-budget filmmaking. The screenplay, which is generally well-done (if not exactly Oscar-worthy), does not require massive sets or special effects. Most of the story takes place at night time, so there are no worries about inappropriate objects in the background, and a genuine truck serves as the only real set. The cast consists of some talented amateurs mixed in with a couple of professionals and some who'd never make another movie. Seamon Glass, who had many credits afterwards, is perfect as the stalwart, by-the-book, semi-psychopathic police officer, Colton. Aubrey Martin makes perhaps the best impression as Junie, although the other ladies also have their moments. This was the last performance for Carole Kent, who had a number of television credits. This was also true of Alan Austin, who is quite notable as Al, with Michael Greene almost as good; he amassed 120 credits during a long career. Ron Starr had a memorable guest-spot on a classic episode of Perry Mason. This was director Fredric Gadette's only movie. 

While watching This is Not a Test one must remember that back in the day children were instructed to sit under their desks in the event of a nuclear attack, or in the hallway with their heads bent, as if that would do the slightest good. The movie accurately reflects the attitudes that many people had back in that time period. 

Verdict: Surprisingly watchable melodrama with an uncompromising finale. ***. 

THE MAN WITH NINE LIVES

THE MAN WITH NINE LIVES (1940). Director: Nick Grinde. 

Dr. Leon Kravall (Boris Karloff) was a leader in the field of "frozen therapy" in which cells and people are frozen for allegedly beneficial results, but he disappeared ten years ago. Aha -- it turns out that the good doctor and several others were actually accidentally frozen in a cavern in his basement. Thawed out, the megalomaniacal Kravall insists on doing things his way whether everyone agrees with him or not. Karloff is fun, Jo Ann Sayers is fine as the nurse Judith, and there are some okay ideas and moments in the movie, but overall this doesn't add up to all that much. Still, Karloff is always watchable and so is the film. 

Verdict: Just don't expect too much. **1/2.

 

MACHETE

Carlos Rivas and Mari Blanchard

MACHETE (1958). Produced, directed and co-written by Kurt Neumann.

Sugar plantation owner Luis Montoya (Albert  Dekker) comes back to Puerto Rico with a young bride in tow, the sexy blonde Jean (Mari Blanchard). Jean, of course, wants some security from this much older man, but when she sees his ward and foreman, Carlos (Carlos Rivas), she also wants him. Carlos tries to resist Jean's charms at first, but the two are caught in a compromising situation. Luis is filled with fury, and the situation isn't helped by Luis' cousin, Miguel (Lee Van Cleef), who has always been jealous of Carlos' place in the family and plots revenge. Then there's the housekeeper, Rita (Ruth Cains), who is in love with Carlos. It's a sure bet things are not going to end well ... 

Albert Dekker

Machete is a melodrama that could have used some steamy overheating. The younger wife falling for the handsome foreman is as old as They Knew What They Wanted, with sugar cane instead of grapes, but there the comparison ends. Mari Blanchard is as vivid and entertaining as ever, but the others just seem to be saying lines, although if this is bad acting, or just an indication that the film was probably shot in two days with little rehearsal time, is hard to say. Blanchard and Rivas make a sexy duo but they aren't allowed to actually do that much together despite an interesting swimming sequence late in the picture. Machete was filmed hastily on an actual sugar plantation, which gives the film some atmosphere, but little else. An interesting aspect of this production is the casting of Black/Latino actor Juano Hernandez, who was born in San Juan, as Dekker's major domo, Bernardo, who seems an adviser to Luis and a member of the family even though he doesn't sit and have dinner with them. Dekker and Blanchard also appeared in Kurt Neumann's similarly-mild She-Devil. 

Verdict:  This flick needs more steam! **. 

ANGEL FACE

Jean Simmons

ANGEL FACE (1953). Produced and directed by Otto Preminger. 

Frank Jessup (Robert Mitchum) is an ambulance driver who meets the fascinating Diane Tremayne (Jean Simmons) when her stepmother, Catherine (Barbara O'Neil), has a near-deadly encounter with a gas jet. Although Frank is already involved with Mary (Mona Freeman), Frank can't quite resist seeing Diane and ultimately going to work for her family as a chauffeur. Diane truly hates her stepmother -- she thinks she treats her beloved father (Herbert Marshall) like a lap dog -- but Frank has no interest in her nefarious plans. In spite of his admonitions, there is a very terrible accident, and Frank's life winds up spiraling out of control ... But there are worse things to come. 

Robert Mitchum and Mona Freeman

Angel Face is one of Otto Preminger's best movies, an absorbing and exciting, well-acted exercise in film noir with Jean Simmons wisely underplaying so that the audience is never quite certain what is on her mind. Mitchum plays an essentially decent guy who isn't quite willing to do indecent things for Diane's sake, although one could argue that he isn't terribly nice to his cast-off girlfriend, Mary, who stands by him for awhile. Kenneth Tobey [It Came from Beneath the Sea] is Mary's admirer and Frank's former associate, Leon Ames is a defense lawyer, and Jim Backus plays the prosecutor; all are fine. There are twists and turns to the plot and a ferociously horrifying climax. (Those who suggest that  Frank's actions at the end are unrealistic forget that he was never the brightest bulb in the chandelier.) Angel Face contains elements of everything from Double Indemnity to Leave Her to Heaven but has a mystique all of its own. 

Verdict: Some people you should never get into cars with. ***1/4. 

THUNDER IN CAROLINA

Rory Calhoun at the wheel

THUNDER IN CAROLINA (1960). Director: Paul Helmick. 

Race car driver Mitch Cooper (Rory Calhoun) has an accident on the track, breaks his foot, and smashes his auto. He decides to cool his heels for awhile and looks up an old friend but discovers that he's passed away. The garage that friend used to own is now owned by Les York (Race Gentry) and his wife Rene (Connie Hines), who invite him to stay. Les helps Mitch fix his car and importunes him to let him race it as well, although Rene is not crazy about having to become the camp follower of a race car driver. Still she goes along with the idea, becoming as worried about other women as she is about Les being injured or killed. 

Race Gentry, Calhoun, Connie Hines

Despite the title, Thunder in Carolina is an awfully dull picture. Even the climax which employs real footage from a race track is put together in such a way as to minimize thrills. This was the second of only two films helmed by Paul Helmick, who isn't able to do much to save the film. The occasional provocative sequence -- Mitch thinking a woman in the motel shower is an old girlfriend when it's really Rene and an catfight that never really materializes -- are too minor to amount to much. Supposed to be a hell-raiser and lover boy, Mitch basically takes a back seat to Les York's activities, which would scarcely raise an eyebrow. Race Gentry was a handsome if limited actor who had a few credits, mostly on television; he makes a favorable impression in this. Connie Hines was introduced in this film but she had over a dozen television credits beforehand. This was her only theatrical feature and she is much better known for the TV series Mr. Ed. Alan Hale Jr. is fine as a mechanic on the track and a friend of Mitch's. Many of the cast members only appeared in this one movie. 

Verdict: Even an attractive cast can't save this stinker. **.