The Pay-Off

 

(1930)
Directed by Lowell Sherman
Written by Jane Murfin, John B. Hymer, Samuel Shipman
Starring Lowell Sherman, Marian Nixon, Hugh Trevor, William Janney
IMDB Entry

Gangsters were the stock in trade for pre-code movies much like superheroes are today. There are many variations on the theme and The Pay-Off leans hard on the Robin Hood model.

The movie starts out with two young lovers, Nancy (Marian Nixon) and Tommy (William Janney) on a park bench. Tommy has raised enough money so they can get married. But a robber had other idea and robs them both.

Next we see the apartments of Gene Fenmore (Lowell Sherman), who is the head of a group of gangsters. But Fenmore is a civilized gangster, only stealing from people who deserve it.* The meeting is interrupted by Nancy and Tommy, who have obtained a gun and want their money back, as Rocky (Hugh Trevor) was the man who robbed them. Rocky doesn't like Fenmore's scruples and wants to take over the gang. He robbed Nancy and Tommy on a whim. Since Fenmore is a gangster with scruples, he makes Rocky give back the money and lets Nancy and Tommy stay with him. Over time, Fenmore becomes enamored of Nancy, which has Rocky concocts a plan to get them into trouble and bring Fenmore down.

Lowell Sherman plays an impossibly moral gangster charmingly, and Hugh Trevor is fine as the sleezy Rocky. However, Marion Nixon and William Janney carry naivety to extremes.  They have no reason to trust Rocky, but believe everything he tells me.

Sherman had an interesting career. He started out as an actor with starring roles on Broadway before heading to the west coast. But he didn't like acting, finding it boring, and began to direct. This was his second film and he worked regularly as an actor-director and eventually  giving up the acting entirely. Most of his films have been forgotten, but in 1932, he directed Mae West in her first starring role, She Done Him Wrong.** The same year, he helmed Morning Glory, the first starring role for Katherine Hepburn.  Alas, Sherman died in 1934 at age 46.

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*He even treats his ex-girlfriends well, setting them up with a new guy before he dumps them.

**Famous for her line, "Why don't you come up and see me sometime?"

Saludos Amigos

 

(1942)
Directed by Norm Ferguson, Wilfred Jackson, Jack Kinney, Ham Luske, Bill Roberts
Written by Homer Brightman, William Cottrell, Richard Huemer, Joe Grant, Harold Reeves, Ted Sears, Webb Smith, Roy Williams, Ralph Wright
Starring (Voices) Pinto Colvig, Clarence Nash, José de Patrocinio Oliveira
IMDB Entry

As I mentioned a couple of weeks ago in the early 1940s Disney was in a difficult financial situation. And in order to stay afloat, they took part in the governmental Good Neighbor Policy, developed to counteract Nazi influence in South America. Disney took a commission from the State Department to put out a film to improve relations. The result was Saludos Amigos.*

Like most of  Disney's "full length" films of  the 1940s, this was made up of several segments.  The first is live action and shows various Disney animators (including Walt) traveling down to South America to get ideas for the feature. Then we go into several sequences:

• A tour of Lake Titicaca with Donald Duck (voice of Clarence Nash), including some live action sequences
• Pedro. This is a short animated film about an anthropomorphic airplane that flies over the Andes to deliver the mail. This was later released as a stand-alone animated short.
• El Gaucho Goofy. This transports Goofy (voice of Pinto Colvig) to Argentina to work as a gaucho and sees how they live.
• Aquarela do Brasil. The finale takes Donald to Brazil, where he meets José Carioca (José de Patrocinio Oliveira), a parrot who shows up later in The Three Caballeros. Donald learns to dance the Samba in a Brazilian festival, using a combination of live action and animation.

Of note is that José de Patrocinio Oliveira is given a voice credit, the first in Disney's history, and the last for years. In addition, one the songs in the Brazilian segment is known as "Brazil," played during the Terry Gilliam film of the same name.

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* Spanish for "Hello Friends." The intent of the movie is very clear.

Victory Through Air Power

 

(1943)

Directed by H.C. Potter (live action), James Algar, Clyde Geronimi, Jack Kinney (animated sequences)
Written by: Perce Pearce, T. Hee, Erdman Penner, Bill Conttrell, James Brodero, George Stallings, Jose Rodriguez, based on Victory Through Air Power by Maj. Alexander P. Seversky
Starring  Maj. Alexander P. Seversky
IMDB Entry

Everyone knows that Disney defends their copyrights like a mama bear defending her cubs, so I was a bit surprised that they let one of the animated features fall into the public domain. It is Victory Through Air Power.

This was a passion project by Walt Disney. He read the book Victory Through Air Power by Maj. Alexander P. Seversky, which advocated the use of bombing as a military strategy.  He bought the thesis and decided to make a movie about it.

The film starts with a  animated documentary about the history of aviation before a look at how planes can be used in the military. Seversky (who appears in the film) argues that control of the air is the best way to win the war. We are shown how important airplanes were so far in the war and postulated how it could be used to win future battles against Germany and Japan.

The movie is a precursor to using animation in educational films and Disney jumped into the format, producing films to teach the general public about how things worked on a war footing and as propaganda against Nazism. It also broke Disney's de facto ban on limited animation, since that was used on a few sequences.

It was not a success, with a box office take that barely covered its budget. His usual distributor, RKO, refused to release it, so he went to United Artists to get it into theaters. But it was influential, convincing both Churchill and Roosevelt to put more money into strengthening the air forces.

Why did Disney let the copyright lapse? Most likely because it is not designed for entertainment and is dealing with an issue that, while vital when it was made, has little relevance today except to film and military historians. Disney did recycle the history of aviation sequence in their TV shows, but the rest isn't anything people are worried about today. There's also the portrayal of Japanese and German, which is full "these are our enemy" mode. And finally, it was not the type of fare that fits in with the image of the Mouse.

The Three Caballeros

(1948)
Directed by Norman Ferguson (supervision), Clyde Geronimi, Jack Kinney, Bill Roberts, Harold Young (sequences)
Starring Clarence Nash, Jose do Patrocinio Oliveira, Joaquin Garay, Sterland Holloway, Frank Graham, Fred Shields
IMDB Entry

How can a Disney animated feature be forgotten? Well, there are several that fit. I'll be covering them in the next few weeks, in reverse order so they show up in the right order when people scroll.

The fact that Disney is an entertainment juggernaut these days makes people gloss over the fact that it was touch-and-go for awhile. In the early 40s, the studio was in trouble. Fantasia, while well regarded, flopped at first release. Bambi did poorly and Dumbo, while successful, wasn't a smash like Snow White.* Furthermore, Disney had got caught up in a strike of the animators and was on financial thin ice due to an expansion of the studio. The final straw was that the war in Europe meant that market was not available.

But there was one lifeline. The government was concerned with what was happening in South America, where Nazi ideology was getting a stronghold. FDR set up the Office of the Coordinator of Inter-American Affairs, run by Nelson Rockefeller, to improve the US image in Latin America. Disney decided to get involved to get the government support. Their first movie under this was Saludos Amigos. The Three Caballeros was something of a sequel and probably the one that holds up best today.

It, like most of the full-length Disney animated films of the 40s, is made up of short subjects tied together to make a feature length film.** The frame tale is that it was Donald Duck's (Clarence Nash) birthday.*** He is sent a box of gifts from South America. They include a movie camera, which shows a story of Pablo, a penguin who wants to move into a warmer climate. After a brief animated travelogue showing the birds of the Amazon,**** there's another short about a boy from Uruguay who discovers a flying donkey.

Next comes Jose Carioca (Jose do Patrocinio Oliveira), a Brazilian parrot who was introduced in Saludos Amigos, who takes Donald to a festival in Brazil via a popup book. Of interest is the integration of the animated characters with actual footage. Not the first time, of course,***** but a good one. As a note, the singer portrayed in the sequence was Aurona Miranda, Carmen Miranda's sister.

Finally, it's Panchito (Joaquin Garay), from Mexico. They sing the title song -- probably the only sequence that most people are familiar with -- then visit Mexico, leading to a surrealistic set of visions, much like those in parts of Fantasia.

The standalone sequences are typical Disney: gentle, mildly amusing, but too bland to stand out.  However, the more surrealistic finale is well regarded as a work of animated imagination. And the melding of animation and live action is technically superb.

The movie was enough of a success to keep Disney afloat.

Read my novel, The Cadaver Princess.

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*It was the biggest grossing film ever prior to Gone with the Wind.

**I suspect this was to allow a fallback; if the feature flopped, the individual sequences could be repurposed as shorts.

***It was ten years after his debut.

****A clear precursor of the true-life adventures Disney featured a few years later.

*****The Out of the Inkwell series was doing in 1918, and Gertie the Dinosaur -- one of the first animated films from 1914 -- had Gertie catch a ball thrown by a person on stage.

The Worst Witch (TV movie)

 (1986)
Directed by Robert W. Young
Written by Mary Pleshette Willis, from a novel by Jill Murphy
Starring Fairuza Balk, Diana Rigg, Charlotte Rae, Tim Curry, Sabrina Franklyn
IMDB Entry

Despite what some people might think, J.K. Rowling was not the first person to write about life in a boarding school for wizards. A far earlier example is The Worst Witch  by Jill Murphy* from 1974, which was made into a TV movie in 1986.

Mildred Hubble (Fairuza Balk) attends Miss Crackle's Academy for Witches and is hopeless in her attempt to perform magic: he spells go wrong, and one teacher, Miss Constance Hardbroom (Diana Rigg) constantly belittles her.  Miss Amelia Cackle (Charlotte Rae) tries to be patient with her, and sees something of a talent, but Mildred's problems, coupled with teasing and practical jokes from the other girls, make life miserable for her. When Grand Wizard Hellibore (Tim Curry) attends for Halloween, Mildred is sabotaged when doing precisions brook flying and embarasses the whole school.  Meanwhile, Miss Crackle's twin sister Agatha (also Charlotte Rae) plots to take over the school and turn everyone into toads.

Now, the cast certainly sounds first rate. I became a fan of Fairuza Balk for her performance in the criminally underrated Return to Oz. I've been a fan of Diana Rigg even longer, since The Avengers. Charlotte Rae was successful in The Facts of Life.** And Tim Curry is Tim Curry.

The problem is, it never works. 

The special effects are cheap and not charming. There's a lot of flying on broomsticks, but it's painfully obvious that they're in front of a green screen.  More importantly, the cast overacts and seems to think that a movie for children must be performed in the broadest way possible. Tim Curry appears in one scene (with a musical number) and then once more at the end to justify everything. Charlotte Rae as her evil twin overacts everything. Everything is resolved far too easily.

Book author Jill Murphy started it at age 15 and finished when she was 18, which does help account for the point of view. It was based upon her experiences in school and was published when she was 24.  It has been the basis for a series of books and various TV and stage adaptations. Not J.K. Rowling level, but very solid.

There are still some compensations. Fairuza Balk manages to perform well, keeping things centered while the others chew the scenery. I liked the fact that she was unable to get a black cat, so has a gray and white one she names "Tabby."

The title song, "Growing Up Isn't Easy," was written by Charles Strouse and Don Black. Strouse was a major Broadway composer, writing Bye Bye Birdie, Applause, Annie, and other hits.  The theme was sung by Bonnie Langford, a star in the West End and soon to be one of Doctor Who's companions. I think I spotted her in one of the scenes with a couple of lines, but can't find any confirmation of that.

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*It may be the first to include magic as part of it.

**I saw her live on stage in Leading Ladies with John Astin at Ford's Theater (yes, that Ford's Theater).

They Made Me a Killer

 (1946)
Directed by William C. Thomas
Written by Daniel Mainwaring, Winston Miller, Kae Salkow
Starring Robert Lowery, Barbara Britton, Lola Lane, Elisabeth Risdon
IMDB Entry

The title of They Made Me a Killer is clearly influenced by They Made me a Criminal of a few years earlier. While it certainly doesn't rise to the level of that classic, it is a pretty good programmer with a Hitchcockian theme of a man on the run because he's unjustly accused of a crime.

Tom Durling (Robert Lowrey) quits his job as an auto mechanic after his brother is killed in an accident. Driving west, he ends up in a small town and meets Betty Ford (Lola Lane), who asks for a ride in his car. They stop at a bank, and Durling realizes he's been forced into being the getaway driver for a bank robbery. One man, Steve Reynolds, is killed, but Durling is caught. Reynold's sister June (Barbara Britton) wants revenge on the criminals, so they join forces to track them down. A matchbook in Ford's belongings leads them to a diner. June gets a job, while Durling infiltrates the gang with an eye to bringing them to justice.

The movie creates as lot of suspense as we see the gang become suspicious of Durling and June and may discover they're both out to turn them in and clear their names. Also of interest is Ma Conley (Elisabeth Risdon), the diner owner who is the mastermind of the gang. 

The movie was produced by Pine-Thomas, which did B movies for Paramount. Most of the actors did little of note. Barbara Britton had a successful career in the 50s and missed out on being a TV icon when she was replaced in Head of the Family by Mary Tyler Moore when the show was revamped into The Dick Van Dyke Show. Robert Lowery was a success and worked regularly; his most famous role was the lead in the 1949 Batman and Robin serial. He also was a regular on the Circus Boy TV show.

Read The Cadaver Princess!

The Man Who Cheated Himself

 

(1950)
Directed by Felix E. Feist
Written by Seton Miller, Philip MacDonald.
Starring Lee J. Cobb, John Dall, Jane Wyatt, Lisa Howard. HarlanWade
IMDB Entry

A major defining factor of film noir is the femme fatale -- the woman who draws a man into crime with him having to suffer the consequences.  The Man Who Cheated Himself is an example of that genre, with a different twist throughout.

Lois Frazier (Jane Wyatt) is divorcing her husband Howard (Harlan Wade) to be with Ed Cullen (Lee J. Cobb). Howard leaves her to fly to Seattle, but he confronts her.  Lois shoots her husband.  Luckily for her, Ed is in another room at the time and is a homicide detective.  He goes to work to clean things up, moving the body and tossing the gun off the Golden Gate Bridge. Afterwards, he returns to headquarters to help mentor his younger brother Andy (John Dall), who is just starting out as a detective.  

The body is found near the airport, with witnesses seeing Ed's car.  It seems he was shot at the airport, where he was booked for a flight to Seattle.  But Andy finds a problem with the timeline.

To Ed's surprise, the gun is involved in another murder.  It had landed on the deck of a fishing boat passing underneath the bridge.  Ed and Andy find the culprit and Ed says the murders are connected.  But Andy is not sure.

The tension in the movie is between the two brothers. Ed dismisses Andy's observations, saying that he is too new to the job and jumps to conclusions.  It's a nice little game of cat and mouse because Andy won't be put off the track. 

Jane Wyatt is a surprising choice for a femme fatale. She was known to play wholesome roles, and this was a bit out of her range, though it helps that she is not in most of the scenes until the finale.

Felix E. Feist was a busy director in the 40s and is father of fantasy author Raymond E. Feist.

W1A (TV)

 2014-2017
Created, Written, and Directed by John Morton
Starring Hugh Bonneville, Jessica Hynes, Jason Watkins, Nina Sosanya, Hugh Skinner,Monica Dolan, Rufus Jones, David Westhead, Ophelia Lovibond, Jonathan Bailey, David Tennant
IMDB Entry

After the success of Twenty Twelve,* creator John Morton put together another TV show about the adventures of the beaurocrat Ian Fletcher (Hugh Bonneville):  W1A**.. No longer working for the Olympic committee, he is hired by the BBC as Head of Values. He is -- to his horror -- joined again by Siobhan Sharpe (Jessica Hynes) from Perfect Curve PR, a woman who is always wrong but who thinks she's always right and spends most of her time saying cool at ever opportunity. David Tennant returns to handle the narration.

The various coworkers include his boss Simon Harwood (Jason Watkins), the Director of Strategic Governance, a cheerleader for everything that goes on.  Lucy Freeman (Nina Sosanya) is a producer there, frustrated by the bureaucratic madness. Will Humphries (Hugh Skinner) is an intern who is thicker than the Grand Coulee Dam, often saying yes to something and then immediately asking what it is., and uses "cool" even more than Siobhan does. Tracy Prichard (Monica Dolan) is in charge of communication and is somewhat brighter than the rest, but gives an apology before every idea she puts forth. Neil Reid (David Westhead) runs the news department and despairs at the hairbrained schemes people put forth.  Anna Rampton (Sarah Parish) is the no-nonsense Head of Output, one of the few who tries to avoid taking part in hairbrained plans.  D

The show also includes quite a few British TV stars as themselves as they are name dropped by the group.

The humor is similar to Twenty Twelve, as people make plans in a vacuum, cheering every half-assed plan and having them avoid disaster by dumb luck. There are also subtle running gags, like Ian's folding bicycle, which starts out with him not being able fold, then a status symbol as he competes with Simon for a newer and more expensive model.

The building itself is a source of gags. It's an ultra modern facility, with no offices or assigned work stations. Conference rooms as named for past BBC stars. It has a bleeding edge computer system for managing it all, which, of course, is buggy and unreliable.

Siobhan is hilariously clueless.  When they come up with a new logo for the BBC, they create a Star of David, and have no idea it has another meaning.  She tries to rebrand the Wimbledon tournament as WINbledon, ignoring any objections to the fact that it's just plain stupid. She gets away with it because of British politeness: Ian tries to set her right with softspoken objections, and she bulldozes over them.

I liked discovering a couple of minor characters were named "Ben and Jerry," and their last names are "Rosenstern and Guildencrantz." They show up at meetings and say "Hurrah" to every suggestion.

Very funny show.  There was a third show in this series, Twenty Twenty-Six, which I hope to see soon.

A minor quibble: Twenty Twelve ended on a deliberate cliffhanger and I loved the fact it was left hanging. This show unfortunately explains what happens.  I wish they hadn't.

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*It was critically acclaimed and won several BAFTA awards.

**It derives its title from the postal code for BBC headquarters.

Twenty Twelve (TV)

 

(2011- 2012)
Created, Written, and Directed by John Morton
Starring Hugh Bonneville, Amanda Bullmore, Olivia Colman, Jessica Hynes, Vincent Franklin, Karl Theobald, David Tennant
IMDB Entry

The mockumentary formula had established its place in television, with shows like The Office being big hits.  The British have taken it up, too, and one surprising example is Twenty Twelve, based around the 2012 London Olympics.

The show centers on the Olympic Deliverance Commission (ODC), a bureaucratic morass with vague roles and no clear goals. Ian Fletcher (Hugh Bonneville) is the Head of Deliverance and presides over a group of incompetents who work hard but don't really accomplish anything.  Siobhan Sharpe* (Jessica Hynes) is Head of Brand, responsible for publicity; Graham Hitchens (Karl Theobald), Head of Infrastructure; Nick Jowett (Vincent Franklin), Head of Contracts, and Kay Hope (Amelia Bullmore), Head of Sustainability. As you can see, those titles are nebulously vague. Sally Owen (Olivia Colman) is Ian's personal assistant, about the only competent one in the group. David Tennant narrates the events.

Ian tries to make the group's plans come to fruition, but, of course, they don't.  Not as pure fiascos, but in minor failures due to bad planning based upon assumptions that never come off. The comedy is understated, with humor that you can easily miss until you think about it.  For instance, a character hires a coach, only to complain "What's the point of hiring a coach if they tell you what to do?"

Most notable is Siobhan, whose main role is to sit in meetings and say "cool" four times a minute while never putting down her phone. When forced to give advice, she hems and haws and then comes up with the most banal reply possible, though she raves about other people's ideas.  

Sally is quite competent, but mostly because she clearly has a crush on Ian, who is oblivious to it all.  Graham has no idea what he's doing and often agrees to something only to immediately ask about the most obvious point. Nick is the only one who understands how silly the plans are, but his cynicism is ignored. 

The show is subtle.  In one episode, Kay wants to celebrate sustainability with a ceremony that she suddenly comes up with at the last minute. They was to plant an acorn to symbolize it, but forget to bring one and use an acorn shaped candy. When its all over, you notice that one of the participants has a smear of chocolate on her clothes.

The show ran while the Olympics were being organized and won several BAFTA awards. There are some jokes that don't travel well, most notably when they talk about obscure British celebrities, but more than enough to make it a delight.

Creator John Morton also ran a couple of sequel series with Bonneville -- W1A, where Ian starts working for the BBC, and Twenty Twenty-Six, where he's involved in organizing the 2026 World Cup.

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*She isn't.

Miss Fisher's Murder Mysteries

 

(2012-2015)
Created by Deb Cox, Fiona Eagger
Starring Essie Davis, Nathan Page, Ashleigh Cummings, Hugo Johnstone-Burt, Richard Bligh
IMDB Entry

Last week, I mentioned Miss Fisher's Murder Mysteries as a show similar to Mrs. Bradley Mysteries. I realized I hadn't talked about Miss Fisher and it's time to fix that.

Phryne Fisher (Essie Davis) is a private detective, working out of Melbourne, Australia in the 1920s. Phryne is a very 21st century woman in the wrong time -- free spirited (especially sexually) and unconcerned with how she is supposed to behave. Jack Robinson (Nathan Page), a police detective, works with her, often frustrated by her blithe attitude to the cases. Dot Williams (Ashleigh Cummings) is Phryne's assistant, a straitlaced devout Catholic who is scandalized by her free-thinking attitude. Constable Hugh Collins (Hugo Johnstone-Burt) is Robinson's assistant, while Tobias Butler (Richard Bligh) is Phryne's butler.

As is the way for this type of show, the mystery, while complicated, takes second fiddle to the characters.  Phryne Fisher  is a delight, a modern woman who has no problem dealing with murders and doesn't care if she shocks people with her attitudes.  Essie Davis is wonderful in the role.

The other characters do pale in comparison.  The show develops a romance between Phryne and Jack Robinson, but it's a bit low key as Jack has trouble dealing with her attitudes.  Dot and Hugh are another couple, which leads to various subplots.

The show ran three seasons, with a movie after the third. There was talk of more, but nothing came of it, though a spin-off Miss Fisher's Modern Murder Mysteries showed the adventures of her niece in the 1960s.

Mrs. Bradley Mysteries (TV)

 (1998-2000)
Written by Simon Booker, Gwyneth Hughes, Julie Rutterford from a novel series by Gladys Mitchell
Starring  Diana Rigg, Neil Dudgeon, Peter Davison
IMDB Entry

The British are great with mystery TV shows. In addition to PBS's Passport service, I like looking on Hoopla (you can borrow my novel, The Cadaver Princess, from there) and spotted something I hadn't heard about: Mrs. Bradley Mysteries.  Now Hoopla is not great at giving credits, but it was the type of thing I usually like, so I began to watch.  

Partly through the first scene, I stared at the screen and asked myself, "Is that Diana Rigg?"

It was. And her chauffeur/Watson was played by Neil Dudgeon, the second Inspector Barnaby from Midsomer Murders.   Further along, we found Peter Davison, the Fifth Doctor, in the recurring part of police Inspector Christmas.  The first episode also had David Tennant (Tenth and Fourteenth Doctors) as one of the suspects.

So you could see four of the icons of BBC television in the show.

Set in the roaring twenties, Mrs. Adela Bradley (Diana Rigg) is a wealthy widow who dabbles in solving mysteries, riding in a Rolls Royce with her chauffeur George (Neil Dudgeon). Mrs. Bradley is a someone scandalous author, her major work a marriage manual for young couples and she has a very advanced attitude toward sex. She had a dry and sardonic way of looking at things, even speaking directly to the camera from time to time.*

George does a lot of the dirty work for Mrs. Bradley, ferreting out evidence and being the muscle when needed. Also, Davison as Inspector Christmas is an outlier in this genre, a cop who welcomes the help from the amateur crime solver.

The mystery are pretty routine for the genre, but these sort of shows aren't about the mystery; they're about the personality of the characters and this has plenty of delights in that area. It was originally a movie, and four episodes were filmed after that, but no more. Rigg didn't need to star in episodic TV, so nothing else was produced.  

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*If you are familiar with the original Miss Fisher Mysteries, you'll see she's a precursor.

The Franchise (TV)

 (2024)
Created by Joe Brown
Starring Himesh Patel, Aya Cash, Jessica Hynes, Billy Magnussen, Lolly Adefope, Isaac Powell, Richard E. Grant, Daniel Bruhl

As you might expect from reading my blog, I like movies. And I also like TV shows and movies about moviemaking. I also like satire, so I was delighted to discover The Franchise.

The film is about the production of a blockbuster superhero film, Tecto: Eye of the Storm. It focuses on Daniel Kumar (Himesh Patel), an assistant director who tries to handle the madness and egos.  His assistant Dag Nwaeze (Lolly Adefope) is new to the business and has a sardonic look at the process.

And there's plenty to be sardonic about. The lead actor, Adam Rudolph (Billy Magnussen) is very insecure and has a need to prove himself. It's not helped that Peter Fairchild (Richard E. Grant), a theater actor who grouses about how it's slumming and who also takes every opportunity to belittle Adam. Director Eric Bouchard (Daniel Bruhl) is an Auteur who keeps asking for rewrites and keeps mulling over the best way to portray the oddball things that are part of the film.

The production heads are not much better. Anita (Aya Cash) is the new producer and is also Daniel's ex. The big boss is Pat Shannon (Darren Goldstein), who changes directives and ideas all over the place. Steph (Jessica Hynes) is script supervisor, a job she is manifestly unequipped to handle.

There's a lot to like about this. First of all, the movie they're making is terminally goofy. One of the weapons is the Invisible Jackhammer. In order to give a female character a stronger role, she is given the "Stick of Maximum Potency," which Adam finds threatening to his ego. There is a cameo of another hero from the franchise called "the Gurgler." China asks for product placement for one of their tractors.

I did love a scene where Adam asks Steph to write some jokes for him and it's shown that she is unable to write anything at all.

The show only ran for one season, but it was chock full of plenty to laugh about. 

Footsteps in the Dark

 

(1941)
Directed by Lloyd Bacon
Written by Lester Cole, John Wexley from  a play by Bernard Merrivale
Starring Errol Flynn, Brenda Marshall, Lee Patrick, Alan Hale, Ralph Bellamy, Lucile Watson, William Frawley, Alan Jenkins, Noel Madison
IMDB Entry

Under the studio system, actors get typecast. Errol Flynn, for instance, was usually cast in costume roles as a 30s version of an action hero. But Flynn wanted to try something more contemporary and asked Warner Brothers to try to cast him.  The result is Footsteps in the Dark.

Francis Warren (Errol Flynn) is a financial advisor, but he leads a double life as F. X. Pettijohn, writer of lurid mysteries.  His wife Rita (Brenda Marshall) and mother-in-law Agatha (Lucille Watson) both look  down on the books, so he keeps it all secret from them to avoid their embarrassment. Police Inspector Mason (Alan Hale) knows him as Pettijohn and they have a friendly rivalry as Mason insists that it's far harder to catch a crook than it seems in a book.

Leopold Fissue (Noel Madison) approaches Francis to have him get cash for some diamonds. Fissue knows Warren is Pettijohn and plans to reveal the fact if he doesn't do as he asked. Later, Fissue is found dead. It seems to be due to heart failure, but Francis insists it's murder.  Mason challenges Warren to prove it's murder and to find the one responsible.

The trail leads to a burlesque singer Blondie White (Lee Patrick) and he starts to romance her to get information about Fissue and the murder. Meanwhile, Rita and Agatha get suspicious of his late nights with  another woman.

The film is an odd mix of mystery and screwball comedy. The latter is a bit more interesting; it's not hard at all to spot the murderer. Flynn uses his usual charm to make the movie watchable.

There are familiar faces in the cast. Most notable is William Frawley (I Love Lucy) as a dumb cop. Lee Patrick is known to movie fans as Sam Spade's secretary, Effie, in The Maltese Falcon and Ralph Bellamy is usually cast as the guy who doesn't get the girl, most notably in His Girl Friday. Alan Hale may seem familiar, but you're probably thinking of his son, Alan Hale, Jr., the Skipper from Gilligan's Island.*

The movie is uneven but overall a decent bit of entertainment.   It was obviously planned to be a series; the end involves Francis going out on a new case and Rita joining him, Thin Man style.  Reports indicated that Olivia de Havilland, Flynn's frequent leading lady, had been up for the part of Rita, but it didn't work out.  

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*He is a dead ringer for his dad.

Passport to Pimlico

 (1949)
Directed by Henry Cornelius
Written by T.E.B. Clarke
Starring Stanley Holloway, Betty Warren, Barbara Murray, Paul Dupuis, Phillip Stainton, Naunton Wayne, Basil Radford
IMDB Entry

Ealing Studios were a UK film company that developed a reputation after World War II as the home of quirky comedies.  Passport to Pimlico takes a absurd situation and runs with it, making commentary on life in the UK at the time.

Pimlico* is a district in London, trying to get back to normal after the war, while wartime restrictions and rationing were still in effect. An unexploded bomb goes off, revealing a cache of coins, jewelry, and, most importantly, a old document, which turns out to be a royal charter ceding the area to the Duke of Burgundy. And it turns out that this has never been revoked.  Pimlico is legally part of Burgundy, not England. 

The residents realize this is a boon. Since they're not in the UK, black marketeers descend, selling rationed products.  Londoners descend on the district to buy the products they are denied. The authorities put barbed wire around the "border," but the Burgundians retaliate by stopping an underground train and checking passports. It becomes a battle of wits between the government and the Burgundians.

This is an ensemble cast that works perfectly together. Stanley Holloway** stands out of the leader of the Burgundians. He's best known for his role of Alfred P. Doolittle in My Fair Lady. Also in the film are Basil Radford and Naunton Wayne who play two government ministers and not their usual personas as Charters and Caldicott. Margaret Rutherford steals every scene as Professor Hatton-Jones, who comes in to confirm the legitimacy of the documents and of the descendant of the Duke of Burgundy, who arrives to claim his realm.

Overall, this is a fine, quirky comedy.

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*Not to be confused with the racetrack in Maryland where the Preakness Stakes is run.

**Not to be confused with Sterling Holloway, the voice of Winnie the Pooh.

Hi Diddle Diddle

 

(1943)
Directed by Andrew L. Stone
Written by Andrew L. Stone, Edmund L. Hartmann,  Frederick J. Jackson 
Starring Adolphe Menjou, Martha Scott, Pola Negri, Dennis O'Keefe, Billie Burke, June Havoc, Barton Hepburn
IMDB Entry

The screwball comedy was generally a product of the thirties, but there are some isolated examples after that. One that seems to have been forgotten is Hi Diddle Diddle.

Janie Prescott (Martha Scott) is celebrating her wedding breakfast, though the wedding has not taken place. Her husband-to-be, Sonny Phyffe (Dennis O'Keefe) is a sailor, and his ship is late into port, This doesn't faze Janie's ditzy mother Liza (Billie Burke), who tries to keep things running. While everyone's waiting Sonny's father Hector Phyffe (Adolph Menjou) arrives.  Hector is a cheap conman and has married the temperamental opera singer Genya Smetana (Pola Negri). At the wedding, Peter Warrington (Barton Hepburn), a former suitor of Janie, announces that he tricked Mrs. Prescott to losd her fortune through bad investments and many hours at the roulette wheel, wanting to show Janie that Sonny is only interested in her money. They marry nonetheless and Hector starts to go about to get the money back. With the help of a singer, Leslie Quayle (June Havoc), they find a way.

The plot is too complicated to summarize here. There are the usual misunderstandings of the genre, and much is centered around how the newlyweds can never find time together on their wedding night. It has plenty of laughs throughout, including some gags that are pretty surreal.

The most notable one is a slight running gag.  Someone says, "You know, I've seen that girl somewhere before" and the reply is "She's a very particular friend of the director who's making this picture. He sticks her in every scene he can." That's a pretty self-aware line for the time. The final scene is also strange, as the wallpaper reacts to Smetana's singing.

Another neat trick is when Leslie sings a duet with herself via a video jukebox.  She is played by Gypsy Rose Lee's sister, who is Baby June in the musical Gypsy.

Director Andrew L. Stone mostly stuck with thrillers, but shows a nice talent for comedy. He had a long career, and directed a movie about a ship sinking in which they actually sunk a ship and filmed as it went down.

Chuck Rothman is author of The Cadaver Princess, from Amazing Stories Selects.

Year of the Rabbit (TV)

 (2019)
Created and written by Kevin Cecil, Andy Riley
Starring Matt Berry, Freddie Fox, Susan Wokoma, Alun Armstrong, Paul Kaye, Ann Mitchell
IMDB Entry

I've been a fan of Matt Berry for some time, even since I stumbled across Snuff Box several years ago. He has a great comic persona for being bombastic and very obscene, but always funny. So when I found Year of the Rabbit, I was delighted to discover he was its star.

The show is set in Victorian London. Detective Inspector Eli Rabbit (Matt Berry) is charged with trying to find a killer of young girls. Chief Inspector Wisbech (Alun Armstrong) assigns him to the case, along with a naive young assistant, sergeant Strauss (Freddy Fox). At the same time, Wisbech's adopted daughter Mable (Susan Wokoma) gets on the case as part of her desire to be the force's first woman police officer.

The investigation leads to plots, while Detective Inspector Tanner (Paul Kaye) is out to destroy Rabbit for reasons that are eventually revealed, but more recently because he blames Rabbit for him getting blown up by a bomb. A mysterious woman named Lydia (Keeley Hawes) is definitely someone to worry about. Rabbit is helped by John Merrick (David Dawson),* who is the leader of many criminal enterprises, and by Gwendoline (Ann Mitchell), who runs the pub where Rabbit drinks.

The show is an interesting combination of cop show and comedy. Matt Berry is a typical version of his usual character.  He seems to have written much of his own dialog. Berry has been in several shows, some of which are documented in this blog. but up until now, with What We Do in the Shadows, did not run for very long.

I was also delighted to see Susan Wokoma. I first noticed her strong appearance in Crazyhead and she is great as the somewhat commonly seen role of a woman who's trying to survive in a man's world.  Freddy Fox projects the right amount of naivety as Strauss.

The portrayal of John Merrick is interesting. Usually he's shown as a sad figure, as he was in real life. Here, he's strong, capable, and devious.

There was a second season announced, but it hasn't shown up.

Chuck Rothman is author of The Cadaver Princess, a hidden historical fantasy about magic events that fit in with historical fact.

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* aka, the Elephant Man

The Quatermass Xperiment (The Creeping Unknown)

 

(1955)
Directed by Val Guest
Written by Richard Landau, Val Guest fr4om a TV miniseries by Nigel Kneale
Starring Brian Donlevy, Richard Wordsworth, Margia Dean, Richard Wordsworth
IMDB Entry

We now go backwards to the first of the Quatermass films, a milestone in UK science fiction of the 1950s.

Brian Donlevy is the original Quatermass, head of a group putting the first human-crewed market into outer space. It crashes in the English countryside and Quatermass is quick on the scene.  But two of the three men in the crew are dead, their spacesuits empty. The third, Victor Carroon (Richard Wordsworth). stumbles out, saying only two words before collapsing:  "Help me." Carroon is taken to a hospital, but is catatonic and has some odd physical changes happening to him. Carroon's wife Judith (Margia Dean) doesn't think the doctors are doing enough for him, so manages to sneak him out, when he escapes, killing others and going on a rampage.

The characterization of Quatermass changes over the three films. In this one, he is prickly and short tempered, excusing himself because he's a scientist. In Quatermass 2, he's softened a bit. And in Quatermass and the Pit, the new actor, Andrew Kier is much more avuncular and not particularly short with others.

Val Guest, who directed this and its sequel, also directed the great UK SF film The Day the Earth Caught Fire.

Chuck Rothman is author of The Cadaver Princess, from Amazing Story Selects.

Quatermass 2

 

(1957)
Directed by Val Guest
Written by Nigel Kneale, Val Guest
Starring Brian Donlevy, John Longden, Synden James, Bryan Forbes, Tom Chatto, William Franklyn
IMDB Entry

Since I highlighted Quatermass and the Pic last week, I decided to check out the other films in the series.  Quatermass and the Pit was the third in the series, so my next step backwards was to see and talk about Quatermass 2.

Bernard Quatermass (Brian Donlevy) is head of an attempted project to set up a base on the moon. One night, his assistants discover signs of thousands of meteorites falling from the sky in the area of Winnerden Flats. Curious, he brings one of his staff, Marsh (Bryan Forbes) to investigate. They find a secret military base that looks suspiciously like the base Quatermass was designing for his moonbase.  As they observer, an object falls and lands on Marsh's feet.  When he examines it, it explodes, putting a v-shaped scar on his face.  Guards arrive and order Quatermass off the property, and takes Marsh, ostensibly to the infirmary.

Quatermass is curious about the installation and he finds Vincent Broadhead (Tom Chatto), a member of Parliament who is also curious about it. He is told it is a government facility making a type of artificual food.  They manage an inspection tour, which is clearing being carefully managed to keep them away from discovering what's behind it. Quatermass finds things that aren't covered in the tour, and Broadhead gets inside one of the domes, only to die, covered by a corrosive black slime. Quatermass thinks this is the beginning of an alien invasion. When a colleague of his tries to warn authorities, he discovers that the commissioner of police has the V-shaped mark and that the aliens have taken over the government.  Quatermass has to act to prevent the alien takeover.

The film is an effective SF monster movie thriller, with a credible alien threat and a fair solution (though it differed from that in the TV series). 

This film features the Bernard Quatermass actor from the first of the series, Brian Donlevy. Nigel Kneale, the writer of the TV series, did not like Donlevy as an actor, mostly because he had a drinking problem. It was one reason why he didn't come back for Quatermass and the Pit. Also of interest in the cast is Byron Forbes, who switched over from acting to writing and directing, with such films as King Rat, The Wrong Box, The Stepford Wives, and Chaplin (writing only).

Another effective piece of SF horror from the time.

Quatermass and the Pit

 (1967)
Directed by Roy Ward Baker
Written by Nigel Kneale
Starring James Donald, Andrew Keir, Barbara Shelley, Julian Glover
IMDB Entry

Science fiction came to TV early on. One of the first shows in the US was Captain Video and His Video Rangers It will holds the record for the most episodes of a TV show* and set the template for US-based SF as being something mostly for kids. The UK went in a different direction, with several miniseries about the adventures of space scientist Bernard Quatermass**, written by Nigel Kneale, which leaned heavily on horror of a grown-up nature. Quatermass and the Pit was the adaptation of the third of these serials and is a science fiction horror story.

When building a new station on the London Underground, workers discover an ancient ape. Dr, Mathew Roney (James Donald) sees something odd about the ape.  More strangely, a metallic object is discovered.  Professor Bernard Quatermass (Andrew Kier) is discussing plans for his rocket program, objecting to the military, led by Colonel Breen (Julian Glover), attempting to turn it into a military mission News comes to them about the metallic object and, thinking it's an unexploded bomb from the blitz, they go to deal with it.

They soon discover it it impossibly hard. Quatermass thinks it was sent long ago by Martians and when they finally make a hole, they find a creature that looks like a giant grasshopper, that has horns that, in dim light, make them look like the devil.

Breen, of course, pooh poohs the idea and insists it was some kind of German terror weapon.  He's wrong, and the ship has some sort of psychic power that wrecks havoc in London.

The setup is slow and filled with tension.  We know that thd alien craft is some sort of threat, and the movie keeps up the tension by slowly  revealing the situation. I do think the ending is a bit quick after the slow buildup.

This is the third  Quatermass film, developed from a TV series from 1957.  Most of the cast were mainstays of British TV, but I note Julian Glover, who was the last of the Scaroth in one of the best Tom Baker serials of Doctor Who, "City of Death." The film was a Hammer production and the slow build made it quite different from other films from  that studio.

Chuck Rothman's novel, The Cadaver Princess, the story of body snatchers and evil plots in pre-Victorian London, is available from most online book sellers and to borrow from your local library using the Hoopla app.

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*It ran five days a week for almost six years.

** Note the spelling: there is only one "r."

When Worlds Collide

 

(1951)
Directed by Rudolph Maté
Written by Sydney Boehm from a novel by Edwin Balmer and Philip Wylie
Starring Richard Derr, Barbara Rush, Peter Hansen, John Hoyt, Larry Keaton
IMDB Entry

For decades, Hollywood ignored science fiction. It can probably be traced back to the movie Just Imagine, an attempt at a comedy musical SF films starring the legendary El Brendel. It was expensive and was a major flop, reducing science fiction to Saturday morning Flash Gordon serials for kids. But after the bomb dropped, interest in the genre was renewed and more adult films were attempted. Producer George Pal decided to try it, an hedge his bets by helping to create a new genre: the disaster film. The result was When Worlds Collide.

David Randall (Richard Derr) is a pilot asked to deliver some important photos to astronomer Cole Hendron (Larry Keating). Randall learns that the news is extremely bad:  a rogue star, Bellus, and its accompanying planet, Zyra, are going to crash into Earth.

Hendron goes to the UN to warn them, but he's not believed. He wants to create "arks" to save as many people as he could. He's not believed, but manages to raise money to start the project for one of these. Part of that is getting financing from wheelchair-bound millionaire Sidney Stanton (John Hoyt). They begin work on the ship.  Randall falls in love with Hendron's daughter Joyce (Barbara Rush), which leads to issues. Since not everyone can fit in the ship, a lottery system is set up.

Zyra reaches Earth first, causing tsunamis, volcanoes, and floods.  And there is plenty of interpersonal conflict and issues among the people. It forms the template for a disaster film, even though the genre did not really become a thing for years later.

The special effects were probably top notch for the time, though they pale in comparison to modern effects.  And the movie tries to get the science right. 

Still, the film is a bit slow moving, with a lot of talk about what's going to happen, so it movie is pretty flat in long stretches.  It wasn't as influential as was hoped.*

Chuck Rothman's novel, The Cadaver Princess, the story of body snatchers and evil plots in pre-Victorian London, is available from most online book sellers and to borrow from your local library using the Hoopla app.

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*The second book in the series, After Worlds Collide.

Avenue 5 (TV)

 (2020-2025)
Created by Armando Iannucci
Starring Hugh Laurie, Josh Gad, Zach Woods, Rebecca Front, Suzy Nakamura, Lenora Crichlow, Nikki Amuka-Bird, Ethan Phillips
IMDB Entry

I've been noticing a trend in TV shows -- usually comedies -- that don't make it clear what the show is about. For instance, nothing about the title The Bear makes it clear that it's about running a restaurant. What We Do in the Shadows and Our Flag Means Death don't really indicate what the shows are about.*  But the one title that doesn't seem to fit the show is the comedy Avenue 5.

The show is science  fiction.  Avenue 5 is a luxury spaceship, giving people a tour of the solar system. It's commanded by Ryan Clark (Hugh Laurie), who genially greets and reacts to the passengers and owned by billionaire Herman Judd (Josh Gad). 

But trouble hits.  The artificial gravity goes haywire and the result is the ship's cruise now no longer takes eight weeks -- it's now going to be three years.  And we learn that Clark is just a figurehead; the real crew is hidden away from the passengers, and the real captain is dead. Billy McEvoy (Lenora Crichlow) is second in command, and the most competent one around and has to try to deal with the madness.

The rest of the real crew** try to deal with the issue, but it's up to Clark to deal with the passengers, and he is best at being a genial host, not a commander. Herman Judd is oblivious and useless, as it often pointed out to him by his associate Iris Kimura (Suzy Naskamura). Matt Spencer (Zach Woods), head of customer relations, is a walking  factory of useless cliches. Karen Kelly (Rebecca Front) is a pushy passenger who learns of the predicament and knows how to take  charge.  Meanwhile, back on Earth, Rav Mulcair (Nikki Amuka-Bird) tries to get a handle on the situation.  Also among the crew is Spike Martin (Ethan Phillips), a former astronaut.  

The comedy comes from the characters and their reactions. There aren't a lot of punchlines, but plenty of things that are just plain insane. Clark tries to keep a lid on the silliness, with the help of Billie, but no one listens.

One interesting running gag is that Clark is English, but speaks with an American accent unless he's stressed. This is a dig at Laurie's accent in House, where he uses an American accent throughout.*** Ethan Phillips was best known for playing Neelix on Star Trek Voyager; he's not very familiar looking without the prosthetics until he speaks.

While the early episodes stuck to the science, as time went on, that got lost in the comedy, but no one should mind.

The series was created by Armando Iannucci, the man behind Veep and The Death of Stalin. It ran for two seasons.

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*Vampires and Pirates, respectively.  And they don't make  it clear they are comedies.

**The one on the bridge they show passengers is made up of actors pushing fake buttons.

***When he auditioned for House, the producer commented on how it was good to have an American to play the role.

Phantom Lady

 

(1944)
Directed by Robert Siodmak
Written by Bernard C. Schoenfeld
Starring Franchot Tone, Ella Raines, Alan Curtis, Thomas Gomez, Elisha Cook, Jr.
IMDB Entry

Phantom Lady was squarely in the middle of Hitchcock territory: a man is wrongly accused of a crime. But Hitchcock had the accused the center of the story and this makes the mistake of removing him from the picture. Still, it manages to be suspenseful with an intriguing situation.

It starts with a woman's hat. The hat is garish and too big, but gets the attention of Scott Henderson (Alan Curtis), who has just had a fight with his wife and is drinking at a bar.  He and the woman go to a stage show, on the condition that neither tells the other their name. After the show, Scott returns home, only to find the police there. His wife has been murdered, strangled with one of his neckties, and he is the main suspect. He tries to use the woman as an alibi, but doesn't know her name. The cops, leed by Inspector Burgess (Thomas Gomez), retrace his steps, but no one remembers seeing the woman with him.  He is tried and sentenced to death.

Carol Richman (Ella Raines),  his secretary, is secretly in love with him* and tries to prove his innocence. Inspector Burgess agrees he's not guilty and they begin to investigate. They interview various witnesses. She cleverly gets a bartender to admit he saw the woman and was bribed to lie about it.  He is killed in an accident running away from her after the admission.

Aurora (Aurora Miranda), a nightclub singer, says she doesn't remember the woman or the hat.  But we had already seen that she spotted it in the audience -- it was identical to hers -- so we know something is up. Same for a drummer Cliff Milburn (Elisha Cook, Jr.), who, drunk and trying to impress Carol, admits he was paid to lie. When he realizes she's gathering information, he kicks her out. But a mysterious man shows up to kill Milburn.

We are shown soon after that Henderson's best friend Jack Marlow (Franchot Tone) is that mysterious man.  He has just returned from a trip to South America,** where he was when Henderson's wife was murdered. He offers to help Burgess and Carol to find the mysterious woman.

This fits right in with Hitchcock's definition of suspense: where the audience knows of danger when the characters don't. 

The situation is eventually revealed. Marlow's plot is too convoluted and depends on people reacting in ways that could not be anticipated. But the suspense is pretty well handled.

Franchot Tone was a successful leading man, and wanted to stretch out and play a villian. Despite being top billed, he doesn't appear until well into the movie, but he makes a great impression as the psychopathic Marlow.

Ella Raines is good as the secretary turned detective, though Alan Curtis doesn't make a bit impression as Henderson.  I always like to see Elisha Cook, Jr. and I remember Thomas Gomez from Force of Evil.

Chuck Rothman's is the author of The Cadaver Princess, a horror fantasy about body snatchers set in 1831 England.

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*A common trope of the 30s and 40s, often used in song, where a man leaves his wife for his secretary.

**I notice that movies and TV shows of this era always have people in South America or Mexico, when the plot requires they be away.

Ministry of Fear

 

(1944)
Directed by Fritz Lang
Written by Seton I. Miller from a novel by Graham Greene
Starring Ray Milland, Marjorie Reynolds, Hillary Brooke, Carl Esmond, Dan Duryea, Erskine Sandford.
IMDB Entry

Fritz Lang shows up on most lists of great film directors and most film students encounter him with Metropolis and M. He left Germany when the Nazis came to power,* but continued to make films in the US. They were mildly successful, but were not considered great films when they came out, until critics began to notice in retrospect.  The Ministry of Fear, from a novel by the great spy novelist Graham Greene, is one of several of his anti-Nazi themed films of the 1940s.

We first see Stephen Neale (Ray Milland), being released from an asylum. While waiting for a train to London, he decides to enjoy a village fete.** One of the booths has you guess the weight of a cake to win it. He is told to go to a palm reader's tent and Mrs. Bellane tells him what to guess.  He ends up winning the cake, but another man arrives and the people at the booth say Neale was wrong and should give the cake to the person who made the correct guess.  Neale refuses.

When he gets on the train, he's joined in his compartment by a blind man. When the train is stopped due to an air raid, the blind man reveals himself as a fraud and tries to shoot Neale.  A bomb lands on the fake blind man and Neale finds his gun in the debris and goes to London, trying to track down what's going on.

With the help of a private detective George Rennit (Erskine Sandford), Neale tracks down the head of the Mothers of Free Nations, who ran the fete.  Willi Helfe (Carl Esmond) and his sister Carla Helfe (Marjorie Reynolds) are in charge and are shocked to learn that their organization was being used for something so devious. Neale goes to see Mrs. Bellane (Hillary Brooke) and discovers she's a much younger woman than the one telling fortunes.  He attends a seance and there is a murder and, of course, Neale is the suspect.  He goes on the run, with Carla helping. He explains why he was in the asylum -- for a mercy killing of his dying wife that he didn't actually do -- and they began to fall in love.

The film is well structured with plenty of plot twists and I was quite surprised at the ending. The spycraft is a little bit silly -- the issue with the cake would be too risky to be seriously considered.  But the film doesn't make things easy for the characters.

Many in the cast were notable. Ray Milland, of course, won an Oscar a few years later for The Lost Weekend. Marjorie Reynolds is best know for helping Bing Crosby introduce "White Christmas" in Holiday Inn. Erskine Sandford showed up in Citizen Kane as the editor of the Inquirer when Kane takes it over. And Alan Napier, in a smallish role, is well known for playing Alfred in TV's Batman.

There's also Dan Duryea, who made a career playing bad guys.

The movie was well received but seems to have left little impression. It is well worth checking out.

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*He often told the story that the day he was planning to leave Germany for good, Josef Goebbels summoned him to his office and offered to make him head of UFA, the German film company. Lang talked about how he kept looking at the clock, hoping to be able to leave before the banks closed so he could take all his money and get out of the country.

**A British fundraising fair, with games and rides and other entertainment. We had the same thing when I was growing up, but we called them "Block Parties."

In Memorium: Dave Mason

 https://greatbutforgotten.blogspot.com/2008/09/dave-mason-together-music.html

Adam and Evelyne

(1949)
Directed by Harold French
Written by Noel Langley (story), George Barraud, Nicholas Phipps, Lesley Storm
Starring Stewart Granger, Jean Simmons, Raymond Young, Fred Johnson, Wilfred Hyde-White
IMDB Entry

I've seen people list movies online that could never be remade, usually due to dated or offensive story matter. When I stumbled upon Adam and Evelyne, I realized this was something whose subject matter is far too cringy, especially for what was supposed to be a light romantic comedy.

Evelyne Kirby (Jean Simmons) is a teen who lives in a girl school.  Her mother is dead, but her father, Chris Kirby (Fred Johnson) has started writing to her and promises to take her home. Kirby is a jockey and after being fatally injured in a fall from his hose, confesses to his best friend Adam Black (Stewart Granger) that he's been writing to Evelyne, but send a photo of Black and saying it was of him. Black goes to see Evelyne and she immediately thinks he's her father. Black doesn't want to tell her the truth, and takes her home. 

Eventually, of course, the truth comes out, but Evelyne becomes his ward*, and is sent to a boarding school.  But Black won't tell her the source of his income:  he runs illegal gambling parties.  And Evelyne hates gambling.  She returns and starts dating Black's ne'er-do-well brother Roddy (Raymond Young), and through a series of misunderstandings, true love blossoms.

The problem with the movie is obvious. Black has to be old enough to be Evelyn's father, and that sort of age difference is creepy these days.** Another problem is the ending, which is a sort of "never mind"  that lets it have a happy ending.

Simmons had a long an tumultuous career in Hollywood, with one Oscar nomination; this was her first film as an adult. Granger these days is best known for having to change his name from James Stewart. Both, however, were major stars of the 1950s.

Notable in the cast is Wilfred Hyde-White, who cornered the market on droll and kindly English gentlemen in the 50s and 50s. And I spotted Mona Washbourne in a minor role; I remember he fondly playing the "Lion Aunt" in Stevie.

The issue of age difference didn't come up when it was released, and it got good reviews and was nominated for awards. But today it is creepy to watch.

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*People do smirk about the relationship with his "ward," though there is nothing untoward in the movie, and Black vehemently objected to the gossip.

**Rumors had it that Granger and Simmons (she was 16 years younger), were romantically involved at the time. They denied it, but married soon afterwards.