If you expecting to find at least one of those Doris Day comedies to pop up on this list, well sorry but Ms. Day, with or without Rock Hudson, will be found nowhere on site. I am not an admirer, or fan. Day does have a nice comedic touch and some of her comedies are pleasant (Pillow Talk and Lover Come Back), but her virginal, sugary, spunky self, I just find annoying. Like Mary Tyler Moore’s Lou Grant once said, “I hate spunk.” I don’t mean to turn this into a tirade against Ms. Day, but in the 1960’s, the times, they were a changin.’ and films like With Six You Get Eggroll did not cut it. Anyway, here is my list for the decade that helped defined me.
Short Takes returns with three reviews, totally unrelated. A young Natalie Wood stars in A CRY IN THE NIGHT while 1950’s Brit blonde bombshell Diana Dors is in THE UNHOLY WIFE. Finally, Ginger Rogers shines in the lightweight 5th AVENUE GIRL.
I wonder when they named this picture, “A Cry in the Night,” whose tears they were referring too, Natalie Wood’s character perhaps, who is kidnapped in the middle of the night or maybe the audience who had to sit through this cliché ridden tale about a child-like adult (Raymond Burr), think Lenny in “Of Mice and Men,” who watches young couples making out at a local lover’s lane.
After knocking out her boyfriend old Raymond kidnaps Ms. Wood taking her to his secret hideout where he confesses he just wants to be ‘friends.’ Yes, Nat makes a couple of feeble attempts to escape but in the end only manages to ripe her skirt so she can reveal some leg in order to keep the males in the audience awake. Wood’s father, played by Edmond O’Brien, is an overbearing, over protective, sexist who finds it hard to believe his eighteen year old daughter would willingly go to a lover’s lane of her own free will after he forbid her too. In fact, ole’ Edmond seems more concerned with wanting to beat the crap out of the boyfriend for this dirty deed than finding his daughter. Oh yeah, by the way, he’s a cop who naturally wants to be involved in the case though he should not be. The cast also includes Brian Donlevy as the sensible cop who attempts to control the out of control O’Brien. As directed by Frank Tuttle, there is nothing original here, to say the least. Tuttle is best known for making “This Gun For Hire” some fourteen years earlier which made Alan Ladd a star. Ladd, by the way, is the narrator who opens the film and his company co-produced the film. Continue reading
Note: A couple of years ago I did a series of reviews for Halo-17 an Australian music and arts website which from what I can tell is no longer out there in cyber space. In the past I have occasionally linked to some of these reviews here at Twenty Four Frames. Recently, it seems all the links lead to an internet void, subsequently over the period of the next few weeks and months I will be posting these reviews here in updated versions. The current postings with broken links to some of the reviews, like “The Panic in Needle Park” and “Thieves Highway” will be deleted and new full reviews, updated will appear sometime in the near future. “The Candidate” appears here for the first time.
In the early 1970’s Michael Ritchie was an up and coming filmmaker with a fairly decent list of films including, “Downhill Racer,” “Prime Cut,” “Smile,” “The Bad News Bears,” “Semi Tough,” and “The Candidate.” After “Semi-Tough” in 1977, Ritchie’s career became somewhat erratic. There were still a few minor decent works like “Fletch”, and the concert film “Divine Madness” but more and more there were depressingly bad films like “The Couch Trip”, Wild Cats”, “The Golden Child”, “Cops and Robbersons”, “The Island” and “An Almost Perfect Affair.” Sports, competition have been major themes in Ritchie’s films and if on target, well pointed satire. Of all his films, ‘The Candidate” is arguably his best. An on target assault on the American political system that is even more relevant today than it was over thirty-five years ago when it was first released. Continue reading
Apparently back in 1947 Hollywood thought it was a good idea to release Christmas films in the middle of the year instead of the holiday season. In June of that year, two films were released within a week of each other. Both placed ads in the New York Times weeks before they opened as if it were a preliminary for the main bout. Who will grab the public’s imagination and more importantly their dollars? The two contenders were the now almost forgotten “It Happened on 5th Avenue” and a film that would become a perennial holiday classic, “Miracle on 34th Street.”
While the stories are different, the two films do have some similarities. Both take place in New York during the holiday season, both feature kindly cherubic older men and both spread philosophies, though very different, on the goodness of man. Continue reading