Two French nuns (Loretta Young, Celeste Holm) come to America to set up operations in a local stable in order to raise money for a children's hospital. Directed by Henry Koster (MY COUSIN RACHEL). Oy! A treacly sentimental slice of hokum with Loretta Young and Celeste Holm looking all beatific and pious as they obnoxiously hustle and annoy everyone around them but we're supposed to excuse them because they're nuns! These merciful penguins don't resemble the holy terrors from my childhood. Inexplicably, this sugary faith based movie received seven, count them, 7 Oscar nominations including three for acting (Young for best actress, Holm and Elsa Lanchester for supporting actress) despite the fact that their performances are adequate at most. Not as bad as GOING MY WAY (what could be?) but the schmaltz is piled nearly as high but thankfully no Barry Fitzgerald! There is one mildly amusing sequence with Holm playing a tennis match in her habit. With Hugh Marlowe, Thomas Gomez, Dooley Wilson, Dorothy Patrick and Mike Mazurki.
Set during the Great Depression, two drifters find some work on a ranch. One (George Segal) watches over his mentally challenged friend (Nicol Williamson) whose inability to control his strength is their undoing. Based on the novel by John Steinbeck (previously filmed in 1939) and directed by Ted Kotcheff (WEEKEND AT BERNIES). While I respect the source material, I've never found Steinbeck's book (and the various film, stage and TV incarnations) very appealing. This television adaptation is very well done, I'll give it that with fine performances by the two leads. Williamson doesn't overdo the backward hulk and Segal gives a sensitive performance treading the line of genuine love for his friend and frustration at how the burden of caring for his friend impedes his ability to lead his own life. But I still find Steinbeck's narrative unnecessarily unpleasant. With Joey Heatherton as the slutty wife who seals Williamson's fate, Will Geer, Donald Moffat, Don Gordon, Dana Elcar and Moses Gunn.
A popular Los Angeles photographer (Michael Callan) harbors a dark secret. His hatred of his slutty, alcoholic mother (Barbara Nichols) morphs into the need to kill. So he lures attractive women to model for him then photographs them in the throes of death! Directed by William Byron Hillman (DOUBLE EXPOSURE). A rather lurid B exploitation thriller that offers nothing new until the very end when a shocking twist ending that I didn't see coming (and I doubt you will too) makes you sit up but you have to sit through a very mediocre and poorly constructed movie to get to it though the ending is almost (I said almost) worth it. Callan's performance is over the top at times but it's not the actor's fault, the screenplay seems to push it in that direction. The score by Jack Goga is above average and gives the film some mystery. With Edward Andrews, Harold J. Stone and Spencer Milligan.
A social climber and gold digger (Myrna Loy) is determined to cement her reputation as a member of the upper crust. In her quest to live the opulent life, she betrays those closest to her. Based on the classic novel by William Makepeace Thackery (previously filmed in 1915 and 1923) and directed by Chester M. Franklin (THE THIRTEENTH HOUR). This is a "modern" adaptation of the Thackery novel and takes place in the 1920s and early 1930s as opposed to the mid 19th century setting of the Thackery novel. Although a pre code film, it takes a very moralistic attitude toward its heroine and her fate is more severe than the one Thackery gave her in his book. Loy (on loan from MGM) is very good but the rest of the acting is only adequate. Remade three years later as the first three strip Technicolor film. With Conway Tearle, Barbara Kent, Walter Byron and Anthony Bushell.
