Civil War (2024)

Set in the near future, a civil war has erupted in the United States between an authoritarian federal government and regional factions (notably California and Texas). The film focuses on a group of journalists heading to Washington D.C. to photograph and interview the third term President (Nick Offerman) before the city falls. Written and directed by Alex Garland (EX MACHINA), this unsettling view of a nation torn apart by hate and divisiveness is as much about journalism as it is about a country fractured by ideologies. I would have loved to comment how far fetched the plot is but it seems frighteningly prescient. Garland takes no sides and offers no solutions and instead lets his narrative focus on the dehumanization of mankind in a war where even the "good guys" are the enemy. One can't help but think of the precipice where the U.S. is tottering toward or even the Israel/Gaza situation. The acting is of a high order especially Kirsten Dunst as the war photographer who finds her objectivity wavering, Cailee Spaeny as an aspiring photo journalist and Stephen McKinley Henderson in an understated performance as an aging journalist who's seen it all. Perhaps not the great film it could have been (we're never given any background on the impetus of the war) but good enough and yes, a film that needed to be made. With Wagner Moura, Jesse Plemons and Nelson Lee.

I... Comme Icare (aka I As In Incarus) (1979)

Set in an unnamed country in the West. After the assassination of a President (Gabriel Cattand), an investigation committee comes up with questionable conclusions about a lone gunman. One of the commission's members, the state attorney (Yves Montand) disagrees with the conclusions of his peers. He reopens the case and unspools a tightly wound conspiracy plot. Directed by Henri Verneuil (THE SICILIAN CLAN), this is a zealous conspiracy thriller that takes a methodical approach to its subject rather than the intense pacing of a conspiracy thriller like Costa Gavras' Z. This does not mean it's any less exciting (though it never reaches the potent power of Z) but its leisurely pace diffuses some of the movie's potential intensity. Although a product of France, the location of its fictional narrative is never mentioned but the film is obviously inspired by the Kennedy assassination and the Warren Commission Report. The film received five Cesar (the French Oscar) nominations including best picture. With Michel Albertini, Henry Djanik, Jean Lescot, Jean Negroni and Francoise Bette.

Victim (1961)

After a young homosexual (Peter McEnery) commits suicide because he's being blackmailed, a repressed homosexual (Dirk Bogarde) takes it upon himself to expose the blackmailing ring, even at the cost of his rising legal career. Directed by Basil Dearden (KHARTOUM), the film is notable for being the first English language film to explicitly deal with homosexuality openly and sympathetically although looking at it through contemporary eyes, it does seem somewhat condescending. Still, it's a landmark film on the subject matter and is credited with helping abolish British laws that criminalized homosexuality. I found Bogarde's performance problematic. He looks unhappy throughout the movie. Is it because he's repressing his true nature or is he unhappy being homosexual? As a movie, it's more successful as a social protest against an injustice as opposed to an artistic piece of cinema. With Sylvia Syms (excellent as Bogarde's wife), Dennis Price, Peter Copley, Anthony Nichols and Mavis Villiers.

Alaska Seas (1954)

Just released from jail, a fisherman (Robert Ryan) is hired by his old pal (Brian Keith), the head of the local salmon fishermen who have formed their own canning cooperative. The fishermen fight to keep a ruthless gang of fishing trap thieves at bay. But the ex-convict is short on cash and ethics. Directed by Jerry Hopper (SECRET OF THE INCAS), this is a remake of the 1938 film SPAWN OF THE NORTH. A second tier programmer that's a perfectly serviceable movie for undiscerning audiences. It's efficient if uninspired movie making that accomplishes what it sets out to do. Ryan is suitably black hearted, Keith is adequately heroic and Jan Sterling as their love interest doesn't have much to do except be lovely which she does without effort. With Gene Barry, Timothy Carey and Ross Bagdasarian, who would create Alvin and The Chipmunks four years later. 

Confirm Or Deny (1941)

Set in London 1940, an American war correspondent (Don Ameche) with newspaper ink in his veins anxiously awaits information from a Berlin correspondent regarding the invasion of England by the Germans. He is determined to scoop the competition at all costs, even if it means releasing classified information. Directed by Archie Mayo (THE PETRIFIED FOREST) with an uncredited contribution from Fritz Lang. A routine wartime propaganda war film (though the U.S. was not in the war yet) that uses HIS GIRL FRIDAY as its template. Ameche's manipulative newspaperman talks a mile a minute but the lackluster Ameche lacks Cary Grant's comedic chops and screen presence. As the romantic interest, Joan Bennett is lovely but she doesn't have much to do except react to Ameche. Even at a brief running time of one hour and fourteen minutes, the movie drags. With Roddy McDowall, Eric Blore and John Loder.

Jewel Robbery (1932)

Set in Vienna, a Baroness (Kay Francis) relieves the boredom of her marriage to an older man (Henry Kolker) with love affairs but even the adultery is beginning to bore her. However, when she is in a jewelry store and a gentleman thief (William Powell) and his gang break in and rob the place, he takes the time to flirt with her and she finds herself attracted to him. Based on the Hungarian play EKSZERRABIAS A VACI-UTCABAN by Ladislas Fodor (and its English adaptation by Bertram Bloch) and directed by William Dieterle (HUNCHBACK OF NOTRE DAME). A thin pre code romantic comedy and heist movie hybrid that does little to hide its theatrical origins. Still, there's the star power of William Powell showing off the charm that would make his Nick Charles in THE THIN MAN a hit two years later and Kay Francis modeling her Orry Kelly frocks. This was Powell's and Francis's fifth movie together and they play off each other nicely which compensates for the stilted screenplay. This being a pre code movie, adultery is treated quite casually (somehow in these movies, it seemed acceptable among the rich) and marijuana cigarettes passed around like candy! With Helen Vinson and Alan Mowbray.

The Boob (1926)

A meek young country boy (George K. Arthur) is in love with his childhood sweetheart (Gertrude Olmstead) but she's in love with a city slicker (Tony D'Algy). In order to impress her and win her back, he sets out to catch some bootleggers! Directed by William A. Wellman (THE HIGH AND THE MIGHTY), this minor silent comedy is watchable but lacks the originality and wit that make the Keaton and Chaplin silent comedies such classics. In fact, George K. Arthur comes across as a poor imitation of Buster Keaton. The movie is stolen by two supporting players, a black child actor who shockingly is not credited even though he has an important role and a mutt by the name of Benzine! The film is also notable for an early appearance by a young Joan Crawford in a minor role as a government revenue agent. Wellman's career would make a major leap the following year when he directed the Oscar winning WINGS. With Charles Murray and Edythe Chapman.

Thelma And Louise (1991)

Two best friends, Thelma (Geena Davis) and Louise (Susan Sarandon) set out for a weekend getaway in the mountains. But a stop at a country and western bar turns ugly when a man (Timothy Carhart) attempts to rape Thelma and is shot and killed by Louise. Directed by Ridley Scott (ALIEN). There had been a smattering of mainstream feminist movies in the 1970s (ALICE DOESN'T LIVE HERE ANYMORE, AN UNMARRIED WOMAN etc.) but nothing like the controversy and attention that made THELMA AND LOUISE one of the most talked about movies of the year. It wasn't a small intellectual film but a female road film that had as much action as a Charles Bronson movie and encompassed the anger, rage and frustration toward a male driven society that still treated women as second class citizens. While many feminists decried the violence in the film, audiences cheered the two women as they blew up a sexist trucker's vehicle. I think it's Sarandon's best performance and Geena Davis gives a trajectory to her ditzy housewife's journey of discovery till she realizes she can never go back to the way it was. In many ways, a landmark film. With Brad Pitt (in his breakthrough role), Harvey Keitel, Michael Madsen, Christopher McDonald and Lucinda Jenney. 

怪物 (aka Monster) (2023)

A single mother (Sakura Ando) raising a son (Soya Kurokawa) is alarmed by her son's disturbing behavior and suspects he is being abused by a teacher (Eita Nagayama) and she goes to the school to confront him but is unsatisfied with the school's response. Directed by Hirokazu Kore-eda (SHOPLIFTERS), the film won the best screenplay at the Cannes film festival. The film is a complex puzzle told from three different views and it takes awhile to get used to the fragmented narrative but slowly it emerges into a shattering but empathetic rumination on understanding and accepting who you are. Other themes show themselves: homophobia, bullying, parental abuse, guilt but they are secondary to the film's emotional core. The two central child performers (Hinata Hiiragi is the other boy) are amazing. Not an easy viewing but be patient, the reward is great. With Yuko Tanaka and Mitsuki Takahata.

Tarzan The Ape Man (1932)

Two hunters (C. Aubrey Smith, Neil Hamilton) travel in Africa searching for a sacred elephant burial ground where they expect to find a wealth of ivory. They take along the older hunter's daughter (Maureen O'Sullivan) in their quest. But they come across a primitive white man (Johnny Weissmuller), almost ape like in his demeanor. Based on the 1912 novel by Edgar Rice Burroughs and directed by W.S. Van Dyke (SAN FRANCISCO). Not the first Tarzan feature film made but the most successful. It spawned 12 more movies with Weissmuller as Tarzan and the character would continue with Lex Barker and Gordon Scott playing the jungle hero among many others. It's a primitive film in more ways than one. I found much of it difficult to watch what with its indigenous people being whipped because they didn't move fast enough for their white bwanas and the random slaughter of animals in their native habitat because they were in the way. Weissmuller doesn't have to act, just look good in a loin cloth (which he does) and he doesn't come in until a half hour into the movie. The movie really belongs to O'Sullivan as Jane who carries most of the movie. For me, it was of interest for its historical aspect but not much else. I much preferred the Lex Barker Tarzan movies.

The Looters (1955)

When a plane crashes in the snow capped Rocky Mountains of Colorado, a mountain climber (Rory Calhoun) and his old Army buddy (Ray Danton) set out on their trail with the intention of rescuing any survivors. But the Army buddy is lured  by the $250,000 in cash they find among the plane's debris. Directed by Abner Biberman (THE NIGHT RUNNER). After a slow expository beginning, the film grows in intensity as the two mountain climbers and the survivors make the perilous trek down the mountain. The movie may be a minor Universal programmer but it does its job well and the acting is more than decent. The film benefits from its mountain locations though I have no idea where the film's exteriors were filmed (interiors shot at Universal) and handsomely shot by Lloyd Ahern (MIRACLE ON 34TH STREET) in B&W. A nifty adventure movie. With Julie Adams, Thomas Gomez, Frank Faylen and Russ Conway.

The Questor Tapes (1974)

An android (Robert Foxworth) created with cutting edge technology sets out on a quest to find his missing creator (Lew Ayres) in an attempt to find out his purpose. To this end, he is helped in his search by a young scientist (Mike Farrell). Directed by Richard Colla (THE UFO INCIDENT) and based on a concept by Gene Roddenberry, the man behind the original STAR TREK series. A fascinating premise poorly executed. The movie plays around with the idea of creation in terms of our own creation and our relation to our "creator" and the android's relation to his own creator but it doesn't explore it in any depth. It plays out like a TV movie of the week (which it was) and this is only amplified by the cipher that is Mike Farrell. The film has a large cult following but I, for one, would love to see it remade by more creative and daring minds. With Dana Wynter, John Vernon, Majel Barrett and James Shigeta whose part seems to have been severely cut.

Speriamo Che Sia Femmina (aka Let's Hope It's A Girl) (1986)

Although married, a woman (Liv Ullmann) lives apart from her husband (Philippe Noiret). She lives in the Tuscan countryside while her husband resides in Rome. She lives with an extended female centric family including her actress sister's (Catherine Deneuve) daughter (Francesca Calo). Directed by Mario Monicelli (BIG DEAL ON MADONNA STREET) who won the David di Donatello award (the Italian Oscar) for best director for his work here. The film is near plotless. Instead, we get a series of incidents that eventually build up to a tale of female bonding and empowerment. However, despite its feminist narrative, it isn't heavy handed. Monicelli slowly lets it grow without us even being aware of it until the very end. The only problem I had with it was the usual Italian dubbing. The Nordic Liv Ullmann and the French Deneuve and Noiret are dubbed into Italian and it took me awhile to get used to the dubbed voices. A simple story that moves amiably along until its strong climax. With Stefania Sandrelli, Bernard Blier (also French), Giuliano Gemma, Giuliana De Sio and Athina Cenci.

Sette Note In Nero (aka The Psychic) (1977)

A recently married woman (Jennifer O'Neill) has visions of an older woman murdered by a limping man and her body buried behind a wall. While her husband (Gianni Garko) is away on a business trip, she decides to renovate an abandoned mansion owned by her husband. It is there she discovers a crack in the wall and eventually a skeleton of a dead woman who had been buried behind the wall. But that's only the beginning as she perseveres in locating the killer. Directed by Lucio Fulci (LIZARD IN A WOMAN'S SKIN), this is a gripping giallo that grows in intensity and even when you realize who the murderer is, you're still riveted. The film's only flaw (and it's a minor one) in my eyes is why the killer would bury a second body behind a wall several years later. Surely, there's an easier way to get rid of a body. Although considered a giallo, I was more taken by the murder mystery "whodunit" aspect of it. Stylish and effective, it's a favorite of Quentin Tarantino who wanted to remake it in the late 1990s. The film wasn't released in the U.S. until 1979. With Gabriele Ferzetti, Ida Galli, Marc Porela and Jenny Tamburi.

Three Strangers (1946)

On the eve of the Chinese New Year, three strangers make a wish to a Chinese goddess for money: a solicitor (Sydney Greenstreet), an alcoholic (Peter Lorre) and a manipulative and obsessive woman (Geraldine Fitzgerald). But what good will the money do them if fate already has their destinies plotted out? Directed by Jean Negulesco (THREE COINS IN THE FOUNTAIN) from an original screenplay co-written by John Huston. It's a nifty film noir with curves and irony. The three leads are very good with Peter Lorre in one of his best roles and the usually docile Fitzgerald getting a chance to play a wicked woman. The film was originally planned with bigger stars in the leads but I'm glad that the trio that normally played supporting roles were put into the starring roles. It gives the movie an intrepid texture. The atmospheric score is by Adolph Deutsch (THE MALTESE FALCON) and the suitably ambient cinematography is by Arthur Edeson (CASABLANCA). A real treat for noir fans. With Joan Lorring, Peter Whitney, Marjorie Riordan and Alan Napier.

The Quiet Gun (1957)

Prodded by a saloon owner (Tom Brown) who has ulterior motives, a small town votes to arrest a rancher (Jim Davis) on immorality charges. His crime? Living openly with an Indian girl (Mara Corday) he's not married to. However, when confronted by the city attorney (Lewis Martin), the rancher shoots him when the attorney attempts to pull a gun on him. Based on the novel LAWMAN by Lauran Paine and directed by William F. Claxton (NIGHT OF THE LEPUS). For most of its brief running time (one hour, 17 minutes) I found this B western absorbing. But it declines severely in the film's last half hour when it sinks into routine and the events seem contrived and not organic. A pity because for awhile I thought I might be watching a sleeper. Nicely shot in crisp B&W CinemaScope by John J. Mescal (BRIDE OF FRANKENSTEIN). With Forrest Tucker, Kathleen Crowley, Lee Van Cleef, Hank Worden and Edith Evanson.

They Call It Sin (1932)

Although he's engaged to be married, a traveling salesman (David Manners) romances a small town girl (Loretta Young). She leaves the small town to go to New York and look him up only to find out that he has a fiancee (Helen Vinson). Based on the novel by Alberta Stedman Eagan and directed by Thornton Freeland (FLYING DOWN TO RIO). I found most of this pre code melodrama infuriating. Manner's character is despicable, hurting two different women by romancing them at the same time and continuing after he's married yet they both love him unconditionally. The predatory lech (Louis Calhern) trying to get Young into his bed is a creep too but at least he's honest about his intentions. Still, even as a pre code it's a bit of a cheat. It teases us without delivering the goods. With George Brent, Una Merkel (who provides some much needed comic relief), Elizabeth Patterson and Roscoe Karns.

Drango (1957)

Set in a small town in Georgia immediately following the Civil War. A Union Army officer (Jeff Chandler) is the new military governor with orders to help rehabilitate the town and get it back on its feet. But the townspeople are bitter and resentful toward the Yankee officer and refuse to cooperate. When a Union sympathizer (Morris Ankrum) is lynched by some of the townsmen, the town refuses to help identify the men responsible . Directed by Hall Bartlett (THE CARETAKERS) and Jules Bricken. A compelling western for the most part, it can't sustain itself and settles for a pat ending that that rings false. But its premise of a Union officer attempting to redeem himself after participating in war atrocities versus a hate filled town that participates in a conspiracy of silence and hate rather than moving on after the war is engrossing enough to hold the movie together. Chandler brings sincerity to his role although he can't display the conflict and guilt within his character particularly well. As the embittered daughter of the lynched man, Joanne Dru is very good. With Julie London, Donald Crisp, Ronald Howard, John Lupton and Milburn Stone. 

Jules (2023)

A 79 year old widower (Ben Kingsley) living on his own has a spaceship crash in his backyard and he discovers an unconscious alien (Jade Quon) next to it. When he attempts to tell anybody about the alien and spaceship, they just think he's getting senile. Directed by producer (THE FAREWELL) turned director Marc Turtletaub. This heartwarming (in the best sense of the word) science fiction dramedy apparently went unnoticed when released last year. It's sort of like E.T. THE EXTRATERRESTRIAL with a touch of COCOON. It's special effects are minimal and the film is less concerned with science fiction fireworks than with its characters. In addition to Kingsley, there's Harriet Sansom Harris as a widow and the always welcome Jane Curtin as a cat lady. The film plays on science fiction cliches to both mock and reinforce societal attitudes toward senior citizens and fear of the unknown. I could have done without the seven dead cats though. Nowhere near the great sci-fi classics but a sweet little film that deserved a better fate. With Zoe Winters and Andy Daly.

Where Eagles Dare (1968)

Set in 1943, a British Special Operations Executive team headed by a Major (Richard Burton) in the Royal Engineers leads a group of seven soldiers including one American (Clint Eastwood) into the German Alps. Their mission is to rescue an American Brigadier General who is has been captured by the Nazis and held in an impregnable fortress accessible only by cable car. Based on the novel by Alistair MacLean (THE GUNS OF NAVARONE) and directed by Brian G. Hutton (KELLY'S HEROES). A first rate WWII action adventure filled with enough activity and surprises that its lengthy running time (2 hours, 35 minutes) whizzes by. The plot may be far fetched but it's so entertaining that you don't pay much attention to the unlikelihood of the narrative. Burton brings an assured command to his performance and Eastwood brings his usual persona which works just as well in a war film as in a spaghetti western. The movie was a huge success and is still popular with war movie buffs to this day. With Mary Ure, Ingrid Pitt, Patrick Wymark, Michael Hordern, Anton Diffring and Robert Beatty.

Fanfare D'Amour (1935)

Two unemployed musicians, a pianist (Fernand Gravey) and a double bass player (Julien Carette) have difficulty finding work as themselves. So they disguise themselves as women and join an all girl band where both are attracted to the same girl (Betty Stockfeld). Directed by Richard Pottier (DAVID AND GOLIATH). If the plot sounds familiar, it should. The film was remade by Billy Wilder in 1959 as SOME LIKE IT HOT. If the Wilder film didn't exist, I probably would be charmed by it but SOME LIKE IT HOT does exist and this movie can't help but suffer in comparison. It doesn't have the wit and delight of the 1959 film and lacks the ample triple star power of Monroe, Curtis and Lemmon. This is not to say that FANFARE D'AMOUR is a weak film, on the contrary. It's often inventive and there are modest laughs to be had. It's just not as good. With Madeleine Guitty who steals the movie as the head of the all girl band, Gaby Basset and Jacques Louvigny.

Wendy And Lucy (2008)

A young woman (Michelle Williams) is traveling with her dog from Indiana to Alaska when her car breaks down in Oregon. Lacking funds, she is arrested for shoplifting and when she returns to the store, her dog is missing and she begins the process of trying to find her. Based on the short story TRAIN CHOIR by Jon Raymond and directed by Kelly Reichardt (CERTAIN WOMEN). I'd avoided watching this movie for years fearing it would be ultra depressing and I was right. Like her other films, this is a minimalist movie that takes its time in telling its story. Reichardt puts her poverty stricken heroine through the wringer, no heroine has suffered more this side of Lars von Trier! Williams gives a moving performance as the film's put upon heroine enduring isolation and hardship. The bittersweet ending is rightfully played but it's a grim film nonetheless. With Walter Dalton (very touching as an elderly security guard), Will Patton and Larry Fessenden.

The Terminal Man (1974)

A computer scientist (George Segal) suffers from seizures and blackouts as well as paranoia. During these blackouts, there are indications of violent behavior. He becomes the first human to undergo a new form of surgery where electrodes will be implanted in his brains that will detect the onset of these seizures and prevent them. But, of course, something goes horribly wrong. Based on the novel by Michael Crichton (JURASSIC PARK) and directed by Mike Hodges (GET CARTER). It's curious how some films actually "improve" with age. When I first saw TERMINAL MAN in 1974, I wasn't impressed but 50 years later it's become more relevant than it was back then. With AI now becoming predominant in today's society, TERMINAL MAN's narrative is scarily prescient. It begins as a slow moving science fiction tale then slowly evolves into a full horror movie. The medical profession doesn't come off very well at all as their hubris is at the root of it. The film received poor reviews when it opened but it was championed by Stanley Kubrick and Terrence Malik. The film's premise may not work for everyone but it's worth giving a look. With Joan Hackett, Jill Clayburgh, Richard A. Dysart, Donald Moffat, James Sikking and Ian Wolfe.

To Catch A King (1984)

Set in 1940 in Germany and Portugal. Before he is fatally shot by the gestapo, a nightclub owner (Barry Foster) induces his niece (Teri Garr) to carry an important document that might change the outcome of the war to the Duke of Windsor (John Standing) residing in Portugal. But the Nazis are also after that document. Based on the novel by Jack Higgins (THE EAGLE HAS LANDED) and directed by Clive Donner (WHAT'S NEW PUSSYCAT?). This neat little thriller is a fictionalized account of "Operation Willi", the code name of an unsuccessful attempt by the SS to kidnap the Duke of Windsor and coerce him into working with Hitler. The movie is engrossing enough to overcome its obvious and misguided attempt to recreate a CASABLANCA like atmosphere. Robert Wagner as a nightclub owner and Teri Garr are immensely likable actors but they're no substitute for Humphrey Bogart or Carole Lombard (who Garr seems to be channeling). That aside, it's not bad at all. Cinematographer Dennis Lewiston does well by the Portugal and France locations. With Barbara Parkins, Marcel Bozzuffi, Horst Janson and Jane Lapotaire. 

Break Of Hearts (1935)

An internationally famous orchestra conductor and womanizer (Charles Boyer) romances an aspiring composer (Katharine Hepburn). But his infidelities soon become an obstacle in their marriage. Directed by Philip Moeller (THE AGE OF INNOCENCE), who was a stage director and this was his second and last film. Boy, does this one creak! No fault of its stars. Hepburn is at her most charmingly girlish and Boyer exudes Continental charm but neither can overcome the movie's contrived screenplay or Moeller's lackluster direction. Anyway, movies about women who sacrifice themselves to men who don't deserve them aren't attractive to me and here, Hepburn rejects the boyish John Beal who treats her like royalty in favor of the unstable and arrogant Boyer. Similarly themed films about naive young girls falling in love with worldly classical music conductors (like INTEMEZZO and Sirk's INTERLUDE) handled the subject better. The film was a (very) modest hit. For Hepburn completists only. With Jean Hersholt and Inez Courtney.

John Loves Mary (1949)

A returning G.I. (Ronald Reagan) is coming home after four years to the girl (Patricia Neal) he loves. There are so many things he wants to tell her but that he's married isn't one of them. Based on the Broadway play by Norman Krasna and directed by David Butler (CALAMITY JANE). This romantic farce was a hit on Broadway running for a year. What theatregoers saw in it, I'll never know. I found it inane and unfunny but to be fair, the movie version is severely miscast so perhaps that might explain it but somehow I doubt it. It's the kind of fluff that needs actors adept at this sort of lightweight comedy. It might have worked with, say Van Johnson and June Allyson (unfortunately they were at MGM and this is a Warners film). So who do we get? Ronald Reagan who has no comedic chops at all and in her film debut, Patricia Neal. Neal had just won a Tony for playing the young Regina Giddens in Lillian Hellman's LITTLE FOXES prequel, ANOTHER PART OF THE FOREST and someone at Warners thought it was a good idea to put her in a romcom? Comedy wasn't Neal's forte and fortunately saner head prevailed and Neal's follow up films, THE HASTY HEART and THE FOUNTAINHEAD showcased her impressive dramatic skills. Let's just say the film is "of its time" and leave it at that. With Jack Carson, Edward Arnold, Wayne Morris, Virginia Field and Katharine Alexander.

Three Guys Named Mike (1951)

A new flight attendant (Jane Wyman) for American Airlines finds herself pursued by three men all named Mike: a research scientist (Van Johnson), a pilot (Howard Keel) and an advertising executive (Barry Sullivan). Directed by Charles Walters (THE TENDER TRAP), this is an amiable lighthearted romantic comedy that while not essential viewing, passes the time agreeably. It's not hard to guess who Wyman will end up with. Which of her three leading men was the biggest star at Metro? Wyman's passion and commitment to her profession is admirable but this being the 1950s, love and marriage are her destiny. The film's technical advisor was the stewardess whose adventures were the basis of the screenplay. The movie pleased audiences enough to turn a profit for MGM. With Phyllis Kirk, Jeff Donnell, Barbara Billingsley and Anne Sargent.