Two plumbers (Bud Abbott, Lou Costello) are called to repair a leaky faucet in the bathroom of a wealthy businessman (Thurston Hall). When they arrive, a fancy costume ball is in full swing and their taxi driver (Marion Hutton, Betty's sister) is mistaken for a guest. More complications ensue when another guest (Kirby Grant) falls for the cab driver and invites her to a posh weekend at a country estate. Directed by Jean Yarbrough (KING OF THE ZOMBIES). This Abbott and Costello comedy is a middling affair. Not one of their best efforts but there are a couple of genuine funny scenes (the bagel street straw hat sequence, the runaway sofa) but alas, not enough to lift the movie out of the routine. With Thomas Gomez, Arthur Treacher, Steven Geray and George Dolenz.
Set during WWII. When an oil tanker captain (Edward G. Robinson) rescues the survivors of a torpedoed passenger ship, he finds himself attracted to one of the survivors (Lynn Bari). They rush into marriage but when his ship sinks under suspicious circumstances, he must face the fact that his wife may be a German spy! Directed by Lothar Mendes (THE MAN WHO COULD WORK MIRACLES). A surprisingly decent war drama that's refreshingly free of the usual propaganda aspects that were infused into so many war movies made during WWII. One doesn't ordinarily think of Robinson as a romantic leading man but he and Lynn Bari make for a believable romantic couple. Parts of the movie are similar to the 2016 Robert Zemeckis film ALLIED though this has a happier conclusion. The score is by David Raksin (LAURA). With Victor McLaglen, Marc Lawrence and Mona Maris.
A thief (Boucot Fils) breaks into a home when he thinks its occupants are away for the evening. He's in the middle of robbing them when they (Jean Wall, Germaine Aussey) walk in so he hides behind a curtain where he hears them planning a double suicide pact. Written by Jacques De Baroncelli and directed by Henri Georges Clouzot (LE CORBEAU) in his directorial debut. This short film is an amusing piece of whimsy although one doesn't think of Clouzot as a director of comedy. After all, this is the man who brought us THE WAGES OF FEAR and DIABOLIQUE. Clouzot wouldn't direct another movie all by himself until 1942's L'ASSASSIN HABITE AU 21. It's a piece of well done fluff but basically an archival footnote to the career of one of France's best directors.
A young bi-racial man (Sessue Hayakawa) of Japanese ancestry travels to America to get revenge on his American father (Howard Davies), a naval officer who abandoned his Japanese mother (Tsuru Aoki, Hayakawa's actress wife), who committed suicide after he left her. Directed by William Worthington (THE DRAGON PAINTER). Alas, this silent film doesn't survive intact as major portions of the original print are missing (and not known to survive) so intertitles are provided to fill us in on what we're missing. This compromises the integrity of the film and leaves an unsatisfactory narrative. What we're left with looks promising and the young Sessue Hayakawa gives what seems like a well crafted performance but I don't think it's really fair to critique either the movie or Hayakawa's performance under the circumstances. Still, I'm glad to have been given a taste of it. With Marin Sais as the German spy who uses Hayakawa's hatred of his father to her advantage, Mayme Kelso and Sidney De Gray.
Set in Israel, the CIA and the KGB determine that a double agent (Oliver Reed) must be assassinated for the good of both agencies. The agent's only hope to survive is his retired mentor (Richard Widmark). Directed by Peter Collinson (THE ITALIAN JOB). A mish mash international spy thriller that's often confusing. Widmark's character is poorly thought out. Surely a spy with that much experience wouldn't be so reckless as to put innocent people in constant danger. The most interesting character is Gayle Hunnicutt as Widmark's wife or girlfriend (the film is unclear on this), who was Reed's ex mistress. Unfortunately, Hunnicutt's hysterical and shrill performance renders that interest moot. The film's car chases are pedestrian and the violence unpleasant. The only notable thing about the movie is the cinematography of Arthur Ibbetson (WILLY WONKA AND THE CHOCOLATE FACTORY) which does a fine job of displaying the Israeli landscape. With Sam Wanamaker, Peter Frye and Assi Dayan.
An aspiring writer (Maurice Godin) spies on neighbors for inspiration. One night while spying on a famous singer (Margot Kidder), he witnesses her brutal murder. Attending her funeral, he encounters a mysterious woman (Kate Nelligan), who he follows to her secluded home. What exactly is her connection to the murdered singer? Written and directed by Patricia Rozema (I'VE HEARD THE MERMAIDS SINGING). An odd little Canadian noir-ish fairy tale that has a kind of hypnotic spell that makes you want to stick with it to see where it's going. The film is compromised by the uncharismatic Maurice Godin who has a tepid screen presence (although apparently he has a solid reputation as a theatre actor). Fortunately, its three actresses (Sheila McCarthy as a quirky Bohemian artist is the third) are strong enough to compensate for Godin's blah presence. I could have done without the film's coda which demeans what we've just been watching. With Barbara Gordon and Les Rubie.
Set in 1896, the Greek government decides to revive the Olympic games, this time as an international competition. A poor Greek country shepherd (Trax Colton) makes the trip to Athens in the hopes of competing in the marathon. Directed by Andrew Marton (KING SOLOMON'S MINES). 10 years in gestation, the film was originally to be made at MGM. For some reason, the project attracted 20th Century Fox's attention and they bought the script from MGM. Outside of being filmed entirely in Greece, there's nothing about the movie that's remotely memorable. In fact, it's a rather sad affair. The top billed Jayne Mansfield plays a famous Greek stage actress in 1896 although there's nothing either Greek or period (1896) about her! After this movie, Fox released Mansfield from her contract and thus ended her career as a major star. A good looking hunk, Trax Colton was never heard from again after this movie. With Nico Minardos, Ivan Triesault, Xenia Kalogeropoulou, Titos Vandis and Bob Mathias.
Set in Rome during WWII, an Irish priest (Gregory Peck) working in the Vatican devotes his time and energy to hiding refugees and Allied POWs from the occupying Nazis. The local gestapo head (Christopher Plummer) suspects the priest of heading the network that has hundreds of people helping him with his efforts. Based on the non fiction book THE SCARLET PIMPERNEL OF THE VATICAN by J.P. Gallagher and directed by Jerry London (SHOGUN). Based on an incredible true story, the film takes artistic liberties when dealing with the facts. Notably, the whitewashing of Pope Pius XII (John Gielgud) who was criticized for not taking a stronger anti Nazi stance. For what it is, it's no SCHINDLER'S LIST but a solid effort and never less than interesting even if its execution is pedestrian. The suitable score is by Ennio Morricone. With Raf Vallone, Barbara Bouchet, Gabriele Ferzetti, Michael Byrne, Walter Gotell, T.P McKenna, Edmund Purdom, Vernon Dobtcheff and Olga Karlatos.
A research scientist (Lloyd Bridges) experiences recurring dreams where he is pursued by a mysterious tribunal for something he's not aware that he's done. He begins to wonder if the dreams are reality and his "real" life his dreams. Directed by Alf Kjellin (MIDAS RUN). A potentially interesting premise that goes round and round in circles with no payoff. When it's over, you're at the same place as when you came in and while I'm rather fond of ambiguous endings, when the material is this weak, I want answers. Neither his dreams or his "real" life make much sense in terms of the narrative. I suspect there might have been more that would clarify the situation that most likely ended up on the cutting room floor. With Janet Leigh (who brings some ambiguity in the wife role), Richard Jaeckel, Don Stroud, Carl Betz, Leif Erickson and Phillip Pine.
When his import/export business is infiltrated by international diamond smugglers, an amateur Japanese sleuth (Peter Lorre) follows a trail of clues from San Francisco's Chinatown to the alleys of Shanghai. Based on the novel by John P. Marquand (STOPOVER TOKYO) and directed by Norman Foster (JOURNEY INTO FEAR). The first of eight Mr. Moto films made by 20th Century Fox and all starring Peter Lorre. It's good fun but many of the Moto movies that followed are better. This has a mystery that isn't all that interesting and the supporting characters are rather bland. But the film gave a chance to Lorre to play a hero which also gave him an opportunity as a leading man albeit as a character actor. There's even a hint of romance as Lorre's Mr. Moto goes on a date with a pretty switchboard operator (Lotus Long) though unfortunately she gets shot on the date. With Virginia Field, J. Carrol Naish, Thomas Beck and Sig Ruman.
A young woman (Santa Relli) by the name of Cecile keeps coming to her local police station to see the renowned Inspector Maigret (Albert Prejean) for trivial reasons which causes annoyance to the Inspector and relentless kidding from his colleagues. But the discovery of a decapitated young blonde leads the Inspector back to Cecile, who is at the center of the grisly murder. Based on the novel by Georges Simenon and directed by Maurice Tourneur (LAST OF THE MOHICANS), father of Jacques Tourneur. Laced with humor, this is a complex and clever murder mystery that should more than satisfy fans of the genre. Albert Prejean had played Maigret the year before in PICPUS and he continues to bring a pleasantly acerbic presence to the character. Also returning is Andre Gabriello as his always hungry sidekick providing much of the movie's humor. With Germaine Kerjean, Luce Fabiole, Liliane Maigne, Jean Brochard and Andre Reybaz.
A former baseball player (Dan Dailey) now works selling peanuts at a ballpark while acting as a single parent to his son (Billy Chapin). His love of the game is passed on to his son who gets a job as a bat boy for a struggling baseball team. Directed by Harmon Jones (GORILLA AT LARGE). I'm not much of a fan of sports movies but this slightly sentimental piece of twaddle is actually quite tolerable. It's pretty predictable except it took me by surprise when Dan Dailey and the film's leading lady (Anne Bancroft) not only didn't end up with each other, they don't even have any scenes together! Young kids might enjoy this one, grown ups I'm not so sure. Remade for TV in 1979. With Lloyd Bridges, Richard Egan, Ray Collins and Fess Parker.
Set in England on the eve of WWII, a seemingly typical British family is notable for two things. The son (Franchot Tone) is a pacifist and the household's nanny (Veronica Lake) is a Nazi spy. Based on the novel by W. Somerset Maugham (OF HUMAN BONDAGE) and directed by Frank Tuttle (THIS GUN FOR HIRE). A film with a pacifist protagonist seems risky for a movie released during WWII and indeed, the film flopped at the box office. It doesn't help that a miscast Veronica Lake has difficulties with her German accent. She's deglamorized and with the exception of one scene, for most of the film she wears frumpy clothes and wears her braided hair tightly wound on her head. But as lovely as she was, she was never much of an actress and she brings nothing to the part. You pretty much know where the movie is going and by the film's end, Tone's pacifist beliefs -big surprise- have taken a turn. The subtle score is by Miklos Rosza. With John Sutton, Binnie Barnes and Henry Stephenson.
While on vacation in the Japanese countryside, a school teacher (Tsutomu Yamazaki) discovers his close friend (Go Kato) who he hasn't seen in several years. His friend is married to a mysterious beauty (Tamasaburo Bando, a male actress), who seems to have a mysterious hold on him. Based on the play by Izumi Kyoka and directed by Masahiro Shinoda (PALE FLOWER). An attractive stylized (the majority of the film's exteriors are obviously shot on a sound stage) tale of superstition and magic and its grip on a small village. Shinoda takes his time and lets the film leisurely unfold and not all of it works. For example, the sequence with actors playing creatures like crabs and fish seems like it's from another movie, not to mention downright silly. But there's something truly spectral in its mood and atmosphere. The synthesizer underscore is by Isao Tomita. With Koji Nanbara, Yatsuko Tanami and Fujio Tokita.
A Hindu physician (Sessue Hayakawa) is in love with a Caucasian woman (Helen Jerome Eddy) who loves him too but rejects his proposal of marriage because the difference in race would make marriage too difficult for everyone involved. Meanwhile, her young sister (Pauline Curley) becomes engaged to a college chum (John Gilbert) of the Hindu doctor. Based on the novel ONLY A N****R by Edmund Mitchell and directed by William Worthington (THE DRAGON PAINTER). It's an odd little film, part crime thriller, part social statement and not really successful on either count. The infusion of a subplot about a secret society that Gilbert joined in his youth and now demands he kill a judge borders on the preposterous. Its worth lies in its archival status on Sessue Hayakawa's silent film career, not as cinema. The film could have done with more intertitles as it's often difficult to piece the plot together. With Fontaine La Rue and Wedgwood Nowell.
A singing taxi driver (Bing Crosby) finds himself stuck with a baby left in his cab by a woman (Irene Hervey), who's looking for her missing husband (Robert Kent). Meanwhile, the baby's millionaire grandfather (C. Aubrey Smith) has detectives roaming the city to find the missing child. Directed by David Butler (CALAMITY JANE). A moderately entertaining comedy with songs (courtesy of Bing Crosby, who also had money invested in the movie). The kind of fluff with an "adorable" baby at its center designed to make audiences go, "Awww ... isn't he cute?". Yes, the baby (billed as Baby Sandy) is cute but after too many close ups of the cooing or laughing infant, it gets rather tiresome. Crosby's romantic interest is Joan Blondell and they have an easy going chemistry together. Then there's Mischa Auer as Crosby's wacky room mate to provide the laughs. Considering I'm so not a Crosby fan, I had a pleasant enough time with it. With Jerome Cowan and Jane Jones.
A Harvard educated Italian-American attorney (Barry Newman) practices law in a small Southwestern town where he's resented by the prejudiced locals. When he takes on the defense of a rich physician (Robert Colbert) accused of murdering his wife (Mary Wilcox), he has an uphill battle. Directed by Sidney J. Furie (THE IPCRESS FILE). Despite it's graphic violence and nudity, the film plays out a TV movie of the week. Indeed, it spawned a TV series named PETROCELLI (the name of Newman's character) also starring Barry Newman that had a two year run from 1974 to 1976 so the theatrical film seems like a TV pilot. The film's murder trial is based on the notorious Sam Sheppard murder case in 1954. If you're partial to courtroom dramas and whodunits as I am, there's enough here to hold your attention. The acting never rises above adequate and sometimes less than that. There are two awful performances that I found hard to watch: Harold Gould as the prosecuting attorney can't seem to get a grasp on his character so he continually pops candy into his mouth hoping that will define his character and then there's Jeff Thompson whose non stop grinning made him look mentally defective. With Diana Muldaur, Kathleen Crowley, William Sylvester, Michael Murphy and Ken Swofford.
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