An astronomer (Boris Karloff) with controversial theories travels to Africa with two other scientists (Bela Lugosi, Walter Kingsford) to locate a meteorite that crashed to Earth a billion years ago. He discovers the meteorite's location and conducts experiments in secret but when he begins to glow in the dark, he realizes the deadly power of his discovery which he call Radium X. Directed by Lambert Hillyer (DRACULA'S DAUGHTER), this is an okay addition to the Universal classic horror library. While I can't get too enthusiastic about it, it's well made with some solid performances by horror icons Karloff and Lugosi. Lugosi has one of his rare good guy roles and the film allows Karloff some leeway with his character. He's not purely evil, he has a conscience even if it is cloudy. The film is actually more science fiction than horror but since it's a mixture I suppose that's a moot point. With Beulah Bondi, Frank Lawton, Violet Kemble Coooper and Frank Reicher.
A young girl (Kellie Martin) has her heart set on medical school. But when her grandmother (Marion Ross) suddenly dies and she must take responsibility for her mentally challenged mother (Mary Steenburgen), she must decide whether to commit her mother to a home or give up medical school and take care of her at home. Directed by Susan Rohrer, this is your standard made for TV movie about the handicapped though it has a couple of twists and turns that make for some interesting drama. The film's strongest asset are the performances especially Steenburgen, who doesn't overplay the mental handicap that can often turn into scenery chewing by lesser actors. She's matched by Diane Baker as the Aunt who takes matters into her own hands by attempting to wrest control of the situation from the daughter, even if it means taking her to court. The weakest portion of the movie are scenes with Kellie Martin and her boyfriend (Chad Christ) which are stagnant. With Nick Searcy and Steven Gilborn.
A stand up comic (Warren Beatty) is in hot water with the Detroit mob so he flees to Chicago to hide out. But his increasing paranoia convinces him that he's been followed and everyone is suspect. Directed by Arthur Penn (BONNIE AND CLYDE), this is an interesting failure that has since become a cult film. Influenced by the French New Wave, it has the feel of a French film adapted from an American pulp novel (think Truffaut's SHOOT THE PIANO PLAYER). It did well in Europe but not surprisingly, American critics were less enthusiastic with charges of pretentiousness leveled against its surrealism (and not unjustifiably). But if it's a failure, it's an ambitious and fascinating one. The biggest problem I had with it is that Beatty doesn't have the bearing or timing of a stand up comic. In the movie, audiences laugh and applaud but we know he's just not funny. But there are things to savor like Ghislain Cloquet's (THE FIRE WITHIN) crisp B&W lensing, Aram Avakian's editing and the jazz score by Eddie Sauter (with a little help from Stan Getz). With Hurd Hatfield, Franchot Tone and Alexandra Stewart.
Three cousins (Carmen Miranda, Phil Silvers, Vivian Blaine) who have never met each other inherit a dilapidated mansion in Georgia. They decide to turn the mansion into a rooming house for Army wives so they can be near their husbands stationed at a nearby Army base. Very loosely based on the Broadway musical and directed by Lewis Seiler (GUADALCANAL DIARY). As usual, Hollywood thinks it knows best and they tossed out almost the entire Cole Porter songs from the Broadway show and substituted new songs written for especially for the movie version. The songs are a dire lot and we have to wait until the end of the movie for a decent production number. The usually always fun Carmen Miranda seems restrained here and the rest of the cast isn't sufficiently charged to provide any sparks though Phil Silvers tries. With Judy Holliday, Perry Como, Cara Williams, Sheila Ryan, Glenn Langan and Michael O'Shea.
A police Lieutenant (Barry Sullivan) travels to Louisiana to pursue an escaped convict (Vittorio Gassman) in the Louisiana bayous. The Cajun culture protect their own which makes it difficult for the cop and his partner (William Conrad) to locate him. Directed by Joseph H. Lewis. With films like GUN CRAZY and MY NAME IS JULIA ROSS on his resume, Lewis is a cult favorite of the film noir crowd but I can't share their enthusiasm for this film. There's not much empathy for Gassman's fugitive (even his wife is a bitch) and Sullivan's character is too gullible. A manhunt through the swamps of Louisiana sounds like it could be exciting but this one is on the sluggish side. The most interesting aspect of the movie is the homoerotic relationship (during a wrestling scene you almost expect them to kiss each other) between the hunter and the hunted. It's there but it's a pity the restrictions of its decade didn't allow for a more in depth exploration. With Polly Bergen and Mary Zavian as the nominal females in the cast.
A partner (Dick Powell) in a swanky casino finds himself embroiled in a murder case when a crooked cop (Jim Bannon) tries to muscle in on his partnership. A suspicious suicide and a mobster's (Thomas Gomez) wife (Ellen Drew) only serve to pull down his once peaceful existence. Written and directed by Robert Rossen (THE HUSTLER), the film is prevented from being a first rate film noir by wasting too much time on a central dull romance that stops the movie cold. It's no fault of the actress Evelyn Keyes, it's the role as written. Far more interesting are the two supporting female roles: Ellen Drew (who knew she could be so sexy?) as Gomez's trampy wife and Nina Foch as a doomed lovesick hat check girl. Powell is very good as he usually is in these tough guy roles but even he can't make those scenes with Keyes work. If you can get past that romance (which I found hard to do), there's some good stuff here. With Lee J. Cobb, John Kellog and Jeff Chandler, so young that he still has dark hair.
.jpg)
