Directed by Peter Godfrey(Hotel Berlin 1945, Christmas in Connecticut 1945, The Two Mrs. Carrolls 1946, The Woman in White 1948, Please Murder Me! 1956) With a screenplay by Catherine Turney based on the novel by Marjorie Carleton.
Cry Wolf stars Barbara Stanwyck in an atmospheric woman in peril film with co-star Errol Flynn who steps outside of his swashbuckling persona to play a pretentious misogynist who exudes a most sinister scowl throughout the film.
Though the film has been cast in the dark light as film noir — to me it is more of a straightforward suspense chamber piece. The trope of the dysfunctional family set in a landscape of ominous shadows does lean towards the labeling, also given to the theme of a woman in jeopardy and the ripples of paranoia throughout.
Sandra Marshall (Stanwyck) shows up at the estate overseen by Mark Caldwell (Flynn) claiming to be the widow of his nephew James Demarest (Richard Basehart). The funeral is to be the following day. Sandra tells Mark that James had paid her money to marry him in order to claim his inheritance, but only if he took a wife before he turned thirty. James had warned Sandra that his uncle Mark was planning on stealing his fortune. Mark is a suave yet brooding gentleman who is a scientist and has a secret laboratory in the house that no one is allowed access to. At night, there are torturous screams heard coming from the lab, yet Mark denies that there is anyone in that room. Sandra begins to suspect that James is not dead but being held captive in the lab and that Mark is some kind of mad scientist experimenting on his nephew.
Geraldine Brooks plays Julie Demarest, James’ neurotic sister who seeks out support and clings to Sandra. Julie fears for her life as well, suspecting that her uncle is also out to get her. He keeps a tight reign on her, locking her in her bedroom at night and standing in the way of her engagement. Helene Thimig as Marta plays a very sinister role as the obedient harridan, bringing the food trays to Julie and making sure she stays in her room at night. The device of using the menacing servant in league with the mansion’s masterworks well in adding elements of terror and persistent tension.
I tried to find a word that would sum up how I feel about this often insipid little suspense play with its embedded ‘psychology of false alarms’, and the one thing that kept popping into my mind was ‘nifty’. Though Cry Wolf lacks any of the complex dialogue that you might find in a Siodmak thriller, with measured sequences that flow like shadowy poetic milk, Cry Wolf does convey enough dread and the presence of Barbara Stanwyck sneaking about the mansion seeking answers, slinking up dumbwaiters, exhibiting her skill as a horsewoman and basically confronting Flynn at every turn.
I also enjoyed seeing a very young Patricia Barry show up as Angela the maid. Jerome Cowan plays Mark’s brother Senator Caldwell who seems to keep his distance from his dysfunctional relatives so as not to harm his political career.
I’ll leave the basic plot devices there and hope you’ll watch this ‘nifty’ little suspense thriller just to fill out your experience of some of the lesser-recognized 1940s mysteries. And say, there’s nothing wasted by just watching Barbara Stanwyck hold her own!
Mark Caldwell: “I don’t know what plans you have in that devious feminine mind of yours, but if you’re trying to enlist Julie’s sympathy, don’t do it.”
Sandra Marshall: “And if i ignore your advice?”
Mark Caldwell: “I shall kick you out!”
This is your EverLovin’ Joey saying we never ever cry wolf here at The Last Drive In!
CHRISTMAS HOLIDAY is Based on the screenplay by W. Somerset Maugham and the novel by Herman J. Mankiewicz and directed by the underrated Robert Siodmak who directed two of the most powerful film noirs of the 1940s- Phantom Lady 1944, The Strange Affair of Uncle Harry 1945, The Spiral Staircase 1946, The Dark Mirror 1946 and The Killers 1946.
Starring Deanna Durbin, Gene Kelly, Dean Harens, Gail Sondergaard who brings that signature artfully subdued menace (The Letter 1940, The Spider Woman Strikes Back 1946) , Gladys George and Richard Whorf.
Jackie asks Lt. Mason if he’ll take her to midnight Mass, where she begins to break down. Jackie begins to to relate her story told in flashback of how she wound up feeling so despondent. Her real name is Abigail Martin/Mannette from Vermont. She tells him how she fell in love and married Robert Mannette a charming but troubled gambler with an Oedipal complex who is ruled over by his domineering and overly protective mother (Gail Sondergaard).
Jackie/Abigail tells Lt. Mason “He was so gay, so charming, so different.”
The newlyweds spend six months in bliss until Robert’s weakness and violent tendencies lead him to be arrested for the murder of his bookie.
Overnight their life changes. Robert comes home with an unexplained wad of cash and blood on his trousers, which his mother quickly burns in the incinerator out back, telling Abigail it’s her old dress she’s tired of. Lying to protect her son, all the time knowing he’s done something horrible, she even sews the cash inside the seams of the curtains. But Abigail burns the money before the police come with their search warrant.
Abigail calmly- “I burnt the money mother.” Mrs. Mannette-“Abigail I swear to you by all my love for him and for you that Robert did not kill Teddy Jordan.” Abigail-“You know, and I know mother… that he did.” Mrs. Mannette turns on Abigail maniacally –“Are you going to turn against him too. From the day you married him, I think now from the day you met him, you closed your eyes to what it was all about, to what he was all about. Selfishly just so you could be happy. He needed your strength that’s why I let him marry you. And all you gave him back was his own weakness!”Â
“I love Robert”Mrs. Mannette- “No you don’t. It’s I who love him and keep on loving him.”
The film has a creeping sinister Siodmak atmosphere with it’s dark spaces and psychological narrative. Sondergaard hovers over the house like a lurking spider knitting a web of preservation for her son.
In a telling scene she gives her blessing to Abigail to marry her son thinking that she will be his strength and keep him out of trouble and make him, “stronger”.
Mrs. Mannette-“Just one last thing. I want to be completely honest with you. There are certain traits in Robert that you may not… they’re nothing really evil. Believe me. He just sometimes forgets his sense of responsibility, that’s all. And that’s why I’m so glad that you’re the kind of person you are. Between us, we will make him strong.”
As the the story unwinds, and Robert winds up in prison doing a life sentence, Mrs. Mannette blames her daughter in law for making Robert weak. Mrs. Mannette, “You killed him!!!”
Abigail feeling guilty about failing her husband, throws herself into self imposed exile by taking up at the bordello filled with self hatred and longing for Robert.
Jackie/Abigail tells Lt. Mason as he walks up and down the hotel room, thinking about Mona in San Fransisco,- “What is there about pacing back and forth like a caged lion that makes a man feel better? I tried it myself once didn’t do me any good.”
Once Jackie/Abigail finishes her story to Lt. Mason, the two part wishing each other luck. But the story does not end there. The beauty of the film is partly the lead actors being cast as doomed lovers both doing a fabulous job at playing against type. The music throughout the film is wonderful, in particular Durbin’s moving rendition of Irving Berlin’s Always, and the simply beautiful song I’ll Remember April performed as background music by the nightclub band.
Here it is December 17th and a perfect time to publish a tribute to this taut little noir gem that was originally performed on “Lux Radio Theater” broadcast a 60 minute radio adaptation of the movie on September 17, 1945 with Loretta Young as Jackie/Abigail, William Holden as Lt. Mason, and David Bruce as Robert Manette.
Screenwriter Herman J. Mankiewicz changed the setting from a Paris brothel to a nightclub in New Orleans and the main character was changed from a prostitute to a more ambiguous nightclub singer and hostess, when adapting the 1939 novel of the same name by W. Somerset Maugham, due to the Hays Code.
This is your everlovin’ Joey saying have a lovely!, flaming!, brilliant!, dramatic! Christmas Holiday!
“ONLY THE MAN WHO WROTE PSYCHO COULD JOLT YOU LIKE THIS”
Director Michael Anderson( The House of the Arrow 1953, The Dam Busters 1955, Chase a Crooked Shadow 1958, Conduct Unbecoming 1975, Logan’s Run 1976, Dominique is Dead 1979 ) creates a wavelength of dark tension and monochromatic extremes in this atmospheric post noir suspense yarn.
Adapted for the screen by Joseph Stefano’s (The Outer Limits 60s & Psycho 1960) based on the novel byMax Ehrlich (The Reincarnation of Peter Proud, The Glass Web, various dramatic television series)
The Naked Edge opens as the credits roll in a manner similar to Saul Bass, we are dropped into a gruesome stabbing in the darkly lit office building, where George Radcliffe (Gary Cooper)is the key witness.
Sadly, This would be Gary Coopers last film, after battling cancer. The Naked Edge was released a month after his death, but was not received well at the box office.
After Mr. Evan Wrack (the marvelous Peter Cushing) grills the only witness to murder in court Gary Cooper in his last role plays American George Radcliffe whose testimony helps bring a guilty verdict for murder and theft of his co-worker Donald Heath (Ray MacAnally) who then gets sent to prison.
There’s a question as to whether Heath actually committed the crime???
Years later…
George’s wife Martha, the always enchantingDeborah Kerrbegins to suspect her husband when various clues start pointing in his direction… Is she married to a cold blooded killer?
With a fantastic supporting cast, Peter Cushing, Michael Wilding, Eric Portman, Diane Cilento,Hermione Gingold, as Lilly Harris, Ronald Howard, Helen Cherry, Wilfrid Lawson and Diane Clare.
Dramatic musical score by William Alwyn (The Fallen Idol 1948, She Played with Fire 1957, I Accuse! 1958, A Night to Remember 1958, Burn Witch Burn 1962)
Most impressive is the offbeat cinematography by Erwin Hillier (The Mark of Cain 1947, The House of the Arrow 1953, Chase a Crooked Shadow 1958, and perhaps his best–the extraordinary Eye of the Devil 1966 again with Deborah Kerr, David Niven and Sharon Tate)
Hillier’s quirky angles and low lighting add an apprehensive atmosphere, and loads of key frames that are just beautifully shot as a refrain to the tension. Both Anderson & Hillier love to emphasize faces… it’s a touch that I love about their work together.
George Radcliffe:“Do you think a woman could live with a man and sleep with him and not know she was sleeping with a murderer?” Martha Radcliffe: “Do murderers make love differently?“
Lilly Harris-“He implied that the fear of talking, had something to do with the fear of giving… sexually that is”
There are thousands of films in my collection… this has been one of them! Your ever lovin’ MonsterGirl
“She went to sleep as a secretary… and woke up a madman’s bride!”
“I don’t know what this is all about, but I promise you some very serious trouble unless you stop it immediately. You know perfectly well I’m Julia Ross.”
Directed by Joseph H. Lewis (The Mad Doctor of Market Street 1942, So Dark the Night 1946, Gun Crazy 1950, A Lady Without Passport 1950, The Big Combo 1955) Screenplay by Muriel Roy Bolton from the novel The Woman in Red by Anthony Gilbert. With a fabulous odd-angled, shadow-stricken spin by cinematographerBurnett Guffey, it’s no wonder this suspense thriller has the elements of a stylized psychological noir. Â
Nina Fochis Julia Ross a young English girl seeking employment. She answers an ad at a fake employment agency run by none other thanAnita Sharp-Bolsteras Sparkes who’s even more cantankerous in this role. Julia, saddened by the news that the guy she loves is marrying another girl, thinks she’s found the perfect job working for a wealthy widow Mrs. Hughes (Dame May Witty) whose son, the creepy Ralph lives with her.
George Macreadyis exceptional as a psychotic who is prone to fits of violence. He has already killed his wife, stabbing her to death and throwing her body into the quiet sea.
Ralph Hughes– {Looking out at the ocean] “Beautiful, isn’t it? Would you like to listen to the sea and hear what it says? It doesn’t say anything, does it? That’s what I like about the sea. It never tells its secrets, and it has many – very many secrets.”
Ralph has a thing for knives, and Mommy Hughes has to keep taking sharp objects away from him and locking them away in a drawer. Dame May Witty is superb as his overprotective mother who is willing to concoct an elaborate scheme and even kill in order to cover up her son’s murder.
Ralph Hughes- “It’s all Marion’s fault. She shouldn’t have cried.”
Mrs. Hughes- “Ralph, you never told me – was it an accident, or did you intend to kill her after she made her will?”
Ralph- “I didn’t plan it. I liked her well enough, but when she found out I’d been lying about my income, she accused me of marrying her for her money. I said of course that was what I’d married her for. Then she cried. She was always crying. Then she slapped me. I had my knife in my hand, and I…” [He begins slashing at the sofa cushion with his knife, slicing it over and over]
Mrs. Hughes- “Stop it, stop it!” (she tries to take the knife away)
Ralph- “Don’t do that!”
Mrs. Hughes- “Put that away! Ralph, I’m trying to help you.”
Ralph- “I still say we should have called the police and told them a prowler broke in and killed her.”
Mrs. Hughes- “With the marks of your fingers on her? The scratches on your face?”
Julia goes to live at the house, but once she’s there, Mrs. Hughes, Ralph, and Sparkes drug her tea and spirit her off to the ocean village of Cornwall.
They’ve burned her clothes, stopped any means of communication from getting through, put bars on her windows, and convinced the village that she’s out of her mind, so no one believes her story about Julia Ross being held prisoner by these seemingly well-bred murderous grifters.
There they gaslight Julia, telling her that she is the first Mrs. Marion Hughes who has had a nervous breakdown. They’ve even convinced Alice the maid (Queenie Leonard) that she’s going mad and that she’s suicidal. Alice gossips around town and soon after everyone even the police, the doctors, and the reverend and his wife believe Hughes’ story. It seems like there’s no escape for Julia in sight. Along the path to doom, Ralph torments Julia with his menacing presence, and every attempt Julia makes to escape is thwarted.
They plan on making it look like she’s committed suicide so they can bury her as Mrs. Hughes since the real wife is lost at sea. And take her money
After it looks like Julia has taken an overdose of poison…
Ralph –“Why try to save her? Let her die. That’s what we want.”
Mrs. Hughes- “Don’t be stupid, Ralph. If she’s taken poison, we must act as though we cared!”
This is a very taut little suspense yarn that keeps you on the edge up until the end. With some extraordinary camera work and a very simple tale of murder, mistaken identity, and mayhem!
Co-starring Ottola Nesmithas Mrs. Robinson,Joy Harringtonas the resentfully sullen Bertha, Doris Lloyd is marvelous as Mrs. Mackie, Julia’s landlady, Roland Varnoas Julia’s love interest Dennis Bruce, Olaf Hytten as Reverend Lewis and Leonard Mudie as Peters.
There are thousands of films in my collection, this has been one of them!-MonsterGirl
The Seven Minutes1971 is based on a novel by Irving Wallace. Directed by provocateur Russ Meyer(Lorna 1964), Faster, Pussycat, Kill! Kill! & Mudhoney(1965) with a screenplay by Richard Warren Lewis and an uncredited Manny Diez. This film comes on the heels of his hit at FOX with Beyond the Valley of the Dolls 1970. (Dolls with a screenplay by Roger Ebert) Meyer and Fred Mandl (Checkmate, The Munsters, The Twilight Zone, The Fugitive) create a great visual romp with the cinematography. The opening titles roll over the first almost seven minutes of the film as we hear the ticking of a clock…
With a very unusual cast of character actors starring Wayne Maunder as Mike Barrett, and Marianne McAndrew  (Hello Dolly 1969, The Bat People 1974) as Maggie Russell. Philip Carey (I’ve always been amazed at how much he reminds me of Charlton Heston) as District Attorney Elmo Duncan.
Phillip Carey has always reminded me of Charlton Heston in stature and mannerism- a great underrated character actor…
the ubiquitous John Carradine. I could watch him in anything… he tickles me…the beautiful Yvonne de Carlo here as Constance Cumberland movie actress.love love love that Yvonne de Carlo- a kindly beauty (I met her on the set of Laugh-In at the Westbury Music Fair in the 70s while taping the show live… She was an absolute gem, warm-hearted and filled with tangible grace.)
Music byStu Phillips(Quincy M.E.) with Lionel Newman supervising. BB King sings Seven Minutes.
‘The Seven Minutes’ refers to an artistically erotic banned book published thirty-five years ago in Paris, that essentially opens up the floodgates for the public discourse about pornography, censorship, violence against women, and the dual standards during a time when morality was ambiguous. You know, just like today.
Argo Book Stores clerk played by Robert Maloney… arrested for knowingly selling smut… convenient scapegoat for the cause.Charles Drake plays vice cop Kellogg entrapping the poor Mr. Fremont book seller for being a clerk where an allegedly filthy book is being sold.
A bookstore clerk is indicted for selling obscene material which leads to a court trial. There is also the question as to whether this licentious book actually led to the rape of a young girl. The film is part trial based as the defense lawyers try to hunt down any clues that would prove the author of the book was not a smut merchant but trying to express an artistic viewpoint that can not be silenced by censorship.
Wayne Maundy as Michael Barrett’s defense attorney for bookseller Fremont
The author and the mystery surrounding their identity are key to the plot. Meyers does a high-spirited job of developing this narrative with engrossing scenes that portray a society of zealots and self-serving neophytes in turmoil with themselves. All amidst a groovy 70s palate that’s nostalgic and filled with a colorful verisimilitude.
The film opens with some great 70s devil may care by composer Stu Phillips. At first, we see a beauty chasing her dog passed a small storefront. The story reveals that the vice bureau is staking out the ARGUS bookstore, as Sgt Kellogg (Charles Drake) walks in with his cigarette box tape recorder ready to entrap the clerk for selling smut. He asks the young bookseller for something ‘brand new -unusual, ‘something you wouldn’t find in an ordinary library.’The clerk (Robert Maloney) just tells him to look around, the jackets tell the story pretty well.
Kellogg casually asks for one particular book on display The Seven Minutes by JJ Jadway and the bookseller repeats the title ‘Oh yeah” Kellogg remarks, “That’s a pretty sexy cover ain’t it?” As Kellogg ogles the pretty blonde talking to the young clerk who tells him she’ll see him later.
Sargent Kellogg (Charles Drake) “You read it?” Clerk -“The new addition at least… the first one was banned thirty-five years ago.” Kellogg-Â “How come it was banned?” Clerk– “Cause it was considered obscene” Kellogg-Â “Do you think the book’s obscene?” Clerk– “Why don’t you buy the book and find out for yourself.” “How much is it?” ” $7.30 with the tax.”
“Wrap it up… You the manager around here?” Clerk-“Yeah, the day manager.” Kellogg-“Who do I bring it back to if I don’t like it” The clerk answers– “Fremont, Ben Fremont.”Kellogg waves.
Kellogg’s partner is tape-recording the conversation from the car. “Took you long enough.”“Literary conversations take a little doing, we better start comparing, same jacket same title, same publisher, same publishing date, and copyright… Let’s pay Mr. Fremont another visit.”
They arrest him for knowingly selling obscene matter which is a misdemeanor in the state of California. And this starts the ball rolling in this film. As the powers that be, seek out district attorney Duncan who feels that The Seven Minutes would be found obscene if taken to court.
Mike and Faye Osborne are bed pals. She’s the spoiled daughter of an influential father.Cars the way they used to look… oh those were the days.never had one of these… but I know people who did! cool…70s memorabilia. Even the brown striped sheets.
the hair and the groovy chick appear later on at a funky club but I couldn’t resist putting her in the visual time capsule with the Volkswagon bug and the phone and Selleck…teehee.Mr Selleck don’t you look fine! He plays the publisher’s son Phil Sanford of Sanford Publishing.Â
Check out that cherry Volkswagon and Corvette, check out that cool 70s phallus phone, Check out that really young Tom Selleck as the publishing guy… who calls hot shot attorney Michael Barrett (a very cool Wayne Maunder) who is representing the publisher Phil Sanford (Tom Selleck) who’s in a panic about the book clerk Fremont going to jail for selling one of Sanford House’s books.
The tower of self-righteousness Elmo Duncan the D.A. (Phillip Carey) wants to be propelled into the Senatorial seat in California. The powers that be who want him to become Senator conspire to exploit this contrived issue of corruption & decency so Duncan has a powerful platform to run on. This elite cabal wants to build a state-wide case in which Elmo Duncan can fight the ‘Smut Merchants.’
Defense Attorney Mike Barrett tries to appeal to district attorney Duncan.District Attorney Duncan looms large as the figure of ethical fortitude.the secret cabal setting up the scenario for Duncan to influence public opinion and win the election. Stanely Adams, Olan Soule & Jay C. Flippen
They have a political agenda to stamp all youthful violence incited by salacious material in reading matter and films, and so this cause has become the lynchpin with which they hope to win an election, making ‘The Seven Minutes’ the subject of their campaign.
Meanwhile, a violent rape takes place involving the son Jerry (John Sarno) of a wealthy advertising tycoon Frank Griffith (Lyle Bettger) who owns a copy of The Seven Minutes and was present at the time of the assault committed by his psychotic friend, the one who actually commits the brutal rape.
The rape scene is handled with quick cuts interwoven with Wolf Man Jack doing his thing on the air. It’s all very frenetic as the soundtrack “love train” is sung by Don Reed.
The prevailing secret surrounding pathetic Jerry Griffith (John Sarno) is that he’s been emasculated by his domineering father and now can’t get it up, so he’s impotent sexually and in helping Sheri Moore (Yvonne D’Angers) while she’s being attacked by his violent friend.
Jerry takes the blame for the rape and refuses to talk about it, thereby implicating himself as an impotent sissy and allowing the lynch mob and voyeurs to assert that Jerry would not have committed such an act if The Seven Minutes hadn’t been available to him. Duncan is now convinced that a clean boy wouldn’t have done the crime if it weren’t for the availability of the dirty book.
this is Shawn ‘baby doll’ Devereaux -well it sure ain’t Tennessee Williams and Elia Kazan’s vision of Carroll Baker is it…
These hypocritical old cronies have young girls of their own on the side, watching pornography while salivating at the mouth. Yerkes has a girlfriend he calls ‘baby doll’ who dances provocatively for these guys. She’s got ample boobs (It is a Russ Meyer film after all) hanging out of her 70’s style yellow hot pants. Amidst the interesting subject matter Shawn ‘Baby Doll’ Devereaux gyrates and inserts herself into the frame to show us the hypocrisy of these old farts who condemn others for their own personal agenda all the while being the worst kind of purveyors of sinful behavior.
the wealthy Frank Griffith that wants all this smut taken out of the reach of impressionable teens like his son. What’s carefully framed by Meyers playing in the background is a porn film that the men have been reviewing and enjoying way too much-we witness the HYPOCRISY.
Russ Meyer had his own dealings with censorship so the subject is probably of very personal substance for him. He does a fantastic job of pointing out the duality of persuasions. And he builds the story really well here. Showing the belligerence by equal sides of the coin toward a moral center and a society ripping at the shreds of personal freedom to express, create and destroy.
Whether you’re an avid Russ Meyers fan or just think you might like to venture into the complex questions the film evokes, presented in that real 70s style The Last Drive In weeps for most days, it’s a film worth watching, even just to spot the few character actors that pop up on the screen like baby doll’s and Faye Osborne’s (Yvonne & Edy) eh hems… well you know… the cleavage shot!
What appears on the surface as a controversy surrounding a banned book that contains alleged salacious material-The defense evokes some good examples of Henry Miller’s ‘Tropic of Capricorn’ or, D.H. Lawrence’s ‘Lady Chatterley’s Lover’, etc.
What manifests is an interesting commentary on censorship, masculinity, and the spurious connection between perceived immoral content and violence in society.
Manhood and masculinity is a texture that is not necessarily used as the theme in the story, but let me tell you it is all-pervasive with images of Duncan heaving his heavyweights as he sweats and works out in front of Mike, spouting his holier-than-thou rhetoric. It was almost masturbatory.
He gave Michael that “politician’s holier than thou number” Duncan was hostile while he pumped weights in front of the intellectual Mike Barrett. Dueling of masculinity and the question of causality with pornography and violence against women.
Duncan talks to a church official about ‘freedom’ Duncan–Â “We only want to penalize those who would corrupt it.”
Duncan and his reprehensible comrades belong to a group called Strength Through Decency.
The acronym STD... was this intentional? Probably. It’s hilarious as these types of organizations do spread like a social disease. They’re against lust, motorcycles, homosexuals, and lesbians. All the factors that made the 70s so dangerous of course. Those lustful lesbians on motorcycles riding down 5th Avenue in NYC wreaking havoc with our delicate morality. Why I’m surprised we all survived it…
So as much as the words “smut merchants’ are bandied around, and the question of censorship takes priority in full view, the underlying sub-context is the posturing of masculinity and the double standard of sexism & classism and who gets to play and who must obey.
Marianne McAndrews is fabulous as Maggie Griffith. I really dig those orange orbs… truly the light fixtures I mean…
I won’t get into the story behind the mystery or the trial, the story behind Jerry’s impotence, the elitism, or the ultimate reveal about the author of The Seven Minutes. The media frenzy that occurs feeds on the sensationalism of the situation who condemn the book but want to hear about the details of rape victim Sherri’s violation.
Is The Seven Minutes a beautiful novel about a woman’s awakening or really filthy trash? You’ll have to find out… but I’ll say that Russ Meyer’sThe Seven Minutes is a great addition to the socially conscious sexually charged films of the late 60s & 70s like Roger Vadim’s Pretty Maids All In a Row, and Robert Thom’s Angel, Angel Down We Go 1969…
Directed by Vincent J. Donehue Lonelyhearts is a compelling look at loneliness, human frailty often ugly and pathetic, infused with a wry cynicism yet underpinned with an air of redemption. Considered to be a bit of Noir, the milieu of the Newspaper room, the darkened city with it’s sordid inhabitants mulling about, and a man who is not quite what he appears to be has many of the tidings of a good noir, but I would say this film falls more into the genre of psychological melodrama. Based on Nathanael West’s (Day of the Locust) novel ‘Miss Lonelyhearts.’ and penned for the screen by producer/writer Dore Schary.
Montgomery Clift plays Adam White, a young writer hiding the truth about his childhood in the orphanage from his devoted girl Justy Sargeant played by the lovely (Dolores Hart).
Adam is hired by The Chronicle’s harshly cynical Editor William Shrike played as only the gruff and unceremoniously sexy Robert Ryan can pull off , to be the exacting voice and conscience behind the “Miss Lonelyhearts”column for the paper.Myrna Loyplays a sympathetic and sad character as Shrike’s wife Florence who has fallen from grace in her husbands eyes, due to a prior indiscretion, something that Shrike continues to punish her for years later. The scenes between Loy and Ryan are captivating.
The film’s dialogue is outstanding, as it plunges you into a dark night of the soul, while Shrike maliciously tries to teach his moral apprentice the bitter truth about life and what really lies behind the assortment of needy folk who reach out for advice. The wonderful stage actress Maureen Stapleton received a nomination for an Academy Award for her dramatic portrayal of the very desperate and troubled Fay Doyle, in her first screen role. Equally commanding is character actor Frank Maxwell as Fay’s frustrated, crippled husband who loves his wife but hasn’t been able to make love to her in years.
Shrike’s relentless determination to wear away the selfless and compassionate exterior of young Adam White and lay bare his failings as well as disarm him is like watching two boxers fight with their wits as Montgomery Clift’s Adam is so deft at maneuvering with his vastly layered, always intelligent and sensitively nuanced performance as an imperfect man struggling to be a good man. His altruistic ideals are blown to bits as he delves into the lives of the people who write in for help only to discover that he too a tortured soul in need of saving and self reflection.
West’s novel reveals Adam White’s character as even more of a Christ like Archetype who suffers and must bear the weight of everyone else’s sins. Montgomery Clift, one of the finest actors tragically taken away from us way too soon, is always so compelling to watch, and while others are huge fans and rightfully so, of James Dean, I myself remain a die hard Monty Clift worshiper.
I do feel that the film leans too heavily toward demonizing woman as ‘tramps’ a word that comes up several times during the course of the film. But the performances, dialogue and mood of the piece are just too good to miss.
Also co-starring Onslow Stevens(Angel On My Shoulder 1946, Them 1954) as Mr. Lassiter, Adams’ father now in jail for murdering his adulterous wife. Mike Kellin and Jackie Coogan (Uncle Fester) as fellow newspaper men Frank Goldsmith and the jaded Ned Gates. And Frank Overton who plays Justy’s kindly father.
William Shrike: Enter light of my life, repository of my golden youth Florence Shrike: Stop making fun of me William: I’m not making fun of you I speak truth are your delicate ears grown cold"¦ You my love I see my youth, so I cherish you. Florence: You want some milk? William: For the stomach dissolving in alcohol (he touches her face) how tender of you. Florence: Stop talking to me that way! Stop humiliating me"¦ (screeches)STOP!!!! Why don’t you finish it off. In gods name tell me it’s over, don’t do this to me. William: May I speak"¦ you haven’t answered my question Florence: If you can’t forgive me why do we go on"¦ why? William: Cause I too am a mourner, an incorrigible mourner who sits at the grave. You mourn too Florence, You’re my wife but also the widow of our early romance. You wear your gay plumage hoping one day for the resurrection that you may greet it with the freshness of a bride. Florence: And what do you hope for? William: Peace. For just one day when I forget the picture of a young wife Florence: That was ten years ago, ten years"¦. William: What’s a normal sentence for adultery? Florence: I was alone, I was drunk, You had betrayed me so many times William: Ah, evening the score. Florence: It wasn’t that
You can always reach out to me if you’re ever lonely dear hearts- Yours forever MonsterGirl
Coming very soon – The Night God Screamed (1971) Part II of ‘Leave Your Faith, Fear and Sanity at the Water’s Edge’ Starring Jeanne Crain.
The Electrical Secrets of Kenneth Strickfaden: or as Harry Goldman’s book title goes-“Dr. Frankenstein’s Electrician”
Bunny Lake is Missing (1965) & Seance on a Wet Afternoon (1964): Otto Preminger/Bryan Forbes – ‘A Conspiracy of Madness.’
No Way To Treat a Lady 1968 & Man On a Swing 1974: All the World’s a Stage: ‘Of Madness, Lipstick and ESP.’
And much much more from the clip joint, Hysterical Woman of the Week, Trailers to keep the Boogeyman away, Postcards From Shadowland and From The Vault!!!!
Susan Gordon plays Susan Shelley a demented child not unlike Jan Brady, just released from a convent/ institution run by nuns…where she’s been placed after suffering from the shock of seeing her mother, (the flamboyant Zsa Zsa Gabor) Jessica Flagmore Shelley be consumed by flames in her opulent bedroom.
Susan still traumatized by the haunting memories of her mother’s horrific death and surrounded by some of the creepiest toys in all tarnation, comes home to the palatial hearth with father Don Amecheas Edward Shelley and his new lusty, conniving second wife Francene played by sexy Martha Hyer. Edward is so blinded by his desire for Francene that he’d sell out the whole estate contents and all to give his conspiring hussy all the money, vacations, and furs she wants.
Francene starts sneaking around again with brother-in-law Anthony Flagmore played by Maxwell Reed. Flagmore’s face has been charred from that fateful night when Mommy went up in flames. His odd presence and faithfulness to his pet hawk, add an air of the macabre to the already heady script.
The brazen couple plot to drive little Susan over the edge, while trying to get her to reveal the whereabouts of her mother’s missing diamond necklace.
This Grande Dame horror film is a little gem from the vintage 60s, by director Bert I Gordon, and also boasts a great supporting cast with, Wendell Corey, Signe Hasso, and Anna Lee. It’s creepy, it’s campy and a wonderfully colorful psychosomatic romp. Cinematography by Ellsworth Fredericks, who was director of photography on Invasion of The Body Snatchers 1956 and the sublime Mister Buddwing 1966 which I’ll be writing about soon) The soundtrack includes The Hearse Song sung by Gordon…‘The worms crawl in, the worms crawl out.’
Hedy Lamarr gets passed over by Bert I. Gordon.
“Through a Child’s Eyes You Will See Torment … Murder … And Flaming Passion!”
Directed by Reginald Beck, and Anthony Bushell. Written by Nunnally Johnson, Edgar Lustgarten is based on his book “A Case To Answer” and W.E. Fairchild. With cinematography by Wilkie Cooper (Stage Fright 1950, Jason and The Argonauts 1963), granting wisps of shadowy montages that are equally noirish, suspenseful, and simply splendid.
Patricia Cutts gets no sympathy from me after slipping him a mickey and letting loose that darn Tingler on poor unsuspecting Vincent Price.
Yielding and obsessive Rex Harrison plays Arthur Groome a London gentleman married to the devoted and lovely Mary (Lilli Palmer.)Unfortunately, Arthur becomes consumed by a flirtatious showgirl Rose Mallory (Patricia Cutts), who winds up being brutally knifed in her boarding house room, and left for the credulous Groome to become suspect one. First gets the splatter of Rose’s blood on his jacket, but then fails to prove his innocence in a sea of circumstantial evidence.
Condemned to hang, this allows the real serial killer played by the tall and eerie Anthony Dawson who looks frightened all the time, a destroyer of wanton women who sees himself as ‘an instrument of justice‘, still lurking about, first at the trial spouting off about his obvious philosophy on sexually independent women, and then creepily shadowing poor Mrs. Groome, whom he idealizes as the perfect woman.
I’ll be up the long dark hall til next time! -Yours always- MonsterGirl
Directed by Mark Robson, produced by David Weisbart and Helen Deutsch, with a screenplay by Dorothy Kingsley and Harlan Ellison. Cinematography by William H. Daniels (CAT ON A HOT TIN ROOF 1957, IN LIKE FLINT 1967).
Film editing by Dorothy Spencer (STAGECOACH 1939, TO BE OR NOT TO BE 1942, LIFEBOAT 1944 and CLEOPATRA 1963) Set Direction by Raphael Bretton (HUSH HUSH SWEET CHARLOTTE 1964 and THE POSEIDON ADVENTURE 1972) and Walter M Scott. (THE SOUND OF MUSIC 1965 and BUTCH CASSIDY AND THE SUNDANCE KID 1969) Art Design by Richard Day (ON THE WATERFRONT 1954, A STREETCAR NAMED DESIRE 1951 and THE GRAPES OF WRATH 1940) and Jack Martin Smith (BATMAN 1966 and PLANET OF THE APES 1968) and wardrobe by Travilla.
With all that creative talent on board, you can call the film trashy, but it sure has a lot of style!
Starring Barbara Parkins (THE MEPHISTO WALTZ 1971 never looking more beautiful in my opinion. One of my favorite horror films of the 70s, I plan on doing a long winded overview of it this Winter 2012.)
The incredible Barbara Parkins…and her killer boots!
From the moment the utter fabulousness of this tawdry pulp icon of the 60s starts rolling on screen with Barbara Parkin’s heavenly visage gazing out the train window, and Dionne Warwick starts confessing the movie’s theme song with her soulful voice… I get verklempt.
Doll a euphemism for little colored pills of varying types of barbiturates… ‘uppers’ and ‘downers.’
It is based on the best-selling explosively trashy novel by Jacqueline Susann and directed by, of all people, Mark Robson. (THE SEVENTH VICTIM 1943, THE GHOST SHIP 1943, ISLE OF THE DEAD 1945, and well his telltale progression into melodrama land with PEYTON PLACE 1957 and eventually into darker territories with DADDY’S GONE A- HUNTING 1969)
Growing up as a little girl in the ’60s, there wasn’t a coffee table or bookshelf that I didn’t see a copy of Valley of the Dolls sitting atop next to a hardcover of a best-selling self-help book by Dr. Thomas A. Harris’, I’m Okay You’re Okay which was first published in 1967, the year Valley of The Dolls was released.
There was certainly a copy of it in my own house and I remember seeing the film either during its theatrical release or later on the huge Magnavox cabinet tv with only three dials. At first, I was struck by the incredible score from composer John Williams and songs by Andre Previn and lyrics by Dory Previn. And then I fell under the spell of the badness and the beautifulness of it all…
Standing out is its vivid colors of the 60s film processing, the vogue style couture, flashy set design, and mod art direction. Populated by the campy, over-the-top acting in all the right places, of course, by the entire cast, it makes for one hell of a ride through the tunnel of tragic love in high-dramaville. As cliche after libidinous, compulsive, and histrionic cliche prance across the screen as a story of meandering disassembled desire by the needful women and their male companions.
It’s campy and tawdry and melodramatic trash, and that’s a GOOD THING for us junkies of melodramatic trashy & campy flicks from the 1940s -1960s.
