Notes From the Movie Room April 27, 2025

 

🎬 There have been only three times in my life when I can remember feeling a cold chill up my spine when finishing the last page of a novel, and all were in recent years. The first time was when I read the 1962 novel FAIL SAFE, written by Eugene Burdick and Harvey Wheeler. The second time was FLOWERS FOR ALGERNON, the 1966 novel by Daniel Keyes.

The third time, just a few days ago, was when I reached the last page of DOUBLE INDEMNITY, the 1943 crime novel by James M. Cain, which was originally published as an eight-part serial in Liberty Magazine in 1936. I've seen the classic 1944 film adaptation many times, and it's one of those movies that can be watched and enjoyed over and over, even though the story holds no more surprises. And I was aware that the screenplay by novelist Raymond Chandler had been altered considerably for the movie. But I had no idea what was awaiting me in the last chapter of the book. No spoilers will be forthcoming. Please buy the novel and read it for yourself.

Several years ago, I picked up a used copy of a James M. Cain three-novel compilation featuring THE POSTMAN ALWAYS RINGS TWICE (1934), DOUBLE INDEMNITY and MILDRED PIERCE (1941), all of which were made into successful Films Noir. I had already read MILDRED PIERCE, which also differed quite a bit from the 1944 film. It was much more sordid than the slickly made Warner Brothers production, which was primarily a star vehicle for the legendary Joan Crawford. In my experience, books are usually superior to the film adaptations, although there are exceptions. When I started reading DOUBLE INDEMNITY, the main characters were all being portrayed inside my head by Fred MacMurray, Barbara Stanwyck, Edward G. Robinson and Jean Heather. The narrator had MacMurray's distinctive voice. But as I got involved in the twists and turns of the story, especially in its last stages, the cinematic images began to fade, and I was no longer preoccupied with the movie version. Was the book better than the movie? I have to say yes. But that takes nothing away from the movie. The novel's ending could certainly have been adapted into a powerful movie sequence. But considering the prevailing standards and audience expectations of 1944, I doubt if it would have worked. Still, it's fascinating to wonder what might have been. Next up: I plan to dive back into the dark world of James M. Cain with THE POSTMAN ALWAYS RINGS TWICE. Let's see how far I have to get into the book before Lana Turner and John Garfield are no longer smoldering inside of my head.

I've never seen the 1968 film CHARLY, the adaptation of FLOWERS FOR ALGERNON, but I would like to. I did pick up the Criterion Collection release of the 1964 adaptation of FAIL SAFE, directed by Sidney Lumet. I didn't expect the icy chill I experienced at the end of the novel. But I was wrong. It came back, intensified beyond belief. Truly one of the most terrifying cinematic experiences of my life. Highly recommended. 

THE EXPLOSIVE GENERATION (1961)

 

William Shatner, in his iconic role as Captain Kirk in the original Star Trek TV show and the films which followed, did heroic battle with Klingons, Romulans, Kahn and all kinds of dangerous alien characters. But long before he took flight on the Starship Enterprise (He's still there, by the way.), the talented Canadian actor found himself caught up in an even more heated confrontation. In his first starring movie role, Shatner plays a high school teacher who finds himself trapped in the middle of an eternal, universal conflict: teenagers suffering from hormonal overload and the attempts by their frantic parents to make sure those hormones stay unloaded until the little darlings finish college and get married. 

THE EXPLOSIVE GENERATION is a worthy entry into the Teen Angst genre that began with the release of two classic films in 1955: BLACKBOARD JUNGLE and REBEL WITHOUT A CAUSE. These two very serious, critically acclaimed films officially established American teenagers as a distinct social class. More importantly, the kids had money in their pockets and enough free time to go to the movies while their parents were busy working. The rousing success of these two films encouraged the Hollywood studios to make more films focused on teens and their troubles. As the 1950s moved on, cinematic juveniles were not only tangling with those pesky hormones, but with werewolves, vampires, sea monsters and aliens from outer space, with plenty of rock and roll included in the soundtracks.

William Shatner seems shocked to find himself beamed into a high school classroom.

 Today's Teen Angst classic begins at a high school basketball game, followed by a party. Four high school seniors, Janet Sommers (Patty McCormack), her boyfriend Dan Carlyle (Lee Kinsolving), and Marge Ryker (Suzi Carnell) and her date Bobby Herman Jr. (Billy Gray), decide to spend the night at the house, which is owned by Bobby's father, after the party ends. They lie to their parents about where they are. In the morning, Janet wakes up in a panic because they all have to get to school. There's quite a bit of tension among the four about what they've done. 

Patty McCormack, the "Bad Seed" herself, all grown up and filled out. Lee Kinsolving is second from the right.

Janet is especially upset and argues with Dan. In their homeroom class, the teacher, Peter Gifford (William Shatner), asks the students to suggest topics for discussion, topics that address the various problems and concerns of teens who are about to graduate and go out into the adult world. Janet tells Mr. Gifford that what most of the kids are concerned about is sex. This comment gets quite a wild reaction from the other kids and causes some embarrassment for Mr. Gifford. He says such topics are best discussed with parents. But Janet persists and gets support from the class. When the teacher reminds Janet that sex has already been covered in their biology courses, she clarifies that she's concerned about the real personal issues teens deal with, such as how far a girl has to go with a boy to be popular, and how boys feel they have to prove what big men they are. Mr. Gifford finally agrees to discuss anything the students want to talk about. He tells them to write their questions and concerns down and not sign their names. He gathers up the papers and says the class will address the questions next week.

The morning after effect. Lee Kinsolving, Billy Gray, Patty McCormack and Suzi Carnell feeling guilty.

In no time at all, word gets around the whole school about Mr. Gifford's "sex survey". Naturally, the parents also find out, and all hell breaks loose in the community. Janet's parents (Virginia Field and Arch Johnson), now aware that the four teens spent a night together and lied about it, form a committee to visit the school principal (Edward Platt) and demand that the papers be destroyed and Mr. Gifford issue an apology. They accuse him of being a danger to the morals of their children. Mr. Gifford reluctantly gives in to their demands. But when school is resumed, he sees how disappointed the kids are and how badly he's let them down. So, he changes his mind about turning in the papers to the principal. As a result, he gets suspended.

Concerned and well-dressed parents: Virginia Field and Arch Johnson

Mrs. Sommers finds it difficult to struggle through making a high-tech breakfast with Janet's raging hormones filling the kitchen. What IS a mother to do?

The students are angry that their freedom of speech has been taken away from them, so they organize a protest, Dan being the main organizer. Mr. Gifford understands how they feel, but he tries to discourage them from getting into trouble. The kids hold a rally in front of the school and refuse to go to classes until Gifford is reinstated. The police arrive and order them to disperse and be quiet. Dan takes that advice to heart and tells the kids to remain silent for the entire day. The students stay silent even during a basketball game at the end of the school day. And they even get the opposing fans involved by handing out flyers encouraging them to join the protest.

A generation explodes!! Actually, it's more like a pep rally than a protest. Things will heat up considerably in a few years when the Baby Boomers take over.

As the basketball game continues in eerie silence, Janet takes the paper she wrote and reads it to her mother at home. She reveals that nothing happened on the night she and Marge stayed with their boyfriends, because they were all too scared and felt guilty. Lying to their parents made it all seem "dirty". Janet wrote about how much she loves and respects her mother but can't talk to her about her feelings. She loves Dan and wants to marry him someday but is finding it hard not to give into her sexual desires. She hopes that with boys and girls talking about these concerns together they might find the answer. Janet's mother, finally understanding, starts crying and puts her arms around her daughter. 

The parents go to the principal and have Mr. Gifford reinstated. The community crisis is resolved just as the basketball game comes to an end. All the kids erupt in joyous screaming and crowd onto the court as the cheerleaders and school band lead them in a victory march. When classes resume on Monday, the principal brings the student's papers back to Mr. Gifford's class and he begins the discussion.

Beau Bridges and Patty McCormack

Lee Kinsolving and Billy Gray, obviously up to no good!

Billy Gray and Beau Bridges

Gorgeous Patty McCormack

Despite the suggestive title, the movie turns out to be less explosive than promised. Everyone's virtue remains unscathed, and all teenage hormones are safely, if tenuously, under the control of parents and the educational system. Still, the notion of candid discussions about sex was a hot topic in 1962. And considering the controversies happening in our culture today, this modest B-flick turned out to be quite prescient.

William Shatner was still in his apprenticeship period as an actor. His work in films, television and theater began in 1951. In 1961, he had a supporting role in JUDGEMENT AT NUREMBURG. He also starred in two fascinating cult movies: THE INTRUDER (1962) for Roger Corman and the 1966 horror film INCUBUS. Most of his long, successful career has been on television and on other planets. Now ninety-four years old, Shatner shows no signs of slowing down.

Patty McCormack, only sixteen years old, stands out among the young cast. She had already found success in the 1954 Broadway production of THE BAD SEED as the charming but murderous child Rhoda Penmark. The play was a sensation, and Patty reprised her role in the 1956 film version, which won her an Oscar nomination for best supporting actress. In 1957, she played Helen Keller in a television production of THE MIRACLE WORKER, a role that went to Patty Duke for both the Broadway and film adaptations. Her career seems to have peaked at this point and her output since then has been erratic, many of her films being in the exploitational category: JACKTOWN (1962), THE MINISKIRT MOB and THE YOUNG RUNAWAYS, both in 1968. In a sense, her film work after such a lofty beginning in THE BAD SEED seems unworthy of her talents. Still, she has maintained a long career and enduring star status. Evil Rhoda Penmark has stalked her throughout her life, a situation she has happily embraced.

Billy Gray and Lee Kinsolving were both well into their twenties when they made this film. Gray had begun as an extremely talented child actor, making an impression in the sci-fi classic THE DAY THE EARTH STOOD STILL (1951). From 1954 to 1960 he was on the popular TV show FATHER KNOWS BEST. His subsequent acting career has been less than prolific, but he did appear in two cult favorites: THE NAVY VS. THE NIGHT MONSTERS (1966) and a very strange little film called DUSTY AND SWEETS MCGEE (1971). Lee Kinsolving was an intense young actor who began his career in live television and sadly only appeared in three films, THE EXPLOSIVE GENERATION being his last. He was nominated for a Golden Globe for his excellent work in THE DARK AT THE TOP OF THE STAIRS (1960). He left acting in 1964 and died of a heart attack ten years later at age thirty-six. You can see his work in TV shows like GUNSMOKE, THE TWILIGHT ZONE and THE OUTER LIMITS.

Nineteen-year-old Beau Bridges, son of veteran tough-guy actor Lloyd Bridges, was sort of in the background in this film, but his blonde good looks and soulful expression get your attention. He began acting as a child in the late 1940s in films like THE RED PONY (1949) and ZAMBA (1949) and also appeared on his father's hit TV show SEA HUNT. His apprenticeship continued mostly on TV and in movies like VILLAGE OF THE GIANTS (1965), a movie that must be seen to be believed. (Even then, you still won't believe it.) He finally proved himself a brilliant actor in THE INCIDENT (1967), one of my favorite films. He and his younger brother, Jeff, worked together in THE FABULOUS BAKER BOYS (1989). He's had a long and successful career and is still active in the business today.

The film was directed by Buzz Kulik, also known for BRIAN'S SONG (1971) and the miniseries GEORGE WASHINGTON (1984).

THE EXPLOSIVE GENERATION (1961) ♦RARE♦ Theatrical Trailer

♦Drive-In Classics♦ 'The Explosive Generation' (1961) William Shatner, Patty McCormack

This post is part of Brian Shuck's third Favorite Stars in B-Movies Blogathon. Thanks to Brian for inviting all of us to participate!

Films From Beyond the Time Barrier: Day 1 of The Third 'Favorite Stars in B Movies' Blogathon has arrived!

SOMETHING WILD (1961)

 

Recently, I've been rewatching films that have been in my collection for years, many of which I've only seen once. I especially wanted to see films that I remember loving and to find out if the "second watch" experience would change my feelings. This little project ended with more than a few DVDs being added to my "to give away" pile.

One film that definitely didn't lose any of its power is Jack Garfein's SOMETHING WILD. This is a film I remember seeing on television decades ago. I only saw it once and then it seemed to disappear into movie limbo, but it stayed in my mind. When it was released by the Criterion Collection eight years ago, I picked up a DVD copy at my local Barnes & Noble without waiting for one of the semi-annual sales. This is a movie I was more than happy to pay full price for. 

The film stars Carroll Baker, who was married to Jack Garfein at the time. She plays Mary Ann Robinson, a young college student living in New York City. One night, while walking home from a class, she is raped. The rest of the film shows the effects of this traumatic experience and how Mary Ann's life changes in the aftermath. This film is so filled with such surprising twists and turns that I'm reluctant to describe anything more about the story. I'm sorry if this disappoints anyone reading this post, but I would hate to spoil anyone's first time experience. Suffice it to say that this is truly one of the darkest, most downbeat movies I've ever seen. The story goes off in directions that I never would have expected, and the ending is one that will baffle and most likely infuriate most viewers. Baker gives an incredible performance and is perfectly matched by her co-star, Ralph Meeker, and also Mildred Dunnock in a supporting role as Mary Ann's mother. Other familiar faces are Martin Kosleck, Doris Roberts, Diane Ladd in her uncredited film debut, and Jean Stapleton. At this point in time, it's impossible to see Stapleton without thinking of Edith Bunker, and the seedy character she plays here makes me perversely wonder if Edith may have had a secret life before she married Archie and found respectability! 

The screenplay, co-written by Garfein and Alex Karmel, was based on Karmel's 1958 novel, Mary Ann. The marvelous Black & White cinematography was by Eugen Schufftan, with location shooting in New York. The film begins with an intense opening credits montage by Saul Bass showing different shots of the city at accelerated speed, and the expressive, energetic musical score was composed by Aaron Copeland.

SOMETHING WILD was not a box office hit and received mixed critical reviews. One positive review came from Jonas Mekas in Film Quarterly, who said the film was "the most interesting American film of the quarter; it may become the most underestimated film of the year". When it was screened at New York's IFC Center in 2007, it was hailed as a "lost indie film classic".

Most of Jack Garfein's work was in the theater, and he only directed one other film, THE STRANGE ONE (1957), starring Ben Gazzara, Pat Hingle and George Peppard, another dark, disturbing film that also struggled to find an audience, and one I highly recommend.

Ralph Meeker and Carroll Baker

Ralph Meeker found fame in the Broadway production of PICNIC in 1954. His best-known film role is KISS ME DEADLY (1955), in which he plays detective Mike Hammer. He was also in Stanley Kubrick's PATHS OF GLORY (1957), THE DIRTY DOZEN (1967), and played Tuesday Weld's father in I WALK THE LINE (1970). After suffering from several strokes, he died in 1988 at the age of 67.

Carroll Baker is a gifted actress who found screen immortality in BABY DOLL (1956), a role that haunted her for the rest of her life. She went on to have a prolific, if uneven, career. After she appeared in THE CARPETBAGGERS (1964), she was typecast as a sex symbol. She eventually left Hollywood and worked in Europe for ten years, making films such as THE SWEET BODY OF DEBORAH (1968) and ORGASMO (1969). After returning to the US, she appeared in Andy Warhol's BAD (1977). She retired from acting in 2003.

SOMETHING WILD (1961) Carroll Baker Trailer

NEW FROM THE CRITERION COLLECTION: SOMETHING WILD (1961)

The Strange One (1957) ORIGINAL TRAILER

A TOUR OF MY MOVIE ROOM

 THE TRUTH REVEALED!! 

UNTOLD UNTIL NOW!!

SEE CLUTTER YOU WOULDN'T HAVE THOUGHT POSSIBLE!!

SEE WHAT HAPPENS WHEN OBSESSIVE COLLECTING TAKES OVER!!

OK, Mike...let's not get overdramatic. Just show the pictures.

I moved into this eccentric old house thirty-five years ago, and, like me, it has only gotten more eccentric as the years go on. A story and a half, three bedrooms, two up and one down. Hardwood floors that crreeaakkk more every year. Lots of windows, including a living room that gets light from three directions. A creepy basement and an even creepier crawlspace. The house is strange and weird and suits me perfectly. The spare bedroom upstairs has always been used as a sort of retreat area. When I first moved in, I furnished it with a loveseat, a 13-inch TV and some shelves to display my VHS collection and even had a cassette tape player so I could listen to music. Eventually, when I gave in reluctantly to the DVD phenomenon, the room started getting a little crowded. My original shelving system gave way to more efficient ways to store my growing DVD collection, and I began collecting poster art and pictures for the walls. 

Following the death of my last VCR and the demise of my VHS collection, I made more changes, eventually getting my first flatscreen TV. That was ten years ago, and I still have that same Samsung 40-inch set. Works perfectly. The collection kept expanding, more shelves were needed and even the loveseat had to go because I needed the wall space. The collecting thing started getting serious around the same time I started finding other like-minded collectors on Youtube and checking out their impressive movie rooms. My room has never been that impressive and my collection isn't close to what so many other Youtubers have amassed, but I'm happy with what I have, and my room is very comfortable. As of now, my collection stands at a little more that 4,300 titles, mostly DVDs, but a growing number of Blu-rays. 4K has not yet entered into my radar. Maybe someday.

So, let's take a look around.

Here's a nice overview of one side of the room. I rely on Dracula to keep watch over the collection for me. 

Another overview. The DVD shelves came from Best Buy and the bookshelves came from Wal-Mart. 

These shelves contain my miscellaneous DVDs and box sets. Most of the posters came from Creepy Classics.

A word to the wise: Don't make the same mistake I did and buy a cheap vinyl-covered chair, because the vinyl will peel off and wind up on the floor. The chair may not look good, but it's so comfy, I hate to replace it.

My TV and a wall filled with Barbara Steele. The TV cabinet is actually a stereo cabinet that I turned over on its side. I don't have a sound system.

Another wall of Barbara Steele over my horror-sci-fi section.

And still more Steele!

Non-horror Kino-Lorber DVDs/Blu-rays, followed by the bulk of my non-horror and non-Film Noir Blu-ray collection. 

Classic TV display. I like to change the display every once in a while. Route 66 (1960-64) is still my all-time favorite TV show.

More TV, with Film Noir to the left.

My DVDs from The Video Beat. Teen angst dramas, rock 'n roll shows & documentaries, cool 60s TV shows like Hullabaloo and Shindig.

Toy robots from Alpha Video and Space 1999.

My Arrow Video collection.

Doorway art.

My Dave Koenig wall: A Fiend On Film. He designed the top two posters.

This way to the Twilight Zone.

A Ray Dennis Steckler hat and Barbara's autograph. Dracula is enjoying the sun for a change.

Sometimes, I must admit, I walk into this room and think: "What have I done???" And I'm always thinking about ways to make changes in order to utilize the space more efficiently. For example, getting some taller shelves to hold more movies. I also think about moving everything downstairs and making my living room into a movie room. Maybe get a bigger TV screen and a sound system. But the truth is, I'm too comfortable with the way things are and I'm much too lazy to make a change. However, if the collection keeps growing, I may not have a choice.

Maybe I should rent a nice warehouse...

OSCAR WARS: A HISTORY OF HOLLYWOOD IN GOLD, SWEAT AND TEARS by Michael Schulman

 

It was pure coincidence that I finished this excellent book right about the time when the Oscar nominations for 2024 were being announced. But what better time could there be? Oscar Buzz was in the air, and my head was buzzing with all the inside information about the origins of the Academy of Motion Picture Arts and Sciences in 1927 and its evolution since then. Rest assured that Michael Schulman's book will tell you everything you ever wanted to know, and then some.

But the book isn't just a collection of facts, dates and names of prominent movie moguls. It's a fascinating history of the movie industry itself and its cultural importance. Schulman discusses how the awards ceremony, which began as a rather subdued dinner party in 1929, gradually morphed into the hours-long, overblown fashion spectacle we have today. He also highlights several important events in Oscar history, many of which reveal the power struggles between studios, directors, writers and stars. 

When I first opened the book, I found myself quickly drawn into Chapter Four: The Greatest Star, and that's where I decided to start reading, making my way to Chapter One afterwards. Chapter Four covers the nominees for the year 1950, focusing mainly on the race for Best Actress. The nominees for that award were Ann Baxter and Bette Davis for ALL ABOUT EVE, Judy Holliday for BORN YESTERDAY, Eleanor Parker for CAGED, and Gloria Swanson for SUNSET BOULEVARD. This was probably the most exciting lineup of actresses to ever compete for the Oscar, and it was a major surprise when newcomer Judy Holiday won, since many were expecting a two-way battle between seasoned veterans Davis and Swanson. Schulman gives us the backstory and quotes from the various contenders. This chapter reads like a script for a Hollywood movie and provides great fun for hardcore fans. ALL ABOUT EVE, of course, was the big winner that year, setting a record with fourteen nominations and six wins. That record would stand for the next forty-seven years until TITANIC came along.

Other chapters cover the notorious Hollywood blacklist era, the controversy surrounding Orson Welles and CITIZEN KANE in 1941, and the nomination of the first X-rated film, MIDNIGHT COWBOY (1969). Chapter Eight: Fiasco is one of the most fascinating and entertaining parts of the book. It covers the ill-fated Oscars of 1989 when Allan Carr, the producer of GREASE in 1978, took charge of the ceremony, including its musical numbers. Carr's disastrous, overblown opening production number, featuring a young actress portraying Snow White, is legendary, but for all the wrong reasons. Schulman takes us step by step down Carr's ill-fated road to ruin, and even includes quotes from Eileen Bowman, the unfortunate actress chosen to play the Snow White. 

Other chapters take on more serious issues: the rise and fall of Harvey Weinstein, racial discrimination down through the years in Hollywood, the #OSCARSOWHITE controversy, and the confusion at the 2017 ceremony when presenter Warren Beatty mistakenly announced LA LA LAND as the Best Picture winner instead of MOONLIGHT

The book ends with a chapter entitled Gettin' Jiggy Wit It, which recounts how Best Actor nominee Will Smith introduced violence into Oscar history when he lost control of himself and went onstage to slap host Chris Rock in the face during the 2022 ceremony. A sad ending, indeed.

I thoroughly enjoyed this book, but I have to admit that my fascination with the Oscars moving forward is at an all-time low. A question keeps coming into my mind: Was it a good idea to introduce competition into the film industry? And a related question: Do the votes for the various awards have more to do with business interests or exchanges of favors rather than sincere appreciation of works of art? This book doesn't attempt to answer those questions, although serious readers will no doubt feel compelled to keep asking.

In the meantime, the Red Carpet beckons.

MIKE'S QUICK-STOP COMMENTARIES

 

FROM THE TERRACE (1960)

High-grade soap opera and enjoyable from start to finish. Paul Newman plays the son of Leon Ames, an unloving father and the owner of a steel plant that he expects Paul to work in and end up as miserable as his father. Myrna Loy plays Paul's unhappy alcoholic mother. Paul escapes all of this negativity through aggressive social climbing and marriage to high society doll Joanne Woodward, eventually becoming a big wheel in an investment firm in the Big Apple. But he soon finds out that all work and no home life result in an unhappy wife who starts sleeping around as a cure for her loneliness. Paul is beset by existential angst until he meets simple country girl Ina Balin, who just happens to be drop-dead gorgeous. Will Paul escape from his meaningless existence and find true love in the country with sweet, simple, drop-dead gorgeous Ina? What do you think? Top acting honors go to Miss Loy.

PICTURE MOMMY DEAD (1966)

Strange little movie about the most dysfunctional family imaginable. Adolescent Susan Gordon, having spent three years in a convent hospital following the mysterious death of her mother, Zsa Zsa Gabor, returns home to find herself surrounded by a group of despicable adults, all of whom are apparently out to get her. The film, directed by Miss Gordon's father, Bert I. Gordon, isn't terribly good, but it does have the advantage of a decent cast of actors and some very striking sets and art direction. Don Ameche plays the father, and Martha Hyer plays the evil, grasping stepmother. As Susan Gordon is in nearly every scene, the entire project rests on her, which is the biggest problem with the film. Her acting range is severely limited, and she spends most of the time with the same perplexed look on her face, no matter what's happening. Miss Gabor is an elegant, ghostly presence, a role that doesn't overtax her own acting abilities. Actually, I thought she was the best thing about the movie, which gives you an indication of what we're dealing with here. I managed to stay wide awake until the end, at which point I was rewarded with one of the most bizarre and truly distasteful plot twists I've experienced in quite a while, a twist I did not see coming. With Anna Lee, Wendell Corey and Signe Hasso.

THE SEDUCTION OF JOE TYNAN (1979)

Alan Alda does a decent job as an ambitious senator who gets caught up in his political life at the expense of his family life. There's really nothing new going on here, and the project has the look and tone of a TV movie of the week, complete with a rather predictable audience-pleasing conclusion. But it makes for an enjoyable watch. Acting honors go to the marvelous Barbara Harris as Alda's wife, who isn't emotionally suited for the high-profile life her husband's job has dragged her into. Harris is able to convey more emotion with a subtle change of facial expression than most actresses do with three pages of dialogue. Meryl Streep plays the cool blonde political assistant who becomes Alda's mistress. She is almost too cool, seeming to be detached from her character, the polar opposite of Harris. Still, she gets your attention. Featuring Melvyn Douglas, Blanche Baker and an outrageous supporting performance by Rip Torn.

FIESTA (1947)

This is intended as a star vehicle for MGM's aquatic icon Esther Williams, who does her usual capable job and, naturally, gets to do a little swimming. It's also the American film debut of handsome, charismatic Mexican actor Ricardo Montalban, whose intense performance almost knocks Esther right out of the water, so to speak. The story is set in Mexico and involves bullfighting. Esther and Ricardo play twins, Maria and Mario, so there's no romance between the two stars. Esther is paired with John Carroll and Ricardo is linked with Cyd Charisse. When aspiring matador Mario gets all bullheaded and walks away from the ring, plucky sister Maria takes his place to save the family honor. The film asks the viewer to believe that Esther Williams in a tight-fitting matador costume could conceivably pass for Ricardo Montalban in similar attire. I've heard of MGM magic, but this is quite a stretch. There is some terrific Spanish dancing with Ricardo and Cyd Charisse, and screen veteran Mary Astor plays the twins' Mexican madre, complete with a black wig and a lace mantilla.

NOSFERATU (2024)

 

Providing indisputable proof that some crypts should remain sealed, and some coffins should be permanently nailed shut, we have yet another version of NOSFERATU currently keeping audiences enthralled in theaters. This remake has been given to us by director Robert Eggers, the undeniably talented, creative gentleman who directed THE WITCH (2015), THE LIGHTHOUSE (2019, and THE NORTHMEN (2022). I haven't seen the latter film, but I was greatly impressed by THE WITCH when I saw it during its big screen release. Eggers' slow-burn approach with THE WITCH is also present in this new film, although at 132 minutes, one might say that approach was overdone.

I already had mixed feelings about this film before going to see it. After reading several reviews and listening to commentaries on Youtube, my expectations were rather low. But I also wasn't that enthusiastic about seeing a remake of a classic silent film, F. W. Murnau's 1922 masterpiece, which had already been brilliantly updated by Werner Herzog in1979. What did we need with this remake, which Eggers himself described as a "passion project"? How could this man, talented as he was, hope to improve on the two previous efforts?

Having survived all 132 minutes of the movie without missing a single scene (although my beleaguered body was crying out for a bathroom break), my overall impression is negative. There are some good sequences and some very good performances. But there is a pervading feeling of frenetic desperation about the production, as if Eggers was so determined to outdo his predecessors that he threw in as much action, gore and Gothic overkill as he possibly could.

There's no need to describe the plot, since anyone reading this blog post is already familiar with the saga of Count Orlock, who is based on Bram Stoker's Count Dracula. The 2024 screenplay, written by Eggers, follows the original storyline, but with one major difference. Eggers chose to alter the character of Ellen Hutter (Lily-Rose Depp), the wife of Thomas Hutter (Nicholas Hoult), the real estate agent who journeys to Count Orlock's castle, thereby setting all of the evil events into motion. Eggers' vision makes Ellen the central character, establishing a dark, spiritual connection between her and the Count, which is not, in my opinion, satisfactorily explained. Apparently, the very young Ellen, lonely and afraid, prays for a guardian angel to come and protect her. Because of some cosmic glitch in the human-to-angel communication lines, she got in touch with Count Orlock, the darkest angel of them all. (Let's meditate for a moment on the power of prayer.) So then, all of the evil that befalls Thomas, his family, and his village has been preordained. Got it. Sort of.

I have to hand it to Miss Depp, the second generation of the Johnny Depp cinematic dynasty. She works hard in this movie. Not only is she playing a traditional Gothic horror film heroine/victim, which consists of wandering through dark rooms looking frightened in a series of lush facial closeups, but she is also asked to perform all manner of bizarre physical stunts. You see, Ellen isn't just spiritually connected to Count Orlock; she's also possessed by him as one would be possessed by a demon. And when Ellen feels the demonic thing coming on, she suddenly starts performing an exhausting combination of cleverly choreographed contortions, fits of shaking, screaming, and some really ugly facial expressions, all of which are meant to show us her evil side and frighten us out of our wits. Personally, I didn't find these acrobatics all that scary, but I must give credit to Miss Depp for her obvious dedication to the character. By the way, I didn't stay for the end credits, but I strongly suspect that Linda Blair was listed as technical consultant for demonic demonstrations.

In my opinion, the changes made to the Ellen character added nothing to the story besides distractions and opportunities for the director to inject ugliness and morbidity into an already dark-themed story. They also add unnecessary screen time. I also have to wonder if Eggers was bowing to modern-day gender sensibilities by adding more aggression to Ellen, perhaps to satisfy those who prefer more of a dominant, girl-boss heroine. Perhaps Eggers felt that Ellen's act of self-sacrifice in offering her life to Orlock to save her village, as depicted in the two earlier films, was outdated.

The look of the film is exceedingly dark, as I suppose it should be. However, it's not clear if all of the darkness was intentional, or because someone simply neglected to pay the electric bill on several shooting days. There are some incredible visual sequences from cinematographer Jaron Blaschke, who worked on Eggers' previous films, as well as KNOCK AT THE CABIN (2023). Many scenes, however, are framed in such a way that it was like watching a widescreen movie on my 27" Sony Trinitron, pan and scanned to fit the small screen. The combination of a roving camera, darkness and the overuse of soft focus was unpleasing to my eyes. I was reminded of a recent film, A HAUNTING IN VENICE (2023), a film I detested, which was photographed in the same way. Compare the look of this film to the works of Mario Bava, who knew how to make practically every scene in a film look like a still picture. The same can be said of the horror films of Roger Corman and the best efforts from England's Hammer Studio.

I found the performances to be quite good, notwithstanding Miss Depp's orgiastic gymnastics. Nicholas Hoult is beautifully restrained as the ill-fated Thomas, making his portrayal a slow burn in itself, and his increasing fear and suffering is completely believable. Simon McBurney as Herr Knock, the slave of Count Orlock, plays crazy quite well, and is called upon to give a physical performance nearly as taxing as Miss Depp's. I will be happy to forget the scene where he bites the head off of a dove. Willem Dafoe is somewhat verbose and irritating much of the time as Professor Von Franz, the Van Helsing-inspired character. However, his final scene more than makes up for it. 

Then there is Bill Skarsgard as Orlock/Nosferatu, the most troublesome characterization in the film. Granted, I can't help but compare this incarnation of Count Orlock to the truly unique and terrifying image of Max Schreck from the silent film. Klaus Kinski's effective portrayal in the Herzog film paid homage to the uncanny Schreck, and justifiably so. Eggers obviously decided some serious updating was necessary, again, no doubt, to impress modern audiences who have been spoiled by CGI monstrosities in the franchise universe. So, Orlock is remade into a sort of demonic sexual predator with superpowers, rather than a once-human creature filled with a desperate need for blood in order to survive until the next sundown. I will give Skarsgard credit for his commanding presence and use of movement. He wears all of that makeup well. I just don't think the character is the least bit mysterious or frightening. But hey, what do I know?

Eggers does get credit form me for showing some restraint and not making the film as graphically violent as it certainly could have been. I'm also quite surprised that he only spent $50,000,000 on the film. When I last checked, the box office returns have nearly reached that amount, so it looks as though the film will be a hit. And I hereby predict a few Oscar and Golden Globes nominations for the movie. You heard it here first, folks. 

Perhaps after this most recent, and definitely most ambitious, cinematic resurrection, Count Orlock, or what's left of him, will be allowed to decay in eternal repose. Of course, the ending of the film is somewhat ambiguous regarding Ellen's fate. Is she really dead, or just the next Nosferatu in the making? Could a sequel happen? If so, then Miss Depp needs to keep up those Pilates classes.