CAREER (1959)

 

Films about show business, especially focusing on the complicated lives of actors and actresses, are some of the most enjoyable films ever made, especially for those of us who are obsessed with the myths of Old Hollywood. Quite a few classics are included in this particular sub-genre. Hal Wallis' 1959 production CAREER may well be considered at least a minor classic. The film was inspired by the off-Broadway play of the same title, produced in 1957. 

Anthony Franciosa, in an intense, energetic performance, stars as Sam Lawson, a WW2 veteran from Lansing, Michigan, whose dream is to try his luck as an actor in New York. He leaves behind his fiancé, Barbara (Joan Blackman), promising to send for her when he finds success. Barbara later shows up in New York unexpectedly and she and Sam get married. Sam struggles to find work, finally getting involved with a theater group called the Actor's Rostrum, which is run by Maury Novak (Dean Martin), another struggling actor and director. Maury is romantically involved with Sharon Kensington (Shirley MacLaine), the alcoholic, rebellious daughter of powerful Broadway producer Robert Kensington (Robert Middleton). Sam becomes the client of Shirley Drake (Carolyn Jones), a former struggling actress, who gave up the rat race to become a theatrical agent. Sam goes through many difficult years of personal and professional disappointments trying to achieve success as an actor.

This is one of the movies I remember seeing at the drive-in with my family back around 1959 or 1960 when I was eight or nine years old. My folks didn't seem to have any qualms about taking my sister and me to see movies with adult themes, for which I am eternally grateful. Given the era, and the prevailing standards of censorship, there was nothing graphic regarding language, etc. But the film made a lasting impression on me. There was a downbeat, cynical tone to the story, typical of the times, and CAREER was one of the first movies to deal with the Blacklisting of show business figures who were accused of subversive political connections.

Since Sam Lawson is included in practically every scene, the film's success depends heavily on Anthony Franciosa, and he doesn't disappoint. I will say, however, that the man is a little too physically robust and healthy looking to give the impression of being a starving actor who's trying to survive. But Franciosa makes his characterization work by the force of his talent and sincerity. Top billing goes to Dean Martin, who threatens to steal the picture from Franciosa with his fine work as the complicated, conflicted Maury Novak. Considering Martin's image as a light comedian and congenial television star, it's easy to forget how good he could be in serious film roles. Shirley MacLaine was one of the hottest actresses in films at the time, having received an Oscar nomination for SOME CAME RUNNING the previous year. MacLaine's quirky acting style and unconventional looks bring an edgy, desperate dimension to the character of Sharon. The film's second leading lady, the excellent Carolyn Jones, had a unique look and style that made her another one of the most fascinating actresses of the 1950's. Jones achieved a solid reputation as a character actress, and won an Oscar nomination for BACHELOR PARTY (1957). While watching the film again recently, I found myself wondering what Jones might have done with the role of Sharon Kensington. Not that MacLaine wasn't perfect for the role herself. But Jones could have burned right through the screen playing such a woman.

Joan Blackman is moving and convincing as Sam's wife, who tries hard to accept and understand her husband's ambitions. Also in the supporting cast we have Jerry Paris, known forever as Jerry Helper from The Dick Van Dyke show, as Sam's hometown friend. The elegant, beautiful actress playing his wife is none other than Donna Douglas, looking strikingly different than her Ellie Mae Clampitt persona that she would adopt a few years later for The Beverly Hillbillies. There are also two other familiar, very welcome faces: Frank McHugh, a prolific character actor from the Golden Age is seen as a waiter, and diminutive, gravel-voiced Marjorie Bennett is briefly seen as a Hollywood reporter.

The film's director, Joseph Anthony, was not only an accomplished actor, but also a thrice nominated director in the theater. He also directed the films THE RAINMAKER (1956), which he had directed on stage, and THE MATCHMAKER (1958). The striking Black & White cinematography was done by Joseph LaShelle, the Oscar winner for LAURA (1945).

CAREER won three Oscar nominations: Best Cinematography (LaShelle), Best Costume Design (Edith Head), and Best Art Direction. Anthony Franciosa won the Golden Globe for Best Actor.

 

THE SKULL (1965)

Amicus, one of Hammer Films' chief rivals in the production of horror movies in the 1960's, combined the considerable talents of director Freddie Francis with that dynamic acting duo, Peter Cushing and Christopher Lee, to create THE SKULL. The result was a work of art that can be called a prime example of Gothic horror. 

The screenplay, by Milton Subotsky, is based on Robert Bloch's short story The Skull of the Marquis de Sade. The era is the 19th century. Cushing plays writer Christopher Maitland, whose main interest is the occult. He has a large collection of occult artworks. One of his sources for antiques is Marco (Patrick Wymark), a less than honest dealer. Marco brings him the skull of the notorious Marquis de Sade. Maitland is strongly drawn to the strange object. He learns that his friend and fellow collector Sir Matthew Phillips (Christopher Lee) once owned the skull, but it was stolen from him. Phillips warns Maitland to get rid of the thing, as it is possessed by demonic powers. Maitland comes under the skull's power, leading him to his destruction.

There is so much to praise here. THE SKULL is a compelling and frightening meditation on the nature of evil and packs quite a bit of tension and atmosphere into its relatively brief 83 minute running time. The art design, the cinematography, and the musical score all work together to provide what may be called the typical ambience of so many Gothic horror films of the era. But this film is executed in such a superior manner that it can almost be regarded as a celebration of, a study of, the Gothic horror genre itself.

Peter Cushing and Christopher Lee

The performances are all excellent. Peter Cushing has done possibly his best work here. Much of his acting is done with no dialogue, so he has to convey the spiritual and mental degradation of his character with gestures and facial expressions, as if he were in a silent picture. Christopher Lee is as convincing and compelling as always in his supporting role. Patrick Wymark threatens to steal the picture with his nuanced portrayal of the crooked, creepy antique dealer who brings the accursed skull into Maitland's life. Also in the cast are Nigel Green, Patrick Magee, Michael Gough, and George Coulouris. Jill Bennett manages to stand out in her brief screen time as Maitland's wife.

CELEBRATION AT BIG SUR (1971)

 

There were two legendary outdoor rock festivals in 1969. In August, there was the out-of-control, soggy, mystical mess known as Woodstock. And in December, there was Altamont, the anti-Woodstock, featuring not only music, but also paranoia and murder, courtesy of the Hell's Angels. In between these two events, there was another, lesser known, communal gathering called Big Sur Folk Festival. It was held on the grounds of the Esalen Institute, a non-profit organization specializing in humanistic, alternative education. The festival wasn't a one-off production like Woodstock and Altamont. Esalen sponsored folk festivals from 1964-1971.

There were other details that set the Big Sur fest of 1969 apart from the other aforementioned gatherings. Approximately 10-15,000 people attended Big Sur, as opposed to over 400,000 at Woodstock and over 300,000 at Altamont. Big Sur was well-organized and had all of the necessary facilities and human comforts. In plain English, there was plenty of food and water. And restrooms that worked.

The documentary film showcasing the festival was directed by Baird Bryant and Johanna Demekrakis. It wasn't released to theaters until 1971, whereas the films about Woodstock and Altamont were both released in 1970. CELEBRATION AT BIG SUR focused on the musical performances, but also featured scenes of the mostly young, hip crowd enjoying themselves. Since Big Sur wasn't a qualified disaster like the two more famous rock festivals, there was no serious drama or hardship to document. It had more in common with the beloved Monterey Pop Festival of 1967 and the excellent film it inspired. 

John Sebastian, Graham Nash, Joni Mitchell, David Crosby, and Stephen Stills

The list of musicians was quite impressive. Joan Baez had appeared at most of the Esalen Folk Festivals. The film opens with her stirring rendition of I Shall Be Released. Other highlights: Crosby, Stills, Nash & Young perform Sea of Madness and Down By the River. Stephen stills goes solo with 4 + 20 and jams with John Sebastian on Mobile Line offstage. Joni Mitchell sings her song Woodstock and joins with Crosby, Stills & Nash and John Sebastian for Get Together, the anthem of peace and love in the 1960's. Dorothy Combs Morrison (One of the lead singers in the Edwin Hawkins Singers.) and the Combs Sisters sing their single All of God's Children Got Soul. The sound quality of the musical performances is first rate. John Sebastian goes solo with Rainbows All Over Your Blues.

The only moment of discord in this laid-back film occurs when a man starts heckling Stephen Stills when the artist is trying to perform. Since the sound quality of conversations isn't nearly as good as that of the music, I wasn't able to make out what the guy was saying. but the altercation turns physical when Stills throws a punch. Who knew Stills had it in him? But in no time, the atmosphere of peace and love is restored. This very enjoyable film concludes with everyone clapping their hands together and singing Oh Happy Day. There were no rainstorms, no mud slides, and even the police were having a good time. Maybe it was all that fresh mountain air. Whatever the case, this film is a loving look back at some of the positive things about the culture of the 1960's. And, as a huge fan of CSNY, it's wonderful seeing the guys young, healthy, and getting along with each other!