HONEYMOON WITH A STRANGER (1969)

 

In celebration of Barbara Steele's recent birthday (She was born in Ireland on December 29, 1938. Some sources say 1937. Discretion is advised.), I would like to showcase this ABC Movie of the Week that debuted on American television in December of 1969. It was filmed in Spain and directed by Joseph Peyser. Steele has a strong supporting role among an international cast of actors: Janet Leigh, Rossano Brazzi, Joseph Lenzi, Cesare Danova, and Eric Braeden.

The plot is based on the French play Piege pour un homme seul (Trap For a Lonely Man) by Robert Thomas. An American woman, Sandra Latham (Janet Leigh), is honeymooning in Spain with her new husband, Ernesto DiCardi (Joseph Lenzi). After their first glorious, passionate night together, Sandra awakens in the morning to find her husband gone. When several days pass without his return, she goes to the local police station to report him as missing. She enlists the help of Captain Sevilla (Rossano Brazzi). But then, Ernesto suddenly returns. However, it's not the same man she married. She swears to Captain Sevilla that this second man (Cesare Danova) is an imposter. But Ernesto DiCardi's best friend and lawyer, Frederico Caprio (Eric Braeden) and Ernesto's sister, Carla (Barbara Steele), show up and identify the second Ernesto as the real one. Sandra is near hysteria, swearing to Captain Sevilla that the family has organized some sort of heinous plot against her. And so, the plot indeed thickens! Things are not what they seem to be, and nearly everyone is guarding a mysterious secret.

Janet Leigh and Cesare Danova

This movie is a fun watch, even if the story seems somewhat familiar. The location shooting in Spain adds sort of an exotic atmosphere, although the landscape tends to be quite dry and desolate. Still, this was a nice diversion for American television, especially with the international cast. Top-billed Janet Leigh had been a major movie star for quite a long time by 1969, although her career was beginning to slow down a little. To keep working, she turned to television. She's quite good in this film. As the story moves along and we learn more about Sandra, one is tempted to think that Marian Crane from PSYCHO (1960) had managed to escape that little shower incident and morphed into a hardened, determined female mastermind. The Italian gentlemen are as suave as one would expect, and the handsome German actor Eric Braeden is forceful and masculine, threatening to steal every scene he's in.

Eric Braeden and Barbara Steele

Of course, for a Barbara Steele freak like myself, this lovely actress is the whole show. Her American fans were surprised and delighted to see her in this movie. She had done very little work in this country. In 1960, while briefly under contract to 20th Century-Fox in Hollywood, she appeared in one episode of the TV series Adventures In Paradise. In 1961, she appeared in THE PIT AND THE PENDULUM for American-International Pictures as well as an episode of Alfred Hitchcock Presents about the same time. Most of her films were made in Europe; Italy, France, Germany, etc. Only a few of her stylish Gothic horror films, and Fellini's art house classic 8 1/2 were seen in the US. She remained largely an enigmatic figure for most of us. HONEYMOON WITH A STRANGER gave us the chance to see her in a contemporary setting, working with distinguished co-stars. Her dark beauty adds a dramatic and mysterious flair to the film.

Steele made this film at a time of great change in her life and career. After many years of living in Rome, she returned to the United States sometime in 1968 or 1969 with her new-found love, screenwriter James Poe. He was preparing a script for a film entitled THEY SHOOT HORSES, DON'T THEY?, and was writing one of the parts for Barbara. He was also planning to direct the film. When they came to Hollywood and signed with a production company, James Poe must not have bothered to read the fine print in the contract. The producers gave themselves the right to make any changes they desired. The first thing they did was bring in another writer to work on Poe's script, taking it out of his hands. They didn't want Poe to direct, so they hired Sidney Pollack. Barbara was replaced by another English actress, Susannah York. It was a devastating experience for James and Barbara. Her career slowed down considerably, as did Poe's. After working in HONEYMOON WITH A STRANGER, Barbara returned to Italy for a very strange movie called FERMATE IL MONDO...VOGLIO SCENDERE aka STOP THE WORLD...I WANT TO GET OFF (1970). After that, she and Poe were married, settled in Hollywood, and she didn't make another feature film until her comeback in Jonathan Demme's cult favorite CAGED HEAT (1974). 

Steele's devoted fans can only wonder what she may have been able to accomplish during this period when she was at the peak of her beauty and dramatic power. But at least we have this enjoyable movie to watch her in, holding her own among equally talented actors. This is another one of those made-for-TV-flicks that isn't yet available on any kind of commercial release. It can be found on Youtube, and also on DVD-R from a few online sellers. The imagery is not terribly good, unfortunately. Let's hope it eventually gets a little bit of much deserved love and remastering.

THE SILVER CORD (1933)

 

THE SILVER CORD is one of my favorite films from the 1930's pre-code era. I first saw it quite a few years ago when I still had Turner Classic Movies. It's not available on any commercial DVD or Blu-ray release in the US, but it can be found from online sellers that make bootleg copies from television or VHS tapes. My copy is quite watchable. The film is based on Sydney Howard's 1926 play of the same name. John Cromwell, who directed the play, was brought in by RKO to direct the film also. Distinguished actress Laura Hope Crews repeated her stage role as Mrs. Phelps, the overly possessive mother who tries to manipulate her two adult sons. The play was considered controversial for its critical attitude toward motherly love.

The story opens in Heidelburg, Germany. Biologist Christina Phelps (Irene Dunne) is working on an experiment in her laboratory. Her husband of a few months, Dave (Joel McCrea), comes into the lab to tell his wife about a good job offer he's received from an architectural firm in New York. Christina is pleased and tells Dave that she can continue her work in New York as well. They make plans to return to America.

One big unhappy family. Eric Linden, Francis Dee, Laura Hope Crews, Irene Dunne, Joel McCrea

Upon arrival at Dave's childhood home, Christina is introduced to her new brother-in-law, Robert (Eric Linden), and his fiancé, Hester (Frances Dee). The two couples are enjoying getting acquainted. 

And then Mother shows up.

If one word was needed to describe Mrs. Phelps, it would be "fluttery". The lady appears to have emerged right out of the nineteenth century. Upon entering the house, having seen the car Dave and his wife drove up in, Mrs. Phelps flutters around with breathless enthusiasm, calling her son's name. "Dave! Dave Boy! Where are you? It's Mother!!" After finally latching on to Dave Boy, remarking about how bad he looks, Mrs. Phelps is introduced to Christina. Mrs. Phelps is friendly to her new daughter-in-law, describing her to Dave as "splendid". But when the two women sit down for tea and conversation, Mrs. Phelps expresses regret that Christina and Dave plan to live and work in New York City. Mrs. Phelps, who owns several acres near her rural home, had dreamed of Dave's taking charge of developing the property while living in his mother's home, "with a complete love to sustain him", meaning a mother's love, of course. She accuses Christina of trying to take her son away from her. 

Having successfully interjected herself into Dave's marriage, Mrs. Phelps then goes to work on her younger son's engagement. Conferring with Rob alone, she manages to convince him that he doesn't really love Hester and Hester doesn't love him. Soon after, Rob breaks his engagement to Hester and the young woman becomes hysterical. Christina comforts her. These pleasant family interactions take place on the first night of Christina and Dave's visit. On the second day, Christina confronts her mother-in-law in an attempt to save her marriage.

Mother managing her sons. 

I don't want to give away too many plot details, because there are some important surprises as well as some splendid dialogue and characterizations. I don't know how closely the film follows the play, but the film makes Christina the central character of the story. She is the voice of the modern woman, one who is educated and career minded, but still wanting a happy marriage and family life. As played by top-billed Irene Dunne, one of the most popular stars of the sound era, she emerges as the sensible heroine who saves her husband from a cloying, dominating mother. To me, however, the marvelous Laura Hope Crews makes Mrs. Phelps the most fascinating character in the story. She makes this determined woman into a genteel monster, a woman who covers the knife with sugar as she happily plunges it into a person's chest. Crews laces her deviousness with a sly, sophisticated humor. A less gifted actress might have broadened the humor and turned the story into a drawing room comedy. Crews applies just the right touch. Mrs. Phelps seems unable to realize just how pathetic she is for wanting to keep her grown sons clutched to her bosom. She manipulates every situation to make herself look like the victim. After causing the breakup of Hester and Rob's engagement, the distraught Hester tries to call a taxi to take her to a hotel. Mrs. Phelps, concerned about appearances, rips the telephone cord right out of the wall. She says to Hester, with great indignation, "You are the only person who has ever caused me to do an undignified thing! I shall not forget." 

Laura Hope Crews and Eric Linden share an uncomfortable moment.

The film is mostly confined to the house, although there is some dramatic action that takes the camera outside. I don't find this film slow or static in any way. The dialogue comes along fast and furious and all of the performances are well done. In spite of the depressing nature of this domestic situation, there was a happy real-life outcome. Joel McCrea and Francis Dee fell in love during the filming and were married soon after. Their marriage lasted fifty-seven years, until McCrea's death.