Tuesday, August 19, 2014

FREUD (1962)

Few high-pedigree movies of the last half-century or so have done such a thorough disappearing act as Freud. Premiering to major fanfare in 1962, it quickly underwent nervous studio butchering before vanishing into the collective unconsciousness of Hollywood producers, who would make sure not to make any more movies about psychiatrists, unless they were farces or Barbra Streisand vanity projects. 

Perhaps the headcases who ran Universal-International Pictures realized too late that a movie called Freud, directed by John Huston and starring Montgomery Clift, wasn't going to be a date movie. Instead, it focuses on the Viennese shrink developing his theory on how we're all screwed up because we either loved our mothers too much and hated our fathers, or vice-versa, or both. In a year that saw two Disney productions in the top 10 highest-grossing movies, Freud was not what the doctor ordered.

Forget that much of Freud's work in this field has been discredited in the last couple of decades. (For some reason, women go into hysterics over the word "hysteria.") There's much to admire about Freud on its own terms. First, Huston made the wise decision to abandon the original script written by France's favorite cockeyed philosopher, Jean-Paul Satre, which would have run about 10 hours. 

No wonder he never got the girl on
"The Man from U.N.C.L.E."
Second, casting Montgomery Clift was brilliant, in that his presence -- usually described by movie historians as "troubled" -- makes Freud more human than we tend to picture him. I mean, this Freud is so repulsed by his patients that he temporarily quits psychiatry altogether, because these people are, you know, nuts. I mean, how would you react to David McCallum speaking like Peter Lorre before making out with a headless mannequin he thinks his is mother?

"On the count of three, you're going to quack
like a duck. Just kidding!"
But thanks to his mentor, Dr. Josef Breuer, Freud is soon back in the game, taking on the case of Cecily Koertner, blind and paralyzed since a traumatic childhood incident involving her father. Peeling back the layers of Cecily's memories like a jumbo shallot, Freud cures her physically and psychologically, while discovering the root of his own deep-seated hatred for his father. Doesn't anybody like their parents?

If all this sounds like the patient-curing-the-doctor routine beloved by Reader's Digest, don't be put off. Freud is a serious, perhaps great movie, even if it has a whiff of old Hollywood about it. The mishmash of accents; occasional dialogue along the lines of, Siggy, you look hungry, eat a sandwich!; the boastful father who envisions great things for his son the doctor. 

Yet, had Huston waited for a more liberated time, Freud would have lost its prime assets: Montgomery Clift; the stunning black and white photography; and Jerry Goldsmith's Twilight Zone-ish score (parts of which were later lifted for Alien). The dream sequences, by the way, look like the dreams I have, which, upon reflection, is more information than you need.

"Say,  you look familiar..."
One of Huston's inspired casting choices directly involves Freud's sexual theories. Freud's wife Martha believes that he married her only because, according to him, we all fall in love with someone who reminds us of somebody else. No surprise, then, that the actresses playing Freud's mother and wife look like sisters. If that's not enough, Rosalie Crutchie, as Freud's mother, was only 42 -- the same age as Montgomery Clift. Oh, yuck.

Larry Parks expounds on the psychological 
underpinnings of singing "My Mammy."

In hiring Larry Parks as Dr. Breuer, Huston was doing his bit to break the Hollywood blacklist. Famous for starring in The Jolson Story and Jolson Sings Again, Parks' movie career was derailed by admitting to Congress that, when barely out of his teens, he was very briefly affiliated with the Communist party. A white guy in blackface who was once red -- only in Hollywood, kids. 

Freud himself should have been on the set of the movie. John Huston emotionally tortured
Having fun with Spence and Monty.
Montgomery Clift over the latter's sexuality. Clift, now in the depths of his booze and drug addiction, briefly fled to Germany for the premiere of Judgement at Nuremberg, where, reports film historian John McElwee, "a hostile German press merely exacerbated [his] already bizarre behavior... [Clift], according to one observer, 'showed up stoned and drunk out of his mind, jumping on Spence’s back.' Things got worse when Monty crawled on his hands and knees between the aisles, and 'screamed all sorts of crazy things,' causing Tracy to flee from the auditorium." Today, that kind of thing would earn you a spokesman gig for Cabo Wabo Tequila and a guest shot on Two and a Half Men. 

"Good God, I can't believe
that title!"
Still far more interesting than most any movie today, Freud comes from a time when intelligent dialogue was not only important, but expected from this kind of drama. Unfortunately, the studio wasn't particularly keen on it. Shorn of several minutes for general release, the film was given the legendarily stupid title Freud: The Secret Passion. Some posters printed it as Freud: A Secret Passion -- a subtle yet vital difference for the article-obsessed.

Following its TV debut in the late '60s, Freud vanished for about 15 years before briefly reappearing on home video. It went AWOL for many more years until a handful of airings on cable television -- then disappeared again for over a decade. Today, the original 140-minute version is commercially available on DVD only in Spain.

Well, not quite. I remember a particular dream sequence at a train depot during AMC's sole broadcast of Freud about 25 years ago. When watching the DVD, I was disappointed to discover that it was missing. For God's sakes, leave Freud alone!


Tuesday, August 5, 2014


Psychiatry. Unrequited love. Emotional adultery. Clown costumes. The Flame Within is a veritable textbook of classic movie genres. 

Dr. Mary White, apparently confusing her occupation of psychiatrist for relationship counselor, is treating Linda Bolton for suicidal tendencies, and Linda's fiance Jack Kerry for alcoholism. Now there's a fun couple! The good news: Linda and Jack are eventually cured. The bad news: Jack and Dr. White fall in love. Ha! Better get out those razor blades, Linda!

Paging Dr. Bozo, paging Dr. Bozo...
Writer/director Edmund Goulding appears to have consulted Symbolism for Dummies when putting together The Flame Within. Mary White's name recalls both the name of Jesus' mother and the color of purity. Dr. Gordon Phillips, the man hopelessly in love with her, dresses as an especially sad-eyed clown at a costume ball. Jack Kerry, who sobers up to become an inventor, develops an inflatable airline seat, symbolic of the kind of plot device that actors were paid to deliver with a straight face.

Advice for the man on the make:
get rid of the costume before you put the
moves on a woman.
Despite its soap opera aura, The Flame Within features some fascinatingly progressive notions, not the least of which is a woman who prefers her profession over marriage. In fact, Dr. White alarmingly considers psychiatry "a religion," perhaps allowing her to take a tax exemption. For doubtful patients like Jack Kerry, however, she refers to herself as a "nerve specialist." Make up your mind, lady!

Pining in the background for Dr. White is the older Dr. Phillips, who appears to have taken the Hippocratic oath from Hippocrates himself.  Perhaps most startling for its time, Dr. White is herself several years older than her object of lust, Jack Kerry. Unintended laugh alert: somebody refers to him as John Kerry, another fellow with a penchant of collecting rich, older women.

Director Edmund Goulding, Louis Hayward
and Ann Harding (Dr. Mary White) look
for a greater ecstasy than themselves,
and fail.
Seeing that The Flame Within was a product of 1935 Hollywood, all this refreshing progressiveness flies out the window in the last reel. Having returned from a trip to Europe, Kerry wants to dump Linda for Dr. White, who's equally in love with him. But Dr. White, taking that psychiatry-as-religion jazz seriously, advises him that doing something good for someone who needs him -- like staying with the wife whom he doesn't love -- will provide a "greater ecstasy" than his own happiness. 

While there might be an argument to be made for that schlocky slice of philosophy, most people would reply Buuuuuuullshit. I mean, tell that to Louis Hayward, the actor playing Kerry, who was married twice, all the while carrying on a long-term affair with Noel Coward. Tell that to anyone involved in the making this movie. That "greater ecstasy" routine was just a sop to both the censors and the saps in the audience who were living lives that couldn't compare to those they saw in glossy, upscale M-G-M pictures like this.

Most disappointingly is The Flame Within's final moment, when Dr. White decides to take her own advice, and announce that she's going to give up her profession. What will you do, her wannabe-paramour Dr. Phillips asks. Turning to him soulfully, she whispers, "You tell me." While their colleague Dr. Frazier smiles approvingly at their sudden engagement, the lesson for women is to marry a guy you don't love only because he needs you. Just for laughs, somebody please run this movie for Gloria Steinem.

"Can you treat my daughter
once she comes of age?"
It's appropriate Linda Bolton -- who tries to commit suicide a second time by jumping out of Dr. White's window --  is played by Maureen O'Sullivan. During one of the two costume ball scenes, she wears a blonde wig -- and, for a moment, becomes the spitting image of her equally-nutty daughter Mia Farrow, who's had, um, relationship issues of her own. Until her final moment onscreen, O'Sullivan's character is quite unlikeable throughout The Flame Within, making you wish she'd successfully jump out the window for a change.

What keeps The Flame Within worth watching is Ann Harding as Dr. White. Unlike her drag-queen contemporaries Bette Davis and Joan Crawford, Harding doesn't indulge in histrionics. Her subtle, empathetic performance is so different from everyone else's that at times she appears to have come from several decades in the future. No wonder she's been pretty much forgotten -- there's nothing to parody. 

Harding, too, might have been more self-aware than the character she plays. Finally succumbing to Dr. Phillips' amorous entreaties, the expression on her face is anything but ecstasy, probably unnoticed by audiences 80 years ago, leaving one with an uneasy feeling as the movie fades out. There's plenty of drama in The Flame Within, alright, but not all of it intended.


Wednesday, July 30, 2014


A cop is questioning a woman about a murder. He searches her bureau and closet as if he lived there.

WOMAN: You're pretty free with my apartment, aren't you?
COP: Do I have to buy a ticket?

I might not have ever heard of Murder is My Beat if it hadn't been for the beautiful three-sheet poster I bought a couple or three decades ago. Unfortunately, someone -- a nervous theatre-owner, perhaps? -- covered "MURDER" with "DANGER." Still, I could tell it was a movie that was certainly my beat, especially with the Wim Wenders of Poverty Row, Edgar G. Ulmer, directing.

Make no mistake, Murder is My Beat follows the usual film noir recipe by the teaspoon. Plainclothes flatfoot Ray Patrick is on the prowl for Eden Lane, a blonde floozie wanted for murder. First putting his life in jeopardy by tracking her 7,000 feet up a mountain in a blizzard, he finds himself putting his job on the line when he falls for hard for her. Doing a belly-flop off a prison-bound train, Ray and Eden go rogue in order to find the mysterious man whom Eden claims is the real killer.

The Abominable Detective
Nothing new here, unless you count the blizzard, which probably counts as a first for a film noir (film blanc?). But nobody watches these things for breakthroughs in storytelling. Cops, saps, blondes, twists and double-crosses -- that's all we ask for. And Murder is My Beat delivers. No, the dialogue doesn't give Double Indemnity for a run for its money. The story might be a little convoluted for its own good. It suffers from an unwelcome happy ending. Nor are there what might be called high-wattage stars. This was, after all, an Allied Artists (formerly Monogram) B-picture.

"No problem, this is the way
I always look."
But you know what it does have? A cast of real-looking (rather than Hollywood-looking) actors you wouldn't have been able to pick out of a police line-up. The sad-eyed Paul Langton (Det. Patrick) spends a good deal of the movie beat up worse than a banker at a May Day Parade. Occasionally lapsing into Bogart patois, Langton is more sympathetic than the average film noir hero, seeing that he's a decent cop who doesn't know if he believes Eden or is merely falling in love -- make that in sexual heat -- with her. Langton's the kind of actor who may not have made a major impact in his 100+ movie and TV roles, but was always real.

"C'mon, baby, you can spare a little of that
make-up to cover my hematoma."
Barbara Payton (Eden) drips with sex, yet there isn't really anything that sexy about her, at least from my perspective. Tight sweaters, close-cropped hair, make-up that's been applied with pancake spatula -- the '50s were apparently a time when drag queens were what women aspired to be. Or, more likely, what men aspired women to be. And yet she and Langton look perfect together, as do the equally-plain Hugh Beaumont and Ann Savage in the previously-discussed Apology for Murder. Sex appeal comes in strange packages. (Feel free to google Barbara Payton's sorry life -- alcoholism and prostitution just scratching the surface -- to see just how her biopic could rival any classic film noir... and without a happy ending.)

"Careful with those things, lady, or you'll hurt
somebody with 'em!"
The budget restrictions of Murder is My Beat (great name for an album of dance music, by the way) heighten its realism. You can see a real downward trajectory from 1930s movies in terms of fashions, decor, even cars. The cop's Nash Rambler is a sorry ride compared to the flashy coupes of 20 years earlier, while there are enough dangerous-looking bullet bras for an ammunition depot. The plentiful location shots, too, show that even Los Angeles was starting to look seedy. In fact, there isn't anything particularly attractive about Murder is My Beat, and that's a good thing. 

Edgar G. Ulmer does a good job here, concentrating on close-ups to heighten the emotional drama. His occasional cutting from location to studio to process shot in the same scene can be whiplash-inducing, but again, that's more due to budget than talent. One chance where he gets to show what he's capable of -- cutting back and forth from Langton's emotional third-degree of Eden to the relentless drive of the train's steel wheels -- screams of sexual arousal. All aboard! 

All things considered, Murder is My Beat might not be the Acela, but it gets where it's supposed to in a timely, efficient manner.

To read about the B-movie mentioned in this piece, Apology for Murder, click here.

Thursday, July 24, 2014


The 1935-1936 movie season marked something of an apex with Hollywood's hagiographies of federal investigators. Warners' G-Men and Grand National's Tough Guy (which chronicled the "adventures" of an Weights-and-Measures inspector), both starred James Cagney. Universal got into the act with Postal Inspector, but settled for Ricardo Cortez in the lead role of Bill Davis.

Probably realizing that there's nothing inherently exciting about a guy who's primary job is listening to saps who've been suckered out of their money by mail-order scams, Postal Inspector's producers padded out the movie's screentime by throwing in three songs (one of which is performed three times), a romantic subplot involving the postal inspector's brother and a nightclub singer, and newsreel footage of a Midwest flood, and endless speeches about how important it is listening to saps who've been suckered out of their money by bogus mail-order scams.  A voice-over impersonation of President Roosevelt gets into the act as well, reminding us how important it is listening to saps who... Well, you know. And the damn thing still runs only 56 minutes!

Ricardo Cortez looks for a loophole in his
contract to get out of this movie.
With everything but postal drama taking charge, the story proper doesn't really kick in until about the 30-minute mark. Bill Davis' brother Charlie, another fed, is in charge of delivering worn-out currency to the Treasury Department for eventual destruction. His girlfriend, nightclub thrush Connie Larrimore, innocently spills the beans to her boss, Gregory Benez, who steals Charlie's $3,000,000 shipment. If the producers had been honest, they'd have called this movie Treasury Guy with the The Big-Mouth Girlfriend. 

To jazz things up further, a flood of Biblical proportions threatens to destroy the city. (That's where the newsreel footage comes in.) Super Inspector Bill Davis risks his life by flying to a neighboring town to help move the contents of a post office to the second floor of another building, just so people can continue receiving junkmail. Thanks, Bill. The flood, however, offers the unique chance to watch a climactic motorboat chase in the middle of downtown, which looks as weird as it sounds.

"So, you re-used a one-cent stamp, hunh?
It's curtains for you!"
Ricardo Cortez, as usual, is better than the material he's given here, probably having choked on lines like "A postage stamp is the best insurance in the world" during the first read-through. He must have suffered some unfortunate deja vu as well, when warning Connie Larrimore, "You're in this, too, up to your neck" -- a line almost identical to one he recited as Sam Spade in the original version of The Maltese Falcon four years earlier. It's quite a comedown from ace private eye to mailman cop.

Lugosi gives the day's special:
blood pudding.
Most fans of obscure movies know Postal Inspector only because of fourth-billed Bela Lugosi as Benez. It's a nothing role for a guy who, five years earlier, was Universal's biggest draw in Dracula. Still, it's a treat to see Bela in a non-horror role for a change, even if he doesn't strike one as a nightclub owner. Never explained, however, is why a guy with a Spanish surname has a Hungarian accent.

Never explained, either, is why the songs featured in Postal Inspector survived the final cut. Connie Larrimore (Patricia Ellis) sings the pseudo-rhumba "Hot Towel" while taking a shower:

When you're through with your shower,
Do you shiver? Do you quiver?
Well, you're wrong.
When you're through with your shower,
You should treat it, you should heat it
With a song!

If only she met her fate before the musical numbers.
What is this, a first-grade glee club? (The best part of the number is the maid -- who else but Hattie McDaniel? -- using bottles of bathbeads as makeshift maracas.) Nothing, however, beats the song with quite possibly the worst title in music history, "Let's Have Bluebirds on All Our Wallpaper":

Let's have bluebirds on all our wallpaper
Decorating our dreams.
Shy little rosebuds on the chinaware,
Murmurs of love from the Frigidaire...

Either someone at Universal thought this was going to be a big hit or he lost a bet, for this song is performed three times -- twice accompanied by an obnoxious kid playing a harmonica. The incompetent hack responsible for such atrocious lyrics? Frank Loesser, who would go onto write Guys and Dolls and the Pulitzer Prize-winning How to Succeed in Business Without Really Trying. Forget about Robert Johnson; I think Loesser met the devil at the crossroads of 44th and Broadway. There's no other way to explain that kind of improvement.

It's tempting to speculate just what the guys who ran Universal really thought of nonsense like Postal Inspector. They didn't have to make this for financial reasons; unlike Warners, M-G-M and Paramount, they didn't own a chain of movie theatres that needed a constant supply of product. If they wanted to jump on the federal agent bandwagon, why not the Secret Service? Surely there's some real drama involved in protecting the president, rather than... well, listening to saps who've been suckered out of their money by mail-order scams -- or by ridiculous movies like Postal Inspector.


Saturday, July 19, 2014


It's always fun to watch old medical-based movies. Procedures taken for granted by naive audiences then would be grounds for malpractice today. It's a real hoot, too, when watching these melodramas since my wife's a nurse. They make her gasp, "Oh my God!" more than the investors in Malaysian Airways.  

Dark Delusion ups the entertainment value by exploring the world of mental illness, presumably a ripe topic after the success of Hitchcock's Spellbound two years earlier. But while the latter strove to be a serious, mature take on one man's psychological breakdown, Dark Delusion is Freud by way of M-G-M's Department of Romantic Melodrama.
"She may be crazy, but she's my  kind
of crazy!"
Dr. Tommy Coalt is a headstrong sawbones who's been quite successful at alienating patients and hospital management alike. Sent to the fictional New York suburb of Bayhurst to temporarily replace the town's only doctor, he immediately becomes entangled in the case of Cynthia Grace. Cynthia has a psychological condition that makes her appear to be photographed in semi-shadow even when in direct sunlight, and her every move accompanied by a woozy organ, glockenspiel, and off-key violins. But speaking professionally, she's all kinds of maniac -- depressive, klepto, and pyro topping the list. While her father wants her admitted to the local laughing academy, Coalt ultimately proves that she's no crazier than anyone else in town. That, of course, isn't saying much.

"I now pronounce you man and lung."
Tommy's a nice guy once you get to know him. He even plays cupid when he's not alienating people. One young woman hospitalized for polio wants to break off her engagement, until Tommy convinces her that her fiance has absolutely no problem being married to someone who's living in an iron lung. And thus we are allowed to witness the most bizarre wedding scene in movie history before Chained for Life, starring real-life Siamese twins Violet and Daisy Hilton.

But Tommy is fully aware of his professional standards. When talking to a newly-adoptive mother, Tommy notices she has baggy eyes, so he prescribes her sleeping pills. When Cynthia shows up unexpectedly at his office, he slips tranquilizers in her water. Keeping up with his madcap drug dispensing, Tommy gets to the root of Cynthia's problems via narcosynthesis. Shooting her up with an unidentified drug for about 10 seconds -- "This is an awfully long injection," my wife rightly noted -- Tommy gets her to talk about the root of her problem. It seems Cynthia banged her head after falling off a horse. With absolutely nothing else to go on, Tommy immediately diagnoses her with having a blood clot on the brain, and arranges for surgery the following day. It took my doctors six weeks to diagnose me with renal cancer, followed by seven weeks of waiting before the surgery. Medicine obviously has gone backwards since 1947.

"Hey, I know that person!" alert. That adoptive mother I mentioned is played by a pre-game show Jayne Meadows. Her onscreen husband is cured of his fear of heart trouble when his doctor deliberately picks a fistfight with him -- a treatment no longer covered by Cigna. That MDF (Doctor of Fisticuffs) is played by the great Keye Luke, formerly Charlie Chan's #1 son. Confucius say, When co-pay not paid, broken jaw suitable substitute. 

Barrymore is disgusted by playing
third banana to a wanna-be Gable
and a crazy lady.
Dark Delusion, oddly, was the final entry in M-G-M's Kildare/Gillespie series, starring the cantankerous Lionel Barrymore. You wouldn't know it by any of the posters, since Dark Delusion was sold, quite falsely, as a romantic mystery. (The tagline -- "How Much Can A Guilty Girl Hide?" -- seems to have been created to further throw the audience off the scent.) It almost seems like the Gillespie scenes were an afterthought in order to pad the movie's running time to an A-length 90 minutes. Barrymore is off-screen for the bulk of the movie, which is a shame since his playing-to-the-rafters style is sorely missed. There are times, however, when he seems to be channeling his fellow character actor Edward Arnold -- but you'd recognize that, wouldn't you?

"Frankly, my dear, I don't give
a damn that I'm aping a better
And speaking of channeling, James Craig, as Dr. Coalt, struck me as doing a Clark Gable impersonation for much of the movie. That was no surprise, since he was Gable's replacement at Metro when the latter went off to war. Once Clark returned, Craig had no place else to go except, well, Dark Delusion. He, like his ilk of washed-up actors, retreated to the far more lucrative refuge of real estate. I could name a dozen actors today who should make that career change, but I'd only be wallowing in my own dark delusion.


Monday, July 14, 2014


How, you may wonder, can a mystery be created out of a hat box? Easy, if you made Poverty Row nonsense like this.

Two-bit private dick Russ Ashton has been called out of town on a case when his secretary/mistress Susan is arrested for shooting socialite/criminal shill Marie Moreland. But don't blame Susan -- she thought the gun inside her client's hat box was a camera, which was going to take an incriminating photo of his philandering wife. 

Yeah, the cops don't believe it, either. Russ puts on his gumshoes to prove that not only didn't Susan pull the trigger, Moreland was actually shot by one of the members of a criminal gang. If the cops had been doing their damn job, they would have discovered the bullet had fired from a completely different angle. But then the movie would have been a one-reeler.

The cop sees nothing strange about this.
The Hat Box Mystery appears to have been angling to be a little different from the average B-crime movies of the day. For one thing, it clocks in at 42'55" -- even shorter than Hal Roach's "Streamliner" comedies. Another difference is that the Roach movies were supposed to be funny. The only time The Hat Box Mystery isn't funny is during the comedy relief. In fact, the only relief the movie offers is when it ends. 

"Hi, folks. We've put armed guards outside the
theatre, so don't even think of leaving."

Too, in the opening scene, immediately following the title card, Russ Ashton addresses the audience, explaining, in so many words, what a lousy detective he is. He then goes on to introduce Susan and his sidekick Harvard (named,we learn, because he didn't go to Yale. That's as good as the jokes get, folks), and Harvard's idiot girlfriend, Veronica, a burger-flipper who feeds them for free. 

But then he takes it one step further by introducing himself and the others by their real names -- Tom Neal, Pamela Blake, Allen Jenkins, and Virginia Sale -- before the rest of the credits roll. This is without doubt the most interesting part of the movie, giving it the feel of a very early TV pilot. However, it was more likely the first of a proposed series of movies with these characters -- if there was audience demand. Since there was no sequel titled The Dress Bag Mystery, we should assume the obvious.

"I love you, honey. Now just go out and get a brain."
Unlike, say, classic private eyes like Phillip Marlowe, Russ Ashton's attempt at clever banter doesn't rise above personal insults. (He confides to us that his pal Harvard is "plenty D-U-M-B" right in front of the guy.) His treatment of Susan borders on the psychologically and emotionally abusive, forever reminding her how bad she is at her job and how much she's screwed up in the past. He willingly partakes of Veronica's free food even while complaining about it and borrowing money from her. He even has the nerve to physically threaten a repairman who calls him out for the phoney-baloney that he is. No wonder why he never gets any work.

Ashton puts his lion-taming skills to good use.
The closest Ashton gets to wit -- and by "closest," I mean halfway from here to Jupiter -- is when he's kidnapped by the criminal gang. While tied to a chair, he spins a few yarns to his captor to kill time, winding up at fairy-tales. "Didja ever hear the one about the momma bear, the poppa bear and the baby bear?" he asks in his usual sarcastic delivery. "Momma Bear was a Democrat, Poppa Bear was a Republican. Baby Bear was too young to vote." Make that halfway to Betelgeuse.

Character actor Allen Jenkins is always worth a look, but it's Tom Neal who's the real draw for me here. Not that he's particularly good. If you've read this blog long enough, you'll know he's the star of the greatest of all film noirs, Detour, where his wooden style works for the one time in his career. Tom started at the top as a contract player at MGM, only to bounce down the ranks to Warners, RKO, and finally landing in Poverty Row studios like PRC. (The Hat Box Mystery was released by the even more obscure Screen Guild Productions, whose other epics include the previously-discussed Scared to Death.)

Never more than a competent actor -- he at least follows Spencer Tracy's dictum to know your lines and not trip over the furniture -- Neal seems out of place in his early movies at the major studios. He appears far more at home in his Poverty Row pictures, where his dime-store Gable looks and vaguely uneasy demeanor fit well with the low-rent surroundings. You can almost feel his bad luck vibe -- he was convicted of shooting his wife in the back of the skull in 1965 -- as his career petered out over time. The Hat Box Mystery, not even strictly qualifying as a feature with its brief running time, wouldn't have been worth watching without his doomed presence. Desperate to be a movie star, Neal would probably be happy to know that.


Thursday, June 5, 2014


Other than two live concert numbers by the Beatles (lifted from the 1963 short The Beatles Come to Town), Pop Gear consists of nothing but lip-synched performances by over a dozen, mostly forgotten musical acts playing their records that charted in the UK. Only a handful were ever released in America, and for very good reason. Most of the music presented here ranges from bland, mainstream, over-produced pop to bland, mainstream, over-produced pop-rock. Not that you can tell the difference. If nothing else, Pop Gear should put to rest the myth that the 1960s British music scene was the swingingest in the world.

God almighty, what an idiot.
Just as every band west of the Rockies wanted to be the next Beach Boys, so did every band within a thousand-mile radius of Liverpool strive to make it big by wearing collarless jackets, skinny ties, and "mod" haircuts. Talent? What's that? And so Pop Gear offers us, without shame, Tommy Quickly singing "Humpty Dumpty" while grinning like a mental ward patient on an all-night masturbation jag. Yes, "Humpty Dumpty" the nursery rhyme. In 1965. The year that the Beatles recorded "Norwegian Wood." Now, to be fair, most of the songs in Pop Gear were originally released in 1964 -- the year the Beatles recorded "Things We Said Today." Get the picture?

Got to get you off the stage.
And speaking of the Beatles, the instrumental band Sounds Incorporated promised to be of mild interest, having provided the backing tracks for "Got to Get You into my Life" and "Savoy Truffle." So they must have some kind of cool factor, right? Sure -- until they play their big number, the "William Tell Overture." Had Rossini heard his piece arranged for three bellowing saxophones, he'd have asked Tell to shoot an arrow through his head.

Perhaps rightly thinking that performers standing in one place could make Pop Gear even more unwatchable, the director wrongly told them to walk around in circles for three minutes, to the obvious embarrassment of those who were more self-aware. Did you ever think Herman's Hermits would ever be described as self-aware? Me neither.

This is rock & roll?
Forgive me for not going into further detail, but I admit to fast-forwarding through most of Pop Gear, the majority the bands being entirely interchangeable and utterly forgettable. American audiences (who saw it under the title Go Go Mania) must have been baffled by the line-up. For every Peter & Gordon, Animals, and Herman's Hermits, there's Billie Davies, the Rockin' Berries, the Fourmost, Four Pennies, the San Remo Four (there must have been a law requiring audiences to know how many people were in the band), and others who were completely unknown over here. Too, what were they to make of dancers "interpreting"  terrible pop instrumentals by artless studio musicians trying desperately to imitate the Mersey sound, or the crooning of Matt Munro, the UK's answer to Vic Damone?

No, there's nothing skeevy about this guy.
The whole shebang is hosted by Jimmy Savile of the UK's legendary music series Top of the Pops. Resembling Marty Feldman after semi-successful corrective eye surgery, Savile was the kind of wacky personality who was popular with all ages. That all came crashing down after his death when an investigation showed him to have been a major player in a pedophile ring that operated out of the BBC for decades. When you're aware of that piece of the story, there's something unsettling about how he anticipates Pop Gear's first number, "Little Children." Seriously.

The Dave Clark 5's pretentious Having a Wild Weekend (released as Catch Us if You Can in its original UK release) must have been a little bizarre to US teens as well. The opening scene promises a combination of A Hard Day's Night (black-and-white cinematography) and Help! (zany friends living together in a zany house). But once Dave Clark is addressed as "Steve," you learn these guys aren't playing themselves, but, rather, stuntmen currently appearing in an ad campaign for the meat council. Steve doesn't dig the job (he's just a piece of meat, get it?), but he seems to fancy the commercial's star, Dinah. She and Steve jump in an MG and escape to the real world, with the other four, and the director of the ad campaign, on their trail.

Unlike the Beatles' movies, Having a Wild Weekend isn't a showcase for a band. No, this is Dave Clark's project all the way. He and Dinah (played by Barbara Ferris) are supposed to be symbols of the freethinking younger generation, but their pseudo-philosophical ramblings are pretty much what you'd expect a couple of budding 23 year-old Rambeaus to babble while on holiday (as the Brits say). Director John Boorman pads out the couple's getaway with endless scenery shots while Dave Clark 5 songs bash away on the soundtrack. It's kind of like playing a record while watching artsy home movies. As I think of it, Having a Wild Weekend is an attempt at what was referred to as a "kitchen sink drama," only after a good scrubbing of Ajax. (Boorman would later polish his C.V. by directing Point Blank and Deliverance.)

As boring as she is pretty.
Ironically for a former actor, Dave Clark himself is the least engaging member of the band, blessed as he is with an acting style consisting of squinting, scowling, and squinting and scowling. The looker of the bunch, Dave is given plenty of soulful James Dean-ish close-ups, but appears to suffering from constipation. His co-star, Barbara Ferris, is cute -- I'm always a sucker for that '60s blonde go-go girl hairdo -- but is appealing as a stick of butter that's been out during a heatwave. These two specious bores are actually perfect for each other, but Dave (or Steve, whatever you want to call him) wants more out of life than ad campaigns for meat; he's looking for the meaning of life by moving to Spain... and becoming a skindiving instructor. What?

Dave Clark leaves Barbara Ferris
to fend for herself.
Written by Dave Clark and bandmate Lenny Davidson, Having a Wild Weekend seems to be deliberately playing to the critics. A subplot featuring the cynical ad agency probably flew right over the heads of the barely-out-of-rompers audience. During their weekend adventure, Steve and Dinah crash a proto-hippie commune, whose equally-turgid denizens are looking for marijuana and heroin. You almost want to applaud when they're all suddenly driven out by army tanks firing live shells at them (Occupy Cotswold!) for no reason other than Dave and Lenny's script wanting to a statement. Whether the statement is anti-military or anti-hippie, well, you'll have to ask them. 

A later segment featuring Steve and Dinah spending an afternoon with a bored suburban couple, Guy and Nan, seems to be lifted from another movie entirely. While the sexually-frustrated Nan puts the moves on Steve, the clueless Guy tries seducing Dinah via his collection of pop culture memorabilia. (That hit a little too close to home for comfort.) Guy is an unhappy man, baffled by the strange world of 1965, wanting nothing more than to escape to an earlier, simpler time, away from the wife who offers him nothing but contempt. It's a strange, biting scene -- the film's best, in fact, thanks to Robin Bailey's exquisitely sad portrayal of Guy -- but one that makes you wonder, What's this doing here?

"Who are these four guys in the car with me?"
Dave's bandmates don't get to indulge in any of this stuff -- they're strictly supporting players, with little individual characterization, other than Rick Huxley trying to eat inedible objects. Although sharing an authentic camaraderie, they lack the Beatles' natural charisma and wit. Too, the muddy audiotrack and their thicker-than-blood-pudding accents often muffle what little dialogue they have. 
Having a Wild Weekend actually plays better the second time around, when you know to expect, but its drawbacks persist. The main problem is its dichotomy. It wants to be taken seriously as a message movie -- but it stars the Dave Clark 5! There's talk of drugs and sex -- but it stars the Dave Clark 5! It exposes the media's manipulation of society -- but it stars the Dave Clark 5! The nervous taglines on the movie's American promotional material warned it was "the year's big dramatic surprise! Watch it make the 10-Best lists!" Clearly, Dave and his mates were going for something other than just another teen idol comedy, and are to be commended for their effort.  But did screaming teenyboppers in the audience really give a shit about drama and 10-best lists? Give us "Bits and Pieces!"