JACK ANTHONY

Jane Fonda stated in an interview that IN THE COOL OF THE DAY is the worst film she ever made. She must have been referring to that atrocious cheap knock off Egyptian wig she was wearing in the film and being made up to look like one of the Egyptian pharaoh's discarded wives. Peter Finch, who also starred in the film stated at one point that he wished he had never been associated with IN THE COOL OF THE DAY. The critics did not think much of the film either, calling it a turgid romantic drama. Out of curiosity I viewed IN THE COOL OF THE DAY to see for myself just what Jane Fonda considers a bad film. Well I took a look expecting to be bored. Well the fact is I wasn't bored at all. Angela Lansbury gave the film the lift it needed with her quite caddy performance as the wife who is subtly discarded by her husband for Jane Fonda. Angela Lansbury is suspicious of Jane Fonda from the start as she lets her husband Peter Finch know from the start. Jane Fonda and suspicious Angela Lansbury have some catty scenes together with Angela providing all the subtle shadings of bitchery. Constance Cummings is also a refreshing addition to the film with her high tone bitchery to add to the proceedings. Greek scenery provides a backdrop for this mess. The film was obviously highly budgeted. In fact I have run some of the good scenes a couple of times. Off the record Angela Lansbury stated that she tried to befriend Jane Fonda during the filming but that Jane stayed in her dressing room refusing to socialize with Angela. Years later Jane told Angela that the reason she avoided being friendly with her was because Jane was a method actress and thought it best not to befriend Angela since she and Angela had a rather odd and tempestuous relationship in the film...it was subtle but it was there. I really do think Angela Lansbury stole the film, which is why I think Jane Fonda and Peter Finch both hate IN THE COOL OF THE DAY. Just saying.

Just discovered Burke's Law. Love it. Pleasant time killer with interesting guest stars.

KISS ME KATE is one of the more opulent of the MGM film musicals of the 1950's. What more could you ask for in a movie musical? Terrific dance numbers featuring Ann Miller, Tommy Rall, Bobby Van and Bob Fosse. Cole Porter songs sung by Howard Keel, Kathryn Grayson and others. Colorful costumes and 3D availability as well! Would I recommend this musical? Only if you could see it in 3D. Otherwise you would have to be a fan of these cheeky songs to sit through it in its regular format. However Ann Miller does take the song Too Darn Hot to levels that would excite any movie goer who would love to see her strut her stuff in 3D!!! The songs in KISS ME KATE are so unlike Cole Porter's other songs. Personally I only watch the dance numbers which are absolutely terrific. The songs were not my cup of tea. Although I did get the opportunity to see KISS ME KATE in all its cinematic 3D glory in a big screen movie theatre..the way it was meant to be seen.

TEXAS CARNIVAL is one of the lesser 1950's MGM musicals. The film is entertaining in its own way if you are not looking for too much. Although Esther Williams is the star don't look for any grand swimming production numbers as there are not any in this film. Ann Miller does enliven the proceedings with two very energetic tap numbers....one she does wearing taps on her cowgirl boots with the assistance of two dancing cowboys. Howard Keel is pleasant enough with some pleasant tunes to pass the time. Red Skelton is along for the ride with his usual corny shenanigans. Would I recommend this film? If you have nothing better to do some Saturday morning then I say go ahead and take a watch.

Other than a few musical numbers, ROSE MARIE does not satisfy as it is overproduced and rather empty in substance. Fernando Lamas might be nice to look at, but this was not the part for him.

Title of this film WOMAN OBSESSED is misleading. The leading lady of this film Susan Hayward is definitely not obsessed with anything, not even her boyfriend Stephen Boyd who she reluctantly marries. Hayward likes him even less after they are married and hopes that he will go away. So why the title of this film? WOMAN OBSESSED is one of those slowly evolving love stories between Stephen Boyd and Susan Hayward who were certainly up to the task of generating interest for the movie audience. I generally don't like "love stories" but Stephen Boyd is eye candy and Susan Hayward keeps us interested with her sincere and warm performance. Some tense dramatic scenes and a scene stealing performance by the boy who plays Hayward's son.

HIT THE DECK has the notoriety as being one of the last, if not the last in an era of big splashy technicolor MGM musicals. The finale of the film with Ann Miller performing one of her big tap numbers backed by dozens of dancing sailors is the type of number which would become practically non-existent in films after HIT THE DECK. Ann Miller also takes off her tap shoes for one number in which she dances barefoot to a number called "Lady From the Bayou" backed by several barefoot men in jeans who seem to have only one thing on their minds. It would also be the last film in which Ann Miller would tap or dance after almost 20 years of displaying her tapping ability in films. HIT THE DECK was also Jane Powell's final performance at MGM after starring in an endless string of big budget technicolor MGM musicals showcasing her soprano singing style. Although the film is a pleasant enough time filler with several tuneful Vincent Youman melodies the script (and even the acting) is rather pedestrian and doesn't serve the talent that MGM had to work with in this film. Handsome Tony Martin does what he does best in the singing department. Debbie Reynolds plays her usual ingenue role while adding her pleasant singing voice to the proceedings. Other recognizable faces entertain you including Vic Damon, Russ Tamblyn, and Walter Pidgeon. I have given HIT THE DECK four stars for its dependable MGM form of bright entertainment. However, it lacks the five star quality usually given to film musicals that can incorporate a viable plot with musicals numbers. Still, those who are fans of this musical genre will be pleasingly entertained by this stable of MGM stars who are assigned do what they do best.

THE FEMALE ANIMAL was Hedy Lamarr's final film. The film was so badly received that after the critics were through trashing the film Miss Lamarr was run out of Hollywood, unable to obtain film work ever again. The film also ended the film career of Jane Powell who plays her daughter in the film. It takes a little bit of effort to believe Jane Powell as an alcoholic seductress but she does ok. I suspect the script was uncomfortably close to home for Miss Lamarr. THE FEMALE ANIMAL is secondary Hollywood trash with a low budget TV look about it. Miss Lamarr plays a character named Vanessa Windsor, a glamorous movie star whose star is on the decline. What saves the film from being a complete disaster is the camp dialogue especially from Jan Sterling who plays an embittered and cynical out of work film star who has also seen better days. And George Nader is around often enough with his shirt off to arouse nasty fantasies in women as well as the secret desires of some men. There are frequent references to old Hollywood in the film....for example when Miss Lamarr decides to call gossip columnist Hedda Hopper to give her a scoop. You will see several familiar faces, mostly character actors. Both Miss Lamarr and Miss Powell drink a little too much in this film and both are obviously taking advantage of Mr. Nader's obvious "assets" if you know what I mean. So here you have it, a fading star and her daughter both grasping for the attention of a well endowed movie extra played by George Nader. You can just imagine how that must have worked out. Soon Jan Sterling also tries to get her red claws into Mr. Nader's pants but poor Nader is much too dignified for his own good. I won't tell you how the movie resolves all these issues as I don't want to spoil this film for you. The film is a curiosity piece as it was Lamarr's last film. After the film's release Miss Lamarr seemed to vanish from the public eye until eight years later when she got busted for shoplifting at a major Hollywood department store. I for one have given the film four stars. Why not five stars? The film should have gone camp all the way instead of just flirting with trashy dialogue. I would recommend this piece of trash because it is fun and interesting to see the final film performances of two major Hollywood stars. It is also interesting to note that THE FEMALE ANIMAL was distributed by Universal as a double feature with Orson Wells's TOUCH OF EVIL . I find it curious that TOUCH OF EVIL was released as the bottom half of the double feature when it was far superior to THE FEMALE ANIMAL. Enjoy!!

Hazel Brooks is the best thing in SLEEP MY LOVE. Hazel Brooks plays your quintessential film noir knock out bad girl named Daphne. She wants what that other woman has as says in the film, "I want her house, her money, her name and her man." The film keeps you wondering if she will get all those things. Don Ameche tries out his various schemes to get rid of his wife played by Claudett Colbert so he can give Daphne all of those things. The film generally keeps one riveted to the plot except that the ending could have been better. Things are wrapped up a tad too neatly at the end...so neatly that we don't get to find out what happens to Daphne. We just assume that Robert Cummings and Claudett Colbert will run off together, an ending that is a bit too cliché..hence the four stars instead of five. Still this was one of those dark black and white film noir movies that is fun to watch.

You know that if a 1950s film stars both Rhonda Fleming and Arlene Dahl that there is going to be an element of camp even though the film is a straight gangster drama. SLIGHTLY SCARLET hold up ever so well if you can believe Rhonda Fleming and Arlene Dahl as sisters.