Kelt Smith

Unintentional laughs hardly compensate for unnecessary movie. Silly storyline was created in an attempt to use honest to god film footage of oil field fires. Can you already see where we're headed ? JOHN WAYNE'S character is named 'Chance Buckman' which sounds like they stole it off of a young stud catalyst from a William Inge play. As usual WAYNE will knock down a man or two to show us and himself what a real man he is but of course one of these men WAYNE will come to realize is actually up to his impeccable standards. Why the man might actually marry WAYNE'S gutsy, perky daughter. Haven't we seen this before ? Of course ego centric plot aside there are other WAYNE staples here too including BRUCE CABOT as his sidekick and ANDREW McLAGLEN (McLINTOCK) as the movie's director and just enough non-white actors to show us how 'multi-cultural' a JOHN WAYNE movie can be. Interior sets have the cost quality of a porn movie.

Near criminal to see someone of VERA MILES' caliber in a stinker like this. Usual fight scenes abound. During production KATHARINE ROSS who plays the DUKE' daughter with the most unflattering hairdo I've ever seen on her normally breathtaking self told a reporter that the film "was the biggest piece of crap" that she'd ever done. I'm inclined to agree.

If you like scary movies, you'll enjoy THE STRANGERS. Young couple (LIV TYLER & SCOTT SPEEDMAN) go to his parents isolated vacation home for the night. Arriving late at night, they're not in the house for long before the 'strangers' begin to slowly toy with the two. Strange sounds, moved objects, a young girl at the front door at 4 am looking for an unknown.

I won't say anything more about the plot because I don't want to spoil it for you. I will say that the movie pulls you in from the beginning. It is fast paced and well done. Additionally the main characters in the film are sensible with the situation for the most part; unlike so many horror movies where the would be victims are constantly doing stupid things making it easier for the perpetrator(s). The film has all of the ingredients for a good scary movie and it delivers !

Sexy, schmaltzy & slick; all good words to describe this 1966 Paul Newman vehicle. Newman cast in the title role of HARPER is a 40ish 'Private Eye' living out of his small agency office pending divorce from his 'had it up to here' wife Susan played by Janet Leigh.

The movie starts out on an early California morning with LEW HARPER going to visit the extremely wealthy convalescent Elaine Sampson (Lauren Bacall) at her palatial mansion. Mrs. Sampson's husband has been missing for a day and one her husband's attorneys Albert Graves (Arthur Hill) has suggested that she hire his longtime friend HARPER to find the missing millionaire.

"Drink, Mr. Harper ?", offers Mrs.Sampson. "Not before lunch," the declining HARPER says as he spits out his gum. "(But) I thought you were a detective," inquires Mrs. Sampson. "New type," counters HARPER.

Mrs. Sampson's concern about her husband's alleged disappearance has little to do with his well being and more to do with his affability while drunk. Apparently Mr. Sampson has a history of going on drunken binges with "happy starlets" and giving away things. Also present at the house are Mrs. Sampson's ever snooping manservant Felix (Eugene Iglesias), step daughter Miranda (Pamela Tiffin), and Mr. Sampson's private pilot Alan Taggert (Robert Wagner) who was the last person to see Mr. Sampson.

HARPER goes on a whirlwind through southern California running into a variety of interesting supporting characters from fat boozy former starlet Faye Estabrook (Shelly Winters) who had been doing Mr. Sampson's astrology charts for the past several years, Faye's sadistic criminal husband Dwight Troy (Robert Webber), cabaret singer Betty Fraley (Julie Harris), and Claude (Strother Martin), a man to whom Mr. Sampson gave away a whole mountain that he has turned into a 'religious sanctuary'.

Throughout, HARPER is a 'smart Aleck', who runs circles around the inept police personnel, and is one step ahead of the rest of us.

Bright crisp colorful photography, to the point action as directed by Jack Smight, a terrific supporting cast (particularly Winters who didn't mind going out on a limb), & an easy background score. This film is fast paced, and thoroughly enjoyable. HARPER is Paul Newman's baby all the way.

An unnecessary remake. I couldn't help but to keep comparing this to the original and the original was not surpassed by this remake. The advances in special effects do not compensate. The movie seemed to have been made for those who are already familiar with the story because they give the audience no time whatsoever for character building. The special effects are are not only obvious, but they're too damn busy. Watching is somewhat difficult because there is so much constantly going on that it is hard to decipher which way is up, let alone giving you a moment to put it all together. A colossal mess of computer generated effects. The acting for the most part is forgettable unlike those cast in the 1972 version. A disappointment.

Unless a movie is being remade because the original was made before sound, or was made so long ago that the acting has become antiquated, I usually don't see the point in 'remakes'. The majority are not as good as the originals. Not so with this 2006 version of THE OMEN. It is as good, and in some ways better than the 1976 one.

Beautiful cinematography of overly dramatic background settings with lots & lots of thunderous downpours, there is also the subtle but effective music supplied by Marco Beltrami on Jerry Goldsmith's scoring. The by now familiar storyline of a politically prominent couple who unbeknown to them are raising the anti-Christ grabs the viewer's attention from the beginning and keeps you entertained throughout.

One of the things that I found preferable to the original was casting the more age appropriate JULIA STILES and LIEV SCHREIBER as the parents. STILES particularly. She gives the role of 'Katherine Thorn' both a likability as well as fragile vulnerability. SCHREIBER doesn't possess the command of role predecessor GREGORY PECK, but does well enough. I hadn't seen MIA FARROW in a film in some time and she is excellent as the specious new nanny, 'Mrs. Baylock'. Actor David THEWLIS is good as the photographer 'Keith Jennings' who finds that some of the pictures he takes are predictions of the impending deaths to some of those in Damian's way or need for sacrifice. SEAMUS DAVEY-FITZPATRICK is not as effective as HARVEY STEPHENS was in the original. DAVEY-FITZPATRICK looks grumpy rather than menacingly evil. The film though moves consistently and with continuity. Worth watching and every bit as good as the original !

A parody of 'Date Movies', this film DATE MOVIE just isn't particularly funny. It tries, it strains, it misses. What laughs there are are far & few in between.

If you're a 13 year old boy, you might like it. If you're older than 13, I doubt it. Sophomoric, slap-sticky nonsense. Much of which is highly politically incorrect. Making fun of fat people, beating a homeless person for a laugh, toilet humor.

The super smokin' bodies of SOPHIE MONK & CARMEN ELECTRA are the only redeeming highlights. ELECTRA'S bit lasts less than 2 minutes.

Looks more like a 'straight to video' or a USA network original movie than a theatrical release. Dreary, stupid & unimaginative.

The now familiar story of 2 cowboys in 1963 Wyoming who unexpectedly fall in love is one powerful movie ! Aside from the gorgeous scenery, the first 45 minutes are rather slow viewing. Jack Twist (GYLLENHAAL) and Ennis Del Mar (LEDGER) are hired for a summer to watch a herd of sheep as they graze in the mountains of Wyoming. Both young men are from poor backgrounds. Del Mar is particularly quiet and says little. Alone out on BROKEBACK MOUNTAIN, they slowly begin to bond. One night as they share a tent sleeping, a casual arm pulling the other nearer leads to a suppressed release of passion. That done, the story really begins to take off. They part ways at summer's end. Ennis vomits and pounds a wall, partially because he's confused about his taboo love, partially because he's not an articulate individual. Each marries a woman that they seem to love, but not be in love with. The men reunite 4 years later when Jack is going through the town where Ennis is living with his wife (WILLIAMS) and two young daughters. Ennis looks like he is alive for the first time in years when his old friend arrives. Ennis's wife sees the two men kissing during the initial visit, but says nothing. She is numb. The men go away on a 'fishing trip' which is a romantic liaison. They decide to go on fishing trips whenever times allow: Once, twice a year. Jack's wife (HATHAWAY) appears not to be aware of anything out of the ordinary except for her father's apparent contempt for her husband. Their story continues over the course of 20 years. Their inability to communicate and how they in turn express themselves is the real tale.

Precisely directed with standout performances by LEDGER, GYLLENHALL, HATHAWAY & WILLIAMS, this is definitely one intense, powerful piece of storytelling. Very well done, and one of the best movies with a real 'story' that I've seen in years.

Based on JOHN Le CARRE'S book, this film adaptation could have been much better. Often fragmented, annoyingly pleased with itself. I haven't heard the phrase Artsy-Fartsy in a long time, however that pretty much sums it up. By now fairly familiar story has FIENNES investigating his young wife's murder finding conspiracy much deeper than he could have imagined. WEISZ as the wife, seen in flashbacks alternates between beguiling, sweet ingénue and shrill histrionic out to save the world from conspiracy plots all around. Her voice gets to be like fingernails on the blackboard after awhile. WEISZ comes across like an intellectual LIZ HURLEY.

You see the provocative title ALL THE FINE YOUNG CANNIBALS. Then you see the cast; NATALIE WOOD, ROBERT WAGNER, PEARL BAILEY and you think, this one's going to be good !

Very glossy with obviously decent production values hardly compensates for this awful movie. Four young and very attractive actors (WOOD, WAGNER, HAMILTON & KOHNER) interact with one another in over the top soap opera that has got to be one of the most unnecessary melodramas of all time. Actresses (NATALIE WOOD & SUSAN KOHNER) are gorgeous and dressed and coiffed to the nines thanks to Helen Rose and Sydney Guilaroff, but they almost come across like little girls in dress up as you watch them wallow in miseries of their own making. WAGNER tries too hard as hip trumpet player who is befriended by PEARL BAILEY, an alcoholic singer hellbent on self-destruction over a lost love. All involved must have thought that they were making something 'cutting edge' because of the relationship of white boy WAGNER with black woman BAILEY. WAGNER evens gets to get on a soapbox, slap KOHNER afters she refers to BAILEY'S character 'Ruby' as the 'N' word and then describe the black woman as the only truly decent person he's ever known ! Aside from the visual richness of the film, you'll quickly realize that the story is so apparently vacuous that it's like witnessing a vicious circle in motion.

TRIVIA : The piano player 'Redd' is none other than REDD FOXX, a good dozen years before the success

I was not previously aware of this gem. I found it on TCM after it had already been on for about 10 minutes. I kept thinking that the lead actress looked just like SUSAN STRASBERG & for good reason. It was. The fact that it was foreign with sub-titles threw me initially. Very realistic, almost raw, which was surprising considering that this movie was made in 1959.

STRASBERG as 'Nicole' works her way up through a concentration camp to become the woman in charge of her fellow prisoners. Strong language, violent situations, but this is a story about WWII, not the 'Enchanted Forest'. Good storyline, good direction, & a terrific performance by SUSAN STRASBERG that was all the more admirable when you realize that she was all of 20,21 when she made this.

One of the first movies to show drug addicts & their attempts to 'get clean'. Main character 'Joaney' played by the great STELLA STEVENS is an addict that is trying to straighten out her life and get custody of her son. She is attending counseling sessions at the famed SYNANON HOUSE in sunny California. Lots of good acting support from off-key sources like EARTHA KITT. Overall, film is average.

***SPOILERS*** ***SPOILERS*** Televised in the spring of 1981 over 2 nights, "MURDER IN TEXAS" is based on the book "PRESCRIPTION: MURDER" that was written by ANN KURTH. There were several books written about this drama that unfolded in the affluent neighborhood of River Oaks in Houston, Texas between 1969 to 1972. Unfortunately, the book used here was definitely the most biased and one sided since ANN KURTH was the mistress and then second wife of possible murderer DR. JOHN HILL, the story's main character.

DR. JOHN HILL(SAM ELLIOTT)who came from fairly modest means near the Rio Grande, went to Houston in the 50s to attend medical school. In Houston he met JOAN ROBINSON (FARRAH FAWCETT), a beautiful blond equestrian in her mid 20s of privilege with 2 divorces already behind her. JOAN was also absolutely adored by her parents. JOHN and JOAN married in the late 50s, had 1 child, a son named ROBERT, and all appeared well for 10 years. DR. JOHN HILL developed one of the best plastic surgery practices in the Houston area largely in thanks to his father in law's largesse. Around 1968, JOHN began an affair with a divorcee named ANN KURTH(KATHARINE ROSS). JOHN and JOAN separated, then got back together. In March of 1969, vibrant healthy athletic JOAN suddenly gets deathly ill and according to some accounts is basically ignored by her doctor husband until it is too late to save her. Now widowed, JOHN marries his mistress. More & more details about JOAN'S mysterious death come to light pointing the finger of guilt at JOHN. JOAN'S father ASH ROBINSON(ANDY GRIFFITH) believing that his former son in law is responsible for the death of his beloved daughter, makes it a full time occupation to prove JOHN'S guilt. Wife # 2 ANN KURTH also comes to believe her husband guilty. ANN divorces him, and soon enough JOHN is on wife # 3. Arriving home from a trip JOHN and his new bride are attacked by a lone gunman who shoots JOHN dead.

The actual events were a little more involved than what is contained in this tv movie, but you have to remember that this is based on the recollections of ANN KURTH. The other books based on these events are pretty clear that the real ANN KURTH was not the sweet, naive woman portrayed by KATHARINE ROSS. ROSS has always exuded nobility & good intentions. In actuality the real ANN KURTH was far from naive. This was the first time that FARRAH FAWCETT was given a positive review. She comes across as more desperate than anything and wrings her hands on occasion to show us that she is well suited to play women that are victimized. The critics so raved over FARRAH'S portrayal as a victimized wife that she turned that role into a career ! It is ANDY GRIFFITH however that comes off best. His ASH ROBINSON is stern, unwavering,completely focused in his search. SAM ELLIOTT is sinister personified as DR. JOHN HILL. Although enjoyable to watch, this would have been far better had TOMMY THOMPSON'S book "BLOOD AND MONEY" been used instead. Critical elements are omitted in this tv movie, such as the fact that 2 of the people eventually convicted in the murder of DR. JOHN HILL clearly pointed to ASH ROBINSON as the man who hired the man who killed JOHN. One of those behind JOHN'S murder was rumored to be the adopted JOAN'S biological mother. And in any event, we still don't know what killed JOAN ROBINSON HILL. An early case of toxic shock syndrome caused by tampon usage, bacteria laced pastries, an untraceable poison administered by her husband, something picked up via food from a trip to Mexico, or an unknown disease were some of the considerations. This fascinating story of greed & murder would have been better represented had the THOMPSON version been used because in actuality the characters involved were far more fascinating than what we are presented with here.

The best thing that I can say about the tv movie "SURVIVING GILLIGAN'S ISLAND" is that the actors impersonating the original cast did an exceptional job ! In particular ERIC ALLAN KRAMER as 'Alan Hale Jr.', KRISTEN DALTON as 'Tina Louise', and although she doesn't resemble her much E.J. PEAKER (as 'Natalie Schafer) got her 'Lovey Howell' mannerisms down to an art. You can't pick on this tv movie for not being art, for the series on which it was based was ripped apart by critics from the beginning. It is, however, pure Americana, silly & fun. Reminds us of our childhoods or a (supposedly) simpler time. Interspersed with accounts by BOB DENVER, RUSSELL JOHNSON, (this)tv movie's co-producer DAWN WELLS and re-enactments to showcase what occurred regarding the original series of "GILLIGAN'S ISLAND", you just wonder why it was given so much build up and shown in a primetime spot on CBS on a Sunday night. Does the content belongs more to a 3 page spread in PEOPLE Magazine than in a 2 hour movie ? You be the judge. Some parts of the re-enactments are downright painful in their corniness. A scene where the late JIM BACKUS is supposedly accosted by a hooker in Rome in the late 60s ("See what ya get for 5 dollars !") has the feel of a lounge lizard's stand up routine. Quite a few times while watching, I had to remind myself that this wasn't some kiddie show on the FAMILY Channel. Apparently, aside from constant slighting by a (then)less than enthusiastic network, the 'castaways' had a good time doing the series. That is, minus TINA LOUISE, who comes off as something of a prima donna. The re-enactments have TINA LOUISE as less than accommodating to fans denying that she is indeed 'Ginger' from "GILLIGAN'S ISLAND", and generally being 'oh so superior'. LOUISE is also the only remaining cast member who wants nothing more to do with "GILLIGAN'S ISLAND", yet this is probably her best known role. Overall, I'd say that unless you are the most ardent of fans, "SURVIVING GILLIGAN'S ISLAND" is an unnecessary exercise in going behind the scenes.

I have always maintained that things that could or have actually happened are far scarier (than say space aliens, the undead, Jason etc ). THE TOWN THAT DREADED SUNDOWN , therefore had a terrific basis for a movie. A series of murders, largely perpetrated on isolated couples on lovers lanes occurred in the town of Texarkana right after WWII. The killer was never caught. Great premise for a thriller ! Unfortunately, the budget, screenplay, and most of the acting is far from worthy. ANDREW PRINE, DAWN WELLS do fairly well with the little they have to work with. BEN JOHNSON, on the other hand, come off like he is royalty visiting The House of Commons. The whole production has the feel of one of the old IN SEARCH OF episodes with LEONARD NIMOY. Aside from the actors mentioned previously, the rest of the cast appears to have been locals with no acting ability, let alone projection.

The movie is scary at times, dull at others. Lackluster would be a good word to describe it. What could have been a very scary motion picture disappoints !

Much of the promotion of UNBREAKABLE informed the public that this movie would have the same writer/director as 1999's SIXTH SENSE,the same male lead, BRUCE WILLIS. That in mind, we were downright told that we were being treated to another "new style" of thriller. Afterall, SIXTH SENSE kept most of its audiences guessing up to the end, just like HITCHCOCK films did decades ago until the masses finally figured out HITCH's alternating plot lines. With clever new writer/director on the horizon M.NIGHT SHYAMALAN, I figured that he would keep us entertained for sometime. It can take sometime to learn what makes someone tick, to decipher their tricks, and when you have a talented writer in your midst, you want to relish them. So if you enjoyed the SIXTH SENSE and think that you're in for a surefire thriller that you will enjoy, well think again.... As a director SHYAMALAN is very crafty and has lots of style. He knows how to build impending doom,disaster. At times he almost overbuilds this tension, particularly when he has nothing to back it up with as is the case of UNBREAKABLE. UNREACHABLE is more like it. Like WELLES who had the mountainous task of topping 1941's CITIZEN KANE, SHYAMALAN really should have taken his time with his follow up project. The storyline of UNBREAKABLE slowly, and I do mean slowly, begins to build where the audience will try to keep tally of the clues to conclude the outcome. The problem with this movie is that as a completed motion picture, SHYAMALAN has failed miserably as a writer on this movie. You can overlook credibility when you are so awed by a clever concept. There is nothing clever about this climax, it is downright odious ! When SAMUEL L. JACKSON reveals to BRUCE WILLIS how and why they fit into each other's life, WILLIS looks as if he has just been told who was behind JFK's assassination. Watching this dud on video with several friends, we looked at each other right after JACKSON's 'revelation', and in unison we said, "What a let-down !" Personally, I was hoping that WILLIS was going to slip into his DIE HARD character, whip out his gun, shoot the wheelchair bound JACKSON right in the forehead while simultaneously exclaiming, "Yippy Kiya Moth&@ F*#k%r !" Watch at your own risk for there's definitely more style than substance ! ! !

This 1997 tv movie starts off with great promise only to quickly

sink. With lots of fanfare & build up, this movie looked very promising.

The first 30 minutes are fairly well done and pull you in, but then the

trouble starts ! Not only does all credibility goes right out the

window, but the actors involved seem to realize that they've gotten

themselves into an unbelievable mess. Like alot of the works of STEPHEN

KING where it is apparent that he got a terrific premise for a story,

only to drop the ball because he just didn't know where to go with it.

This tv movie appears to have been written by several different writers,

none of whom knowing what the others have done, so that continuity of

tone is downright impossible. You'd have better luck matching separate

plaids !

This short from AMC offers some interesting insights as to the "back story" filming of JACQUELINE SUSANN'S VALLEY OF THE DOLLS. Much of what is presented is old rehash, but comments from PATTY DUKE, BARBARA PARKINS, and ROBERT VIHARO keep the viewer on the hook. MICHAEL MODESTO from THE VILLAGE VOICE offers commentary from the audience perspective, although he also makes several mistakes, i.e., referring to SHARON TATE'S character in the story as "Jennifer Welles". PARKINS' character was "Anne Welles", and TATE'S was "Jennifer North". Tests shots and additional footage from "behind the scenes" are included and make for a treat for any VALLEY OF THE DOLLS fan..

Made by MGM in 1966 & released the following year to coincide with the premiere of EYE OF THE DEVIL, this 11 minute long B/W promotional short showcasing a then unknown starlet named SHARON TATE is an interesting, and ironically morbid little film. We are shown SHARON at the MGM studio in London taking voice lessons, having her flawless face made up, posing for photographs. Then on to France for location filming of EYE OF THE DEVIL, where both director J. LEE THOMPSON and actor DAVID NIVEN offer gratuitous accolades. A snippet from the final film is shown with TATE affecting a British accent and DEBORAH KERR. There are also quick glimpses of SHARON at her location housing, and out dancing with EYE co-star DAVID HEMMINGS. Knowing the tragic ending to the life of this absolutely gorgeous young woman, this film is so utterly ironic that you cannot help but to watch it with a morbid fascination. TATE is promoted as a certain to be 'superstar'. One of the most beautiful women of the 1960's , young, talented, and with an infectious joy, you can feel the promise of what she would have been had she lived longer. As the expression goes, "We Was Robbed !"

Much better than the previous 2 Matt Helm films, but not as good as the first, THE SILENCERS. THE WRECKING CREW was directed by PHIL KARLSON as was the first Matt Helm movie 3 years earlier. This time around, Matt Helm (DEAN MARTIN) is sent to Denmark to immobilize Count Contini (NIGEL GREEN) who has hijacked a fortune in gold bullion. Assisting Helm is eager, but bumbling Freya Carlson (SHARON TATE). Freya is more of a hindrance than a help however. Contini's former flame Lola Medina (TINA LOUISE)is willing to provide pertinent information to Helm, for a cut of the action. She is killed though before she can tell him anything by a bomb laden bottle of scotch placed in her bar by Contini's current paramour Linka (ELKE SOMMER). Another beauty in the Count's arsenal is Yu Rang (NANCY KWAN). Contini tries to buy Helm off, but when that is unsuccessful, resorts to a dozen lame brained attempts to murder him. Will Helm triumph over the evil Count Contini ? What do you think ? One of the reasons that this movie is better than the previous 2 is that Helm is giving a female sidekick that is funny. As in THE SILENCERS where you had klutzy Gale Hendricks (STELLA STEVENS), here you have Freya (SHARON TATE) in a similar role. Neither MURDERERS ROW, nor THE AMBUSHERS had that. And TATE, although only 25 when this was made, showed very funny comedic ability. The production dollars spent appear less than in all 3 prior Helm flicks. In a scene where Helm is sparring with one of Contini's men outside of the Count's chateau, the artificial grass fold up like a rug. The interior sets look like something from a porno movie. The fight scenes are slow, and obvious. At 51, MARTIN was getting a little old for this kind of thing. Plus, JAMES BOND aside, ersatz "Spy Films" were on their way out. If you watch the credits at the end, you'll see a notice that states : Matt Helm will be back in THE RAVAGERS. Alas, it was not to be. This genre had run its gamut and what a schmaltzy time it was !!!

Low budget, odd little movie has some chills, and good performances by MARTHA HYER and BARRY SULLIVAN. Laura Blanco (HYER) is a divorcee with a young daughter who has a fling with family man Vince Pierson (SULLIVAN). When his wife finds out, Vince tries to break off from Laura. She, however, has other ideas and believes that if Vince's wife & daughter are out of the way, she'll have him all to herself. Seeing Vince leave his house with wife & daughter still inside upstairs, Laura slips in and splashes gasoline around and sets the house ablaze. She even goes so far as to cut the water off, and attach a container of gasoline to the plumbing. Vince comes back and runs into the burning house to save his family. I can't say anymore without giving away the ending, but the rest is a pretty good thriller. HYER is very good as pure evil Laura. SULLIVAN also does well as Vince. In some ways this movie might remind you of FATAL ATTRACTION 20 years earlier. A stern warning to married men seeking greener pastures. This was one of AMERICAN INTERNATIONAL pictures, low on production dollars, and yet with its creepy plot, still a worthwhile thriller!!!

This 1962 motion picture adaptation of the Broadway play by WILLIAM GIBSON is one of the best pictures ever made. The story of Helen Keller's life is definitely one of the most inspirational of our lifetime. Fever robbed her of her sight and hearing while still an infant. Not being able to communicate by the usual means she grows into a "wild thing", which her family as inadvertently allowed. Annie Sullivan(ANNE BANCROFT) is hired, sight unseen, through the Perkins Institute to be Helen's tutor. Never really having had any structure whatsoever, Helen (PATTY DUKE) rebels against this new hire by pure physical tantrum. Through unbelievable determination, Sullivan presses forth to teach Helen the language of braille, and therefore improve her life through the ability to communicate. Both BANCROFT & DUKE repeated their Broadway roles for this film. ANNE BANCROFT, who has never given a less than stellar performance in her life, won the Best Actress Oscar for her role as Annie Sullivan. PATTY DUKE won the Best Supporting Actress Oscar, and was, until the 1973 Academy Awards, the youngest winner in a selected category. The only drawback to this movie is that it has the poorest quality sound recording imaginable, which detracts in a big way. Otherwise this motion picture would be an absolute 10 !!!

The cinematography of legendary JAMES WONG HOWE, excellent supporting cast: KATE REID, MARY BADHAM, CHARLES BRONSON, handsome leads: NATALIE WOOD and ROBERT REDFORD, and based on a short story by TENNESSEE WILLIAMS, THIS PROPERTY IS CONDEMNED is a good movie, but could have been better. The fault lies in the screenplay & dialogue.

Set in the Mississippi during the early 1930's, THIS PROPERTY IS CONDEMNED is about Alva Starr (NATALIE WOOD) and Owen Legate (ROBERT REDFORD). Alva is the older daughter of Hazel Starr (KATE REID), who runs the local boardinghouse (for mostly railroad workmen). Mama has used beautiful Alva as the main attraction to the Starr Boardinghouse, and encourages her to be nice to Mr. Johnson, their wealthiest boarder. Mama's boyfriend J.J. (CHARLES BRONSON) clearly would like to have a piece of Alva, so would fellow boarder Sidney (ROBERT BLAKE), and all the men in town ! Enter Prince Charming in the form of Owen Legate (ROBERT REDFORD). Owen is also employed by the railroad, but his job is the unpleasant task of going town to town to cut back on employees. Obviously these two (Alva & Owen) are attracted to each other. Owen falls for Alva, he axes the jobs of most of the men staying at the Starr's, and asks her to go with him to New Orleans. Now Alva must make a choice whether to follow her heart or stay where she is.

NATALIE WOOD is very good in this movie, not as shrill as in some of her other work. She is much more reserved and in control. ROBERT REDFORD is also very good as the cynical Owen. Better performances are given by KATE REID as the calculating mother, and by MARY BADHAM as Alva younger sister. The cinematography is absolutely beautiful, mostly in subdued hazy colors. SYDNEY POLLACK'S direction is strong and thorough. The dialogue is 1 thing that could have been better. Fifteen minutes into the movie, in a night-time scene, Alva stands pensively on her porch as a train goes by and says, " Sometimes, I wish that the train would just come down off its tracks and sweep me up. Away from here." Like cut-rate INGE. The screenplay itself though clearly tries to sum up Alva in the first few minutes so that we can get to the meat of the story, and that was a mistake, because she's all summed up too fast, and mostly by her own dialogue. Another thing is that it's apparent that great efforts were taken to make sure that the actors, locations etc...were made to look like they would have in early 1930's Mississippi, so why does WOOD look like mid 60's starlet ? Aside from putting vamp straps across her pumps, she's all exaggerated eye make up, pale lips, and pageboy hair, hardly an early 30's image. This movie was generally panned at the time of its initial release, but I think that if you watch it thoroughly you'll find a very good movie here.............

DEAD RINGER stretches credibility, but is an enjoyable little thriller. The story opens in 1964 Los Angeles where financially struggling Edith (DAVIS) goes to the funeral of wealthy twin Margaret's husband, Frank DeLorca. The two sisters have not seen each other for 20 years because Edith had originally been dating Frank, and Margaret stole him away from her claiming pregnancy. Margaret invites Edith back to her home after the funeral and once there, insults her by offering her cast off clothing. A quarrel ensues where Edith accuses Margaret of never having loved Frank and therefore denying both Frank and Edith of true happiness. In a huff Edith leaves in Margaret's chauffer driven Cadillac. While talking to the chauffer during the ride home, Edith learns that the pregnancy ploy that Margaret had used years before was a lie. When Edith arrives at her small bar in a seedy part of town, she is confronted by her rental property agent, who informs her that since she is 3 months behind in rent, he wants her gone. The one bright spot in Edith's life is the friendship that she has with Sergeant Hobbson (KARL MALDEN). In fact he remembers her birthday and gives her a watch, but Edith is so consumed with her problems that she is almost oblivious to his being there. In her apartment above the bar, now angry at her sister and somewhat irrational, Edith devises a plan to have Margaret visit, at which time she will murder her and take on her identity. Edith phones Margaret and orders her to come to her bar with the ruse that she "knows everything". Margaret goes, believing that Edith has some other knowledge. In an interestingly filmed manner, Edith manages to shoot her sister, change clothes, and make it look as though "Edie" has committed suicide. She now leaves in "Margaret's" chauffered car and steps into a grand life. Only now, she'll have to contend with pulling it off. Physical resemblance aside, Edith must now adopt "Margaret's" lifestyle. She must also convince everyone in "Margaret's" orbit from household servants to friends to Tony Collins (PETER LAWFORD), Margaret's lover, that she is Margaret. Worse, Sergeant Hobbson starts snooping around and unearths alot of things. Things that were not intended to come to light...... Former DAVIS co-star PAUL HENRIED stays within the guidelines with his job as the film's director. He should not have used daughter MONIKA HENRIED as Margaret's maid. Her delivery is flat, and apparently in her early twenties looks more like a young woman of means than a personal maid. JEAN HAGEN is light and airy as shallow friend Dede Marshall, ESTELLE WINWOOD is very good as annoying relative Dona Anna. PETER LAWFORD is also very good as the suave and slimy aging stud muffin Tony Collins. KARL MALDEN is tender in his early scenes, then all business in his latter ones. BETTE DAVIS is excellent playing 2 very different sisters. Her mannerisms and delivery are clearly separate depending on which role she is in. She's down to earth and practical as the down on her luck Edith. As the frivilous Margaret, DAVIS is coy and somewhat flighty, dismissing away what displeases her with a wave of her hand. This is a signature performance of DAVIS, and she runs with it, pulling out all the stops along the way !!!

LET'S MAKE LOVE is the worst movie that MARILYN MONROE made. In this film, millionaire Jean-Marc Clement (YVES MONTAND) goes to the off Broadway theater that has been doing a parody of him in its featured play, sees Amanda Dell (MONROE) and lets the producers think that he is an actor who's trying out for the part of Clement. He spends the remainder of this dreadful flick trying to woo Amanda under the guise that he is an actor and not the real Clement because the real McCoy has the reputation for being an obnoxious womanizer...... MARILYN MONROE never looked worse in a movie. Maybe her personal life was in its usual shambles. The song & dance numbers are embarrassing to watch. MONROE looks desperate trying to appear sexy in her numbers. She is pale, overweight, and ordinary. YVES MONTAND, maybe because he's in an American film here, has no charm whatsoever. In fact, he has counter-charm ! Probably the homeliest man that MONROE ever played opposite. Did RONDO HATTAN have previous commitments ? The storyline itself is insipid & stupid ! Even the supporting cast, and there is some big names in this one, have nothing to work with. The only appeal here is for big MONROE fans, and believe me, those fans will only get small glimpses of her usual magic !!!

An ABC Tuesday night "Movie Of The Week", THE EYE OF CHARLES SAND is good little thriller. Upon his uncle's death, Charles Sand (PETER HASKELL) receives his inheritance. What has his uncle left him ? Aunt Alexandra (JOAN BENNETT) calls it "the sight". Charles thinks its more like a curse, but what it is is the ability to see the past, future, ghosts, and more. Sort of an ESP+. Even during his uncle's graveside service , Charles sees an apparition of a dead woman in front of the Parkhurst masoleum, and the very real Emily Parkhurst (SHARON FARRELL) running around the cemetery in a state of agitation. Charles finds a bracelet that Emily had left in the cemetery and goes to return it to her at her large family estate where she lives with older sister Katherine (BARBARA RUSH) and Katherine's husband Jeffrey Winslow (BRADFORD DILLMAN). Katherine thanks Charles for his kindness and also informs him that sister Emily " is not a well girl." Emily soon contacts Charles again and informs him that she sees her dead brother Raymond all over the place and that the apparition that Charles saw at the cemetery was of her dead ancestor Lottie. Emily has Lottie's diary and believes that she is reliving her doomed relative's tragic life. So now Charles Sand gets to solve this mystery and try to save FARRELL's sanity. There are a few spooky visions and some real scares in the climax, actually quite good for a made for tv movie. It's evident that this movie was left open ended in case ABC might decide to make this a weekly series along the lines of THE SIXTH SENSE which was on the air around that time with GARY COLLINS