Favorite Television Productions Set in the 1600s

Below is a list of my favorite television productions (so far) that are set in the 1600s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1600s

1. “The Man in the Iron Mask” (1977) – Richard Chamberlain starred in this entertaining, yet loose television adaptation of Alexandre Dumas père’s 1847-1850 serialized novel, “The Vicomte of Bragelonne: Ten Years Later”. William Bast directed.

2. “The Musketeers” (2014-2016) – Adrian Hodges created this television series that was based upon the characters from Alexandre Dumas père’s 1844 novel, “The Three Musketeers”. The series starred Tom Burke, Santiago Cabrera, Howard Charles and Luke Pasqualino.

3. “Shōgun” (1980) – Richard Chamberlain starred in this award winning adaptation of James Clavell’s 1975 novel about an English sea captain stranded in early 17th century Japan. Co-starring Toshiro Mifune and Yoko Shimada, the miniseries was directed by Jerry London.

4. “The Fortunes and Misfortunes of Moll Flanders” (1996) – Alex Kingston starred in this adaptation of Daniel Dafoe’s 1722 novel about the fortunes of an English criminal named Moll Flanders. Adapted by Andrew Davies, the miniseries was directed by David Attwood.

5. “By the Sword Divided” (1983-1985) – John Hawkesworth created this historical drama about he impact of the English Civil War on the fictional Lacey family during the mid-17th century. The series included Julian Glover and Rosalie Crutchley.

6 - The First Churchills.jpg

6. “The First Churchills” (1969) – John Neville and Susan Hampshire stared in this acclaimed miniseries about the life of John Churchill, 1st Duke of Marlborough and his wife, Sarah Churchill, Duchess of Marlborough. David Giles directed.

7. “Lorna Doone” (1990) – Polly Walker, Sean Bean and Clive Owen starred in this 1990 adaptation of R.D. Blackmore’s 1869 novel. Andrew Grieve directed.

8. “The Return of the Musketeers” (1989) – Richard Lester directed this adaptation of Alexandre Dumas pere‘s 1845 novel, “Twenty Years After”. Michael York, Oliver Reed and Kim Cattrall starred.

9. “Lorna Doone” (2000-01) – Amelia Warner, Richard Coyle and Aiden Gillen starred in this 2000-01 adaptation of R.D. Blackmore’s 1869 novel. Mike Barker directed.

10. “Jamestown” (2017-present) – Bill Gallagher created this television series about the creation of the Jamestown colony in the early 17th century. Naomi Battrick, Sophie Rundle and Niamh Walsh starred.

Advertisements

“SINGIN’ IN THE RAIN” (1952) Review

“SINGIN’ IN THE RAIN” (1952) Review

There are certain movies in this world that I cannot be objective about – one way or the other. One of those movies happened to be the 1952 MGM musical, “SINGIN’ IN THE RAIN”

Directed by Gene Kelly and Stanley Donen, “SINGIN’ IN THE RAIN” was the brain child of Metro-Goldwyn-Mayer (MGM) producer and songwriter, Arthur Freed. While his 1951 musical “AN AMERICAN IN PARIS” was in its last stages of production, Freed came up with the idea of a musical that depicted – somewhat – the transition from silent films to talking pictures in Hollywood, during the late 1920. He recruited Broadway playwrights Betty Comden and Adolph Green, who had written three previous musicals for the studio, to write a screenplay that revolved around a collection of songs he had co-written with Nacio Herb Brown during the same period that the movie is set.

“SINGIN’ IN THE RAIN” begins at Grauman’s Chinese Theater in Hollywood, where a premiere is being held for Monumental Pictures’ latest release – “The Royal Rascal”. Starring the film’s protagonist Don Lockwood and his leading lady, Lina Lamont, the movie is a big hit with the audience. On his way to a party held by the studio’s head, R.F. Simpson, Don manages to avoid a group of screaming fans by hitching a ride with a young woman named Kathy Seldon. The two have a brief argument over the merits of screen and stage acting before Kathy delivers him to Simpson’s home. During the party, Simpson reveals his plans to convert the studio to talking pictures following the success of Warner Brothers’ 1927 release, “THE JAZZ SINGER”.

Monumental’s employees and contract players finally realize that Simpson was serious when orders for Don and Lina’s next assignment – “The Dueling Cavalier” – to be converted into a talking picture. However, the production is beset by a few problems. One, Don has to contend with his leading lady, the shallow and conniving Lina Lamont, being convinced that they are meant to be great lovers in real life. Two, Don has fallen in love with Kathy Seldon, whom he discovers is a minor contract player on the Monumental lot. Three, no one – including the film’s director Roscoe Dexter – has no idea of how to film a talking picture, let alone deal with the new sound equipment. And worst of all, Lina possesses a grating voice and strong New York accent that no diction coach can erase. Despite these problems, Don continues to pursue Kathy and Monumental Pictures soldiers on in its attempt to produce and release its first talking picture.

As many know, “SINGIN’ IN THE RAIN” is considered one of the best Hollywood musicals ever made. And honestly, I would be the last to argue against this opinion. But upon my recent viewing of the film, I realized that I had one or two problems with the movie. Yes . . . definitely two. One of those problems proved to be the Cosmo Brown character portrayed by Donald O’Connor. Do not get me wrong. I love the character. But . . . what exactly was his position at Monumental Pictures? The movie began with flashbacks featuring Don and Cosmo’s careers as barely successful vaudevillian song-and-dance men, their arrival in Southern California, Don’s early career as a stunt man, Cosmo’s role as a studio musician, and Don’s start as a major star and Lina Lamont’s leading man. Also, Cosmo seemed to serve as Don’s sole member of his entourage in Hollywood. Yet, by the end of the film, he has become head of Monumental Pictures’ music department, due to a few ideas he had about saving “The Dueling Cavalier”? That was all it took for Cosmo to unintentionally force the studio’s previous music department’s head out of a job? That seemed a bit too much for me to swallow. I was also disturbed by one scene in which Lina Lamont managed to intimidate studio chief R.F. Simpson into acquiescing to her every demand. I found that scenario rather hard to swallow. I do not care what kind of contract she had. I simply cannot see any Hollywood studio willing to agree with one that would give any contract player that level of power. Not even in a movie.

My bigger problem with “SINGIN IN THE RAIN” proved to be the film’s second half. It seemed that by the time Cosmo, Don and Kathy discussed how to save the studio’s first talking picture, the movie’s narrative was in danger of running out of steam. Of course, we all know that the movie had to deal with Lina’s downfall and Kathy’s ascension as a star. But I found it disturbing that screenwriters had to include a seventeen-minute ballet – the famous “Broadway Melody” – to stretch out the film. Without it, the movie’s running time would have lasted roughly 86 minutes. Hmmm . . . one would think that screenwriters Betty Comden and Adolph Green could have stretched out the film’s narrative a little better than that. Do not get me wrong. I enjoyed the “Broadway Melody” . . . well, most of it. I must confess that I am not a fan of the segment that featured Gene Kelly, Cyd Charisse and a long white scarf. Needless to say, I found it extremely boring! Every time the ballet came to this point, I have to press that FastForward button on my DVD remote to skip past it.

Despite these quibbles, I love “SINGIN’ IN THE RAIN”. Why deny it? One, I enjoyed the story. I thought Comden and Green had created a very entertaining and romanticized story about Hollywood’s transition from silent films to talkies in the late 1920s. Not only did I find it entertaining, I also found it extremely funny. Among the film’s best moments include Don Lockwood’s amusing and rather exaggerated recollection of his and Cosmo Brown’s years in vaudeville and their arrival in Hollywood; Don and Kathy’s rather funny first meeting on the streets; the revelation of Lina Lamont’s awful voice; the hilarious and chaotic filming of “The Dueling Cavalier”; and the equally hilarious test screening of the film that proved to be a disaster. There were just so many moments that left me in a state of uncontrolled laughter.

As for the film’s narrative – it is simple enough. “SINGIN’ IN THE RAIN” is about the Hollywood’s transition from silent movies to talking films via the experiences of a fictional movie studio. I realize that this might sound like pretentious bullshit, but there were times that I found myself wondering if Don Lockwood served as a metaphor for Monumental Pictures. Or if Lina Lamont and Kathy Seldon symbolized the silent and upcoming sound eras. Okay, that does sound like pretentious bullshit. But I do find it odd that Don eventually eases into a relationship with Kathy around the same time that Monumental embraces talking pictures. You know what? Perhaps I should back off and simply state that I enjoyed the film’s comedic narrative about the transition to sound and leave it at that.

Of course, I cannot discuss “SINGIN’ IN THE RAIN” without bringing up the film’s musical numbers. I learned that most of the songs were written by the movie’s producer, Arthur Freed and his former partner, Nacio Herb Brown. Comden and Green wrote two of the film’s songs – “Make ‘Em Laugh” (which strongly resembled Cole Porter’s tune, “Be a Clown”) and “Moses Supposes” (with Roger Edens). But if I had to be honest, the choreography that accompanied most of these songs made those songs memorable to me. This was especially the case for “Make ‘Em Laugh”“Moses Supposes”“Good Morning” and “Singin’ in the Rain”.

“Make ‘Em Laugh” featured a delightfully frenetic dance number by Donald O’Connor that still boggles the mind after 66 years. For a guy who claimed that he was basically a hoofer, this extraordinary dance number proved that he was a lot more. O’Connor was also featured in two dance numbers with star Gene Kelly. And one of them was “Moses Supposes”. Although I found the song amusing, but not particularly memorable, I thought Kelly and O’Connor’s dancing was superb. In fact, I would consider their dance routine to be among the best I have seen on film. “Good Morning”, a song that was featured in one of MGM’s past films, was also charming and peppy. I could say the same about the dance number by Kelly, O’Connor and Debbie Reynolds. I could . . . but I would also like to add that this dance number conveyed that the trio had a magical screen chemistry, which is why it has always been a favorite of mine. Now, the “Singin in the Rain” was a pleasant song written and published back in 1927 and if I must be honest, Gene Kelly did not utilize any special dance steps for his performance. And yet . . . there is something special about it. The entire number struck me as an ultimate expression of unadulterated joy. And it reminded me of a happy moment during my childhood when my sister, brother and I were outside of our apartment building scampering on the lawn during a rain shower.

There were other musical numbers that I enjoyed. “All I Do Is Dream of You” is a delightful song-and-dance number performed by Debbie Reynolds and a group of chorus girls. This scene must have marked the first time moviegoers saw how talented the actress truly was. I also enjoyed Kelly and O’Connor’s first dance number in the movie, “Fit as a Fiddle (And Ready for Love)”, which served as a part of Don Lockwood’s hilarious early recollections of him and Cosmo Brown as part of a vaudeville act. And of course, there was the “Broadway Melody” ballet. Yes, I admit that I did not care for one part of it; which involved Kelly, Cyd Charisse and a long scarf. However, the rest of the ballet struck me as outstanding . . . especially that sexy-as-hell dance number between Kelly and Charisse. I will be the first to admit that “Beautiful Girls” number struck me as a bit of a bore. However, I was entertained by the number’s fashion show (something that many studios used to include in their movies between the end of the 1920s to the beginning of the 1940s) that featured some of Walter Plunkett’s most colorful costume designs:

What can I say about the performances in “SINGIN’ IN THE RAIN”? They were outstanding. Even those performances from supporting characters like Millard Mitchell, a hilarious Douglas Crawley, Kathleen Freeman, Madge Blake and a very young Rita Moreno proved to be very entertaining. The movie’s best performance came from Jean Hagen, who hilariously portrayed the vain and talentless Lina Lamont, whose unattractive voice threatened to end her career with the emergence of talking pictures. Hagen, who had earned a Best Supporting Actress Oscar nomination, had based her performance on Judy Holliday’s Billie Dawn character from the play, “BORN YESTERDAY”. Hagen had been Holliday’s understudy. What I found impressive about Hagen’s portrayal is that not only did I find her Lina Lamont beneath contempt, a small part of me found her a bit pathetic and sad. Because she had only appeared in the “Broadway Melody” ballet, Cyd Charisse did not have a speaking role. But her superb and sexy dance number with Kelly re-charged her movie career for greater glory throughout the 1950s.

Another cast member who earned an acting award was Donald O’Connor, who won a Golden Globe Award for Best Actor in a Musical or Comedy for portraying Don Lockwood’s closest friend, the musically inclined Cosmo Brown. Aside from his brilliant dancing, O’Connor gave a delicious performance as the sardonic and witty musician, who seemed to take great pleasure at taking pot shots at Lina Lamont. Aspiring actress Kathy Selden proved to be Debbie Reynolds’ sixth role in her long film and television career. Was it the role that finally led her to stardom? Probably. For most of the film, Kathy Selden is a nice, peppy girl with ambitions to make it big in films. I would have dismissed Reynolds’ performance as that of a safe, leading lady if it were not for her dancing talents that had emerged in this film (thanks to Kelly’s tutoring). However, there is one scene – namely Kathy Seldon’s first meeting with actor Don Lockwood – that foreshadowed her brilliant talent for comedic acting.

When people discuss Gene Kelly’s performance in “SINGIN’ IN THE RAIN”, they usually talk about his . . . well, his dance numbers. Especially the “Broadway Melody” ballet, his duet with O’Connor in the “Moses Supposes” number, and of course . . . the “Singin’ in the Rain” dance. As much as I enjoyed his dancing performance, I had to admit that I also enjoyed his portrayal of Don Lockwood. I liked how Kelly made it clear that although Don’s wit is not as sharp as Cosmo’s, it still existed and that he can be a very good comedic actor. This was especially clear in those scenes in which he has to fight off Lina’s constant pursuit of him. One truly funny moment featured a sequence in which he shot a series of insults at Lina, while they filmed a scene from the silent version of “The Dueling Cavalier”. Kelly was also very funny when his character, Don Lockwood, gave a hilarious account of his and Cosmo’s early years on the vaudevillian circuit and in Hollywood. More importantly, I enjoyed how Kelly skillfully conveyed Don’s insecurities and fear of the latter’s career fading, after his initial encounter with Kathy Seldon’s faux pretentious attitude toward movie acting.

Yes, “SINGIN’ IN THE RAIN” is not perfect. But . . . I cannot deny that I believe it is one of the best movie musicals I have ever seen, hands down. It is a masterpiece, thanks to Betty Comden and Adolph Green’s entertaining and funny screenplay, Stanley Donen and Gene Kelly’s direction of both the narrative and musical scenes and wonderful performances by a cast led by Kelly, Debbie Reynolds and Donald O’Connor. To this day, I find it hard to believe that following its initial release, it was only a modest hit.

 

Favorite Films Set in the 1800s

Below is a list of my favorite movies set during the decade between 1800 and 1809: 

FAVORITE FILMS SET IN THE 1800s

1. “Emma” (1996) – Gwyneth Paltrow starred in this very entertaining adaptation of Jane Austen’s 1815 novel about an upper-class Englishwoman’s attempts to play matchmaker for her friends and neighbors. Co-starring Jeremy Northam, the movie was adapted and directed by Douglas McGrath.

2. “Master and Commander: The Far Side of the World” (2003) – Russell Crowe and Paul Bettany starred in this Oscar-nominated adaptation of several of Patrick O’Brian’s Aubrey–Maturin series. The movie was co-written and directed by Peter Weir.

3. ‘Buccaneer’s Girl” (1950) – Yvonne De Carlo starred in this entertaining romantic adventure about the relationship between a Boston singer and an elite sea trader/pirate in old New Orleans. Directed by Frederick de Cordova, the movie co-starred Philip Friend and Robert Douglas.

4. “Captain Horatio Hornblower” (1951) – Gregory Peck and Virginia Mayo starred in this adaptation of three of C. S. Forester’s Horatio Hornblower novels. The movie was directed by Raoul Walsh.

5. “Mansfield Park” (1999) – Patricia Rozema adapted and directed this adaptation of Jane Austen’s 1814 novel about an impoverished young woman living with her wealthy relations. Frances O’Connor and Jonny Lee Miller starred.

6. “The Duellists” (1977) – Ridley Scott directed this adaptation of Joseph Conrad’s 1908 short story, “The Duel” about a small feud between two Napoleonic officers that evolves into a decades-long series of duels. Keith Carradine and Harvey Keitel starred.

7. “Lloyd’s of London” (1936) – Tyrone Power was featured in his first starring role as a young man who worked for the famous insurance corporation, Lloyd’s of London, during the Napoleonic Wars. Directed by Henry King, Madeleine Carroll and George Sanders co-starred.

8. “Carry On Jack” (1963) – Bernard Cribbins, Kenneth Williams and Juliet Mills starred in this eighth entry in the “Carry On” comedy series, which is a spoof of the high-seas adventure genre. Gerald Thomas directed.

 

 

“MERCY STREET” Season Two (2017) Episode Ranking

Below is my ranking of the Season Two episodes of the PBS Civil War medical series called “MERCY STREET”. Created by Lisa Wolfinger and David Zabel, the series starred Mary Elizabeth Winstead, Hannah James and Josh Radnor:

“MERCY STREET” SEASON TWO (2017) EPISODE RANKING

1. (2.05) “Unknown Soldier” – French-born anatomical artist/war observer Lisette Beaufort uses her art skills to help the Mansion House Hospital staff identify a disfigured and amnesiac soldier. Nurse Anne Hastings joins Dr. Byron Hale’s efforts to undermine the authority of the new hospital chief, Major Clayton McBurney. And the Green family buckle under the emotional stress from Detective-turned-Secret Service Head Allan Pinkerton’s investigation into the disappearance of Union officer staying at their home and James Jr.’s gun smuggling operation for the Confederacy

.

2. (2.06) “House of Bondage” – In this series finale, Dr. Jed Foster accompanies Samuel Diggs, who is going to a Philadelphia medical school. On the way, the pair pay a visit to the former’s family plantation in Maryland. Meanwhile, the Greens endure a political setback following the Union victory at Antietam and put an end to Pinkerton’s investigation of their missing military guest.

 

3. (2.02) “The House Guest” – A Union officer staying as a guest at the Greens’ home attracts the attention of Alice Green, now a Confederate spy and member of the Knights of the Golden Circle. The Mansion House’s head nurse, Mary McPhinney, succumbs to typhoid fever. And the no nonsense hospital chief, Major McBurney arrives.

 

4. (2.04) “Southern Mercy” – Following the Second Battle of Bull Run, Emma Green and Union Chaplain Hopkins set out to rescue a stranded group of wounded Union soldiers. Hospital observer Lisette discovers the truth about a young soldier, which shocks Dr. Foster. Hospital Matron Brennan’s son arrives at Mansion House, seeking a medical deferment from combat. And while hotel owner James Green proposes a “cotton diplomacy” plan to Confederate officials for European recognition, James Jr.’s gun smuggling operation is threatened when two of his free black employees stumble upon it.

 

5. (2.01) “Balm in Gilead” – In the season opener, the Mansion House staff unites to save one of their own. A former slave turned activist named Charlotte Jenkins arrives in Alexandria, Virginia to help stem a smallpox epidemic among the contraband population and causes a rift between Mary and the less racially tolerant Dr. Foster. And Samuel plans for a reunion up north with Aurelia, the former slave with whom he had fallen in love back in the first season.

 

6. (2.03) “One Equal Temper” – Due to James Jr.’s murder of the Union officer that Alice was spying on, Pinkerton becomes even more interested in the Green family. Also, Alice helps Emma’s beau, spy Frank Stringfellow escape and the pair encounters a Quaker farm couple while evading Union troops. Also, Major McBurney orders Dr. Foster and Miss Hastings to attend a high-ranking officer at a nearby Union Army camp in order to distance the doctor from an ailing Mary.

“THE GAMBLER FROM NATCHEZ” (1954) Review

“THE GAMBLER FROM NATCHEZ” (1954) Review

A few years ago, I had reviewed an old 1953 Tyrone Power movie called “THE MISSISSIPPI GAMBLER”. This 1953 movie proved to be a mixture of a costume melodrama and adventure that chronicled the adventures of a Northern-born gambler who moves to New Orleans to start his own casino. The following year saw the release of another movie with a similar theme called “THE GAMBLER FROM NATCHEZ”

There are differences between “THE GAMBLER FROM NATCHEZ” and “THE MISSISSIPPI GAMBLER”. The latter film featured a top film star – Tyrone Power. And I can only assume that it was one of Universal Pictures’ “A” films for 1953. It was certainly a big hit. On the hand, one glance at “THE GAMBLER FROM NATCHEZ” and a person was bound to regard it as a “B” movie. The film’s lead, Dale Robertson, was never big as Power. He was mainly known as a television star during the 1950s and 1960s. And his Hollywood career had only started five years before this film.

“THE GAMBLER FROM NATCHEZ” began in 1848 Baton Rouge with the arrival of a discharged Army militia officer named Captain Vance Colby, who had fought in Texas and Mexico during the Mexican-American War. In response to a message from a close family friend, Vance planned to travel down to New Orleans on horseback to meet his father, a famous and successful professional gambler named Chip Colby. During his journey, he meets a beautiful Creole aristocrat named Ivette Rivage and comes to her aid, when her carriage’s horse becomes lame. She invites him to her family’s plantation, Araby, where he meets her brother Andre Rivage and her fiance Claude St. Germaine. The two men react coldly upon learning of Vance’s relation to his father, who has recently been accused of being a card cheat.

Following Vance’s departure from Araby, he is attacked by Andre’s hired thug, Etienne. Riverboat captain Antoine Barbee and his daughter Melanie, whom Vance had first met in Baton Rouge, come to the wounded Vance’s aid. Upon his arrival in New Orleans, Vance learns that his father was killed and framed for card cheating by three men – casino owner Nicholas Cadiz, Claude St. Germaine and Andre Rivage. Colby Sr. had won half interest in a new gambling vessel that the three accusers had plans to launch. Upon learning this Vance vows revenge against his father’s enemies.

I first saw “THE GAMBLER FROM NATCHEZ” on late night television when I was a teenager. Which means that MANY years had passed since my recent viewings. I wondered if my opinion of the film would change. To my surprise, I discover that it had not. As I had earlier stated, “THE GAMBLER FROM NATCHEZ” struck me as a “B” swashbuckler. Although the film was released through Twentieth Century Fox, it was made by a production company called Panoramic Pictures that released a series of low budget films during the 1950s. And yes . . . it was quite obvious that “THE GAMBLER FROM NATCHEZ” was a low budget film.

I noticed that for a movie set in the lower Mississippi River Valley, I cannot recall seeing any hint or sign of water in it, aside from the swamp (or a back lot pond) where Vance Colby was wounded and the body of water (or back lot pond) where one of the villains fell from a riverboat. I am still amazed that Chester Bayhi’s set decorations and art director Leland Fuller managed to convey the movie’s late 1840s setting with some plausibility – especially in scenes featuring the interior sets for the Araby plantation, Nicholas Cadiz’s New Orleans casino and the parlor of Andre Rivage’s new steamboat.

On the other hand, I had a problem with Travilla’s costumes. His costumes for the movie’s actors, especially leading man Dale Robertson. Travilla did an excellent job in recapturing the men’s fashion for that era, including the U.S. Army officer uniform that Robertson wore during the film’s first half hour. I wish I could say the same for the women’s costumes in the movie. Well, I found most of them a somewhat adequate representation of women’s fashion in the late 1840s – especially those costumes worn by actress Lisa Daniels. But Travilla’s designs for leading lady Debra Paget’s costumes . . . what on earth?

Paget wore at least two or three more costumes in the film that struck me as a bit more tolerable. But she wore the one featured in the image above more than the others Now, I realize that her character, Melanie Barbee, was the daughter of a man who owned and operated a minor steamboat. But this is the 1840s we are talking about. Melanie was definitely not a prostitute or daughter of a poor backwoodsman. Her father owned a steamboat, even if it was second-class. A woman of her background and time would never be caught dead wearing such an outfit out in the open for everyone to see, let alone in the lobby of an exclusive New Orleans hotel.

I might have some issues with “THE GAMBLER FROM NATCHEZ”. But if I must be honest, my opinion of the film has not changed over the years. I still managed to enjoy it. During my review of “THE MISSISSIPPI GAMBLER”, I had complained about the film’s vague and episodic narrative. I certainly had no such problems with “THE GAMBLER FROM NATCHEZ”. I thought Gerald Adams and Irving Wallace had created a solid and entertaining story about a mid-19th century gambler who sought revenge against the men who had killed his father and ruined the latter’s reputation. In fact, I cannot help but feel somewhat impressed by how Adams and Wallace had structured the movie’s plot.

The two screenwriters set up the plot by allowing the protagonist, Vance Colby, to encounter a series of mysteries surrounding his father. From the fight he participated in with another gambler during his arrival at Baton Rouge via steamboat to the discovery of Chip Colby’s death, Vance seemed encounter one mystery after another. Midway into the film, Adams and Wallace allowed Vance to finally discover the true mysteries behind Colby Senior’s recent reputation as a card cheat, Andre Rivage’s murder attempt on his life and Colby Senior’s death. Upon this point, the plot for “THE GAMBLER FROM NATCHEZ” focused solely on Vance’s desire for revenge against the three men responsible for his father’s death. Through it all, Adams and Wallace created a light love triangle between Vance and two women – the steamboat captain’s daughter, Melanie Barbee; and Ivette Rivage, who proved to be more superior than her morally bankrupt brother.

The movie also benefited from a first-rate cast. By 1954, Dale Robertson had been around Hollywood for five years. Although he never became a big star like Tyrone Power, his excellent performance as the strong-willed and determined Vince Colby made it pretty obvious why his acting career lasted for the next four decades – mainly in television. He also managed to create a strong screen chemistry with his leading lady, Debra Paget. She gave a very entertaining and superb performance as the feisty Melanie Barbee, who quickly fell in love with Vance while saving his skin on at least two or three occasions. Robertson also had a strong screen chemistry with Lisa Daniels, the British actress who portrayed the Creole aristocrat, Ivette Rivage. I believe Ivette proved to be a more complex character than any other in this film. She had to be regarded as the wrong woman for Vance, yet portrayed in a more sympathetic light than her brother. And I believe Daniels managed to skillfully achieve this balance in her performance.

I find it odd that Kevin McCarthy ended up in a low-budget film some three years after appearing in the film adaptation of Arthur Miller’s play, “DEATH OF A SALESMAN”. Well . . . regardless of how he must have felt at the time, McCarthy proved to be the first-rate actor and consummate professional who portrayed Andre Rivage as the charming, yet violent aristocrat whose temper and gambling addiction set the story in motion. Another excellent supporting performance came from Thomas Gomez, who portrayed Vance’s new friend and Melanie’s father, steamboat Captain Antoine Barbee. Gomez did an excellent job in conveying Captain Barbee’s friendly and pragmatic personality . . . and providing a brief father figure for Vance. The movie also featured solid performances from Douglas Dick (who portrayed the spineless Claude St. Germaine), John Wengraf (who portrayed the intimidating Nicholas Cadiz), Jay Novello, Peter Mamakos, Donald Randolph, and Henri Letondal. And guess who else was in this film? Woody Strode, who portrayed Josh, one of Captain Barbee’s crewmen. Or only crewman. Hell, I am not even certain whether he portrayed a free man or a slave. But his character did help the main hero defeat the “Big Bad” in a way that will prove to be very surprising for a film made in the 1950s.

I realize that “THE GAMBLER FROM NATCHEZ” is not perfect. But for a low-budget film, it proved to possess a very well-structured and well-written narrative, thanks to screenwriters Gerald Adams and Irving Wallace. Although I regard the story to be the backbone of any film, director Henry Levin could have have ruined it with bad direction. But he did not. Instead, I believe Levin and a cast led by Dale Robertson did more than justice to the screenplay. Perhaps this is why after so many years, I still managed to enjoy this film.

Five Favorite Episodes of “INDIAN SUMMERS” Season Two (2016)

mezzanine_260

Below is a list of my five favorite episodes from Season Two of the British series, “INDIAN SUMMERS”. Created by Paul Rutman, the series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Waters: 

FIVE FAVORITE EPISODES OF “INDIAN SUMMERS” SEASON TWO (2016)

1 - 2.09 Winner Takes All

1. (2.09) “Winner Takes All” – In this penultimate episode, Civil Service employee Aafrin Dalal sets up his plans to elope with the sister of his employer Ralph Whelan, Alice Whelan Havistock and rescue her from her abusive husband. Meanwhile, Ralph fails to become India’s next viceroy.

2 - 2.04 The Empty Chair

2. (2.04) “The Empty Chair” – While Aafrin and Alice conduct their affair, the former’s sister, Sooni Dalal forces him to reveal his involvement in the Independence Party and the murder of a fellow activist named Kaira. Meanwhile, Ralph’s wife, Madeleine Whelan organizes a fashion show for the Royal Simla Club. And Lord Hawthorne becomes the target of a violent act and suspicion falls upon a local woman named Leena Prasad, whom he had hired as his children’s nanny and toward whom he has lustful designs.

3 - 2.06 A Gift For the King

3. (2.06) “A Gift For the King” – While the British prepare for their picnic to commemorate King George V’s Silver Jubilee, a violent Independence Party activist named Naresh Banerjee plots to deliver a deadly bomb to the event, using an innocent orphan named Chota Matthew.

4 - 2.05 Hide and Seek

4. (2.05) “Hide and Seek” – Aware that his illegitimate son, Adam had attacked Lord Hawthorne to protect Leena, Ralph arranges for the former to be sent to Delhi to avoid arrest. However, missionary Dougie Raworth is unable to dissuade Leena from taking the blame. Meanwhile, Ralph learns the truth about his parentage from his mentor, Royal Simla Club owner Cynthia Coffin.

5 - 2.10 Leaving Home

5. (2.10) “Leaving Home” – Alice and Charlie Havistock prepare to leave India for good, after he prevents her elopement with Aafrin. Ralph and Aafrin make momentous decisions about their careers. Cynthia is in a bidding war as the Whelans’ Simla home, Chotipool, goes under the hammer.

“IRONCLADS” (1991) Review

“IRONCLADS” (1991) Review

Between the late 1980s and the first few years of the 21st century, communications mogul Ted Turner had produced or oversaw a series of period dramas in the forms of movies and miniseries. Aside from two or three productions, most of them were aired as television movies on the cable network TNT, which is owned by the Turner Broadcasting System. One of those productions was the 1991 movie, “IRONCLADS”

Set during the first year of the U.S. Civil War, “IRONCLADS” is a fictional account of the creations of the first two American ironclads, C.S.S. Virginia (also known as the U.S.S. Merrimack) and the U.S.S. Monitor, and their clash during the Battle of Hampton Roads in March 1862. The movie began in April 1861 with the U.S. Navy personnel being forced to evacuate the Gosport Navy Yard at Norfolk, Virginia, following the state of Virginia’s secession from the United States. During the evacuation, Quartermaster’s Mate Leslie Harmon deliberately interfered with the militarily necessary demolition of the Navy Yard’s dry dock at Hampton Roads Naval Base in order to prevent collateral damage and civilian casualties in the city, as Confederates overran the base. While stationed in Norfolk, Leslie had made friends. Unfortunately, his actions were noticed and he found himself facing court-martial. It seemed the newly formed Confederate Navy used the undamaged naval yard to raise the sunken U.S.S. Merrimack and refit it into an ironclad ship.

Union officer Commodore Joseph Smith gave him the choice between facing court-martial or serving as a Union spy. Leslie was assigned to work with a Virginia belle from Norfolk named Betty Stuart, who had become an abolitionist and Unionist during her years at a boarding school in Baltimore. Betty had also recruited her mother’s maid named Opal and the latter’s husband, Cletus, as part of her spy ring. Using Leslie’s past actions during the Union evacuation as an excuse to label him a Confederate sympathizer, Betty introduced him to Norfolk society. This allowed the pair to spy upon the activities surrounding the development of the Confederate Navy’s new ironclad ship. At the same time, the Union Navy recruited John Ericsson to design their own ironclad ship.

Many years – and I do mean many of them – had passed since I last saw “IRONCLADS”. It is a miracle that I was able to watch it, considering that it has yet to be released on DVD. When I first saw “IRONCLADS” over twenty years ago, I had been impressed, despite it being a low-budget television movie that aired on a Basic cable station. But seeing it again after twenty-five years or so . . . I am still impressed. I honestly did not think this movie would hold up after a quarter of a century. Mind you, “IRONCLADS” had its flaws. I think this movie could have been longer . . . at least thirty (30) to forty-five (45) minutes longer. After all, it is about the first two ironclads in both U.S. and world history and I believe that Leslie and Betty’s activities as spies in Norfolk could have been expanded a bit.

But my one real problem with the movie is the romance between Betty Stuart and Lieutenant Catesby ap Roger Jones of the Confederate Navy. It was bad enough that Lieutenant Jones, who was roughly 39 to 40 years old during the movie’s setting was portrayed by actor Alex Hyde-White, who must have been at least roughly 31 years old during the movie’s production. Worse, Betty Stuart was a fictional character. Lieutenant Jones . . . was not. The movie did an excellent job in portraying historical characters such as John Ericsson, Commodore Joseph Smith, Captain Franklin Buchanan of the C.S.S. Virginia, Secretary of the Navy Gideon Welles and yes, President Abraham Lincoln. But the movie made a major misstep in creating a romance between the fictional Betty and the historical Lieutenant Jones. I hate it when writers do that. I still have bad memories of George MacDonald Fraser allowing a historical character to be the illegitimate son of his fictional character, Harry Flashman. And the real Catesby ap Jones was already a married man with children during that first year of the Civil War. For the likes of me, I could not understand why screenwriter Harold Gast could not allow Betty to have a romance with another fictional character, who happened to serve aboard the C.S.S. Virginia under Buchanan and Jones.

Despite the above problems, I can honestly say that I still managed to enjoy “IRONCLADS”. Thanks to Delmar Mann’s direction and Harold Gast’s screenplay, the movie proved to be a heady mixture of espionage, military conflict and history. Step-by-step, the movie took television viewers on a road mixed with fiction and fact to that famous sea battle that stunned the rest of the world. What I found even more interesting – and I am sure that many might find this a reason to criticize – is that in an odd way, the production provided well-rounded characters from both the North and the South.

The Betty Stuart character proved to be rather ambiguous. She was a product of the Virginia upper-class, who became an abolitionist and pro-Union . . . without informing her friends and family about her change of allegiance. And yet, her love for Lieutenant Jones led her to betray her allegiance and beliefs. Her situation proved to be so complicated that the only advice I can give is to watch the film, if you can find it. Another complicated character proved to be the Northern-born navy quartermaster-turned-spy, Leslie Harmon. He got into trouble in the first place, because he thought more of the Norfolk civilians than destroying that dry dock. And while one can admire him for his humanity, I found it interesting that he never really considered the slaves who served the upper-and-middle-class citizens of that city. Until he became a spy and witnessed a Confederate Naval intelligence officer named Lieutenant Gilford harshly ordered Cletus to provide another glass of champagne for him. Leslie eventually confessed that he had never paid attention to Norfolk’s slaves before the war.

As anyone can see, the topic of slavery managed to play a strong role in this production. After all, Betty’s embrace of the abolitionist movement led her to become a pro-Union spy against her fellow Virginians. And she had recruited two of her mother’s slaves as part of her slave ring. What I found interesting about this movie is that it presented two incidents in which Opal and Cletus had individually faced the price of being slaves. I have already mentioned Leslie witnessing Lieutenant Gilford’s harsh and racist attitude toward Cletus. But for me, I was really put off by Mrs. Stuart’s decision to limit Opal’s “visit” to her sister to once a year. It was the manner in which she made this order. I found it cool, subtle, indifferent and self-involved. Naturally, Opal serving Mrs. Stuart’s needs was more important than the latter having the opportunity to see a relative.

However, this story is about the Monitor and the Merrimack. As I had earlier stated, the movie did a pretty damn good job in leading up to the events of the Battle of Hampton Roads. But let us be honest . . . the actual battle proved to be the movie’s pièce de résistance – from that first day when the Merrimack nearly made the Union blockade near Norfolk and Newport News obsolete; to the second in which the two ironclads faced each other. In fact, the battle took up the entire second half. Here, I think Mann, along with film editor Millie Moore, visual effects artist Doug Ferris and the special effects team led by Joel P. Blanchard did an exceptional job of re-creating the Battle of Hampton Roads.

However, the Battle of Hampton Roads sequence was not the only aspect of “IRONCLADS” that I enjoyed. Moore, Ferris and the visual and special effects teams did an admirable job in recreating Washington D.C. and Northern Virginia circa 1861-62. Their work was ably supported by Joseph R. Jennings’ production designs; the sound effects created by the sound editing team led by Burton Weinstein; the sound mixing team led by Kenneth B. Ross; Joseph R. Jennings’ production designs. By the way, the two sound teams both earned Emmy nominations for their work. I was surprised to discover that another Emmy nomination was given to Noel Taylor for his costume designs. Do not get me wrong. I enjoyed looking at them, especially those costumes worn by Virginia Masden, as shown below:

I found Taylor’s costumes colorful and yes . . . beautiful to look at. But if I must be honest, his costumes seemed to have a touch of late 20th century glamour – namely those worn by the Virginian elite – that I found unrealistic.

Looking back at “IRONCLADS”, I can honestly say that there was not a performance that blew my mind. The television movie did not feature a performance I would consider worthy of an Emmy nomination. Solid performances came from the likes of E.G. Marshall, Kevin O’Rourke, Leon B. Stevens, Carl Jackson, Andy Park, Burt Edwards and Marty Terry. I thought James Getty was pretty serviceable as President Abraham Lincoln. However, I think he managed to really evoke the memory of “Old Abe” with one particular line – “All I can say is what the girl said when she put her foot in the stocking. It (the U.S.S. Monitor) strikes me there’s something in it.”

But there were performances that I found very noticeable and effective. One would think that Philip Casnoff’s portrayal of naval intelligence officer, Lieutenant Guilford, to be a remake of the villainous character he had portrayed in the television adaptations of John Jakes’ “North and South” novels. However, Casnoff’s Guilford was no copycat of Elkhannah Bent. The actor effectively portrayed a cool and ruthless spymaster willing to do what it took to protect his new nation. Joanne Dorian gave a very interesting and varied performance as Betty Stuart’s shallow and self-involved mother, Blossom Stuart. At times, I found her portrayal of Mrs. Stuart hilarious or amusing. And yet . . . there was that scene in which the actress conveyed the ugliness of her character’s selfishness and racism.

Another performance that caught my eye came from Beatrice Bush, who portrayed Mrs. Stuart’s enslaved maid, Opal and Betty’s fellow spy. During the teleplay’s first half, Bush gave a solid performance. But I was truly impressed by how the actress had expressed Opal’s shock and suppressed anger over Betty’s decision to inform Catesby about their findings regarding the C.S.S. Virginia’s plating. I wsa impressed by how Bush effortlessly expressed Opal’s anger without allowing the character to lose control. I also enjoyed Fritz Weaver’s portrayal of John Ericsson, the Swedish-born immigrant, who became one of the best naval engineers of the 19th century and designer of the U.S.S. Monitor. Weaver gave a very entertaining performance as the tart-tongued engineer who was constantly irritated by U.S. Navy and the Lincoln Administration’s doubts over his work or the use of iron clad ships.

Alex Hyde-White gave a charismatic portrayal of Confederate Naval officer, Lieutenant Catsby ap Jones. The actor did a good job in conveying his character charm, professionalism. He also effectively conveyed Jones’ anger and confusion upon discovering his love’s role as a Union spy. I really enjoyed Reed Diamond’s engaging portrayal of the earnest Union Navy quartermaster, Leslie Harmon. I enjoyed how his character had learned a lesson about himself and what this war was about. He also gave, what I believe to be one of the best lines in the movies. Both Hyde-White and Reed managed to create solid chemistry with leading actress, Virginia Madsen.

Speaking of Madsen, and managed to create a solid screen chemistry with lead Virginia Madsen. Superficially, Madsen’s Betty Stuart seemed like the typical lead in a period drama – a beautiful and noble woman of high birth who has become dedicated to a cause. What made Betty interesting is that she was a Southern-born woman from a slave-owning family who became a dedicated abolitionist. And this led her to become an effective and yes, manipulative spy. But what I found interesting about Madsen’s skillful portrayal is that her character proved to be surprisingly a bit complicated . . . especially when her role as a spy and her feelings for Catsby Jones produced a conflict within her.

I am not going to push the idea that TNT’s “IRONCLADS” was a television hallmark or masterpiece. It was a solid 94-minute account of the circumstances that led to the creations of the world’s first two ironclads – the C.S.S. Virginia (Merrimack) and the U.S.S. Monitor – and their historic clash in Virginia waters. A part of me wished that this movie – especially the details leading to the Battle of Hampton Roads – had been a bit longer. And I am not that thrilled over screenwriter Harold Gast using a historical figure like Catesby ap Jones as the love interest of the fictional Betty Stuart. But I believe that both Gast and director Delmar Mann had created an interesting, complex and exciting narrative that was enhanced by excellent performances from a cast led by Virginia Madsen.