“PROMETHEUS” (2012) Review

 

“PROMETHEUS” (2012) Review

When I first saw the trailer for director Ridley Scott’s 2012 science-fiction thriller, “PROMETHEUS”, I had no desire to see it. For me, it looked like another “alien in the spaceship” thriller that I have ignored for years. But after some persistent urging from a relative of mine, I finally saw it in the theaters. 

According to Greek mythology, Prometheus is a Titan and cultural hero who is believed to be responsible for the creation of man from clay. He also is also responsible for the theft of fire for human use, which enabled the latter to enjoy progress and civilization. Zeus punished Prometheus for the theft by sentencing the Tital to eternal torment. Zeus bounded Prometheus to rock, transformed to an eagle each day to feed on Prometheus’ liver. The latter would grow back and the eagle would feed on it again . . . day after day after day. What does this have to do with the movie, “PROMETHEUS”? Honestly, I do not know. I am not of the intellectual variety. Then again, I hear that Prometheus’ story is supposed to be a metaphor for human striving and quest for scientific knowledge, at the risk of unintended consequences. Hmmm. Now I understand why the filmmakers used this name.

Set in the late 21st century, “PROMETHEUS” is about the crew of the starship Prometheus that follows a star map discovered among the remnants of several ancient Earth cultures. Led to a distant world and an advanced civilization, the crew seeks the origins of humanity, but instead discovers a threat that could cause the extinction of the human race. Although some members of the cast claim otherwise, it has been confirmed that “PROMETHEUS” was developed as far back as the early 2000s as a fifth entry in the ALIEN franchise, with both Scott and director James Cameron developing ideas for a film that would serve as a prequel to Scott’s 1979 science fiction horror film, “ALIEN”. The project remained dormant until 2009, when Scott again became interested. A script by Jon Spaihts served as a prequel to the events of the ALIEN movies. However, Scott chose a different direction for the movie, in order to avoid repeating the storylines of the past films. He recruited “LOST” producer/writer Damon Lindelof to co-write a new script with Spaihts. They created a story in which Scott claimed is not directly connected to the ALIEN franchise.

The movie began with a humanoid alien drinks a dark bubbling liquid, and then starts to disintegrate. As its bodily remains cascade into a waterfall, the alien’s DNA triggers a biogenetic reaction. The story jumps to the year 2089, when archaeologists Elizabeth Shaw and Charlie Holloway discover a star map among several unconnected ancient cultures. The pair believes the maps are invitations from humanity’s creators or “Engineers”. Peter Weyland, the aging CEO of Weyland Corporation, funds the scientific vessel Prometheus to follow the map. The ship’s crew travels in stasis while the android David monitors their voyage, until they arrive at Moon LV-223. Mission director Meredith Vickers orders them to avoid making contact with any of the “Engineers” without her permission. The Prometheus lands near a large artificial structure, which a team explores. The expedition team manages to find an alien corpse and believe it to be an “Engineer”. Their expedition takes an ugly turn they discover that the “Engineers” and other life forms on the moon prove to be a lot more dangerous than they had imagined.

After my family and I watched the last reel of “PROMETHEUS”, the relative who had convinced me to see the movie leaned over and offered her apologies. She even offered to reimburse me for my movie ticket. Why? Because I discovered that my original reluctance to see the movie had been justified. I disliked “PROMETHEUS”. Wholeheartedly. It turned out to be the kind of the movie that I usually dislike. Not only did it turned out to be the typical science-fiction horror film that usually turned me off, I found the movie’s intellectual aspects of the plot pretentious and incomplete. Were there any aspects of “PROMETHEUS” that I liked? Well . . . the entire cast gave solid performances, aside from some questionable accents from at least two of the cast members. I cannot deny that Dariusz Wolski’s photography was breathtaking. Or that Pietro Scalia’s editing was first rate. And Ridley Scott did a great job in maintaining a steady pace for the movie, despite its 124 minutes running time. Other than that . . . there was nothing else about this film that impressed me.

I have few questions. Why did Elizabeth Shaw assume that the aliens who had created the star maps, were creators of mankind? How did she come to this conclusion? Because she had “faith”? Who was she supposed to be? A second-rate John Locke? Or a metaphor of the Titan Prometheus? And how did she come to the conclusion near the end of the movie that the “Engineers” were out to destroy mankind, after . . . uh, creating them? And what is it about this crew that they make such stupid mistakes that end up endangering them? A good example would be the geologist Fifield and the biologist Milburn, who lacked the good sense to run for their lives after spotting the snake-like alien. And could someone please explain how Shaw managed to walk and run around both Prometheus and the moon so soon after giving herself a brutal abortion to rid herself of her alien spawn? I have one last question. Why on earth would Elizabeth (the crew’s lone survivor) even bother traveling to the aliens’ homeworld at the end of the movie, now that she believes they are out to destroy humankind? Was it so important to her to learn about the aliens’ motives that she was willing to risk her life in such a stupid manner?

Moviegoers raved over Michael Fassbender’s performance as the android David. I was too busy feeling confused about the character to consider any accolades for the actor. Exactly how are we supposed to regard David? As another Data from “STAR TREK NEXT GENERATION”? Or as one of the replicants from another Scott film, 1982’s “BLADE RUNNER”? At first, David seemed to be in thrall over human culture, Elizabeth Shaw and the moon in general. Yet, a reason that is never fully explained, he decided to spike Charlie Holloway’s (Elizabeth’s love interest and fellow archeologist) drink with a dark liquid he had found from one of the moon’s stone cylinders. Why did he do that? Again, the movie failed to explain. Some critics were also in thrall over Idris Elba’s performance as Prometheus’ chief pilot, Janek. I was too busy wincing at his attempt to re-create some kind of African-American accent. He had managed to do this successfully in the 2010 movie, “THE LOSERS”. What in the hell happened? As for Rafe Spall’s Southern accent . . . frankly my dear, it sucked.

I wish I could say that I liked “PROMETHEUS”. But if I did, I would be lying. I did not like it one bit. The movie tried to be some kind of profound tale that would leave many moviegoers asking questions. And in a way it did. But my questions about the movie only reinforced my disenchantment with it. What is really sad about “PROMETHEUS” is that it is the first Ridley Scott movie that has disappointed me since the 2001 movie, “BLACK HAWK DOWN”. Pity.

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Favorite Television Productions Set in the 1940s

Below is a list of my favorite television productions (so far) that are set in the 1940s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1940s

1. “Homefront” (1991-1993) – Lynn Marie Latham and Bernard Lechowick created this award-winning series about the residents of a small Ohio town in post-World War II.

2. “Mob City” (2013) – Jon Bernthal starred in this six-part limited series that was inspired by John Buntin’s book, “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City”. Co-starring Alexa Davalos and Milo Ventimiglia, the series was created by Frank Darabont.

3. “Agent Carter” (2015-2016) – Hayley Atwell starred as Margaret “Peggy” Carter, an agent with the Strategic Scientific Reserve (SSR) in the post-World War II Manhattan. Created by Christopher Markus and Stephen McFeely, the MCU series co-starred James D’Arcy and Enver Gjokaj.

4a. “Band of Brothers” (2001) – Steven Spielberg and Tom Hanks produced this outstanding television miniseries about the history of a U.S. Army paratrooper company – “Easy Company” – during the war. Damian Lewis and Ron Livingston starred. (tie)

4b. “The Pacific” (2010) – Spielberg and Hanks struck gold again in this equally superb television miniseries about the experiences of three U.S. Marines – John Basilone, Robert Leckie and Eugene Sledge – in the war’s Pacific Theater. James Badge Dale, Joseph Mazzello and Jon Seda starred. (tie)

5. “Manhattan” (2014-2015) – Sam Shaw created this series about the creation of the first two atomic bombs at Los Alamitos, New Mexico. The series starred John Benjamin Hickey.

6. “The Winds of War” (1983) – Dan Curtis produced and directed this television adaptation of Herman Wouk’s 1971 novel. The seven-part miniseries starred Robert Mitchum, Ali McGraw and Jan-Michael Vincent.

7. “Pearl” (1978) – Stirling Silliphant wrote this three-part miniseries about a group of men and women who experienced the attack on Pearl Harbor in December 1941. Angie Dickinson, Robert Wagner, Lesley-Ann Warren and Dennis Weaver starred.

8. “The Jewel in the Crown” (1984) – The ITV aired this award winning television adaptation of Paul Scott’s “Raj Quartet”novels (1965–75) about the end of the British Raj in India. The fourteen-part miniseries starred Art Malik, Geraldine James, Charles Dance and Tim Pigott-Smith.

9. “Foyle’s War” (2002-2015) – Anthony Horowitz created this television crime drama about a British police detective during World War II. The series starred Michael Kitchen, Honeysuckle Weeks and Anthony Howell.

10. “RKO 281” (1999) – Liev Schreiber starred as Orson Welles in this 1999 television adaptation of 1996 documentary called “The Battle Over Citizen Kane”. The television movie also starred John Malkovich, Roy Schneider, James Cromwell and Melanie Griffith.

“RAINTREE COUNTY” (1957) Review

“RAINTREE COUNTY” (1957) Review

As much as some people would hate to admit it, “GONE WITH THE WIND”, the 1939 adaptation of Margaret Mitchell’s 1936 novel, had really cast a long shadow upon the Hollywood industry. Before its release, movies about the Antebellum and Civil War period were rarely released. And by the mid-1930s, Civil War movies especially were considered box office poison. Following the success of “GONE WITH THE WIND”, many Hollywood studios seemed determined to copy the success of the 1939 movie. 

Although “GONE WITH THE WIND” was definitely a Selznick International product, it had been released in theaters by Metro-Goldwyn-Mayer (MGM) Studios, thanks to a deal that allowed the latter to help producer David Selznick finance the movie. Although MGM had released a few movies set during the mid-19th century – including “LITTLE WOMEN” and “SOUTHERN YANKEE” – it did not really try to copy Selznick’s success with “GONE WITH THE WIND”, until the release of its own Antebellum/Civil War opus, “RAINTREE COUNTY”.

Based upon Ross Lockridge Junior’s 1948 novel, “RAINTREE COUNTY” told the story of a small-town Midwestern teacher and poet named John Shawnessy, who lived in 19th century Indiana. Although most of Lockridge’s novel is set in the decade before the Civil War and the next two-to-three decades after the war, the movie adaptation took a different direction. The movie began with John’s graduation from his hometown’s local academy. Many people in Freehaven, Indiana – including John’s father, his teacher/mentor Professor Jerusalem Webster Stiles, and his sweetheart Nell Gaither – expect great things from him, due to his academic excellence. But when John meet a visiting Southern belle named Susanna Drake and has a brief tryst with her during a Fourth of July picnic, his life unexpectedly changes. Susanna returns to Freehaven a month or two later with the news that she is pregnant with his child. Being an honorable young man, John disappoints both Nell and his father by marrying Susanna. Their honeymoon in Louisiana starts off well, but John becomes aware of Susanna’s mental instability and her suspicions that she might be the daughter of a free black woman who had been Susanna’s nanny for the Drake family. However, the Civil War breaks out. Susanna’s emotional state becomes worse and she eventually leaves Indiana for Georgia, the home of her mother’s family. John joins the Union Army in an effort to find her.

After viewing “RAINTREE COUNTY”, a part of me wondered why it was regarded as a Civil War movie. The majority of the film’s action occurred between 1859-1861, the two years before the war’s outbreak. A great deal of the film’s Civil War “action” focused on the birth of John and Susanna’s son – the day the war started, one night in which Susanna informed John about her family’s history, and his rescue of young Johnny at a cabin outside of Atlanta. Otherwise, not much happened in this film during the war. Hell, John eventually found Susanna at a Georgian asylum . . . right after the war. Why this movie is solely regarded as a Civil War movie, I have no idea.

I realize that “RAINTREE COUNTY” is supposed to be about the life of John Shawnessey, but he came off as a rather dull protagonist. Some critics have blamed leading actor Montgomery Clift’s performance, but I cannot. I simply find John to be a rather dull and ridiculously bland character. Aside from losing control of his libido when he first met and later married Susanna, and being slightly naive when the movie first started; John Shawnessey never really made a mistake or possessed a personal flaw. How can one enjoy a movie, when the protagonist is so incredibly dull? Even if the movie had followed Lockbridge’s novel by exploring John’s post-war involvement in politics and the late 19th century Labor movement, I would still find him rather dull and slightly pretentious. Characters like the volatile Susanna, the mercenary and bullying Garwood P. Jones, the witty Professor Stiles, the gregarious local Orville ‘Flash’ Perkins and even Nell Gaither, who proved to harbor flashes of wit, malice and jealousy behind that All-American girl personality were more interesting than John. How can I get emotionally invested in a movie that centered around such a dull man?

I find his goal in this movie – the search for the “raintree” – to be equally dull. Thanks to Lockridge’s novel and Millard Kaufman’s screenplay, the “raintree” symbolizes the Tree of Knowledge, whose golden boughs shed fertilizing blossoms on the land. In other words, John’s goal is to search for self-knowledge, maturity, wisdom . . . whatever. Two main problems prevented this theme from materializing in the story. One, Kaufman barely scratched the surface on this theme, aside from one scene in which Professor Stiles discussed the “raintree” to his students and how its location in Indiana is also a metaphor for American myth, another scene in which John foolish searches for this tree in the local swamp, a third scene in which John and Susanna discusses this myth and in one last scene featuring John, Susanna, their son James, and Nell in the swamp at the end of the movie. Am I to believe that the movie’s main theme was only featured in four scenes of an 182 minutes flick? And the idea of John spending most of the film finding self-knowledge, wisdom, etc. strikes me as superfluous, considering that he comes off as too much of a near ideal character in the first place.

To make matters worse, the movie had failed to adapt Lockridge’s entire novel. Instead, it focused on at least half or two-thirds of the novel – during John Shawnessey’s years during the antebellum period and the Civil War. Let me re-phase that. “RAINTREE COUNTY” has a running time of 160 minutes. At least spent 90 minutes of the film was set during the antebellum period. The next 40 minutes was set during the war and the right after it. at least half or two-thirds of the film during the antebellum period. The rest focused on the Civil War, which struck me as something of a rush job on director Edward Dmytryk’s part, even if I did enjoyed it. In fact, I wish that the film’s Civil War chapter had lasted longer.

Since the John Shawnessey character and his story arc proved to be so boring (well, at least to me), I did not find it surprising that Dmytryk and screenwriter Millard Kaufman ended up focusing most of the film’s attention on the Susanna Drake Shawnessey character. After all, she emerged as the story’s most interesting character. Her childhood neuroses not only made her complex, but also reflected the country’s emotional hangups (then and now) with race. And there seemed to be a touch of Southern Gothic about her personal backstory. But in the end, both Kaufman and Dmytryk fell short in portraying her story arc with any real depth. It is obvious that the conflict between Susanna’s love for her nanny Henrietta and her racism, along with the survivor’s guilt she felt in the aftermath of family’s deaths had led to so much emotional trauma for her. But Kaufman’s screenplay failed to explore Susanna’s racism, let alone resolve it one way or the other.

In fact, the topic of race is never discussed or explored in “RAINTREE COUNTY”. I found this odd, considering how Susanna’s emotional trauma played such a big role in the film’s narrative. The movie featured two African-American actresses – Isabel Cooley and Ruth Attaway – who portrayed the maids that Susanna brought with her from Louisiana. Their presence in the Shawnessey household created a major quarrel between the pair in which John had demanded that Susanna free them or he would leave. And yet . . . Kaufman’s screenplay never gave the two maids a voice. John Shawnessey never really explained or discussed his reasons for being an abolitionist. Although the movie did point out both Southern and Northern racism, no one really discussed slavery with any real depth. Racism only played a role in Susanna’s emotional hangups about her family and nothing else.

In one of the movie’s final scenes; John’s father, Professor Stiles, and Nell were among those who tried to encourage John, a former abolitionist, to run for Congress. To protect the South from the post-war Republicans like Garwood Jones . . . who was definitely a Copperhead Democrat during the war. Watching this scene, I found myself scratching my brow. To protect . . . which South? All of the South? Or the white South? One would think that a former abolitionist and pro-Lincoln supporter like John would be a Republican. I can understand him not being interested in “punishing the South”, or white Southerners. But what about the former slaves of the South? Kaufman’s screenplay did not seem the least interested in pointing out how the freedmen would need protection. And John Shawnessey seemed like the type of character – judging from his pre-war and wartime views on abolition – who would be interested in the fate of those former slaves. Unfortunately . . . the topic never came up.

I have two last complaints about “RAINTREE COUNTY” – its score and title song. I was surprised to learn that Johnny Green had earned an Academy Award nomination for the score he had written for the movie. How in the hell did that happen? I found it so boring. And bland. It was a miracle that the music did not put me to sleep while watching the film. Producer David Lewis had hired Nat King Cole to perform the movie’s theme song, also written by Green. Look, I am a big fan of Cole’s work. But not even he could inject any real fire into this song. Like the score, it was dull as hell. And the song’s style struck me as a bit too modern (for the mid 1950s) for a period movie like “RAINTREE COUNTY”.

Was there anything about “RAINTREE COUNTY” that I enjoyed? Well . . . I enjoyed the art direction and set decorations featured in it. Both teams received deserved Academy Award nominations for their work. Academy Award winner Walter Plunkett (who had won for “GONE WITH THE WIND”) had received an Oscar nomination for his work in this film:

However, I have noticed that like his costumes for female characters in “GONE WITH THE WIND”, Plunkett’s costumes for “RAINTREE COUNTY” have touches of modern fashion in them . . . especially some of the hats worn by Elizabeth Taylor and Eva Marie Saint.

The movie also featured scenes and sequences that I enjoyed. I thought the Fourth-of-July foot race between John Shawnessey and “Flash” Perkins rather permeated with the atmosphere of a mid-19th century Midwestern town. I also enjoyed the humor featured in this sequence. I was also impressed by the New Orleans ball that John and Susanna had visited during their honeymoon, along with John’s visit to a New Orleans “quadroon ball” (I think it was) in order to privately speak with Susanna’s cousin Bobby Drake. Thanks to Dmytryk’s skillful direction and the production designs, I was impressed with the sequence that began with the celebration of Abraham Lincoln’s election as president on Freehaven’s streets and ended with the party as the Shawnessey home held in honor of Susanna’s emancipation of her two slaves. Another sequence that impressed me featured Susanna’s revelations about the true circumstances of her parents’ deaths to John. I found it very dramatic in the right way and it featured a fine performance from Elizabeth Taylor.

But the one sequence I actually managed to truly enjoyed featured John Shawnessey’s experiences as a Union soldier with the Army of the Cumberland. The sequence began with John’s humorous and enjoyable reunion with both “Flash” Perkins and Professor Stiles (who had become a war correspondent). The film continued with a fascinating montage featuring John and Flash engaged in battles at Chickamauga, Resaca and Atlanta, punctuated by Professor Stiles’ grim and sardonic commentaries on the warfare. The action and suspense, along with my interest, went up several notch when John and Flash had become two of Sherman’s “Bummers” (foragers) during the general’s march through Georgia. The entire sequence featured the pair’s arrival at Susanna’s Georgia home, the discovery of young Jim Shawnessey and their encounter with a Georgia militia unit led by a wily Confederate officer. This sequence featuring John’s Army experiences proved to be the movie’s high point . . . at least for me.

“RAINTREE COUNTY” featured some decent performances from the supporting cast. Walter Abel and Agnes Moorehead portrayed John’s parents, T.D. and Ellen Shawnessey. I found Moorehead’s performance satisfactory, but I thought Abel’s portrayal of the idealistic Shawnessey Senior rather annoying and a bit over-the-top. I have to say the same about John Eldredge and Jarma Lewis, who portrayed two members of Susanna’s Louisiana family. DeForest Kelley (who was eight or nine years away from “STAR TREK”) seemed both sardonic and witty as the Confederate officer captured by John and Flash. Rosalind Hayes gave a poignant performance as the housekeeper formerly owned by Susanna’s Georgia family, who rather “delicately” explained Susanna’s emotional turmoil to John.

The supporting performances in “RAINTREE COUNTY” that really impressed me came from Lee Marvin, who was a delight as the extroverted and good-natured Orville “Flash” Perkins. A part of me wishes that his role had been bigger, because Marvin’s performance struck me as one of the film’s highlights to me. I heard that Rod Taylor had went out of his way to be cast as the local scoundrel (read: bully) Garwood Jones. Taylor gave a first-rate performance, but his role struck me as a bit wasted throughout most of the film. I was impressed by Tom Drake’s restrained, yet sardonic portrayal of Susanna’s Cousin Bobby, especially in the scene in which he revealed that Susanna had been somewhat older at the time of her parents’ deaths. Nigel Patrick gave a very memorable performance as John’s mentor, Jerusalem Webster Stiles. Mind you, there were times when I found Patrick’s performance a bit theatrical or overbearing. But I also found his performance very entertaining and humorous – especially his monologue for the Army of the Cumberland montage in the film’s second half.

Eva Marie Saint had the thankless task of portraying the one character that most moviegoers seemed inclined to dismiss or ignore – local belle and John Shawnessey’s first love, Nell Gaither – the type most people would dismiss as some bland All-American girl. And yet, the actress managed to add a good deal of fire, passion and intensity in her performance, transforming Nell into a surprisingly complex character with some semblance of tartness. Elizabeth Taylor was luckier in that she was cast as the movie’s most interesting character – Susanna Drake Shawnessey. Taylor, herself, had once pointed out that she seemed to be chewing the scenery in this film. Granted, I would agree in a few scenes in which I found her Susanna a bit too histronic for my tastes. And Taylor’s Southern accent in this film struck me as somewhat exaggerated. I found this surprising, considering that I found her Upper South accent in 1956’s “GIANT” more impressive. But in the end, I could see how Taylor had earned her Oscar nomination for portraying Susanna. She took on a very difficult and complex character, who was suffering from a mental decline. And I was especially impressed by her performance in that one scene in which Susanna finally revealed the details behind her parents and Henrietta’s deaths. No wonder Taylor ended up receiving an Oscar nod.

Poor Montgomery Clift. He has received a great deal of flack for his portrayal of the film’s main protagonist, John Shawnessey. Personally, I agree that his performance seemed to be lacking his usual intensity or fire. There were moments when he seemed to be phoning it in. Many critics and moviegoers blamed his alcoholism and the car accident he had endured during the movie’s production. Who knows? Perhaps they are right. But . . . even if Clift had not been an alcoholic or had been in that accident, he would have been fighting a losing battle. John Shawnessey never struck me as an interesting character in the first place. Perhaps Clift realized it and regretted his decision to accept the role. However, the actor actually managed to shine a few times. He was rather funny in one humorous scene featuring Saint’s Nell Gaither and Taylor’s Garwood Jones. He was also funny in the moments leading up to John’s foot race against Flash Perkins. Clift certainly seemed to be on his game in the scene featuring John’s angry confrontation with Susanna over her slaves. Also, he managed to create some good chemistry with Marvin and Patrick during the Civil War sequence.

Yes, “RAINTREE COUNTY” had some good moments. This was especially apparent in the film’s Civil War sequences. I found the movie’s production values up to par and I was especially impressed by Walter Plunkett’s costume designs. Most of the cast managed to deliver excellent performances. But in the end, I feel that the movie was undermined by lead actor Montgomery Clift’s listless performance and uneven direction by Edward Dmytryk. However, the real culprit for “RAINTREE COUNTY” proved to be the turgid and unstable screenplay written by Millard Kaufman. Producer David Lewis should have taken one look at that script and realize that artistically, it would be the death of the film.

“Unnecessary Time Periods”

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“UNNECESSARY TIME PERIODS”

I am a big fan of the DCEU or at least the franchise’s first phase. I am also a fan of the 2017 hit film, “WONDER WOMAN”. I was also pleased to discover that the film has managed to convince Hollywood studios – especially Warner Brothers and Disney – to create more comic book movies with a female protagonist. 

But my pleasure in both has somewhat been muted by what seemed to be a growing trend in Hollywood – to have these upcoming movies set in the past. Why? Because the successful “WONDER WOMAN” film was set in the past – during the last week or two of World War I? I had no problems with this, considering that “BATMAN V. SUPERMAN: DAWN OF JUSTICE” had established Diana Prince aka Wonder Woman’s presence during that conflict with a single photograph. Hell, the television series from the 1970s had established Wonder Woman’s origin story during World War II during its Season One and brought her character into the present (late 1970s to early 1980s) in the seasons that followed.

However, I learned that the second Wonder Woman movie starring Gal Gadot will be set in 1984. To drive home that point, it is called “WONDER WOMAN 1984”. Personally, I do not understand this decision. Was this Warner Brothers and Patty Jenkins’ attempt to cash in on the first movie’s success? Was it to undermine the back story for Wonder Woman that was established by Zack Snyder in both “BATMAN V. SUPERMAN” and “JUSTICE LEAGUE” in order to make her seem like a more ideal character? Who knows. But this movie will definitely establish a plot hole in the franchise’s overall narrative.

Warner Brothers also plans to create and release “SUPERGIRL”, who happened to be Kara Zor-El, the first cousin of Clark Kent aka Superman. And they plan to set this movie in the 1970s. Why? Apparently, Supergirl is the older cousin and to the movie’s screenwriters, it made sense that she would reach Earth before him. But . . . “MAN OF STEEL” and “BATMAN V. SUPERMAN”had already established that Superman was the first powerful alien to become known to Humans. In fact, there have been others before the arrival of General Zod and his followers who were aware of Clark’s powers. You know . . . like Jonathan and Martha Kent, some of Smallville’s citizens and Lois Lane. By setting “SUPERGIRL” in the 1970s, Warner Brothers would again . . . undermining a narrative point established in previous films. Why not follow the example of the television shows like “SUPERGIRL” and “SMALLVILLE” on the CW by having Kara aka Supergirl’s spacecraft knocked off course and forced into the Phantom Zone for a decade or two? So, by the time Kara finally reached Earth, her cousin Kal-El would have grown up and become Superman. Why not use this scenario?

“WONDER WOMAN”, Marvel’s Kevin Feige had finally decided that the Marvel Cinematic Universe (MCU) will feature a comic book movie with a woman in the starring role . . . namely “CAPTAIN MARVEL”. Mind you, I still find it cowardly that Feige had decided to wait until the success of another studio to produce a movie featuring a comic book heroine in the lead. Especially since the character Natasha Romanoff aka Black Widow has been part of the franchise since the 2010 movie, “IRON MAN 2”. However . . . I discovered that “CAPTAIN MARVEL” will be set in the 1990s. And I ask myself . . . why?

The official word is that the movie’s time period is being used to set up Nick Fury’s trajectory toward forming The Avengers years later. After all, both Samuel L. Jackson and Clark Gregg as future S.H.I.E.L.D. Directors Nick Fury and Phil Coulson will be in the film. But this is so unnecessary. I realize that Tony Stark aka Iron Man was not the first enhanced being or metahuman (so to speak) to attract the attention of S.H.I.E.L.D. Fury must have known about Steve Rogers aka Captain America’s war service in “CAPTAIN AMERICA: FIRST AVENGER”. He must have known about Hank Pym and Janet Van Dyne’s S.H.I.E.L.D. activities in the 1980s as Ant-Man and the Wasp. And her certainly knew about Dr. Bruce Banner’s experiments in gamma radiation and eventual transformation into the Hulk before the events of “THE INCREDIBLE HULK”. After all, 2008’s “THE INCREDIBLE HULK”was not an actual origin movie. So, I find myself wondering why Feige found it necessary to set up Fury’s trajectory with enhanced beings with Carol Danvers aka Captain Marvel . . . in the 1990s. Unless “CAPTAIN MARVEL” is simply another attempt by a studio or producer – in this case, Kevin Feige and the MCU – to cash in on the success of “WONDER WOMAN”. Why not just admit it? Especially since it seems so obvious.

And by the way, why are all of these films led by a comic book heroine? Just because “WONDER WOMAN” was set in the past, there is no reason why every single comic book movie with a woman in the lead have to be set in the past? What is the point in all of this? Yes, “CAPTAIN AMERICA: THE FIRST AVENGER” was set in the past. However, the following two movies featuring Captain America were set in the present. So, why did Marvel feel it was necessary to set “CAPTAIN MARVEL” in the past? Why is it that none of the other MCU movies led by men set in the past? Why did Warner Brothers believe it was necessary to set its second Wonder Woman and Supergirl films in the past? Has this been the case for any of their movies with a male lead or ensemble-oriented movies like “SUICIDE SQUAD”?

I found myself wondering if there is another reason why these three upcoming comic book heroine movies are being set in the past. But I could not find any. The time periods for these films are so unnecessary and an obvious attempts to copy the success of “WONDER WOMAN”. The thing is . . . Wonder Woman’s past during World War I and the photograph discovered by both Bruce Wayne aka Batman and Lex Luthor allowed them to recognize her as a possible metahuman or enhanced being. For me, there is no good reason for “WONDER WOMAN 1984”“SUPERGIRL” or “CAPTAIN MARVEL” to be set in the past.

“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.

 

 

“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.