Thursday, November 23, 2017
Stella Smith was popular with the artists for whom she posed, and not necessarily because of her virtues as a model. In fact virtue is not the first word that would come to mind when describing Stella. She was also rather ruthless in her pursuit of men, a quality that did not endear her to some of the other models. The list of people with a grudge against Stella Smith is rather a long one (it includes just about everyone who knew her). The problem for Inspector West (Ballard Berkeley) is deciding precisely where to start.
Kenneth Wills is another artist who might have had a reason to kill Stella. Kenneth thinks he’s a ladies’ man, an opinion which the ladies unfortunately do not share. Martin Soames might perhaps have had a reason to murder Stella, a reason with its roots in the past. There is no obvious reason why lady artist Theo Castle (Hy Hazell) would have wanted Stella dead, except that pretty much everyone seems to have wanted Stella dead. Model Hazel Carr (Mary Germaine) had excellent reasons to hate Stella as well.
As so often with 50s British B-movies the cast contains lots of familiar faces and lots of very capable actors. Hy Hazell gets top billing as the elegant and slightly mysterious Theo Castle and she’s all that we expect a lady artist to be. Elwyn Brook-Jones is deliciously oily as Soames. Mary Germaine is fairly impressive as Hazel, a girl we might not be quite sure of at first - she might be a bit of a schemer or she might be a nice girl who has just decided that Clayton is the man she wants and now she’s going to make sure she gets him.
The murder of models was a popular subject for murder mysteries at the time, offering opportunities for glamour and some very mild titillation. And of course since artists and models are all eccentric, socially inept and at least slightly wicked the art world provides an absolutely splendid background for murder and mayhem.
The blackout angle involving Clayton Hawkes adds some amusing melodrama.
Crime movies are easy to make on limited budgets and were therefore an extremely popular B-movie genre on both sides of the Atlantic. The British film industry developed an extraordinary capacity for churning them out in large numbers whilst still maintaining a consistently high standard. The Night Won’t Talk is an unassuming but very enjoyable example that ticks all the right boxes and doesn’t really put a foot wrong during the course of its modest 61-minute running time. Highly recommended.
Thursday, November 16, 2017
Tibère (Sami Frey) is a good looking and very personable young man and as the film begins he is hanging about the airport in Paris. He needs an airline stewardess. He needs an airline stewardess very badly. Not for the reasons you might think, but because he has a job lined up for which a stewardess would be peculiarly suited. Tibère is a gold smuggler. He’s a good-natured and charming gold smuggler, but he is a criminal nonetheless.
He finds Eléna (Sylva Koscina). He smooth talks his way back to her apartment where he discovers that he’s found the mother lode. In this apartment live no less than three stewardesses. It’s just a matter of deciding which one to pick. Tibère is sure this will no problem. He has sublime confidence in his ability to persuade girls to do things.
Eléna is a sweet girl but quite crazy, in an adorably feminine way. The other two girls, Lolotte (Renate Ewert) and Mélanie (Mylène Demongeot), are just as crazy and just as adorable.
All three girls have boyfriends but of course they don’t let such details interfere with their love lives (this is Paris after all).
Before the gold smuggling plot really kicks in we get the usual series of romantic misunderstandings and misadventures as Tibère tries to bed all three girls none of whom seem likely to put up much resistance, although the boyfriends do cramp their style just a little.
This was 1963 so while it’s trying to be slightly naughty it’s really all very innocent. There is absolutely no nudity and the sex scenes are what you used to get in 1940s movies, in other words there are aren’t any but you do know when the camera cuts away that something is going to happen. The movie’s mildly risque but actually rather innocent tone is quite appealing. The risque elements come from the situations. There’s virtually no sexual innuendo in the dialogue.
Sami Frey makes a convincing charming rogue. The three girls are delightful. Mylène Demongeot is not as well-known in English-speaking countries as she is on the Continent but she makes a wonderful and very likeable leading lady. Sylva Koscina (another actress much better known in Europe) is even more engaging as the gloriously ditzy and incredibly cute Eléna.
The Bear and the Doll. They made romantic comedies that may not have been brilliant but were at least quite entertaining.
This is very much a feel good movie. The main reason for watching is the joy of seeing the three lead actresses putting everything they’ve got into their performances and looking lovely while doing so. It’s a harmless and fairly enjoyable of spending a bit under an hour and a half. The Girls’ Apartment is worth a look if you don’t set your expectations too high.
This movie is available as part of a very expensive Michel Deville DVD boxed set but that sadly appears to be its only appearance on DVD.
Thursday, November 9, 2017
This is a spy mystery rather than a straight murder mystery although of course there will be murder as well.
Charlie Chan is working undercover in Panama City (although why he should be involved in counter-espionage work is never explained). The city is full of spies and the US fleet is about to pass through the Canal. Those spies are certain to try to sabotage the fleet!
A US government agent is murdered just as he is about to give Charlie vital information. The agent had just flown in and the circumstances make it almost certain that the killer was a passenger on that sea-plane.
Everyone in Panama City is in the grip of spy fever. And anyone expressing even the mildest interest in the comings and goings of the American fleet can find himself very quickly arrested as a spy - and this includes not just Charlie Chan but his exasperating offspring Jimmy Chan as well!
The only way Charlie can trap the spy is to set a trap for him, but he will have to use himself and all the other suspects as live bait.
The identity of the master spy seems obvious right from the start but to their credit screenwriters John Francis Larkin and Lester Ziffren do manage to spring a surprise on us in the last reel.
Sidney Toler is in fine form. The support cast is pretty good, with Lionel Atwill being enigmatic and possibly sinister and Jean Rogers making a fairly effective European Woman of Mystery while being rather sweet and helpless as well. Victor Sen Young’s comic relief is bearable.
Charlie Chan in Panama is a solid enough entry in the Chan cycle, with a touch of exotic glamour (naturally all done in the studio or the backlot) and some excitement. Recommended.
Thursday, November 2, 2017
The Phillips family are southern aristocracy, wealthy mill-owners with immense pride. Avery Phillips (Barry Sullivan) is the nominal head of the family. The actual head of the family is his wife Eva. Eva is no southern belle. She’s a Yankee, a fact that will turn out to be quite important.
Eva’s cousin Jennifer Stewart (Lucy Marlow) is the penniless poor relation who has been invited to stay. Eva’s explanation for this move is that she is lonely. We might be sceptical, but it might be true. Jennifer is a nice girl but hopelessly innocent and naïve. She is overwhelmed by Eva’s apparent kindness, and by her charm and glamour.
Jennifer is naïve but she isn’t stupid and slowly she puts the pieces together. Carol had told her that Eva is like a queen bee who stings all her rivals to death and Jennifer begins to realise how true this is. Eva’s manipulations are breathtakingly blatant but they work because she knows what she wants and she will use any methods, any methods at all, to achieve her ends. At the moment her project is to prevent Carol’s marriage. Eva hopes to rekindle an old romance with Jud Prentiss. Whether she really wants Jud or whether she just wants him because Carol wants him is never made clear but given Eva’s personality both possibilities are plausible. And Eva has stolen other women’s men before. She likes doing that. It reassures her that she is irresistible to men. Especially now that the years are creeping up on her.
It’s an extraordinary performance by Crawford. She goes way over the top but she never loses control. Crawford understood melodrama and she knew exactly how far she could push a performance. She could push it very far indeed.
What’s interesting is that although Eva is one of the screen’s most horrifying monstrous women Crawford does show us the other side to the story. Eva has always felt that as a Yankee she was never going to be accepted, and not being as blue-blooded as the Phillips family made her even more of an outsider. She is a frightened lonely woman. She is terrified by the passing of the years and terrified of losing her power over men because that’s all she has. Crawford does not exactly make her sympathetic but at least we can understand how she became a monster and that makes her more human. And human monsters are more interesting than inhuman ones.
Ranald MacDougall wrote and directed Queen Bee. As a director he’s no more than competent but as a writer he’s top notch. The script is peppered with deliciously bitchy dialogue and he clearly understands what melodrama is all about.
The Columbia DVD has no extras worth noting but it offers a fine anamorphic transfer.
Crawford’s venomous performance makes Queen Bee glorious entertainment. Highly recommended.