“Yes, I can see how a reformer might feel a little out of place here — sort of like a schoolteacher waking up in a harem.”
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“This letter places an entirely different complexion on the whole case.”
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However, Peary accurately points out that “perhaps the most interesting character is Stephenson, who despises Davis yet commits a crime for her… that could ruin his career”.
Peary argues that “obviously, [Stephenson] finds himself intrigued by [Davis’s] wicked nature because that’s what makes her special and excitingly different from his conventional wife”; however, it’s equally plausible that Stephenson merely feels loyalty to his long-time friends, and dedicated to carrying out his promise of acquittal. Character motivations aside, the film itself remains a wonderfully produced and directed piece of exotic noir. As Peary writes, “Wyler’s direction is moody” (I would use the word “atmospheric” instead), and “there are long passages in which dialogue is sparse or nonexistent and the erotic tension is built through Max Steiner’s music, shadows, sounds (wind, wind chimes), the moon floating through the clouds, character movements and expressions”; Tony Gaudio’s stark cinematography contributes as well to the film’s sense of mystery and menace. However, while Peary argues that “the worst aspect of the film is the embarrassingly invidious portrayal of the non-white characters, which almost justifies the colonialists’ matter-of-fact racism”, I can’t really agree with this assessment. True, it would have been better to cast an Asian (or Eurasian) actress in Sondergaard’s role:
… but her performance as a bitter woman grieving her murdered husband isn’t particularly offensive (I don’t blame her for feeling vindictive!); and Victor Sen Yung’s portrayal as her deceptively obsequious courier is far from dumb or demeaning, instead effectively demonstrating alternate forms of power played out by savvy non-Europeans in a neo-colonial arena.
Redeeming Qualities and Moments:
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“I didn’t do anything to the commissars — Paris did!”
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… but poor Charisse fares even worse; her wooden performance can’t help evoking consistently unkind comparisons to Garbo.
On the plus side, there’s plenty of Charisse’s incomparable dancing to enjoy: her “Silk Stockings” solo is a highlight:
… as are her performances with Astaire (“Fated to Be Mated”) and the rest of the cast (“Red Blues”).
Also adding to the film’s enjoyment is a spirited performance by Janis Paige as “Peggy Dayton”, whose character — “America’s swimming sweetheart” — was obviously modeled after Esther Williams; her “Stereophonic Sound” duet with Astaire is especially fun and lively. However, while those enamored with Charisse’s uniquely fluid cinematic dancing style will clearly want to check this one out, others needn’t bother. Redeeming Qualities and Moments:
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“You saved my life, so you owe me something.”
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Response to Peary’s Review: With that said, I do have some complaints of my own: while Grayson’s romantic timidity makes sense to me, she’s simply not a very nuanced or interesting character (and her singing style is way too dated to appeal to most viewers). Even worse, the film goes on for far too long (2 hours and 20 minutes!), and the storyline really isn’t all that compelling. Its primary calling card — what all viewers immediately think of when they recall the film in their minds — is Kelly’s “celebrated duo with MGM cartoon star Jerry the mouse”, executed to perfection; any film fanatic unfamiliar with this number should immediately check it out on YouTube. In addition, as Peary notes, “Sinatra’s singing (of okay songs by Jules Styne and Sammy Cahn) is silky smooth” and the “MGM Technicolor is gorgeous”. However, while it’s recommended for one-time viewing, this film is only must-see for musical fans and/or devotees of either Kelly or Sinatra. Redeeming Qualities and Moments:
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“You see, a soul’s rather like your appendix — totally expendable.”
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Response to Peary’s Review: I’m essentially in agreement with Peary’s review — though I disagree with his assertion that its “delight today is to catch a nostalgic glimpse of [the] once-wonderful comedy team”. Indeed, most modern viewers will never have heard of Cook-and-Moore (unless they’ve seen the duo in The Wrong Box), and will primarily be familiar with Moore from his later (solo) work, in 10 (1979) and the Arthur films. Therefore, the film must stand on its own as a comedy — and to that end, I believe it still “works”. While it may not be uproariously funny, the very premise itself — that “Cook’s Satan is more of a prankster than Evil personified” — is clever enough to keep one consistently engaged; I found myself especially eager for the “inter-vignette” moments, to see where and how Cook would next be wreaking gentle havoc on the Earth (by, for instance, “ripping out the last page of Agatha Christie mysteries, scratching record albums, making grocery bags tear open, setting wasps loose on picnickers”:
… or “calling up women and revealing to them their husbands’ infidelities”:
… as Peary writes in his Cult Movies 2 review). It’s all good fun, and certainly worth a one-time look by film fanatics, especially given its (onetime?) cult status. Note: Raquel Welch’s appearance here — as Lust personified — is brief but memorable.
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“Men like Scarabus thrive on the apathy of others.”
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Karloff’s culminating duel with Price — while marred somewhat by corny low-budget special effects — remains the film’s undisputed comedic highlight. Watch for a young, handsome Jack Nicholson, who gives a decent (if not particularly inspired) performance as Lorre’s son.
Note: Karloff co-starred in another Poe-related film entitled The Raven (1935) nearly 30 years earlier; the two would make an interesting double-bill. Redeeming Qualities and Moments:
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“Pardon me, ladies, but could you spare a coin for a moral cripple?”
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“I don’t think he’s quite dead enough yet to bury.”
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A similarly painful gag involving Jameson’s terrible singing voice is milked dry as well. The allure of getting to see so many prime horror icons together onscreen, and/or a respect for Tourneur’s prior classics — such as Cat People (1942) or Night of the Demon (1957) — is clearly what will tempt most film fanatics to check this one out; however, as noted in Time Out’s review, “With credentials of this calibre, the movie could hardly fail, but it comes perilously close”. Be forewarned. Redeeming Qualities and Moments:
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“With one small inoculation, I can add years to your life – now, at once! How can you even hesitate?”
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“It’s like a top secret that everyone knows — like the day before D-Day.”
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