“There was blood — the old man’s blood — on her hands, under her nails.”
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Director Jean Yarbrough and cinematographer George Robinson do manage to effectively employ shadows in their atmospheric camerawork — but ultimately they can’t lift this silly film above its nonsensical and uninteresting script. Redeeming Qualities and Moments:
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“The only type of killing that’s safe is when a stranger kills a stranger — no motive, nothing to link the victim to the execution.”
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“I know a sure cure for a nosebleed: a cold knife in the middle of the back.”
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“You just tell Mollymauk what you want, Mollymauk will get it for you — we have a deal, remember?”
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Response to Peary’s Review: Tuesday Weld (with her perennially child-like face) turns in one of her best performances here as Barbara Ann, a greedy yet oddly sympathetic high school beauty who’s surprised to find herself suddenly achieving her goals, one by one; the hilarious scene in which she practically seduces her estranged father (Max Showalter) into buying her 13 cashmere sweaters in various luscious colors — including “Grape Yum Yum,” “Periwinkle Pussycat”, and “Papaya Surprise” — is reason enough to recommend the film. The supporting performances are uniformly fine as well; my favorites include Harvey Korman (pre-Carol Burnett) as Barbara Ann’s easily distracted high school principal, and Ruth Gordon as Barbara Ann’s arrogant new mother-in-law (“In our family, we don’t divorce our men, we bury them!”). Unfortunately, the story begins to lose momentum once Barbara Ann marries a boring marriage counselor (Martin West) and instantly regrets doing so — McDowall’s failed attempts to “get rid of” West are out of character with his otherwise infallible powers. Equally disappointing is the denouement, in which McDowall “confesses” unconvincingly to the “true” motivations behind his actions. Nevertheless, there’s enough of interest in Lord Love a Duck to recommend it as must-see viewing for all film fanatics at least once. Redeeming Qualities and Moments:
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“Boy, I sure don’t see what all the fuss is about.”
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“You’re going to think I have an awful dirty mind, David — I change it so often.”
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… we’re taken along for a fast-paced ride as Jody-cum-Goldilocks “accidentally” sleeps in a publicity-conscious senator’s house:
… takes advantage of his compassion, then quickly reveals her true nature as a deeply manipulative — and deeply troubled — juvenile delinquent. Ann-Margret is perfectly cast (and appropriately over-the-top) as Jody, a wild-card teen with vicious claws; and while many have ridiculed John Forsythe’s performance as Jody’s “square” counterpart, he does a believable job reacting the way a compassionate yet publicity-paranoid politician most likely would. Just when we think the heated story is going to remain centered on Jody’s manipulation of David (will this red-blooded male — separated from his wife, no less — give in to Jody’s tempting sexual advances?), several new characters are introduced:
Peter Brown and James Ward are appropriately creepy and cocky as the hoodlum pals who show up on David’s doorstep, and Diane Sayer (equally good in The Strangler, released the same year) adds just the right touch of guilelessness to her role as “Midge”, a female hanger-on given to saying “Guy!” instead of “God!” By the time the story takes us to Tijuana (ever-reliable as a border-town location of crisis and chaos), we’re anxiously awaiting David’s opportunity to finally break free from the clutches of his juvenile hostage-takers; fortunately, the film’s ending — while improbable — is perhaps the most satisfying of all possible outcomes. Note: Kitten With a Whip was spoofed by the MST3K crew (and can be viewed in 10-minute installments on You Tube), but remains a rare entry in that series which bears watching on its own as well, without commentary. Redeeming Qualities and Moments:
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“You know what I am to you? An international complication.”
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Faring slightly better is Brian Aherne as her British lover, who at least brings some welcome energy to the proceedings.
While one knows that all will (or should) work out in the end, there are at least a few tension-filled moments along the way — ultimately, however, First Comes Courage remains resolutely “ordinary”, and will only be of real interest to die-hard Arzner fans. Redeeming Qualities and Moments:
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“Don’t you know anything about Fantasia? It’s the world of human fantasy. Every part, every creature of it, is a piece of the dreams and hopes of mankind.”
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Response to Peary’s Review: Note: Because the film contains a number of “difficult” scenes — including Atreyu’s beloved horse dying in a Swamp of Sadness, and Atreyu being persistently pursued by a vicious werewolf — The NeverEnding Story seems most appropriate for adolescents and adults rather than young, impressionable children. Redeeming Qualities and Moments:
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“Oh Ginger, face facts… When have you ever lasted in any job? What have you ever done in any job but dream about what you’d do with the next one?”
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Review: Note: Director Irvin Kershner makes excellent use of Montreal locales, seamlessly incorporating several vignettes which reveal the language tensions inherent in mid-century Canadian politics. Redeeming Qualities and Moments:
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“I’m sure I’ve met you before — I never forget a face, and you are good looking, you know!”
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… it defies belief that Schatze and Polaire would continue their friendship with her given her history of rampant double-crossing.
Indeed, it’s deeply unpleasant to watch Jean ruthlessly edging in on one relationship after the other while her friends stand by helplessly — by the end of the film, she’s becomes somewhat of a villainess, a development out of keeping for a story presumably about female solidarity. Ultimately, it’s just not very enjoyable to watch these three unlikely friends pursuing their (uninteresting and instantly forgettable) male catches. Redeeming Qualities and Moments:
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