Beneath the Planet of the Apes

Well, let's not mess with a good thing. I love the original Planet of the Apes, and it's been years since I caught up with its four sequels. While none of the sequels live up to the original's success, these are good movies (even if there was no need for any sequel). My personal favorite has always been the first sequel, 1970's Beneath the Planet of the Apes. 

Following where the previous NASA mission explored in deep space, a spaceship crashes on the same far-off planet, astronaut Brent (James Franciscus), trying desperately to survive. When the ship's commander (Tod Andrews) dies from his wounds, Brent is all alone among the wreckage. Thinking he's alone on this planet, Brent is shocked when a woman rides over the hill on a horse packed with supplies. The woman is Nova (Linda Harrison), and she's clutching the dog tags of Taylor (Charlton Heston) in her hand. Unable to speak, Nova can't communicate what happened to Taylor, Brent only knowing that he's landed on the right planet. Nova takes him to Ape City though, leaving the stranded astronaut stunned at what he's found. Now on the run, Brent and Nova must stay one step ahead of the gorilla army, an invasion planned for the mysterious Forbidden Zone.

Picking up exactly where the original 'Apes' left off, 'Beneath' is an interesting follow-up. Following the immense success of the first movie, Fox Studios went ahead with a sequel that star Charlton Heston wanted nothing to do with. That contract thing though, it gets in the way of what you want to do. Heston agreed to play a small part (he's only on-screen for about 10 minutes) with the demand that one sequel was all there would be. Well, he got his first part of the deal, but there were three more sequels to come. What's the result here? A solid sequel that stays true to the formula laid out by the first one, adding some new layers in the second half of a 95-minute movie. Early on, it feels almost like a scene-for-scene remake -- Brent going through what Taylor did -- but it's the second half that brings the movie up a notch or two.

Replacing Heston in the lead role is Franciscus, a good actor who never became a huge star in film or television. He was a familiar face though who does a solid if unspectacular job as Brent. The biggest issue with the character is what I mentioned earlier, Brent is just too similar to Taylor to really leave his own mark. Still, I liked Franciscus, and Brent does get his chance to step into the spotlight in the final act as we find out what's in the Forbidden Zone. Also returning from the first movie is Kim Hunter as the friendly, helpful intelligent Dr. Zira, Maurice Evans as the cynical, truth-hiding Dr. Zaius, David Watson replacing Roddy McDowall (other obligations) as Cornelius', Zira's husband and fellow scientist. Also joining the cast is James Gregory as General Ursus, the commander of the army who's obsessed with leading an invasion into the Forbidden Zone.

So what exactly is out there, hiding away in the Forbidden Zone? SPOILERS in this paragraph SPOILERS Chased by a squad of gorilla cavalry, Brent and Nova ride into the Forbidden Zone, hiding away in a subterranean cavern that ends up being the subway tunnels underneath New York City. They find a community of mutants who survived the original atomic blasts and now worship a Doomsday bomb that was built strong enough to destroy the world. What to do, what to do? The mutants have no way of protecting themselves while the invading gorilla army intends to wipe out anything they find in the Forbidden Zone. Brent, Nova and Taylor are caught in the middle to look for a solution, however dangerous. Look for Paul Richards as Mendez, leader of the mutants, with Victor Buono, Jeff Corey, Natalie Trundy, Don Pedro Colley and Gregory Sierra his Mutant Cabinent of sorts.

Where 'Beneath' sets itself above the other sequels is in the road the story goes down in the final act. A familiar story up to that point, it takes a big turn....for the better. I don't want to give spoilers away because like the original, the ending resonates more if you're surprised at where it goes. You know me by now, I'm a sucker for a dark, brutally cynical ending. This one sets the bar pretty high, unceremonious in how it knocks off certain characters, the final twist coming and going in a flash. That's it. That's all. Movie over. An underrated sequel for sure, well worth checking out for science fiction fans, especially for fans of the Apes series. Next up, Escape from the Planet of the Apes!

Beneath the Planet of the Apes (1970): ***/****

PT 109

John F. Kennedy  is known for any number of things from a tragically shortened life. His beautiful wife, Jackie, his supposed affairs with Marilyn Monroe among others, his charm and popularity, his turbulent presidency that included the Cuban Missile Crisis, and most tragically, his assassination under the rifle of Lee Harvey Oswald. One of the most fascinating parts of his adventure-filled life? His World War II exploits as told in 1963's PT 109.

While the fighting rages in the Solomon Islands in the Pacific in 1943, Lt. John F. Kennedy (Cliff Robertson) arrives at a small naval base specializing in patrol torpedo boats (PT) meant to keep Japanese forces at bay. Kennedy is given command of PT 109, a beat-up old boat that has seen far better days. He's given just a week to get the 109 ready for action, assembling a crew, including Ensign Leonard Thom (Ty Hardin), cleaning the boat, and rehabbing the engines. They manage to come in under deadline, Kennedy, his crew and the 109 thrust immediately into action. The day-to-day life of a PT boat is a dangerous one though, the boats meant to be used to buy time while the U.S. Navy still tries to recover from Pearl Harbor. Patrols, routine or not, rescues, deliveries, Kennedy and his crew take it all on, but the mission that will put them all in the history books awaits one pitch-black night in the Blackett Strait in the Solomon Islands.

One of my favorite movies growing up, I can still go back and visit this 1963 WWII movie from director Leslie H. Martinson and enjoy it from beginning to end. This isn't the most hard-hitting of movies, but like some other WWII movies from Warner Bros., there is a distinct visual look, a professionalism and a straightforward style that plays well. Could things be tightened up a bit with a 140-minute movie? Sure, here and there, but it's an excellent story and film just the same. It was filmed in the Florida Keys, and it's sunny and sandy with plenty of palm trees to help stand in for the Solomon Islands in the Pacific. The musical score from composers David Buttolph and William Lava knows when to lighten the mood and when to show the developing drama, a score that sounds similar to another Warner Bros. WWII movie, 1962's Merrill's Marauders.

Released in theaters less than six months before his death in Dallas, PT 109 was made with the help of Kennedy right in the midst of his term as President. He even had final say on the actor who would play him, Robertson being his ultimate choice. It ends up being a great pick, one that makes the movie far more memorable in my eyes. Besides the striking physical resemblance -- look at Robertson in an iconic JFK picture HERE -- Robertson nails the heroic, likable, charming part of a future American president. That's the movie's goal, to show Kennedy as a hero. More on the details in the next paragraph, but Kennedy's actions were more than enough so Martinson didn't have to stretch things too much. Robertson's Kennedy is smart, quick with a comeback and a plan, a leader who's respected by his men and fellow officers, and a capable commander with a knack for doing the right thing. It's not the most in-depth characterization, but it never set out to be. Kudos to Robertson, already one of my favorites.

Semi-SPOILERS from here on in. The truth of the story behind PT 109 is remarkable in itself. Patrolling in the Blackett Strait a dark August night, the 109 was struck by a Japanese destroyer similarly on patrol. Kennedy's boat was ripped in two pieces, two crewmen killed in the collision. Banding the men together, Kennedy got the survivors to swim to a far-off island and hopefully wait for survival. What followed is and was an inspiring story in itself, Kennedy ultimately winning the the Congressional Medal of Honor for his heroic actions. The movie itself is divided into two halves, the first introducing Kennedy, the crew, the boat and their exploits, the second half following its chapter in history as a Japanese destroyer tears the little boat apart. Both halves are excellent, but it's hard to beat the second half as the survivors desperately wait for help in one form or another, Kennedy swimming out into the Strait at night to flag down an American ship.

While the focus is obviously on Robertson as Kennedy, the supporting cast is very solid without stealing the spotlight. Hardin as 2nd-in-command Ensign Thom has a good chemistry with Robertson, Robert Blake, Norman Fell, and Biff Elliot starring as the most visible of the 109's crew. James Gregory is a scene-stealer as Commander Ritchie, the leader of a squadron of PT boats, a veteran officer who's never seen combat but is always searching for the best out of his men. Even Robert Culp shows up at the halfway point as Ensign Barney Ross, an old friend of Kennedy's who ends up on the 109 for its fateful mission, Michael Pate making a memorable appearance as Evans, an Australian coastwatcher who plays an integral part in the eventual rescue of Kennedy and the remaining survivors. Also lending his voice talents in an uncredited narrator role is Andrew Duggan. 

This isn't a WWII movie that rewrites the genre. It is a movie meant to honor the heroics of future president John F. Kennedy, and it does it well. Exciting with some good action, some genuine laughs and some lighter moments, and Robertson in a great leading part as Kennedy himself.

PT 109 (1963): *** 1/2 /****
Rewrite of August 2010 review

The Big Caper

Nothing flashy, nothing new to the genre, I still very much liked 1957's The Big Caper. Solid cast, interesting B-movie characters, and some bad guys as part of a heist crew that are just too much to believe. A classic? Nope, but it's pretty good for what it is, an entertaining heist movie that doesn't try to be anything that it isn't.

Several months removed from his last successful job, Frank Harper (Rory Calhoun) has ran out of money and has found a new job, one that he could retire on if it goes through. A poorly guarded bank with minimal security twice a month holds the payroll for the Marine base and Camp Pendleton, and to Frank, the money is begging to be taken. He approaches partner and bankroll, Flood (James Gregory), who agrees to go along with the plan. As a set-up, Frank and Flood's girl, Kay (Mary Costa), move into town, buy a gas station and a house, setting up shop as a young, married couple. Creating an alibi, they live there several months in preparation for the job, and then Flood's crew shows up. Let the trouble begin.

The one twist on the familiar noir-heist thriller was the 'what if?' concept added into the story. Setting up a nice, little life for themselves, Frank and Kay become a part of suburban life. Frank makes a profit at his gas station, Kay creates a home for the "couple" and things are looking all around pretty good for them. Kay wants nothing more than to get away from the menacing Flood while Frank's tortured past and childhood seemingly won't let him appreciate what he has.  Kay tries like crazy to convince him otherwise. We're not talking Shakespeare here, but it was nice to see at least some effort by a movie made to bring something new to the heist flick. The effort is very much appreciated.

A Just Hit Play favorite, Calhoun does what he does best here, the bad guy who maybe isn't so bad. He does the tough guy like nobody's business, treading that fine line between straight villain and flawed hero.  It's good to see him in a non-western too where he got pigeon-holed throughout the 1950s.  There's a definite chemistry with Costa, bringing some heart to their scenes together in idyllic suburban life. For you trivia fans, Costa was the voice of Princess Aurora in Disney's Sleeping Beauty so there you go. Being the more obvious sinister villain that he was born to play, Gregory is a scene-stealer, the crime kingpin who puts everything in motion. He doesn't seem like that bad of a guy until some problems arise pre-heist, and well, things go downhill from there. Not big names leading the way, but all strong performances.

This is a 1957 B-movie noirish heist story, and the bad guys have to be very bad to make Calhoun's Frank be sympathetic. Mission accomplished in that department. Let's start with some of Flood's crew, beginning with Zimmer (Robert H. Harris), an explosives expert who will create several diversions during the robbery. His flaw? He's an alcoholic pyromaniac who can never have too much gin. Next, there's Roy (Corey Allen), a fitness freak with some rapist tendencies, or at least some sexual issues that Flood plays up. There's also Harry (Paul Picerni), a ladies man and all-around dope, and Dutch (Florenz Ames), the safecracker who wants nothing to do with the crew or the take, just a flat rate for his services. Quite a crew to say the least, one of the more eccentric, eclectic heist crews I can think of.

So has any heist in a movie ever gone smoothly, including the getaway? Okay, the Ocean's 11 remake doesn't count. Of course George Clooney and Co. are going to pull off the job. It's pretty clear that this heist won't go smoothly. For starters, it's a supposed "easy" job, and we all know how that goes.  Translation = Epic fail. The heist sequence -- about 20 minutes long -- is solid, ratcheting up the tension, but it is in the aftermath where 'Caper' falls short a bit. Yes, it's Doom and Gloom time. I wanted an epically downer ending, but the story and/or script just doesn't have the guts. It is far from a happy ending, but more could have been done. Still good, but it could have been great.

This movie across the board has a lot going for it. Director Robert Stevens keeps things moving with an 84-minute movie that is aided by some California locations and a jazzy score from Albert Glasser that is good in that really obvious way, music blaring to tell you what's coming next. Basically a completely forgotten flick, well worth checking out if you stumble across it.

The Big Caper (1957): ***/****

The Sons of Katie Elder

At the height of his long and very popular career in 1964, John Wayne was diagnosed with lung cancer. He underwent surgery to remove one of his lungs and two ribs, putting him out of commission for awhile. Production was even delayed on the movie he was working on, but he returned following the surgery and a cancer-free Wayne returned with a bang, bringing his usual imposing presence to the criminally underrated 1965 western, The Sons of Katie Elder.

It's been 10 years since gunfighter John Elder (Wayne) has returned home to Clearwater, Texas, but when news reaches him that his mother, Kate, has died, he returns home. There he finds his three younger brothers, Tom (Dean Martin), a gambler, Matt (Earl Holliman), a hardware store owner, and Bud (Michael Anderson Jr.), the youngest. Dealing with the guilt of not having seen his mother in years, John and his brothers find out their father was killed just six months earlier under suspicious circumstances. The Elder ranch is now owned by Morgan Hastings (James Gregory), but no one is quite sure how he came to be the owner. The Elders want some answers as to what exactly happened, but mostly they're trying to do something for their long-suffering mother. John intends to do a right, proving that Kate's faith in her sons was well founded.

Coming back from cancer (although it would eventually kill him), this 1965 film marked a big of a turning point for the Duke. From here on in through the end of his career, Wayne could be accused more of playing himself repeatedly in more viewer-friendly, cookie-cutter movies. He knew what his fans liked, and he intended to give it to them. Take none of that as a negative, I love many of the post-1965 movies Wayne made. They're fun to watch and easy to digest. There are good guys and bad guys with little middle ground. You know how it will end before it even starts. Once again, the movie equivalent of comfort food. 'Sons' has a ton going for it, ranging from Elmer Bernstein composing one of his most underrated and memorable scores ever (listen to the main theme HERE) to the location shooting in Durango, Mexico and along the Rio Grande. It's the little things that count.  

There are better, more iconic westerns, but I think 'Sons' would be a fitting introduction to someone who either isn't a fan or just doesn't care for westerns. Above all else, this is a movie -- not just a western -- about family, in this case a family coming back together after years apart. Wayne is the oldest brother, John, a gunfighter who's name precedes him wherever he goes. Martin is the wily gambler, Holliman the button-down businessman, and Anderson Jr. the college dropout. The movie's best moments come from the quartet of brothers reuniting, talking, fighting, working to make the Elder name something to be proud of in their Ma's name. There isn't a weak performance in the bunch. The chemistry is spot-on, the dialogue crackles like four brothers actually would talk -- in love and fighting -- and when the time comes they put aside their differences to work together.

Who ends up being one of the more memorable characters is the never seen Katie Elder. We hear a lot about her from anyone who ever met her, not one person having something negative to say about her. Martha Hyer's Mary Gordon, the boarding house owner, gives a great monologue about Katie lying about her boys, telling the town they always sent money, always wrote to check in. Some of the best parts of Bernstein's score come in these quieter moments as both the Elders and the population of Clearwater reflect on Katie's passing. All she leaves behind is two worn dresses, a rocking chair, and a "legacy" of her four boys. The movie's final shot is a touching one, surprising for a western oater.

Not enough yet? Still haven't sold you on this one? 'Sons' has one of the best supporting casts to come out of a 1960s western. Start with Gregory as Hastings, the businessman looking to put Clearwater on the map, no morals needed. A young Dennis Hopper plays Hastings' squirrelly son, Dave. Western vet and character actor Paul Fix is a scene-stealer as Sheriff Billy Wilson, an old friend of the Elders trying to keep peace in his town with fiery deputy, Ben Latta (Jeremy Slate in a solid supporting role), at his side. In a small but key role, George Kennedy is particularly intimidating as Curley, a hired gun working for Hastings. Also look for John Doucette, John Qualen, Sheldon Allman, and Strother Martin in supporting roles.

From director Henry Hathaway, 'Sons' is never listed as one of the all-time western greats or even among John Wayne's best. Why? I'm not sure. There isn't a ton of action, most of the gunplay saved for the last 30 minutes, including a high tension shootout in El Saltito, Mexico, a gorgeous and familiar location for western fans. The story is very much more interested in characters and their dynamic than making a shoot 'em up flick. It's a wise choice. The script is about as perfect as a western can get, and the cast beyond perfect. Underrated in any number of categories, and one all movie fans should be able to enjoy -- western or not.

P.S. Watch the movie and tell me otherwise. I'm convinced Dean Martin's Tom is supposed to die in the end. One throwaway line saves him, but it always felt tacked on to me. Any opinions?

The Sons of Katie Elder <---trailer (1965): ****/****

The Silencers

Last month I reviewed Murderer's Row, the second of four Matt Helm movies.  Starring Dean Martin, these were spoofs that had some fun with the spy movie that was at the height of its popularity thanks to the success of the James Bond franchise.  In the last week or so, TCM had a spoof night and wouldn't you know it, another Matt Helm movie was on.  Having already jumped into these movies mid-series, I caught up with the first Helm movie, 1966's The Silencers.

Mulling over what to write about this one, all I could come up is that this wasn't going to be a very long review.  Judging by the two movies I've seen in the series, these are basically cookie-cutter variations on themselves.  To a point, the Bond movies are like that too, but there's almost always something unique, something different in each entry.  Not so much with the Helm movies.  I didn't think Murderers' Row was that good, but I gave it a lukewarm positive review because it was still mildly entertaining.  As for The Silencers, it wasn't nearly as good, not even close.

Brought out of retirement, ICE agent Matt Helm (Martin) is given a dangerous mission that involves the prevention of the destruction of the world....well, sort of.  Supervisor MacDonald (James Gregory) informs him that an organization called Big O (oh, that's too easy) has a plan to explode an atomic bomb over an American nuclear site in Alamogordo, and that Helm must stop the plan.  Working with an old partner/fling, Tina (Daliah Lavi), Helm heads to meet an agent who may have key information on the plan, but she's killed and the only suspect is a ditzy redhead, Gail Hendricks (Stella Stevens). Working with Gail, all Helm has is a phrase mumbled before the agent's death to work off of and time is running out.

This is one of the more pointless plotlines I've ever come across in a movie.  It takes quite awhile to even get the story to a point where something is revealed, and then Helm spends the next half hour seducing every woman he meets.  Then with 15 or 20 minutes left, it seems director Phil Karlson remembered they had to wrap things up and gets back to the story.  Everything is wrapped up nicely with a bow, and voila, let's move on to the next 3 Matt Helm movies.  I'm not looking for a Bond-esque twisting and turning storyline, but something, anything at all would be nice.

This was Martin at the absolute height of his popularity with his Rat Pack fame turning into a variety show that aired for almost 10 years.  The same thing I wrote for Murderers' Row applies here with Martin playing himself and doing a lot of drinking and seducing whenever he gets the chance and singing much of the soundtrack -- including one good dig at Frank Sinatra.  I'd have to go back and watch, but I'd bet no more than a minute goes by whenever he meets a woman from being introduced to kissing her.  If you thought James Bond got around, all I can say is check out Matt Helm.  And then there's the drinking, including one very dated scene where Helm is guzzling scotch while at the wheel of his -- wait for it -- secret agent station wagon dubbed 'the sex wagon' by Stevens' Gail.  Not exactly an Aston Martin if you ask me.

With that flimsy storyline, it seems a waste to misuse this great cast.  Gregory is the straight man, always shaking his head at Helms' antics, and Lavi is the sex kitten with a past with Helms.  In the few movies I've seen with her, Stevens shows a knack for comedic timing, but here she's the clueless ditz along for the ride.  Of those movies, this does continue a trend of having her in the slinkiest costumes around.  Also here for this debacle are Robert Webber and Arthur O'Connell as O agents with Victor Buono as an Asian O mastermind behind the diabolical plan.  None of these typically solid actors is given much to do and are generally wasted.

There are some funny moments, like a gun that fires backwards and turns Stevens into a hardcore spy too once she figures it out, but overall this movie is easily forgettable.  All I'm looking for in a spy spoof is some laughs here and there, but even in that department this one fails.  Now I'm wary of checking out the other two Matt Helm movies.  If nothing else, they can't be as bad as this one.

The Silencers <----TCM clips (1966): * 1/2 /****

Murderers' Row

The huge success of the James Bond series in the 1960s opened doors for all sorts of other spy movies to take over the market, both good and bad.  And after all those serious takes on the spy movie came the spoofs like James Coburn in the Flint series and Dean Martin in the Matt Helm movies.  These aren't spoofs like Scary Movie or anything of the like, but spoofs that were for one, good, and two, they were more tongue in cheek than stupid humor.

Martin made four Matt Helm movies over a three-year span, all of them fairly successful with audiences to the point a fifth was even brought up.  They're basically all James Bond movies except the name has been changed, and the humor has been ratcheted up a few hundred notches.  Now I say this having seen exactly one of the four, 1966's Murderers' Row, but it's not hard to judge a spy series with Dean Martin as the star.  Here's the formula, Martin drinking, smoking and throwing one-liners, ridiculous bad guys, beautiful women, and exotic locales.  It's all incredibly ridiculous, and still pretty entertaining almost in spite of themselves.

After faking his own death, ICE (Intelligence and CounterEspionage) agent Matt Helm (Martin) is given a mission.  A brilliant scientist has been kidnapped by a madman, Julian Wall (Karl Malden) who wants to use the scientist's abilities to hold the world ransom. The scientist, Dr. Solaris (Richard Eastham), has figured a way to control the power of the sun's rays into a beam of light able to destroy cities in seconds.  Posing as a mob enforcer, Helm heads off to Monte Carlo to look for Solaris and instead meets up with his daughter, Suzie (Ann-Margret), who's also looking for him.  Time seems to be running out though as Wall gets closer to utilizing Solaris' death ray on Washington D.C.

This has all the workings of a Bond story from a crazy plot to take over the world to complicated gadgets that would never actually work.  Then's there Ann-Margret and Swedish babe Camilla Sparv frolicking around in next to nothing for most of the movie in bathing suits, mini-skirts, and lingerie as Helm Girls instead of Bond Girls.  Instead of M, there's McDonald (James Gregory) issuing orders to an agent who does things his own way instead of by the book.  And my personal favorite, a gun that fires on a 10-second delay which does provide some rather humorous -- God, that sounds wrong -- killings.  We even get to meet some of the nameless thugs who usually ran around in the background, except here they get their one or two lines and then they're killed.

Playing super secret agent Matt Helm, Dean Martin seems to be having a ball because let's face it, he's playing himself.  It's almost alarming how much he drinks and smokes on-screen.  He's the American James Bond who's got a reputation for his way with the ladies as well as his unorthodox ways of getting the job done.  An IMDB reviewer points out Martin didn't care much for rehearsing or even reading the scripts, and it doesn't matter in the least.  He doesn't so much have lines to memorize as a series of one-liners meant for laughs throughout the movie.  This may all sound rather negative, but it's anything but.  Martin is one of my all-time favorite entertainers, and he was perfectly cut out to play a roguish, boozing, brawling secret agent.

While it's a lot of fun to watch Martin do his thing, the movie has its fair share of flaws.  One of the strengths of the Bond movies is that the villains and their plans are absolutely nuts, but they're developed at least a little.  Karl Malden is an all-time great actor who is completely wasted here as Julian Wall.  He's not intimidating in the least, his plan is dull, and he never seems to be much of a threat to Helm.  The more interesting villain is Tom Reese as Ironhead, a killer with a iron plate for a skull.  He at least poses a challenge to Helm, especially the way his demise is handled.  You can see it coming miles away, but it's still funny.

There are other flaws here with a story -- or lack of -- that drags in the middle sections.  One very long scene has Margret dancing like crazy in a club while Martin races to rescue her from a broach bomb (that's right, a broach bomb) on her dress.  Check it out HERE.  Some jokes are overplayed and instead of using them once they're reused several times.  These are all minor things, but when added up they get tiresome and kinda annoying.  Still, it's an entertaining enough, mindless movie, and I'll probably check out the other ones too.  You can watch Murderers' Row at Youtube, starting HERE.  A stupid movie but worth seeing for Dean Martin, Ann-Margret, and in general, one of the better spoofs to come out of the Bond series.

Murderers' Row <----trailer (1966): ** 1/2 /****