Pilot #5

Oh, propaganda flicks, you're so underplayed and subtle. Well, the better ones try at least to not hit you over the head with a message. Subtle and low-key is the way! I stumbled across 1943's Pilot #5 on Turner Classic Movies with no background or knowledge of it, but a WWII flick released right in the middle of the war? I'll give it a try if nothing else.

On the island of Java, an Allied air base has been under almost constant attack and heavy bombardment from the Japanese Navy. The attacks have wreaked havoc though where the new commander has an uncomfortable situation to resolve. The fighter squadron is down to one plane that's flyable with five pilots available. The lucky one that's chosen? George Collins (Franchot Tone), winning out over his compatriots. His mission is basically suicide though, one plane trying to run the gauntlet through Japanese forces to knock out a key Japanese carrier. As the men left behind tell their commander about the man he's chosen, George takes off in a beat-up fighter with a rigged bomb rack to do what he can. Could he somehow get through unscathed?

This World War II movie from director George Sidney popped up on Turner Classic Movie's schedule this week so I thought I'd give it a try. It clocked in at a brisk-sounding 71 minutes and featured a pretty decent cast so I figured there was little harm in giving it a shot. Even if it was lousy, it's only 71 minutes, right? Right?!? Well, it's a good thing it wasn't any longer because I probably would have bailed. 'Pilot' uses the tried and true storytelling device of...the flashback. When used properly, it can be a gem, helping add layers and background to the story. When not used properly, well, that's the case here. It derails a story I thought had some pretty decent potential.

While the cast is pretty good, no one really stood out from the rest in the end. Franchot Tone as the tortured, redemption-seeking George Collins leaves something to be desired in the old "interesting character" department. The character is just too flat for the movie's sake. We're intrigued with how he ended up in this spot but even when we find out, the payoff isn't worth it. The other pilots include Gene Kelly as the fiery, angry Vito Alessandro, Van Johnson as the jokey Everett Arnold, Alan Baxter as the all-business Winston Davis, and Dick Simmons as Henry Claven, a childhood friend of George's. These characters end up being a means to an end, a way of jumping into the flashbacks and little else. Kelly gets the most screen-time and does pretty well while Van Johnson unfortunately is completely wasted. Also look for a very young Peter Lawford as a British soldier at the base.    

Of the 71 minutes, I'd say about 50 were more concerned with the George Collins flashback...unfortunately. We see George growing up, heading off to law school, and trying to make something of his name and with a big old chip on his shoulder. He gets involved with Kelly's Vito --  a fellow lawyer and jack of all trades -- and ultimately a corrupt governor (Howard Freeman) that seems more fitting in All the King's Men than in a WWII propaganda flick. Throw in a love story lacking basically all chemistry with George's girlfriend, Freddie (Marsha Hunt), and you've got those middle flashback portions absolutely dragging along. Not a positive when you find yourself looking at the clock a whole lot in a 71-minute movie.

The beginning and ending portions are pretty decent. Dark, claustrophobic and uncomfortable as George flies into impossible odds while his fellow pilots wait back at base and listen over the radio to the developing mission. The new Dutch commander (Steven Geray) is a little much in the propaganda part, encouraging the audience to fight back against Fascism and wanting to really know the man he's sending on a suicide mission. A disappointing end result, a war movie with some potential that never really adds up.

Pilot #5 (1943): **/****

The Cheyenne Social Club

Two of Hollywood's most legendary stars, James Stewart and Henry Fonda starred together in 1968's Firecreek, a pretty solid western that pitted the two legends against each other as adversaries. Friends off the screen, the duo didn't wait long to team up again, working together on 1970's The Cheyenne Social Club.

It's 1867 in Texas and two cowboys, John O'Hanlan (Stewart) and Harley Sullivan (Fonda), are doing what they do best, punching cows on a cattle ranch, when John receives a long overdue telegram. His brother has died and has left him his business, an establishment called the Cheyenne Social Club in Wyoming. The cowboys saddle up and head north to see what's up, but they're in for a surprise. Upon arrival, they meet Jenny (Shirley Jones) at the club and quickly realize that the Cheyenne Social Club is actually a whorehouse. John had been dead set on being a property owner, but now he faces an ethical situation. Does he continue on as owner or does he switch things up, turn it into a boarding house? The city of Cheyenne may have something to say about that.

Considering the year this flick was released -- 1970 -- it's a bit of an oddity. Spaghetti westerns were still very popular in Europe, and in America a trend toward revisionist westerns with a darker tone was on the upward swing. How then does a fairly light, sexually suggestive story fit in? Surprisingly well. Oh, and the director is dancer/actor Gene Kelly?!? It's a weird, pretty out there formula that just works. It doesn't rewrite the genre, and it has its funny moments with some sexually suggestive dialogue. The tone is appropriate (light) with some darker moments late. It's been generally forgotten since its release in 1970, but it's a solid American western from an era where there just weren't many solid American westerns.

It doesn't take a nuclear scientist to figure out the main appeal here. The chemistry between Stewart and Fonda is on display here from the opening scene. Stewart does what he does best, a sort of prickly, high-voiced cowboy with some eccentricities. Mostly though, he'd just like to have something of his own in terms of property, a business, some land. Fonda's Harley reminded me of his part in The Rounders (with Glenn Ford), an easy-going, even laconic cowboy who goes with the wind. He's talkative, rambling on almost incessantly, completely oblivious that he's even doing it. His Harley just enjoys life for the little things and goes with the flow. Their cowboy partnership working cattle drives and ranches together goes back 10 years (apparently they avoided the Civil War entirely), a history that's hinted at more than directly addressed. It's two pros doing their thing perfectly and carrying a movie in the process.

I liked the dynamic between the two veteran cowboys and their surprise gaggle of high-class hookers. A pre-Partridge Family Shirley Jones is excellent as Jenny, the head girl at the Social Club who ends up going toe-to-toe with Stewart's John. Her girls of the night include Opal Ann (Sue Ane Langdon), who takes a shining to Harley, Pauline (Elaine Devry), Carrie Virginia (Jackie Russell), Annie Jo (Jackie Joseph), and Sara Jean (Sharon DeBord). Also look for Robert Middleton as an amiable and angry bartender, Arch Johnson as Cheyenne's sheriff, Robert J. Wilke as a revenge-seeking gunslinger and Dabbs Greer as John's lawyer.

As a western, I liked the message 'Club' goes for. Stewart's John begins to question what he really wants to do with his life. He delivers a good monologue late laying it all out. The longtime friendship comes under fire late when John goes after the wrong man in town, setting his family down on Cheyenne and the Social Club. That's really the only action on display in the 102-minute movie, but it's an enjoyable action set piece. It's a good movie I'm having trouble analyzing. Maybe it's not meant to be. If you like westerns, James Stewart and Henry Fonda, you'll like this one.

The Cheyenne Social Club (1970): ***/****

Let's Make Love

Oh, no, here I go again doing another musical review. Okay, that's not entirely true. A comedy with musical numbers, but I'm definitely leaning more toward the musical department with this one. Drawn in by a talented cast, I nonetheless came away unimpressed with 1960's Let's Make Love. Scandalous title? I suppose people had sex in the 1950s/1960s, but do they have to rub it in our face like this?

A billionaire who has everything in the world he could ever want, Jean-Marc Clement (Yves Montand) is internationally known as quite the ladies man. He's approached by one of his PR men, Alexander Coffman (Tony Randall), with news of an off-Broadway play that's going to poke some serious fun at him. Jean-Marc wants to go check out a rehearsal, see what it's all about, but there's a hiccup. Arriving at rehearsal, two things happen. First, he is immediately struck by Amanda (Marilyn Monroe), one of the actresses, and second, he's mistaken for an impressionist of....himself. He's hired and in hopes of getting the girl, goes along with the plan to play himself. And let the hijinks and shenanigans begin!

Far more for the cast aspect than the musical, I dove headfirst into this George Cukor-directed quasi-musical. The potential early-on was certainly there, but over the course of a 119-minute movie that potential never actually left the landing pad. It has a somewhat checkered past as everyone from Gregory Peck to Yul Bynner turned down the part (find the full list HERE at Wikipedia), an uncredited Arthur Miller revised the script to give more screentime to Mrs. Arthur Miller -- Marilyn for those keeping track at home -- and oh, by the way, Monroe and Montand had on-set affair. Awkward much?

My revised stance on musicals is that if there is a worthwhile cast I should at least give it a try. Of the three names listed above though, Monroe is the only one who ends up being even remotely memorable. She sings, she dances, and once again shows that she is not just eye candy. Side note: She looks beautiful. End of side note. Monroe could act too, and not just a ditzy blonde. Montand is a little stiff for the part, and while I've liked him in everything else I've seen him in, he just isn't very likable here. Chemistry off-screen with Monroe maybe, but on-screen, I never bought their possibly budding relationship. As for Randall, it's just not his fault. He provides some laughs early on, but the script basically has his character written out in the second half. He sits and watches other people act/dance/sing. Literally. He sits there off stage and has to smile. What a waste of a very funny comedic actor.

So that potential I was talking about, huh? I thought I'd stumbled upon a hidden gem early on. The opening montage, a history of the rich but always ill-fated Clement family, is hysterical in its dark humor. Montand's face is super-imposed on images throughout the Clement history, a succession of his ancestors earning their millions and dying in some tragically funny way. The laughs sort of dry up after that opening three minutes. That's a good sign of a movie if there ever was. Also look for three cameos that make the draggy middle portions almost watchable. As Jean-Marc tries to impress Monroe's Amanda, he hires coaches in the form of Milton Berle (comedy), Bing Crosby (singing) and Gene Kelly (dancing). Playing themselves, the trio provides some much needed laughs.

Mostly though, things never click. Clocking in at just under two hours, this is a painfully slow movie. There are eight different musical numbers that aren't that bad in themselves, but when they slow up an already slow-moving story, we're in for a long ride. I'll recommend it for Monroe, Randall and the cameos -- too short though they are -- but I was bored almost from the start with this one, and it never gets better.

Let's Make Love <---trailer (1960): **/****

Take Me Out to the Ball Game

I've made no bones about it that I like westerns, war movies and heist flicks. So brace yourself because here comes a rare review.....a MUSICAL! I know. I'm stunned, shocked and surprised too. If you're going to do a musical though, you might as well do it right. So yes, I watched a musical, but it was a baseball musical at least, 1949's Take Me Out to the Ball Game.

It's the start of the 1908 baseball season and the Sarasota Wolves (you remember them, right?) are the defending world champs...with a problem. The team's star double play combination, second baseman Dennis Ryan (Frank Sinatra) and shortstop Eddie O'Brien (Gene Kelly), are late to report as they close out their offseason vaudeville show (Yes, you read that right). They manage to report on time only to hear some bad news. The club's been purchased and supposedly by a new owner who will try to run the team their way, butting in as unnecessarily needed. Not so fast, Dennis and Eddie, the new owner isn't a 'he' but a 'she,' the beautiful, K.C. Higgins (Esther Williams). Let the musical antics ensue.

Maybe because I don't typically seek out musicals, their inherent goofiness never ceases to amaze me. A 1910s vaudeville act that doubles as the second baseman and shortstop for a championship-winning baseball team? Sure, why not? Now that mild curiosity and confusion aside, there's a stupid, lovable charm to stories like this. They exist in a world where nothing bad ever truly happens. It is goofy and innocent and naive and that makes it all charming. Go figure. I liked a musical. The turn of the century setting doesn't hurt either, adding that old-time baseball quality with bad suits and funny looking baseball jerseys. I stand by my statement though....a baseball musical.

Now I'll probably have to turn my man card in, but the songs and dance numbers were pretty cool here. For one -- and this is going to sound dumb -- the songs and dance numbers have somewhat of a flow to them in terms of being part of the story. Yes, characters burst into song, background performers join in, spontaneously knowing the words and choreographed dancing. Then, the song ends and everyone goes back to normal life. Director Busby Berkeley's name is synonymous with big extravagant musicals with ultra-choreographed dance numbers, and he succeeds on a smaller scale here. The songs are catchy -- especially O'Brien to Ryan to Goldberg -- and they only slightly seem out of place.

The biggest reason I went along with the story and watching the movie was Sinatra and Kelly, two great entertainers who don't disappoint playing off each other. As superstar baseball players, they're less than believable (not surprising) but in terms of chemistry they're great together. Sinatra gets to play the love-struck, bad luck in love Dennis who falls hard for the tom-boyish but gorgeous KC while Kelly plays more of the straight man, the suave and smooth ladies man. Whether they're playing off each other comedically or through their song and dance numbers, it's a perfect match. Kelly especially gets a chance to shine and showcase his ability with several extended dance sequences. Also look for Jules Munshin as Nat Goldberg, the Wolves' first baseman and final piece of the team's double-play trio.

Queen of the MGM musical, Williams more than holds her own with her male co-stars, and ends up being the smartest and most clever of the three. Her on-set experience was apparently less than pleasant -- all-around nice guy Kelly berating her -- but it doesn't show in her part. She has a great chemistry especially with Sinatra. Betty Garrett has a fun part as Shirley, a lovestruck fan who falls for Sinatra's Dennis and won't be easily slowed down. Richard Lane and Tom Dugan are great in supporting parts as Gilhuly and Slappy, the Wolves' no-nonsense manager and his bench coach. Entertaining, charming and without a mean bone in its body, just a good example of a fun story and a time long since gone in Hollywood history.

Take Me Out to the Ball Game <---TCM trailer/clips (1949): ***/****

The Three Musketeers (1948)

First appearing as a serial in 1844 from French author Alexandre Dumas, The Three Musketeers have become some of literature's most popular, most famous and most well-liked characters in the history of the written word. That popularity has transitioned to film in countless efforts (ok, you can count them, but there's a lot, HERE), including 1948's The Three Musketeers.

Leaving his home and family behind, a young Frenchman named D'Artagnan (Gene Kelly) heads for Paris with hopes and dreams of joining the Musketeers of the Guard, the men who protect the King. He almost immediately meets three musketeers, Athos (Van Heflin), Porthos (Gig Young), and Aramis (Robert Coote), getting on their bad side and agreeing to duel to the death with each. Their problems are thrown by the wayside though as they see they must work together to save France from the treacherous prime minister, Richelieu (Vincent Price), who wants to start a war with rival England. With spies and traitors all around, the Musketeers -- plus D'Artagnan -- must fight for each other, for France, and for love.

Above all else, the cast here is truly impressive, a long list of recognizable names. That doesn't mean they're necessarily great performances, but well, the names are there! Not a great start, but Kelly is miscast as young D'Artagnan. He's just not believable other than his physical ability. Heflin is the only one of the three Musketeers to make any lasting impression, Young and Coote wasting away in the background. Price sneers and connives as Richelieu as only he can, but the best villain is the stunningly beautiful Lana Turner as Lady de Winter, Richelieu's most trusted agent. There's also parts for Angela Lansbury as the French queen, Anne, June Allyson as Constance, the Queen's maid and D'Artagnan's true love, Keenan Wynn as Planchet, D'Artagnan's servant, John Sutton as the Duke of Buckingham and Frank Morgan as King Louis.

What plagues this movie is something that affected so many movies in the 1940s and 1950s. It is interested in the spectacle of what's going on on the screen, and the truly impressive scale. It is intended to 'WOW!' the audience, and it does. The Technicolor technique has the action jumping off the screen, and visually it is an amazing movie to watch. The sets, the costumes, the detail. It's all there, but it's a shallow movie. Even knowing who the Musketeers were and the outline of the story, I was bored to tears. It took multiple viewings and a week-long break to even finish this one. There's no heart, no real interest in the characters. Rather than developing those bonds and the characters, we get countless fight scenes, lots of Musketeer carousing that goes nowhere.

Like anything, something good is best in small doses. The fight scenes here are a prime example. An early introduction has D'Artagnan fighting at first against and then with his new Musketeer buddies. The sword-fighting is a sight to behold, and then it keeps going....and going....and going. Kelly was a dancer first and foremost, and a talent with an incredible physical ability, but enough is enough. He jumps, he twirls, he flips, oh, and then he kills some guys. We get it, Mr. Kelly, you're extremely talented. Almost to a fault, the action -- whether it be hand-to-hand or with swords and pistols -- starts off well but doesn't know when to stop. It gets tedious, and with impressive sequences like this, that's never a good thing. Director George Sidney had to know when to pull the plug. Instead, he tries to wow the audience and ends up overdoing it. 

Now even with the thinly drawn characters and tedious action, this movie certainly has its pluses. When the story does get serious toward the end, dropping all the comedic carousing and shenanigans, wouldn't you know? The story significantly improves. As Lady de Winter, Turner especially shines, a snake waiting in the shadows to strike. There is a darkness to it as characters are killed, betrayals are unleashed, and allegiances tested. With a movie that runs at over two hours at 125 minutes, it just takes too long to get there. A darker, more straightforward Musketeers movie with this cast could have been a classic, but this 1948 version struggles to find a consistent tone. The last half hour is that good, but the build-up unfortunately is not. Still, there is too much positive going on here to not give it an at least partially positive review. Just know it's a mixed bag.

The Three Musketeers <---TCM trailer/clips (1948): ** 1/2 /****