Lists: those American dramas ...

Final List of the season - we are all listed out! After covering British, French and Italian favourites its now a return look at those great American dramas from the Golden Age of the 1950s and 1960s - the heyday of Kazan and Kramer,  Wyler and Wilder, Huston, Mankiewicz, Cukor, Minnelli, Nick Ray, Preminger, Brooks, Ritt, etc. and when American drama was ruled by the likes of Tennessee Williams, Arthur Miller, Eugene O'Neill, William Faulkner, William Inge etc. We have covered them in detail here before, so this is a quick roundup. Lots more at labels - particularly Tennessee Williams ,,, (below: NIGHT OF THE IGUANA)

We have to begin of course with those early Kazans; 

• A STREETCAR NAMED DESIRE
• ON THE WATERFRONT
  
• EAST OF EDEN
• A FACE IN THE CROWD
• Nicholas Ray's THE LUSTY MEN in 1952, a strong rodeo drama bringing out the best in Mitchum and Susan Hayward.(right) 
• More baroque Ray with his 1954 JOHNNY GUITAR - the first film I saw, aged 8. 
• Ray's REBEL WITHOUT A CAUSE of course, and Stevens' GIANT to complete the Dean hat-trick. 
• Cukor's 1954 A STAR IS BORN, the best musical drama ever
• THE BIG COUNTRY in 1958 is really a William Wyler drama which just happens to be set in the west. 
• CAT ON A HOT TIN ROOF
• SUDDENLY LAST SUMMER
• BONJOUR TRISTESSE
• SEPARATE TABLES
• THE NUN'S STORY
• ON THE BEACH.

Those 20th Century Fox literarary adaptations came thick and fast:

• THE LONG HOT SUMMER - Faulkner, 1958
• THE SOUND AND THE FURY in 1959 - Faulkner, Good cast: Brynner, Woodward, Leighton
• THE WAYWARD BUS - a long unseen Steinbeck from 1957, Jayne Mansfield and Joan Collins! Its a fascinating mess or Trash Classic
• SONS AND LOVERS - D H Lawrence gets the Fox treatment in 1960 ...
• SANCTUARY - another Faulkner misfire, from Tony Richardson in 1961 - Lee Remick and Yves Montand make the oddest team, but Lee shines ...
• HEMINGWAY'S ADVENTURES OF A YOUNG MAN - 1962, as per recent review. 

The 1960s upped the ranks with those new directors like John Frankenheimer, Arthur Penn, Robert Mulligan, while John Huston went on and on ....

• THE MISFITS
• ONE EYED JACKS - Brando's brooding western, 1961
• ALL FALL DOWN - a perennial favourite
• THE MANCHURIAN CANDIDATE
• SPLENDOR IN THE GRASS
• THE MIRACLE WORKER
• TO KILL A MOCKINGBIRD
• DAYS OF WINE AND ROSES
• LONG DAY'S JOURNEY INTO NIGHT
• THE DARK AT THE TOP OF THE STAIRS
  
• TWO WEEKS IN ANOTHER TOWN 
• THE STRIPPER
• NIGHT OF THE IGUANA 
• WHO'S AFRAID OF VIRGINIA WOOLF?
• REFLECTIONS IN A GOLDEN EYE
• SWEET BIRD OF YOUTH
• SUMMER AND SMOKE
• THIS PROPERTY IS CONDEMNED
• INSIDE DAISY CLOVER
• THE ROMAN SPRING OF MRS STONE 
• MIDNIGHT COWBOY.
  

Weekend treats ..... six from that fab year 1962

It should be in widescreen reallv....

I loved her in the movies

Another enjoyable addtion to the Christmas gift list is Robert Wagner's new book I LOVED HER IN THE MOVIES, his recollections of all the great actresses he knew and worked with, decade by decade, starting with the 1930s.

Whatever one thinks of Wagner as an actor, he is fairly lightweight and agreeable (insufferable movie snob Martin will probably think he should be a shoe salesman too, like his judgement on Kerwin Matthews) and, like Dirk Bogarde in England, Wagner knew everyone (he and Natalie visited the Bogardes in the South of France on one of their European trips). Unlike his contemporaries Jeff or Tab Hunter, Wagner was a Hollywood kid, growing up there - he went to school with Norma Shearer's son, so knew Norma well in her later retired years, and he dated Gloria Swanson's daughter, and writes affectionately about Gloria, she was not like Norma Desmond at all.

We also get affectionate tributes and stories on Irene Dunne, Rosalind Russell, Crawford, Davis (Natalie played her young daughter in THE STAR and she and Wagner were friends for a long time), Stanwyck, Loretta Young, Katharine Hepburn (whom he knew through friendship with Spencer Tracy with whom he co-starred twice), Claudette Colbert and Jean Arthur. He certainly moved in the right circles! 

There's also Lana Turner, Greer Garson, Susan Hayward (very helpful to the novice actor on WITH A SONG IN MY HEART, left), Ida Lupino, Jennifer Jones, Claire Trevor, Betty Grable, Ann Sheridan, Joan Blondell, Lucille Ball, Linda Darnell and Gene Tierney, the impossible Betty Hutton, as well as characters like Thelma Ritter, Maureen Stapleton and Eve Arden. Wagner knows too how difficult it was for actresses to maintain long careers ...

The 1950s saw him pals with Doris and Debbie, the young Marilyn, Janet Leigh, June Allyson, Jean Peters, Joan Collins, Angie Dickinson, Debra Paget. He was at Romanoffs that famous 1957 night when Jayne Mansfield usurped Sophia Loren's debut (left) - he later played Loren's husband in De Sica's THE CONDEMNED OF ALTONA in 1962 and writes very affectionately about her, and also Capucine (Cappy) from THE PINK PANTHER, There were some difficult ladies too - Shelley Winters for one! 
Joanne Woodward and Glenn Close also come in for some respectful praise, and of course there's Elizabeth Taylor, Audrey Hepburn, Julie Andrews and Natalie. 

Wagner, now in his mid-80s parlayed his looks into a long career on film and television. He was good enough for Olivier for his TV CAT ON A HOT TIN ROOF in '76. Its always fun seeing him as PRINCE VALIANT in that wig! His first memoir PIECES OF MY HEART is an agreeable read about it all too. 
He was a 20th Century Fox boy and Natalie was a Warner Bros girl, so he got to know Jack Warner well too - and is hilarious about the abuse Warner heaped on Judy Garland (who would have been so ideal for GYPSY in 62 with Natalie), and he also recounts Vittorio De Sica's hilariously rude comment on Raquel Welch who was driving them mad with her delays on THE BIGGEST BUNDLE OF THEM ALL .... Star gossip does not get much better. As he says: "Movies and TV go on forever - only the delivery system changes ...".

"That'll be the day"

A western double bill, for late autumn afternoons. Only the best western ever: John Ford's THE SEARCHERS, and a routine oater from 1949 MASSACRE RIVER, only of interest now for teaming of the young Guy Madison and Rory Calhoun - see previous on them, below, or at labels.

We have written about THE SEARCHERS here before, and my 2010 appreciation on Jeffrey Hunter is at 'Jeff Hunter 1' label. Looking at Ford's classic again (I also have it on Blu-ray, as Martin would say) it is a timeless American Classic and the climax is as emotionally stunning as the end of CITIZEN KANE or CASABLANCA. Maybe they are the Top Three American Movies Of All Time?  Its certainly in my Top 10 (along with my other favourite western JOHNNY GUITAR)

The images and the scenery - did Monument Valley ever look more iconic? - stun one again, as does Ford's narrative, Wayne is superlative, Jeff Hunter has his best ever role as halfbreed Martin Pawley - he and Natalie are so poignant together, a perfect Fifties pair, Vera Miles excels as ever, and grown men cry when Ethan picks up Debbie at the end ....

Ford has some amusement too with Wayne's son Patrick and the regulars are all here from Ward Bond down. The early sequence when the settlers realise that Scar is about to attack is chilling and brilliantly done too, as is the scene where Ethan and Martin meet Debbie again in the wigwam with those scalps. Ford orchestrates it all perfectly, as per previous reports; and of course that line of Wayne's "that'll be the day" which gave Buddy Holly the title of one of his best songs ... Max Steiner's score is one of his most evocative and complements the images perfectly. 
Ethan Edwards is racist towards the Indians and the depiction of them may be problematic for some now, though Ford 'atoned' for that with his CHEYENNE AUTUMN in 1964; the squaw Martin gets married to is despatched rather heartlessly. 

MASSACRE RIVER on the other hand is pure studio dross, but a very rare film. I had ordered the dvd only to see it crop up on our Western channel, otherwise known as TCM uk. This must be where Guy Madison and Rory Calhoun got pally, as per my previous on them, and the various reports on their longtime relationship, despite their marriages, and some scurrilous rumours, but there are lots of photos of them together - just like Cary and Randy. 
They share a tub in this and one can see the chemistry between them. Calhoun was an ex-con who got into the movies, mainly rememered now for his two with Monroe and with Hayward in WITH A SONG IN MY HEART. Madison continued in westerns and dramas - both were filming in Europe by the early Sixties, Calhoun in the rather good COLOSSUS OF RHODES by Sergio Leone, so maybe they were meeting up then too. 

THE SEARCHERS though will live forever. 

Class of '54: The Silver Chalice

It been fun re-seeing anther 1954 favourite which made an impression on me as a kid: THE SILVER CHALICE,  best known now as Paul Newman's first role which he was so embarrassed about that he apologised publicly .... well Paul need not have worried, he is the least interesting thing here, as the film is stolen by Jack Palance and Virginia Mayo as Simon the magician and his assistant Helena - Paul's lost love, played when young by Natalie Wood in a blonde wig! Pier Angeli completes the lineup as the dutiful love interest of Newman, as Basil the sculptor.

A Greek artisan is commissioned to cast the cup of Christ in silver and sculpt around its rim the faces of the disciples and Jesus himself. He travels to Jerusalem and eventually to Rome to complete the task. Meanwhile, a nefarious interloper is trying to convince the crowds that he is the new Messiah by using nothing more than cheap parlor tricks.

Natalie Wood becomes Virginia Mayo

The 1950s was, for me, the great decade of musicals and westerns and epics/peplums or costume dramas, whether biblical or medieval, starting with QUO VADIS and THE ROBE and ULYSSES. 1954 was full of them: DEMETRIUS AND THE GLADIATORS, THE EGYPTIAN, KING RICHARD AND THE CRUSADERS, THE BLACK SHIELD OF FALWORTH, ATTILA, TWO NIGHTS WITH CLEOPATRA, PRINCE VALIANT, SIGN OF THE PAGAN, PRINCESS OF THE NILE and yes, THE SILVER CHALICE. 

(1955 delivered THE PRODIGAL LAND OF THE PHAROAHS,  HELEN OF TROY, MOONFLEET and QUENTIN DURWARD while 1956 had Cecil's THE TEN COMMANDMENTS (we had a school outing to see that...), ALEXANDER THE GREAT, WAR AND PEACE, then THE VIKINGS in 1958 and those biggies in 1959: BEN HUR and SOLOMON AND SHEBA, plus THE BIG FISHERMAN, THE COLOSSUS OF RHODES and those Steve Reeves movies, and the Sixties dawned with SPARTACUS followed by EL CID, BARABBAS, CLEOPATRA, FALL OF THE ROMAN EMPIRE, GENGHIS KHAN ... Visconti's 1963 THE LEOPARD is an epic too. Lots of these are covered at epics, peplums labels.

THE SILVER CHALICE is the oddest of the lot, with those surreal sets. Jack Palace is in his element as the mad magician who thinks he can fly with that great climax as he climbs the tower to fly off it .... as Helena tries in vain to stop him .... Mayo is great here with that odd eye make-up, a petulant Nero then has her thrown off the tower to see if she can fly. This entertaining farrago is a riot now, directed by Victor Saville - a long way from those 1930s Jessie Matthews musicals. 
Palance also scored in '54 as Attila The Hun in Sirk's entertaining SIGN OF THE PAGAN (while Anthony Quinn in Italy was also a ferocious Attila in ATTILA with young Sophia Loren); Virginia Mayo also amused that year as the Plantagenet princess wooed by Saladin (Rex Harrison) in the enjoyable farrago that is KING RICHARD AND THE CRUSADERS. 

O'Hara

It was nice watching a new Sky Arts documentary on Maureen O'Hara, the latest of an occasional series, reminding one of much much we like the veteran actress who often seems overlooked in the pantheon of movie greats.

Maureen, now all of 95, is still going and received an honorary Oscar last year. She will of course be forever linked to those John Ford-John Wayne films, but has a great body of work, starting with those early films with Charles Laughton: Hitch's JAMAICA INN and THE HUNCHBACK OF NOTRE DAME in 1939. Born in Dublin in 1920, she was soon in America. 
I particularly liked her and Lucille Ball as showgirls in Dorothy Arzner's DANCE GIRL DANCE in 1940. Maureen then became "The Queen of Technicolor" with that flaming red hair and all those pirate and adventure movies she did in the 1940s and into the '50s: THE SPANISH MAIN, AGAINST ALL FLAGS, THE BLACK SWAN, SINBAD THE SAILOR, THE FLAME OF ARABY, TRIPOLI, LISBON where she was teamed with the likes of Tyrone Power, Errol Flynn, John Payne, Ray Milland, and Rex Harrison in THE FOXES OF HARROW, as well as playing perfect wives for James Stewart and Henry Fonda in the Sixties. She and John Wayne were first paired in Ford's RIO GRANDE in 1950, then came their classic THE QUIET MAN where her Mary Kate Danaher is the spirited centre of the film. She and Wayne were also in Ford's THE WINGS OF EAGLES in 1957, and they were both in McLINTOCK! and BIG JAKE in 1971. She and Tyrone Power headed Ford's THE LONG GREY LINE in 1955.

Two of her late 1940s classics are the imperishable THE MIRACLE ON 34TH STREET in 1947, where she has great rapport with the young Natalie Wood, and SITTING PRETTY in 1948 where she is the mother of the children being babysat by Mr Belvedere (Clifton Webb). She was in good company too in OUR MAN IN HAVANA in 1959, with Alec Guinness, and Disney's THE PARENT TRAP was an enormous hit in 1961 with Hayley Mills as those twins. 
She was teamed again with Brian Keith in that early Peckinhah western THE DEADLY COMPANIONS in 1961. It seems impossible to see her THE BATTLE OF THE VILLA FIORITA, a Delmar Daves romance from 1965, One of her last roles was as John Candy's Irish mother in ONLY THE LONELY in 1991, before a long retirement in County Kerry, Ireland. She ran an airline for 10 years as well, when her third husband, Charles Blair, a pilot, died in a plane crash in 1978, so she took over their Antilles Airboats, a commuter seaplane service in the Carribean, scene of her many swashbuckling adventures. So she was the first woman president of a scheduled airline in the United States, Her autobiography "Tis Herself" is an enjoyable read too. 

Maureen had a good singing voice too and did some recordings and cabaret appearances. She would have been an ideal Mrs Anna in THE KING AND I, but it seems Oscar & Hammerstein would not consider "The Queen of Technicolor" ..... but we will always have Mary Kate and her QUIET MAN. I've just had to pre-order the Blu-ray out in November, as there are so many ropey prints of it out there ...

6 lesser known '50s dramas

We are all familiar with those great Fifties dramas, mentioned often here - from SUNSET BOULEVARD to SEPARATE TABLES or IMITATION OF LIFE, taking in those Kazans, Wylers, Douglas Sirks, Tennessee Williams adaptations etc. Here are 6 lesser known ones I like and are worth seeking out ...

NO SAD SONGS FOR ME – Margaret Sullavan’s last film in 1950 is curiously unregarded now, but is a nice little drama set in a mining town where she is the suburban wife who goes to the doctor and finds she has terminal cancer, which seems untreatable back then. She goes into denial but eventually comes to terms with it and plans her husband's and daughter’s future without her. Husband though is dependable Wendall Corey (dull as ever) - enter the young Viveca Lindfors as hubby’s new assistant and Margaret sees they are attracted to each other and she also gets on with Margaret's incessantly chattering daughter, young Natalie Wood. 
It’s a weepie then, but not in your face and the ending is rather nice. In accordance with films of this era she has a large comfy house and a black servant, husband and wife of course have separate beds. A curious choice for action director Rudolph Mate. Margaret Sullavan seems rather neglected now but was one of the great stars of her day, we like her a lot here, as per the label.



THE LUSTY MEN. Nick Ray’s 1952 drama about rodeos (produced by Jerry Wald, with authentic rodeo locations) has not been seen for a long time, I thought this was a Fox film, but its RKO Radio.  It may be one of Ray’s best films, with certainly among the best work of the three leads: Robert Mitchum is Jeff McCloud a rootless, broke rodeo star, Susan Hayward and Arthur Kennedy are the married couple who want a ranch. He teaches Kennedy how to become a rodeo champion, to the disquiet of Hayward, giving a solid, reined-in performance, as she and Mitchum fight their attraction. This is nicely downbeat – seeing Mitchum crossing a wind-strewn rodeo arena brings THE MISFITS to mind, particularly Montgomery Clift playing that other rootless rodeo rider. Also that sequence when Mitchum returns to his childhood home … Lee Garmes’ camerawork makes it all look authentic, and the final scenes are deeply affecting. This is one film that deserves rediscovery.

Mitchum tries to be a ranch hand (to be close to Louise - Hayward)  and passes on his rodeo fever on to Kennedy, whose success alienates his wife as he now hangs around with the rodeo crowd. Kennedy initially took up rodeo riding to make enough money for their ranch, but now has money to spend, drink, with hangers-on and the attention of bar-room floozies. The film creates an exciting atmosphere with wild horses, bucking broncos and leisure time spent carousing in the bars where a day's prize money could be lost in drinking and gambling, then there is the inevitable tragic ending ... It really is a nice companion piece to THE MISFITS, and both Hayward and Mitchum do some of their best work here. Perhaps it might have benefited from being in colour.

WILD IS THE WIND. Another good discovery is this long unseen George Cukor/Anna Magnani item from 1957. Magnani is magnetic as the sister from Italy brought to America to marry her late sister's husband, Anthony Quinn in very gruff mode here. Quinn's protege young Anthony Franciosa is the only one to show her affection as she struggles with life on their bleak ranch, which rapidly escalates to a doomed romance. I did not care for Magnani's over the top performance in the acclaimed ROSE TATTOO when I saw it a while ago, but I love her here, as reined in by Cukor. She has a wonderful scene at the outdoor party when she sings a lovely little song, and has a nice scene with young Dolores Hart too. There is also another great theme tune (by Johnny Mathis - Nina Simone and David Bowie did great later versions of it too) and, surprisingly for Cukor, the scenes of capturing wild horses is as forceful as Huston's in THE MISFITS. Anna is of course marvellous in Renoir's THE GOLDEN COACH, and its fascinating seeing her with Brando in THE FUGITIVE KIND, and in Visconti's BELLISSIMA. 

THIS IS MY LOVE, 1954 - Linda Darnell is Vida, the unmarried sister of the more vivacious Faith Domergue married to crippled ex-dancer Dan Duryea who is very jealous of his young attractive wife. Vida lives with the mismatched couple and works in their diner and is engaged (or stringing along) a very dull boyfriend, until one day his friend, Rick Jason, walks in and seems the answer to Vida’s dreams. He is merely leading her along however until he meets the vivacious Faith, thus setting in motion a tale of rage, murder and revenge, played out in lurid colours as the girls sling hash in the diner. 

'50s lurid melodramas don’t come much better than this, as directed by Stuart Heisler. Unlike the glossy melodramas of Minnelli or Sirk, this is a gritty, downbeat affair. Linda is as terrific here as she was in A LETTER TO 3 WIVES. 

A friend of mine, Jerry, loves it too, and his IMDB review is perfect:

As soon as Franz Waxman's lush score swelled up over the credits I knew this one would deliver - and I wasn't disappointed. Vida (Linda Darnell) is a "spinster" who slings hash in her Brother in Law's diner and is engaged to the world's most boring man. Into the diner wanders her fiancée's army buddy - foxy Rick Jason - a "gas station casanova", and when left alone together Rick comes on to her... she plays hard to get - so hard to get in fact that Rick turns to her married sister Evelyn (Faith Domergue) for comfort, and the stage is set for resentment, deceit, adultery, jealousy, sibling rivalry.. and murder. 

This one really deserves to be better known. I'm not sure whether the lurid greens and purples that dominate the colour scheme are symbolic of the jealousy and anger simmering below the surface, and mark out Stuart Heisler as an neglected auteur... or it was just a lousy print. Connie Russell sings the title tune with lyrics as Darnell and Jason go out dancing. Dan Duryea is a bitter cripple. and Darnell is absolutely heartbreaking here - never knew she had it in her. Its everything I wanted from Douglas Sirk or late period Minnelli and never got. Absolutely delicious from start to finish and highly recommended. 9/10

[Rick Jason was also back in the '50s diner milieu in the downbeat '57 Fox film of Steinbeck's THE WAYWARD BUS as the bus driver married to shrewish diner owner Joan Collins (which Linda has tested for and would have been ideal casting, but Fox discarded their old star in favour of the new English girl) and with down-on-her-luck stripper Jayne Mansfield also on board the bus].

Two 1954 mellers with those new Italian girls Sophia Loren and Silvana Mangano:

MAMBO is a film I had never heard of until recently, but its a fascinating puzzle. Its a Paramount film directed by Robert Rossen (an odd choice for him) but its also a Carlo Ponti-Dino De Laurentiis production set mainly in Venice and Rome with two Italian stars, Silvana Mangano and Vittorio Gassman – if only it had been in color with that great scenery and Venetian masked balls and the colourful Katherine Dunham dance group, which Silvana joins. She looks terrific here and in the dance numbers (the mambo must have been big about then as Loren does a terrific one in her ‘working in the river in shorts’ film WOMAN OF THE RIVER). MAMBO’s convoluted plot features Shelley Winters (Mrs Gasssman at the time) in what is surely one of the first clearly implied lesbian roles as she has a major crush on Silvana. Michael Rennie completes the odd quartet. Silvana's numbers are available on YouTube, as is MAMBO in full.

WOMAN OF THE RIVER. I have now re-seen the 1954 WOMAN OF THE RIVER for the first time since I saw it as a kid, and I am amazed at the 19 year old Sophia here in 1954, a very busy year for her - as Nives the proud canning factory girl who falls for hunk Rik Battaglia she does a sensational mambo dance and is just wonderful - no wonder it was her calling card to international films. She also goes cane cutting in the Po river, and it ends in drama with her young child. Its a film for the Italian market and Pasolini had a hand in the script, but its certainly vivid 50+ years later.I loved this and Sophia when I saw it as a kid in Ireland. 

Plus a rom-com treat: 

BUT NOT FOR ME is a neglected gem from that great year 1959 and was a treat to catch recently. Its one of Clark Gable's last films [he had just done TEACHER'S PET with Doris Day, and would next go to Italy for IT STARTED IN NAPLES with Sophia Loren (30 years his junior, but its great fun) and then finally to that fatal MISFITS location]. Here he is guying his older image as the Broadway producer falling for his ambitions young secretary Carroll Baker who also wants to be an actress. Its a comedy set in the theatreland of the '50s and has some nice views of New York back then, particuarly as his car glides through Manhattan in the morning, as Ella sings that great theme song. Best of the cast though is Lilli Palmer enjoying her role as his ex-wife watching on the sidelines. Will she get him back at the end? It's nicely worked out and there is also Lee J Cobb in scenery-chewing mode as a drunken playright, and pretty Barry Coe as Carroll's boyfriend. A nice Perlberg-Seaton production from Paramount.

Rhapsodising about 1954, again

RHAPSODY, 1954. The opening titles tell us it’s the South of France. Wealthy Louis Calhern is arranging namecards for his lunch party, but then his daughter Louise (Elizabeth Taylor) enters and instead of being his hostess she is off to Zurich, driving in her open sports car, with her cases of all those Helen Rose outfits, a different one for each scene. Louise we soon see is a spoiled rich girl, used to getting her way and indulged by her indulgent father ….  She has her eyes of fiery Paul Bronte, master of the violin, but only if he studies hard enough to please teacher Michael Chekhov. Louise settles in to Celia Lovsky’s charming apartment and starts to get bored as Paul (Vittorio Gassman in one of his first American films) puts his music first and her second. She is left on the sidelines in her furs, white gloves and diamonds at the café as the other students, including predatory Barbara Bates, crowd around him. But diversion is at hand, as she gets to know the upstairs tenant, John Ericson, who becomes hopelessly devoted to her, putting his music at risk. 
He at least plays the piano – cue endless close-ups of them playing as Tchaikovsky and Rachmaninoff swamp the soundtrack, and of course there is the obligatory montage of capital cities and concert posters as Bronte tours and becomes famous, while Louise marries John, who is now drinking heavily. Bronte comes back into her life as she decides to leave her husband while trying to convince him he can become a great player without her. 
We finally leave her (this thing seems to go on for hours) at the concert hall as Ericson can indeed play without her, as Bronte arrives to collect her. Which man does she choose?  This is a prime farrago, which I remember seeing as a kid, one of four Taylor did in 1954, overall I much prefer THE LAST TIME I SAW PARIS but Liz is certainly at her early zenith as the camera lovingly lingers on her rapt expressions as her men play, and play and play …. High Class Trash, it has that MGM lush quality, directed by Charles Vidor (an old hand at this kind of thing – he began, but died, during the 1960 SONG WITHOUT END). 

There's no business like show-biz as Marlon's Napoleon 
drops in on Marilyn

1954 - my first year at the movies, aged 8. What a year that was, as I have mentioned before here - see label, 1954-1, JOHNNY GUITAR and A STAR IS BORN were the first films I saw, taken to by my parents, in small-town Ireland .... it was that great year for routine westerns, costumers and mini-epics, and several musicals. The big hitters of the year were of course ON THE WATERFRONT, Ava as THE BAREFOOT CONTESSA, Audrey as SABRINA, Grace as THE COUNTRY GIRL, REAR WINDOW, DIAL M FOR MURDER, while other popular hits included CREATURE FROM THE BLACK LAGOON, THEM!, EXECUTIVE SUITE, WOMAN’S WORLD, THREE COINS IN THE FOUNTAIN, CAINE MUTINY, THE GLENN MILLER STORY as James Stewart and June Allyson continued to be so very popular. Meanwhile, Kazan was shooting EAST OF EDEN .... the first of James Dean's three major releases for 1955 and 1956. 

The big foreign movies were THE SEVEN SAMURAI and LA STRADA, and Visconti's SENSO, and I just recently discovered Mizogushi's LATE CHRYSANTHEMUMS.

I was soon lapping up other westerns (often with my father) like: THE COMMAND, DRUM BEAT, SITTING BULL, CATTLE QUEEN OF MONTANA, RIVER OF NO RETURN, BROKEN LANCE.

while other musicals we loved were: THE STUDENT PRINCE, CARMEN JONES, 7 BRIDES FOR 7 BROTHERS (well, I never liked that one much), THERE'S NO BUSINESS LIKE SHOW BUSINESS (where Marilyn was at her most peaches and cream, the blonde to Elizabeth Taylor's exotic darkness), WHITE CHRISTMAS, BRIGADOON, YOUNG AT HEART, ROSE MARIE.

The epics and peplums included THE EGYPTIAN and DEMETRIUS AND THE GLADIATORS (see below), THE SILVER CHALICE (Paul Newman's odd debut with young Natalie Wood, right, as a blonde who grows up to be Virginia Mayo, and Jack Palance mesmerising as Simon the Magician who thinks he can fly..below.),  
KING RICHARD AND THE CRUSADERS, SIGN OF THE PAGAN,  BLACK SHIELD OF FALWORTH, PRINCE VALIANT - cardboard castle time indeed, while Italy gave us ULYSSES, ATILLA and TWO NIGHTS WITH CLEOPATRA, these two with that young Sophia Loren. I simply loved her WOMAN OF THE RIVER, but did not catch up with the delightful TOO BAD SHE'S BAD, her first with Marcello, until much later. De Sica's GOLD OF NAPLES with her and Silvana Mangano was a popular choice too, and still marvellous now. 

Other programmers we liked were Charlton Heston in THE NAKED JUNGLE (terrific with Eleanor Parker) and SECRET OF THE INCAS, plus TAZA SON OF COCHISE, VALLEY OF THE KINGS, and Rock's CAPTAIN LIGHTFOOT. 

Grace Kelly was very busy that year, not only those Hitchcock's but the dull COUNTRY GIRL and the programmer GREEN FIRE where she looked very tailored down on her South American plantation. La Taylor fitted in not only RHAPSODY and LAST TIME I SAW PARIS but also BEAU BRUMMELL and replaced Vivien Leigh in ELEPHANT WALK - once GIANT made her a superstar next year in 1955 she slowed down to barely one a year... her husband Michael Wilding was also toiling in Hollywood then, to less effect in TORCH SONG, THE GLASS SLIPPER, THE EGYPTIAN, THE SCARLET COAT .....  Shelley Winters was very busy, with 6 titles that year, while Barbara Stanwyck, Jean Simmons, Deborah Kerr, Susan Hayward etc were all churning them out. Brando had not only ON THE WATERFRONT but as Napoleon in the Fox costumer DESIREE, James Mason was not only Norman Maine in A STAR IS BORN but also the bad guy in PRINCE VALIANT and Nemo in 20,000 LEAGUES UNDER THE SEA.

The English studios were busy too:  with the hilarious BELLES OF ST TRINIANS and DOCTOR IN THE HOUSE (Dirk and Kay! - right with Kenneth More), dramas like THE WEAK AND THE WICKED, HELL BELOW ZERO, THE GOOD DIE YOUNG, and Glynis Johns and Dora Bryan as mermaids in the delicious MAD ABOUT MEN.

1954 discoveries of mine in recent years include MAMBO - a lurid melodrama where marrieds Shelley Winters and Vittorio Gassman are both keen on Silvana Mangano who dances up a storm; Rene Clement's KNAVE OF HEARTS (or MR RIPOIS) with Gerard Philipe on the loose in London, wooing lovely young Joan Greenwood among others - right; and Linda Darnell is the marvellous romantic melodrama THIS IS MY LOVE (see Linda label). 1954 we love you. Next major years: 1959/1960, 1962.