The Viking Queen, 1967

Here's a doozy from that groovy year 1967 - a Hammer Film with an imported American star - just like their 1966 THE WITCHES with Joan Fontaine in her last film. This one has Don Murray, a decade or so after his BUS STOP breakout role, he hardly stands out here in this farcical setting. First of all there are no Vikings here - it is set in Roman Britain - the vikings came much later. 

To honour her father's dying wish, Queen Salina shares the rule of Icena with Justinian, a fair and just Roman. This displeases the bloodthirsty Druids on one side and the more hard-line Romans on the other. As Salina and Justinian fall in love their enemies start to plot, and blood soon stains the green hills of Britain.

Carita - an international model apparently - has her sole movie role as the queen of the title, but the fun in this cheapo peplum is the British supporting cast, and those County Wicklow, Ireland locations. 

Adrienne Corri and Nicola Pagett are her contrasting sisters, annoyed that her father (Wilfrid Lawson) named her as his heir. Donald Houston overacts wildly as the druid leader, and my favourite DR WHO - Patrick Troughton - is on hand, as are Niall McGuinness (a long way from HELEN OF TROY), and Sean Caffrey (from another favourite, I WAS HAPPY HERE in 1966). 

It is standard fare - there was a rumour one of the extras in the few crowd scenes is wearing a watch - hilariously awful now, no where near the standard of Hammer classics like BRIDES OF DRACULA or SHE. Murray was selective about his film projects so why on earth did he choose this? Perhaps offers were less by the time this went into production; proof of my idea that most actors if lucky get ten good years .... This one will pass a rainy afternoon nicely. We didn't bother with rubbish like this in 1967 when hip groovy folk were going to BLOW UP and BONNIE & CLYDE etc 

12 Spectacular films

I had this large format spiral bound book "SPECTACULAR! The Story of Epic Films" by John Cary and John Kobal, in 1974, but somehow lost it over the years, so I was pleased to find one cheap online. This would be expensive to produce now, with all those fold-out double page scenes from epic films. It covers it all from the silent days up to the glory Fifties and Sixties era, with special chapters like Robert Wise discussing the making of HELEN OF TROY. Fascinating stuff - it got me list my own dozen Top Spectaculars.

• THE SIGN OF THE CROSS - Cecil B De Mille, 1932
• QUO VADIS? - Mervyn Le Roy, 1951
• HELEN OF TROY - Robert Wise, 1955 
• ALEXANDER THE GREAT - Robert Rossen, 1956
• THE TEN COMMANDMENTS - Cecil B De Mille, 1956
• THE VIKINGS - Richard Fleischer, 1958
• BEN HUR - William Wyler, 1959 (with stunt help from Andrew Morton and Yakima Canutt)
• SPARTACUS - Stanley Kubrick, 1960
• EL CID - Anthony Mann, 1961
• CLEOPATRA - Joseph L Mankiewicz, 1963
• THE FALL OF THE ROMAN EMPIRE - Anthony Mann, 1964
• ALEXANDER - Oliver Stone, 2004.

And of course LAWRENCE OF ARABIA. 
Special mention to: THE EGYPTIAN, THE PRODIGAL, THE SILVER CHALICE, LAND OF THE PHAROAHS, SIGN OF THE PAGAN, ATTILA, DEMETRIUS AND THE GLADIATORS, 55 DAYS AT PEKING, KING OF KINGS, BARABBAS, GENGHIS KHAN, SODOM AND GOMORRAH, THE GREATEST STORY EVER TOLD, THE COLOSSUS OF RHODES, ATLANTIS THE LOST CONTINENT, FABIOLA, THE LAST DAYS OF POMPEII, THE GIANT OF MARATHON, APHRODITE and all those other Steve Reeve and Belinda Lee peplums, and Visconti's THE LEOPARD, 
A big NO to those CGI items like TROY or even GLADIATOR ! 

Lots on all these at Epics, Peplums labels. 

Coming up: 12 Bad Movies We Love; 12 European 1960s films. 

The Colossus of Rhodes

Back in the heyday of new dvds, a fun collection were the 'Cult Camp Classics': Vol 4 was Historical Epics and featured those perennial camp favourites (but also great entertainment) LAND OF THE PHAROAHS and THE PRODIGAL, plus THE COLOSSUS OF RHODES from 1961, which I remembered enjoying as a kid. It had all the required elements: colour, spectacle, earthquakes and that giant colossus straddling Rhodes harbour .... it featured a past-it ageing American star: Rory Calhoun, in a selection of mini-togas and nice shoewear and capes, a young cutie (Angel Aranda) and of course a slinky lady - Lea Massari, the girl who vanished from that island in Antonioni's L'AVVENTURA and fetched up here. 

This one is notable now as the first feature by Sergio Leone, who does give it some imaginative touches. It is though almost as satisfying as ATLANTIS THE LOST CONTINENT, also '61, and Aldrich's sadistically camp SODOM AND GOMORRAH from 1962 (before he returned to America to tackle Blanche and Baby Jane Hudson....)

Seeing it again now its rather fun, and there are some fun comments on it, over at IMDB:
Sergio Leone's directorial debut is rife with scantily clad men whose rippling muscles and abs are fully exposed while they wrestle or undergo torture and bondage. The national pastime in Rhodes must have been doing crunches and lifting weights, because even the mature men have flat tight stomachs and bulging biceps. 

Meanwhile, the women, while lovely of face, remain chastely clothed and relegated to the sidelines. The homo-erotic visuals of this tale of ancient Rhodes call into question the film's intended audience. Were there enough closeted gays in the early 1960's to make a success of mediocre movies such as this? 

American actor, Rory Calhoun, a fading western hero who was obviously hired only for his name, wanders through the proceedings like a stranger in a strange land in more ways than one. Portraying the Greek Darios as an American on holiday, Calhoun remains nonplussed in the face of death, torture, and the lures of beautiful women. Decidedly less buff than his Italian counterparts, Calhoun nevertheless overwhelms men whose physical strength obviously exceeds that of his own lean build. Perhaps his attire gave him self-confidence. The stylish mini-togas with colorful scarves thrown over one shoulder and white, laced boots to the mid-calf make Calhoun resemble Captain Marvel more than an ancient warrior. Right: Calhoun with Leone. 

In the scenes between Calhoun and Lea Massari as Diala, there is little doubt that neither performer knows what the other is saying. Calhoun recites his lines in English while Massari recites hers in Italian. It's a genuinely spectacular affair offering pretty much everything you could want from a peplum – muscle men, corrupt rulers, rebels and conspiracies, torture in the dungeons and the arena, the spectacular destruction of a city in a natural disaster and imported American star Rory Calhoun imitating Victor Mature. Steve Reeves still ruled. Delirious or what!

Belinda

One more fabulous lady before we move on to other things ...... we like Belinda Lee a lot, I first saw her as a kid in the 1957 DANGEROUS EXILE and she had some other Rank Organisation starrers too, like THE SECRET PLACE, MIRACLE IN SOHO, NOR THE MOON BY NIGHT, as per reviews on them at Belinda label. 

She was also a player in European cinema and got caught up in that LA DOLCE VITA era in Rome in the late Fifties, having a scandalous romance with an Italian married prince Filippo Orsini, which caused headlines, with both of them attempting separate suicide attempts. Belinda though was not long for this world, but certainly crammed a lot into her 25 years, before perishing in a car accident in California in March 1961. She now has a headstone in a Rome cemetery. (Above with Gerard Philipe). 

She starred in a lot of Italian peplums like APHRODITE in '57, MESSALINA, THE NIGHTS OF LUCREZIA BORGIA (now on YouTube) and was starting to appear in French New Wave items like LES DRAGUEURS in 1959, and a great Italian drama, Vancini's THE LONG NIGHT OF '43 which showed she could be another Loren or Mangano, she is also fun in a comedy with Mastroianni and Gassman GHOSTS OF ROME in 1960. I have covered her career in more detail in earlier posts. (A starlet had to pose looking busy in the kitchen too...)

Thanks to Jerry, whom I met for drinks and swops on Friday, he gave me a Belinda fridge magnet ! (right). Ta doll. He has been busy tracking down her more obscure items. She began of course as one of THE BELLES OF ST TRINIANS in 1954 (the glamorous one), and was foil for Benny Hill, Ian Carmichael and other comedians - no wonder she went to Italy! She remains England's lost siren, the glamour girl who did not survive, unlike contemporaries Anita Ekberg, Shirley Eaton, Diana Dors, Anne Heywood etc. 

Summer re-vews: favourite Spartacus moments

Though I have the dvd and have seen it several times, it was on television again (with no commercials) so it seemed a good idea to record it and watch again -and I liked it again as much as ever. Its certainly up there with BEN HUR, EL CID, CLEOPATRA and FALL OF THE ROMAN EMPIRE as one of the great epics of that epic era. Kubrick may not have thought much of it (Douglas hired him - they had already done PATHS OF GLORY in 1957 - to replace Anthony Mann, who at least had EL CID lined up next, and teamed up with Douglas again for his HEROES OF TELEMARK in 1964, one of those movies I just never needed to see), but it has several Kubrickian moments on themes on power corrupting. It has some great set-pieces too (I like the scenes with the Romans led by Crassus visiting Ustinov's slave school, which sets the revolt in motion) but it is that cast that delivers. Olivier as Crassus is one of his great performances of that time, Laughton and Ustinov are fascinating scene-stealers, Jean Simmons is ideal, and so is Kirk (he is 100 this December!) and Tony Curtis too as Antoninus. We get that bath scene now between Crassus and Antoninus (with Olivier voiced by Anthony Hopkins) which was considered too suggestive at the time!. Here are some favourite moments and behind the scenes shots:  Tony with Jean and wife Janet Leigh ... Olivier and Jean together again, after their HAMLET in 1948, and John Gavin showing his marvellous chest at the baths .....

Speaking of epics, word on the street has it that the new BEN-HUR is not going to be a success. It seems its just another run of the mill mainly CGI shallow blockbuster for a week or two at the multiplex, and lacks the complexity and richness of the 1959 Wyler film, still wonderful after almost 60 years. Even that TV version of a few years ago (with Ray Winstone as Quintus Arrius) is totally forgotten now. Arrius is not even in the new version (which is 90 minutes shorter than the 1959 one, no Nativity prologue either as it plays down the religious aspect...) as they make more of Sheik Ilderim - Morgan Freeman - the only big name in the cast - but can a black man be a realistic sheik back in this Roman era? Just asking ..... the supposed homoerotic tensions are also gone - Ben and Massala are almost brothers now. But the main question is how will the chariot race look now?

I saw the 1925 silent version last year too (Epics label) and it was nothing compared to the 1959 film, looks like this redundant one will not be around much longer either, another mediocre remake of a classic film. That old quip comes back: "Loved Ben, hated Hur". 

Summer re-reads: Pompeii by Robert Harris

An unputownable re-read is this 2005 novel by Robert Harris. I liked it even more this time around, apart from one strand of the narrative, which I will return to.

A sweltering week in late August. Where better to enjoy the last days of summer than on the beautiful Bay of Naples? But even as Rome's richest citizens relax in their villas around Pompeii and Herculaneum, there are ominous warnings that something is going wrong. Wells and springs are failing, a man has disappeared, and now the greatest aqueduct in the world - the mighty Aqua Augusta - has suddenly ceased to flow. Through the eyes of four characters - a young engineer, an adolescent girl, a corrupt millionaire and an elderly scientist - Robert Harris brilliantly recreates a luxurious world on the brink of destruction.

As addictive as a thriller, as satisfying as great history, says Simon Sebag Montefiore, while Boris Johnson is ‘lost in admiration at his energy and skill.

The amount of research Harris must have done for this is mnd-boggling but its all there bringing this ancient world to vivid life. I understand Roman Polanski was interested in filming it, but that never never happened. There are though so many other versions of the Pompeii story out there, from the 1959 Steve Reeves film, that 2007 German series, and the 2014 CGI version, which was not that bad actually - see Peplums/Epics labels. 

There is though a nasty streak of anti-gay comment if not homophobia here, as expressed by Pliny and the overseer Corax who seems to want to do things to our engineer hero .... but surely the ancient world was more accepting of same sex relations ....... this streak was also evident in Harris' first novel FATHERLAND (the gay young soldier who sees too much), and his ENIGMA (I couldn't be bothered reading it or seeing the film) about the Bletchley codebreakers seems to have sidelined Alan Turing in favour of fictional romances - at least THE IMITATION GAME rectified that!

More reviews state:

"a brilliantly orchestrated thriller-cum-historical recreation that plays outrageous tricks with the reader's expectations".

"As the famous catastrophe approaches, we are pleasurably immersed in the sights, sounds and smells of the Ancient World, each detail conjured with jaw-dropping verisimilitude."

Harris's protagonist is the engineer Marcus Attilius, placed in charge of the massive aqueduct that services the teeming masses living in and around the Bay of Naples. Despite the pride he takes in his job, Marcus has pressing concerns: his predecessor in the job has mysteriously vanished, and another task is handed to Marcus by the scholar Pliny: he is to undertake crucial repairs to the aqueduct near Pompeii, the city in the shadow of the restless Mount Vesuvius. Other characters like that millionaire ex-slave (who starts the narrative rolling by feeding a slave to his eels) and his daughter Corelia have other agendas ..... once you start reading it you can't stop. 

Cleopatra out-takes ...

Elizabeth Taylor and veteran actor Finlay Currie on the set of CLEOPATRA. But Finlay wasn't in CLEOPATRA you say - quite right, his part was surgically removed when they were cutting the 6 hour epic down to a more manageable 4 .... pity Finlay didn't make the cut here, he was in so many other epics, from QUO VADIS? to BEN HUR. 

FILMS IN REVIEW is a fascinating little magazine I missed at the time, its good discovering them now, like that 1988 one with a terrific interview with Lee Remick looking back over her career, and this recent acquisition I found on ebay, dated January 1988 with a good feature on CLEOPATRA, going through the original Mankiewicz screenplay for his proposed six hour version, which would be shown in two parts. Zanuck at 20th Century Fox soon put paid to that and the 4-hour version that exists now is as much as we are going to get. 
I don't think there will be any A STAR IS BORN-type restoration here! 

Other deletions, apart from Finlay, included background material on those other characters like Ruffio, Sosigenes, Apollodorus, Octavian, etc. 

I like this particular scene closing the first half, as Cleo sails away, its perfectly written, acted, and scored with that great Alex North score.

Among the supporting players we also like Richard OSullivan (the little boy in DANGEROUS EXILE) as the petulant young Pharoah, Gregoire Alsan as the scheming Pothinus, and Pamela Brown's all-seeing high priestess, and of course we love the opulent sets and costumes, as discussed before, and that great panning shot over the bay of Alexandria as Caesar arrives ....  There is still a lot to enjoy in CLEOPATRA not least Rex as Caesar and as befits a Mankiewicz film, the dialogue is to savour.

Jupiter's Darling, 1955

"Esther Williams stars as the beautiful woman whose love saves Rome in this whimsical musical delight. The year is 216 BC and almost all of the known world has fallen to the mighty Hannibal of Carthage (Howard Keel). In a bold and daring move, Hannibal has crossed the Alps with his army of men and elephants and is prepared for his final assault on Rome. As the new Roman dictator Fabius Maximus (George Sanders) frets about what to do, his fiancée the spirited and wilful Amytis (Esther) decides to visit the legendary barbarian general herself. Captured and accused of being a spy, she is brought before the formidable Hannibal who orders her to be executed. Amytis’s plea to “spare Rome” intrigues Hannibal and, inevitably, he falls under her spell. Now the might general must decide which he covets more: the conquest of Rome or the heart of the woman he loves. “A spectacular musical” JUPITER’S DARLING is sure to win you over."

This is my original review in 2010:

JUPITER'S DARLING. Another '56 musical
/ peplum  the only Esther Williams movie I saw in the cinema, its her last musical too [directed by George Sidney]. Set in Ancient Rome Esther is promised to emperor George Sanders (who is dominated by his mother Norma Varden! above); 
enter Howard Keel as a splendid Hannibal - he is as good here as in his other musicals like KISS ME KATE, KISMET or CALAMITY JANE. Marge and Gower Champion are terrific too and do a great number with painted elephants (real ones, not CGI). Esther does a bit of swimming (with moving statues, right) and saves Hannibal's life - he can't swim! This cheerful farrago would be a great double bill with MGM's other ridiculous costumer THE PRODIGAL where Lana is the pagan priestess and Edmund Purdom that prodigal son, great MGM production values though you have to laugh when Edmund wrestles with the stuffed vulture and Lana has some ritzy barely-there outfits before being stoned by the mob ...

I am now taking a week or so off, as moving house, going up in the world, in a new apartment block, 10 floors up - great views, especially at night!. We will return with more reviews, including a modern noir double bill: Fritz Lang's HUMAN DESIRE with MAN TRAP, Lester's hilarious and very gay THE RITZ from 1976, the original SHOWBOAT from 1936, and KILL YOUR DARLINGS .... 

Peplum veterans

Let's praise some of our peplum/epic favourite actors, great dependables who always 'add value' and make their scenes come alive .... (I am only focusing on their peplum/costume roles).

Frank Thring (1926-1994): Australian Frank was deliciously evil with a streak of camp, particularly as Aella in THE VIKINGS chopping off Tony Curtis's hand and ending up in the wolf pit, Pontius Pilate in BEN HUR ("A long life young Arrius, and the good sense to live it"), Ad Kadir in EL CID (when the starving citizens of Valencia revolt he gets thrown off the city walls), and his Herod Antipas in KING OF KINGS.  His published biography should be quite interesting.

Sir Cedric Hardwicke (1983-1964): The distinguished thespian was Sethi the old Pharoah in Cecil's THE TEN COMMANDMENTS, King Priam in HELEN OF TROY, the Judge in THE STORY OF MANKIND, Tiberius Caesar in SALOME, King Edward in RICHARD III, and the owner of the balloon in the amusing adventure FIVE WEEKS IN A BALLOON. 

Finlay Currie (1878-1968). 90 year old Finlay clocked up 145 credits, his busy career included lots of epics and costume dramas - in fact any epic had to include Finlay for extra gravitas: David in SOLOMON AND SHEBA, Balthasar in BEN HUR, Magwich in GREAT EXPECTATIONS, the traitor in DANGEROUS EXILE, Peter in QUO VADIS, Cedric in IVANHOE, the Mullah in ZARAK, in TEMPEST, Jacob in JOSEPH AND HIS BROTHERS, the pope in FRANCIS OF ASSISI, Titus in CLEOPATRA, a senator in THE FALL OF THE ROMAN EMPIRE. Right: Finlay with George and Yul in SOLOMON AND SHEBA.

Then, theres: Harry Andrews (1911-1989)  - prolific Harry did some great peplum roles too: I like his Baltor, advisor to Gina's Queen in SOLOMON AND SHEBA. He was in blackface too as Darius the deposed king of Persia in ALEXANDER THE GREAT, Peter in BARABBAS, and Hector in HELEN OF TROY, and in 55 DAYS IN PEKING, Lord Lucan in THE CHARGE OF THE LIGHT BRIGADE (1968).. More on Harry at label. 

Stanley Baker (1928-1976). The very prolific Stanley also did sterling duty in peplums:  starting with Olivier's RICHARD III, Achilles in HELEN OF TROY, Attalus in ALEXANDER THE GREAT, and of course being very nasty in SODOM AND GOMORRAH. Ditto more on Stanley at label. 

We cannot forget George Sanders (1906-1972) who did a whole string of costumers and some epics among his 135 credits..... IVANHOE, Adonijah in SOLOMON AND SHEBA, Charles II in THE KING'S THIEF, hilarious in JUPITER'S DARLING, SON OF FURY, raising his goblet to toast Delilah as the temple falls around them in SAMSON & DELILAH, King Richard in RICHARD AND THE CRUSADERS, the villain in MOONFLEET etc. 

Henry Daniell (1894-1963) too - sardonic Henry had some good peplum/costume moments in a long career: he is good in THE PRODIGAL 1955, and the Sheik in FIVE WEEKS IN A BALLOON, 1962 - and in the 1930s MARIE ANTOINETTE, THE PRIVATE LIVES OF ELIZABETH & ESSEX, Baron De Varville to Garbo's CAMILLE, Mr Brocklehurst in JANE EYRE,  THE SEA HAWK, SIREN OF ATLANTIS, THE EGYPTIAN, etc.   
Then there's Vincent Price ... and of course Kirk Douglas, Anthony Quinn, Jack Palance have also done iconic work in peplums - not to mention Steve Reeves & Co ...
Peter Ustinov too for scene-stealing beyond the call of duty in QUO VADIS, THE EGYPTIAN, SPARTACUS, where he, Olivier and Laughton seemed to be out-acting each other ... 
and the recently departed Douglas Wilmer - see RIP below.

Plus French Jacques Sernas (1925-2015) who died last year. Paris in HELEN OF TROY (right) and Laertes in APHRODITE, GODDESS OF LOVE and in THE NIGHTS OF LUCREZIA BORGIA (both opposite Belinda Lee, below), IMDB lists a lot of his other peplums we do not know here. 

Queen of the peplums has to be our favourite, the tragic Belinda Lee (1935-1961). She also did MESSALINA, MARIE OF THE ISLES, JOSEPH AND HIS BROTHERS and CONSTANTINE AND THE CROSS. Ditto, more on Belinda at label .... including her memorial in Rome. Then there's Scilla Gabel, Rossana Podesta (HELEN OF TROY herself), Anita Ekberg and ...

Cleo & Alex revisited

I always enjoy settling down to watch CLEOPATRA again - particularly if recording it from widescreen HD television, so one can zip past an occasional dull bit. Ditto Robert Rossen's 1956 ALEXANDER THE GREAT - a more turgid telling of the Alexander story than Oliver Stone's 2004 dazzling magnum opus which I like a lot - check posts on ALEXANDER at Colin Farrell label.

CLEOPATRA got a bad press at the time and was considered a turkey for a long time, but its a fascinating movie -- the first half at any rate as Rex Harrison is a dynamic Caesar and there are impressive set pieces - that great panning shot over Alexandra as Caesar arrives (Stone must have hommaged this in his ALEXANDER as he also shows us Alexandra where the aged Ptolomy is dictating his memoirs), and all those early scenes with Taylor and Harrison and of course that entry into Rome! 20th Century Fox certainly lavished care and attention and money on the sets and costumes and crowd scenes - all those people were really there. Taylor is impressive with that make-up and all those costume changes (a great wardrobe by Irene Sharaff, like that contrasting blue and red she wears when seeing Caesar's assassination in the flames, with high priestess Pamela Brown) and I love the score by Alex North - my best friend had the soundtrack album so we used to play it a lot. Leon Shamroy's cinematography captures the opulence of the sets.
I like that closing scene to the first half too as Cleo sails away and the music swells up. Her barge entering Tarsus in the second half is a wow too .... but here Burton rants and Taylor gets shrill ("I asked it of Julius Caesar, I DEMAND it of you"..), then the final scenes in the tomb are marvellous. I first saw this on its general release, maybe in '64 or '65, and those close-ups of Taylor on the big screen as the asp bites are someone one remembers .... Legend has it that Mankiewiz was writing the script by night and shooting during the day, after the film relocated to Italy and the famous scandal erupted. The dvd and blu-ray packages are good too, packed with all those features and documentaries including footage of Peter Finch and Stephen Boyd, initially cast, and Joan Collins' screen test as Cleo ...... it would not have been the same. 
CLEOPATRA remains impressive and a lot of fun, without the cachet of  Kubrick's SPARTACUS or Mann's EL CID or FALL OF THE ROMAN EMPIRE, or those other great epics of the time like Lean's LAWRENCE OF ARABIA or Visconti's THE LEOPARD. 

ALEXANDER THE GREAT, 1956, is another movie I remember fondly, first seeing it as a kid at a Sunday matinee, some great images linger: Danielle Darrieux as Alexander's mother Olympias on the battlements as the troops depart, and that great moment with the dying Darius (Harry Andrews) abandoned after the battle. A blond Burton does his best, and again there is a good cast including Claire Bloom, Peter Cushing, Andrews and Stanley Baker. Here are a cache of lobby cards:  

From that era, we also like Robert Wise's HELEN OF TROY, Fleischer's THE VIKINGS , Cecil's THE TEN COMMANDMENTS, LeRoy's QUO VADIS and of course Wyler's BEN HUR, and I will add in SOLOMON AND SHEBA too ! Then there' those Steve Reeves movies ..... 

Mitchell Leisen, Hollywood Director

"Mitchell Leisen, Hollywood Director" first published in 1973 and reprinted in 1995, by David Chierichetti, is a fascinating return to Hollywood's golden age, from the 1920s onwards. The blurb says: "Mirchell Leisen's lengthy film career which spanned the silents through the advent of television, began in 1919 when he was hired as a costume designer for Cecil B DeMille. In the 1920s he moved up to set design and art direction, and he began directing in the 1930s. As director, Leisen's unique cinematic eye was responsible for such hits as TO EACH HIS OWN, EASY LIVING. LADY IN THE DARK, MIDNIGHT, REMEMBER THE NIGHT, and DEATH TAKES A HOLIDAY. His story is a fascinating study of Hollywood's Golden Age." The book also gives an indication of Hollywood's rampant gay and bisexual scene back then ... Amusing stories too on those Leisen was great pals with (Carole Lombard) and those he wasn't (Miss Fontaine). 

My friend Daryl, also says this about Leisen:  "Mitchell Leisen was one of the master directors at Paramount in the 1930s; as a former set and costume designer, his films always had an elegant visual surface, and when that was coupled with a script of some merit, the results were some of the true delights of the period. (It's unfortunate that Leisen's reputation was tarnished by Preston Sturges and Billy Wilder - their anger over what they perceived as his meddling - he often cut the scripts if speeches got too unwieldy - caused them to strike out as writer-directors.)"

Leisen (1898-1972)  is now perceived as one of Hollywood's gay directors, but he was also avidly bisexual, being married and also having a long-time mistress, as well as his relationships with men. His early costume designs for Douglas Fairbanks for ROBIN HOOD and particularly THE THIEF OF BAGHDAD in 1924 are still marvellous now.In 1932 he was assistant director, and did art direction and costumes for DeMille's SIGN OF THE CROSS which I like a lot (see Peplums-1 label). He had to measure up a nude Claudette for her bath in ass's milk which DeMille wanted to come up to her nipples - but the heat of the studio was turning the milk to cheese .... 
Lets have a look at some of his successes:

MIDNIGHT, 1939. Today' guest reviewer, my friend Martin did this review of it on IMDB ten years ago, and sums it up perfectly:

As good as a movie can get. Claudette Colbert is the flapper/gold-digger/chanteuse, (take your pick), who arrives in a very rainy Paris in an evening gown and not much else. She is momentarily rescued from her predicament by a gallant taxi driver, (played gallantly by Don Ameche), with whom she immediately falls in love but from whom she runs as fast as her well-turned-out legs can carry her. She runs straight into the clutches of John Barrymore, (a magnificent comic performance), who saves her bacon, so to speak, if only she will seduce gigolo Francis Lederer who is stealing away Barrymore's wife, the always delectable Mary Astor, and thus save Barrymore's marriage.

This is a French farce of the very best kind, although it is written, not by a Feydeau, but by Billy Wilder and Charles Brackett, and directed with supreme elegance by the under-valued Mitchell Leisen. Colbert is wonderful as the wide-eyed chorine, torn between love and riches, Barrymore displays sublime comic timing and Astor is as sharp as a new pin. It feels and looks like a Lubitsch but I doubt if even Lubitsch could better it.

HOLD BACK THE DAWN, 1941. Told in flashback from a preface in which the main character visits Paramount to sell his story - to a director played by Leisen himself. Romanian-French gigolo Georges Iscovescu (Charles Boyer) wishes to enter the USA. Stopped in Mexico by the quota system, his old flame Anita (a doxy on the make) advises him to marry an American, whom he can then desert and return to her, who's done likewise. But after sweeping teacher Emmy Brown (Olivia De Havilland) off her feet, he finds her so sweet that love and jealousy endanger his plans. This is a perfect romantic fantasy where the varied characters have their own stories and motives for what they do. There is that nice very pregnant American lady Rosemary DeCamp (though she is so covered up one can hardly see that she is expecting) who connives to get her baby born on American territory. Olivia again plays a good woman without being cloying - I love that school bus she drives around. She is injured in a trafffic accident after Anita (a terrific turn from Paulette Goddard) confronts her and tells her the truth about how and why gigolo Boyer married her - he then risks all to cross the border chased by the immigration people, to get to her hospital bedside to comfort her and give her the will to live .... does it all end happily? You bet - even Anita lands a new rich patsy.

Wilder and Preston Sturges, in later years, bewailed the havoc Leisen wreaked on their scripts. Painted him as a flamboyant gay aesthete, who preferred décor to drama, party dresses to pithy dialogue. For Wilder, the problem with Leisen was simple. “He was a fag window dresser.”

Ironically, though, MIDNIGHT is a sharper and more stylish satire than Wilder’s dull  LOVE IN THE AFTERNOON (1957). Lacking Wilder’s pervasive sourness and contempt (to the fore in ACE IN THE HOLE, KISS ME STUPID and THE FORTUNE COOKIE), HOLD BACK THE DAWN views its hicks and whores and schemers through a veil of sympathy, suggesting they might have reasons to act as they do.  

Wilder is said to have hated so much what Leisen had done to his scripts – although it’s hard to imagine how anyone could fault MIDNIGHT or HOLD BACK THE DAWN – that he decided to become a director himself so that his scripts wouldn’t, in the future, be ‘butchered’ . "All he did was he fucked up the script and our scripts were damn near perfection, let me tell you. Leisen was too goddamn fey. I don’t knock fairies. Let him be a fairy. Leisen’s problem was that he was a stupid fairy." 
"HOLD BACK THE DAWN, an unlikely tale of redemption, of gigolos and gold diggers conniving their way across the American border from Mexico, would have been unpalatably depressing under Wilder’s direction. Charles Boyer’s and Leisen’s decision to cut a scene in which Boyer, a down-and-out playboy in his seedy hotel room, toys with and confesses to a cockroach, one can only surmise, was a good choice. It was the elimination of this particular scene that stoked most of Wilder’s hatred for Leisen."

I did these reviews here some while back:

Back to 1944 for FRENCHMAN'S CREEK, a costume drama about pirates from a novel by Daphne De Maurier, with her REBECCA star Joan Fontaine. This is now a Spanish dvd: EL PIRATA Y LA DAMA (The Pirate and the Lady), by that interesting gay director Mitchell Leisen. Mexican Arturo de Cordova is the pirate, with hissable Basil Rathbone, dependable Cecil Kellway and blustering Nigel Bruce. 

Joan is the noblewoman who tires of her husband and his decadent friends in bawdy Restoration London and who decamps with her children to her country estate, run by kindly Cecil, in remote Cornwall. She soon finds out that a French pirate moors his ship in a nearby cove and has been using her house and bedroom. They get to meet and have a chaste affair.  She soon enjoys herself dressing up a his cabin boy and getting involved in his pirate activities. 
Then her husband and suspicious Basil turn up as the plot works out to a satisfactory, for its time, conclusion as she has to give up her pirate lover and settle for dull marriage and looking after her children. Joan gives it her all and gets to wear some nice gowns. Arturo and his pirate gang seem a gay lot .... a subtext picked up by my IMDB pal melvelvit, who commented:  "I see what cinema scribes mean when they speak of Leisen's "gay sensibility"; the camera practically caressed Arturo's hairy (unusual for the time) chest and there were lots of lovingly photographed bare-chested pirates" ... A sometimes campy swashbuckler then. Joan's and Basil's fight to the death on the stairs is certainly well done and packs a punch! 

Then there is GOLDEN EARRINGS made after the war in '47 - is it a comedy, a romance or a thriller? perhaps a bit of each then as Ray Milland is on the run in Germany presumably before or during the war and has to depend on gypsy Marlene Dietrich to help him get around the country. Its actually quite amusing as directed by Mitchell Leisen and Marlene is droll in her gypsy makeup and not playing a heartless vamp for once. Bland Milland is dull - the stars did not get on - I read that Marlene sucked the eye out of a fish-head from her her stewpot during his first closeup to disconcert him. Again we get lots of comic Nazis and they do not seem to mind the gypsies roaming around or telling their fortunes - or maybe the gypsies were not being rounded up just then ! You have to laugh at the end: he comes back after the war and there is Marlene with her gypsy caravan and her stewpot as though he had left just a few minutes before...

Leisen continued into the 1950s - I caught THE MATING SEASON from 1951 once on television but it does not seem available at all now, but provided great roles for Thelma Ritter, Miriam Hopkins, and Gene Tierney. We will be looking out for more Leisen films ....  NO MAN OF HER OWN with Barbara Stanwyck sounds an interesting one.