Panamint Reviews

Ship of Fools (1965)

Good acting

[7/10 · 11 September 2022]

The acting in this film is very good by all the cast. Vivien Leigh gives a weary and memorable performance, you might say Oscar-worthy. She was a great actress. Oskar Werner is also terrific. We may never see this caliber of acting in films again.

However, the script writing is very 1960's pretentious in the style believed to be modern in the 60s. In no way does it seem circa 1933 and this is the major flaw in this film. Strictly written for the 60's audience by 1960's writers. I am referring to the dialogue (which is sometimes dialog just for dialogue's sake) and not necessarily the ideas it purports to convey. For example James Dunn, a really good actor, is given dialogue that so blatantly "relevant 1960s America" that his character is totally out of sync with any 1930's culture.

The film is thoughtful, sometimes poignant. Ironic and occasionally even humorous. At times the vignettes are not edited seamlessly or maybe things were chopped up at some point, even in the restored version that I saw. The black and white photography is very good and even seems necessary for the 1930's setting.

Good movie but sometimes the heavy elephant footprint of Stanley Kramer rather stomps all over the great efforts of the cast. Said footprint is very evident in the somewhat cutesy, smart-alecky ending.

Despite the flaws I would recommend this film for the remarkable performances.

Perry Mason: The Case of the Decadent Dean (1963) Season 7, Episode 5

Fine episode

[9/10 · 16 June 2021]

Just want to note the outstanding performance by Milton Selzer in this "Perry Mason" episode. This is an example of absolutely perfect casting (often a hallmark of this series). Selzer is a poised and confident actor and his performance is flawless. The episode as a whole has a very dramatic tone throughout, and fortunately produces excellent heavy drama, very watchable.

Perry Mason: The Case of the Floating Stones (1963) Season 7, Episode 8

Yes, we learn the fate of the stolen goods

[6/10 · 17 August 2020]

**Spoiler alert** Like most viewers I missed the fate of the stolen items the first time I watched this episode so I watched it again and yes we learn where the goods are. Watch the entire episode and concentrate, its revealed subtly and in a poorly written way, but its there. If you consider who did (or didn't) smuggle what and listen to a small couple of lines of dialog by Drake and the young lady near the ending, you can get it.

Irene Tsu is very young (about 18 years old) and is OK as the defendant but the episode would have been better if she had been allowed to perform in an 18- or 19- year old manner rather than the way she is directed and be-wigged here. Burr seems a bit disinterested. Mason in this episode lacks his usual gravitas (gasp!)- the only episode of the series I have encountered such a phenonenon, clearly the fault of the director and writers.

There are a lot of muddled interactions between the characters during the middle of the episode, on a ship that is traveling sans Mason, Della, or Drake. "The Case of the Floating Stones" seems rather thrown together and falls short of the usual high standards of the series.

Perry Mason: The Case of the Bigamous Spouse (1963) Season 7, Episode 7

Fine Mason plot with different camera techniques

[6/10 · 2 June 2020]

This episode is well written and acted and features expert editing, but for me the experimental nature of the directing techniques only results in a show totally dominated by one person, namely the director.

Almost entirely filmed with extreme closeups of faces (one scene with Paul Drake on the phone has his face filing the entire frame and I mean all of it). Every inch of William Hopper's normal facial fat is greatly exaggerated and thus quite unflattering to him.

The camera does move rather strangely at times such as swirling around a witness on the stand and ending up filming her from behind her head. The camera is often above an actor's head, at times right above their ear. Characters sort of burst through doors or are seen rapidly walking out of a door, quickly shutting it behind them. Why, just for dramatic effect or something? Added brisk walking and running around is really not necessary because the script has plenty of drama as written.

Distracting.

Apache Rifles (1964)

Serious effort

[7/10 · 14 July 2019]

This is a serious-minded and sincere effort at presenting some of the difficult aspects of US-Native American relations in the old west, albeit through a Hollywood lens. It delivers above its low budget and features a remarkably lean script in a conventional style.

Massacres anywhere were extremely brutal in the 19th century and one is depicted in this film as is a Custer type of US army blunder. This movie is violent but it is depicted within the context of what actually happened in those days, and isn't gratuitous or exploitative.

Audie Murphy is very watchable with his undeniable screen presence and his strong war hero credentials. You know that he could really lead these soldiers to hell and back if necessary. In fact, he literally could. A love triangle is rather awkwardly shoe-horned into the movie featuring beautiful and soft spoken actress Linda Lawson (who is virtually forgotten nowadays). She is perfect as a compassionate activist endeavoring for progress on the frontier. Her gentle acting style works well against the believable controlled violence personality that Murphy was able to develop for all of his soldier roles.

Acting by the supporting cast is uniformly good and features the ultimate movie rabble-rouser L.Q Jones. Jones rouses a lot of rabble in this one.

This skillfully edited and filmed low budget movie is worth your viewing time.

JFK: The Lost Bullet (2011 TV Movie)

Neither fundamental nor comprehensive

[1/10 · 4 July 2019]

Basically just some views of computer enhanced scans that create a "High Res" version of the Zapruder film. At this point in time, any assassination documentary that does not really dig down and present its story comprehensively is unfortunately not satisfying. And this one is pretty superficial.

Its from a Zapruder copy out of the National Archives. The producers must know that skeptics instantly ask who made the copy? Was this copy edited before insertion into the Archive? When was it put into the Archive? There have been many legitimate questions about the origin of items that show up in that Archive over the decades related to the assassination.

The Zapruder film has always been limited in documenting gunshots by its total lack of sound. Agent Clint Hill (who jumped onto the Presidents's car as the shooting took place) initially said he heard both rifle shots and a pistol shot. It cannot document anything regarding who might have helped Oswald. In fact it doesn't even show Oswald at all. It is incapable of giving us anything regarding Officer Tippitt, events in the Dallas jail, nor any evidence for or aginst a coverup.

Undisputed events involving bullets are not shown: Can you see the impact of the bullet onto the President's throat area? No, he was behind a sign at the time. Can you see the wounding of bystander Tague? No. Can you see or hear the bullet putting a big dent in the limo's metal windshield frame? No. Can you see the bullet or fragment chipping the curb? No.

The Zapruder film is useful but limited. This documentary only purports to present some computer enhanced visual clarity and is itself severely limited in scope.

Marshal of Cedar Rock (1953)

Well-made western

[7/10 · 29 April 2019]

Roy Barcroft (in top form as a land swindler) is one of a trio of first rate stars of the western genre who are featured in this movie.. He, Alan Lane and Phyllis Coates were among the best western performers of the era

Scenes are professionally set up, well-directed and photographed. In other words, this may be a modestly budgeted western but it is not shoddy in any way.

You won't find a sidekick, only an old crotchety uncle. He isn't goofy and he doesn't sing, yodel or dip snuff- he is just "crotchety". The story is formulaic but the script is lean and all the violence is within context. This film is worth your viewing time if you like westerns.

The Mask of Diijon (1946)

Features a great ending

[6/10 · 23 July 2018]

Deserves a fairly good rating because it has a very skillfully set up and well done ending. Once in a while a golden nugget of movie brilliance can be found lodged within a cheap forgotten film. The ending of this one is such a nugget.

Most of the cast is lively if not memorable and they are better than the film itself. They keep it watchable despite the drabness of the PRC production values and undoubtedly rushed filming schedule. Von Stroheim is his usual menacing self and does a good job in the title role.

Von Stroheim is effective but the hypnotism techniques used in this film are rushed and not well thought out. Despite many such weak elements "The Mask of Diijon" holds together and moves along in a fairly well paced linear b-movie style. Its not a terrible example of the dark 1940's b-movie creepy murder genre, and certainly worth a look.

Chinatown at Midnight (1949)

OK b- crime film

[6/10 · 1 July 2018]

Its a Sam Katzman produced film so you know its cheap. But that is OK in this case since its a police-procedure black and white movie that doesn't require any kind of budget to be effective. Its a serviceable representative of the raw style police films that were popular in the late 1940's/early 50's.

Hurd Hatfield delivers another of his flawless performances that elevated every project he ever appeared in. Hatfield was a remarkable actor who deserved much more than he received from the Hollywood establishment. He is much admired retrospectively nowadays for his contributions to stage, screen and TV. Also featured is a versatile and familiar actor, as talented as he was gruff, by the name of Tom Powers as the police captain. Numerous other capable and familiar actors do good work here.

This film moves along briskly which helps overcome the low budget and general lack of depth. It evokes the 1949 San Francisco ambiance and is a sincere attempt to produce a worthwhile police action genre piece. Just go along for the fast action (sometimes quite violent) and good acting. You won't be disappointed in "Chinatown at Midnight" if you don't expect depth or anything classic.

Queen Bee (1955)

Strictly melodrama with powerhouse Crawford

[6/10 · 20 September 2017]

This is a melodrama and is obviously written for one reason and that is to be a melodrama. The result is a one-dimensional and at times seemingly slow film as scenes of pure melodrama follow one after the other. Joan Crawford was the master of the genre and she is terrific in this one, even getting intimidatingly physical at times, and shockingly so. You gotta see these scenes as she goes completely over the top, they are priceless.

It all takes place in one house, with the characters constantly interacting in close quarters, as if scorpions in a bottle. This really doesn't work as well as it should because the characters have little or no development and in some cases no background. For example, all we really know about Crawford's character is that she came from Chicago and she is meaner than hell.

Fortunately all of the acting is outstanding. Barry Sullivan gives one of his best performances, its maybe his finest ever. He is believable as Avery, the suffering husband and father of the Queen Bee's two children. The acting in "Queen Bee" is so good that it overcomes any shortcomings, making this a film I would recommend. It is one of the classic late-Crawford "eyebrow movies" and not to be missed.

Autumn Leaves (1956)

May/December Dearest

[7/10 · 18 September 2017]

Joan Crawford was a great screen actress and her performance in this otherwise routine melodrama is terrific. But her eyebrows are yikes- in at least one scene they are not smooth across but spiked, the result is unintentionally frightening. Oh well, thats just Joan being Joan.

Usually Anthony Perkins would have played the confused ex-soldier part, but I guess he was busy. So we fortunately have Cliff Robertson in the role. Robertson was at that time a virile and vibrant young New York stage actor who is perfect for this role. Crawford and Robertson work well together.

While the actual character emotions are intense, the methods and practice of psychiatry is rather shallow and obviously just there to up the melodrama quotient. Shallow, skimmed-over psychiatry in a melodrama that is at the same time so definitely intense with Robertson's fine portrayal of suffering is a dichotomy I find detrimental to the film. And in a desperate attempt by the film-makers to enhance the melodrama effect, they actually carry the May/December angle into Mommie territory, emphasizing Crawford's motherly qualities (to the extent she had any).

If you view "Autumn Leaves" strictly for its performances and dramatic attributes while ignoring its implausibility and unnecessary references to May/December Mommie relationships you will certainly enjoy this highly dramatic film. Look for Lorne Green and Vera Miles in excellent portrayals of an unhealthy relationship- and wow does Crawford verbally chew them out in a magnificently acted scene by Ms.Crawford.

Overall "Autumn Leaves" is a noteworthy accomplishment by Aldrich and a great example of his ability and skill.

The Dark Avenger (1955)

Lively historical and swashbuckling film

[5 June 2017]

There is a DVD of this movie that shows its excellent wide screen color cinematography. Another big plus factor of this movie is its basis in historical fact.

The Black Prince, portrayed by Errol Flynn, was a real person, the Prince of Wales in old England of the 1300's. He really did marry a noblewoman named Joan, here portrayed by Joanne Dru. Many of the characters portrayed in this move were real, such as the King of France who is correctly mentioned as a prisoner of England, and the Dauphin of France who was suddenly forced by circumstance to rule in his father's absence. But the big ultimate winner of all the warfare was French hero Bertrand du Guesclin, Constable of France, who is portrayed in this film. Although depicted here as losing a battle, du Guesclin really did eventually regain almost all of France from the English and other assorted groups. These characters are chronicled more fully in a fine book called "The Distant Mirror" by noted historian Barbara W. Tuchman. The book also documents the constant wars, castle sieges, attacks, counter attacks such as those presented in "The Warriors". Believe it or not, these guys really did run around in a bloody, crazy, messy hundred years of warfare all over France and parts of Italy and the Habsburg Empire. And the English did have a claim on Aquitaine and fought for a long time to retain it.

So the movie is not just swashbuckling for its own sake. For me, understanding that the circumstances and that the major figures presented here are historical adds a new perspective to what you might be tempted to call "just another swashbuckler". The only failing that I perceive to all this is that not much time can be allowed for character development (hence the Tuchman book for reference- its well written but really long).

Errol Flynn's acting is good as it always was throughout his career, but alas he is too dissipated to be able to swash many buckles, although he or his double do participate in some action scenes. Dru is not effective in her part which is only secondary to this film's story, but Peter Finch and others including a young Christopher Lee do a fine job in supporting roles. Yvonne Furneaux steals the movie from all these stars with a lovely fun performance.

So this film has a lot of action in a true historical perspective, is well made and features good wide-screen cinematography. I can't pigeon-hole this as "just a swashbuckler" because it is a historical film at the same time, and you can't just say "its another late Flynn" because in his late films he grew as an actor and still tried to deliver a performance while suffering the severe decline of his health related to alcoholism and heart failure.

"The Warriors" lacks depth but is overall a pretty good action movie.

Girl of the Night (1960)

Watch this one

[8/10 · 25 May 2017]

This is one of the most perceptive and realistic depictions of psychology in film. The psychological aspects and the psychologist as portrayed by Lloyd Nolan are absolutely spot on. Anne Francis is perfectly cast as a woman truly in need and seeking out some internal insight, and believe me this is a realistic search by her character and not just an overblown cinematic exploitation. Kay Medford gives us quite a screen acting demonstration- she shows you how to act for the movies, she is that good. John Kerr portrays a total louse but the psychologist also endeavors to figure him out for the sake of his patient, Ms. Francis. Major childhood incidents and issues of the two lead characters are explored in a very frank manner, way ahead of the time frame of c1960 era film-making. And its not exploitative- it is all realistic and highly dramatic. Kerr was master of the psychological side of screen acting (we have seen examples of his work in "Tea and Sympathy" and "The Cobweb") and this film showcases Kerr as an even more well-rounded and impactful character.

"Girl of the Night" should be viewed whenever you are ready for a heavy, serious cinematic experience. Not frivolous or titillating, it is just a well conceived, well written and well acted movie.

Strait-Jacket (1964)

Absurd brilliance

[7/10 · 22 May 2017]

Joan Crawford's performance is masterful, ranging all the way from pitiful to frightening. Crawford was a great movie actress. She commands the screen and has thoroughly prepared for every scene and every word of dialogue, however good or bad the dialogue might be.

The whole film is never dull for a moment and is well made within the limits of the guilty pleasure sort of style. Like a train wreck, you can't look away.

Supporting cast acting is adequate, especially Diane Baker who works well with Joan Crawford as they create a memorable mother/daughter team.

For the ultimate in absurd, guilty pleasure brilliance by director William Castle and star Joan Crawford, view "Straight Jacket" when you get the chance.

Borrowed Hero (1941)

Fast Moving Florence Rice Movie

[6/10 · 11 May 2017]

A lively cast provides a lot of spark for this Monogram crime/lawyer/courtroom b-movie. Florence Rice really keeps things moving and the capable Alan Baxter works well with her, mainly due to Baxter's confident style and well-trained acting credentials that make him, like the well-established star Rice, a fortunate addition to the acting lineup for Monogram Studios. Monogram constantly strove to provide a quality product beyond its modest means, and sometimes succeeded as it does with "Borrowed Hero".

Movie perennial John Hamilton has a major role in this film as a shady "civic leader" who has his busy fingers in most of City Hall's activities both above-board and behind the scenes. Hamilton was always dynamic and lively in any role, whether in his countless movies or in the original Superman TV series. He always adds spark to a movie with his brisk dramatic style of acting. Ultra dignified Stanley Andrews and kindly Mary Gordon are also excellent in supporting roles.

"Borrowed Hero" has some good criminal and lawyer action and although hurriedly filmed at times including attempts at charming humor that don't always work, overall this is a watchable and lively little obscure movie.

Mysterious Intruder (1946)

Entertaining, feasible noir

[7/10 · 5 May 2017]

On December 2, 1889 Thomas Edison made some wax cylinders of Johannes Brahms personally playing his compositions on the piano. These went underground somewhere for 48 years until resurfacing, and were given to the Berlin State Library in 1937. They miraculously survived WWII, resurfaced again and still exist in Germany. In recent years modern state of the art digital methods have produced recordings derived from the original cylinders. Edison and others made recordings of extremely famous 19th century individuals, cylinders that either have been discovered or are waiting to be found. So the basic premise of "Mysterious Intruder" is feasible and broadly based on historical fact: the existence of such cylinders.

Richard Dix does a good job in "Mysterious Intruder" as a sleazy private eye out to grab some lost cylinders of a famous singer from the 1880's. It is a tight script and well made, released by Columbia Pictures in 1946. It moves briskly and is filmed with stark noir-style lighting.

Another thing I find interesting about this movie is its use of some talented and now totally obscure actresses, namely Nina Vale, Helen Mowery and Pamela Blake (no, not Amanda Blake). Who? They are unknown but worth your time to discover here, wherein we luckily find all three featured in the same movie. The very solid actor Barton MacLane (Maltese Falcon '41) also is a great asset portraying a police detective.

This movie has a unique story and is one of Dix's better performances (not great acting, but good for Dix) and is directed by William Castle. I find it to be both entertaining and interesting in its own b-movie sort of way.

The Colossus of New York (1958)

Excellent ideas but stiff direction

[5/10 · 1 May 2017]

Excellent science-fiction ideas and high moral purpose with classy actors- what could be better? A lot could be better- its too static, a general stasis pervades most of the scenes.

A brilliant scientist is artificially trapped in a Stephen Hawking-esque existence. The film largely takes place in an eerie dark mansion that contains a laboratory with the usual oscilloscopes, and (since this was entering the modern era) a tape-drive computer console, yet another movie brain-in-a-tank sequence and other sci-fi components, all nicely done for the 1950's.

Veteran stars of film and the New York stage with impressive acting credentials such as Otto Kruger and Mala Powers give solid performances, and fine actor Ross Martin is very good, both as a human and in his Hawking-esque voice only mode. I only mention Dr. Hawking out of respect, to illustrate how far ahead of its time the film's basic concept was.

The actors at times have a curious lack of cohesion interacting with each other, a situation that is clearly the fault of the director, as is the slow pace, and in fact I would place all the blame for every fault of this film squarely in the lap of the director, who in my opinion seriously bungled what is otherwise a potentially very fine film. A reviewer here mentions the scene of a crowd just standing while being zapped- such stasis in scenes is inexcusable. And I agree with reviewers who decry the lack of a "rampage"- a good monster menace should ideally rampage around the city a little but this one doesn't (he moves around the city some while hidden in a clever way, but the result is: no rampage).

I will give "The Colossus of New York" 5 stars out of 10 but wish I could give it a higher rating. Just can't do it.

Perry Mason: The Case of the Lost Last Act (1959) Season 2, Episode 21

Overly ambitious episode highlighted by good cast

[8/10 · 21 April 2017]

This is a very dramatic episode and it makes you really admire the extremely hard work that was often done by actors and producers in the old TV days. The hard work in this case was necessitated partly due to the episode's over-reach to what is probably the limits of concept and story that can be accomplished via weekly TV. You either will buy into the "live and die by the play" persona of Jerome Cowan's character or you won't, but Cowan does bring stature and gravitas to his pivotal role. He portrays a playwright and the episode is partly a sort of homage to Shakespeare who is quoted by the characters including lawyers in court. Heady stuff, a very ambitious TV concept and as I say maybe an over-reach.

The cast is terrific and they accomplish a dramatic ending, with skilled acting by TV perennial David Lewis. Lewis was around for many decades on television as well as having good parts in notable films such as the classic "The Apartment". He was highly respected in his era but is not very well known nowadays.

This episode was written by the distinguished Hollywood scriptwriter and literary editor Milton Krims. His participation is an indication that this episode of "Perry Mason" was in fact intended to be a really serious and high concept TV production but I didn't know that when I first saw the name "Krims" on the screen. I thought this must be a joke or a nom de plume- "Krims" spelled backwards is "Smirk", but now I realize who he was and that this is his real name.

Intensity and a heavy tone with little or no relief or levity is tricky to do in a series TV episode, yet this one does manage to elevate to a high standard in my opinion despite the limitations of the genre.

She-Wolf of London (1946)

Its OK but lacking

[5/10 · 14 April 2017]

You have here a lot of good atmospherics involving fog, several canines, and generally fine but somewhat routine mystery components, with competent acting and good Universal Studios production values.

June Lockhart is a lovely young beginner actress in this movie. But with a terrific supporting cast that includes Dennis Hoey, Martin Kosleck, Frederick Worlock and others it should have been better. The problem is, its simply lacking. It lacks a monster with scary make-up, a knowledgeable old expert doctor or scientist, or great mystery detective. There is no strange gypsy woman or macabre character of any sort. I did see quite a bit of canine activity but did not notice any werewolf type animal.

Don Porter is the leading man but his part is way underwritten and he really doesn't have much to do so I won't fault his acting. He is OK for what he was probably paid which was most likely very little.

And its odd that so much of the film plays out on the familiar Universal mansion front door/front porch set (the British of the film's locale would probably call it the "forecourt") that is in so many Universal films of the era. The set itself doesn't bother me at all but I do believe that in this movie it reflects an overall lack of imagination in sets and staging, being used repeatedly in so many scenes.

Fans of the Universal product of the era will probably find this film satisfying but its too bad it doesn't have more oomph.

The Hunted (1948)

Good 1940's noir

[7/10 · 19 March 2017]

This is a film that manages to keep the viewer's interest through well- conceived plot twists and a well-played romantic relationship between the two lead characters. Preston Foster is believable as a tough cop with a hard-nosed exterior who has a complicated emotional entanglement with an enigmatic and dangerous woman. Foster does a great job in the role.

A now rather obscure actress named Belita gives a studied and endearing performance as the ex-con blonde noir babe who maybe does or does not love the cop. She manages to convey a vulnerable yet dangerous persona that is not easy to maintain for an entire film length but she pulls off this feat with remarkable consistency and aplomb. The multi-talented Belita also gives us a fine and professionally done figure skating routine wherein her rather tall, lean and graceful style reminds me of the great Olympian Peggy Fleming. And its good to see noir icon Charles McGraw in a supporting role.

I found "The Hunted" to be a rewarding blend of constant emotional tension between the characters and plot tension related to the twists and turns of its basic noir story line. View it if you get the chance.

The Phantom from 10,000 Leagues (1955)

Its awful but also just bad

[3/10 · 15 March 2017]

A 1950s creature movie can be awful and that's OK if its so bad its good- some are hilarious or have a fun goofy monster ("The Giant Claw"). Unfortunately The Phantom from 10,000 Leagues has none of the awful plus factors going for it. Its slow, boring and directed by someone who lacked the ability to either reach up to make good film or to reach down to the lowest Ed Wood levels of schlock. And the monster here is not campy or anything.

Cathy Downs was capable of giving good performances, as was perennial leading man Kent Taylor. Downs looks fine as she wears various sporty outfits, swimsuits etc. but unfortunately that is all her role requires, no acting is even remotely required. Taylor seems rather bemused as he knows this movie is not redeemable even as camp.

I watch this movie because I like the cast, but the silly monster that bobs around the surface in shallow water has no impact at all.

A 1950's monster film completist will need this in their collection but other than such enthusiasts I doubt that anyone else would be interested.

The Big Boodle (1957)

1950's B-movie features authentic Havana locales

[6/10 · 24 February 2017]

For a touch of exotic atmosphere only 90 miles from the shores of the USA in a part of the world that shares a common Spanish Colonial heritage with much of the United States, you can view "The Big Boodle". The movie lacks depth but the atmospherics and locales of 1957 Havana are effective, and filmed with fine black and white cinematography.

Errol Flynn stars and looks every inch the movie star, although he appears thin and tired. Nevertheless he summons enough energy to move at a good pace- in fact the overall action moves at a rather fast pace, especially toward the end. Flynn's star quality was still intact although fading rapidly, and he is able to function well enough to carry the film.

Flynn portrays a croupier with a sketchy past who is thrust into some really heavy criminal goings-on. He is believable in the role and his acting (as always) is good. Gia Scala is OK as a young woman involved. Ms.Scala was one of the most remarkably beautiful women ever on film- its regrettable that her startling eyes cannot be shown here in color. Rosanna Rory is a cast member who is relatively obscure but is basically a capable Euro actress of the era. Pedro Armendariz is perfect as the cagey police chief. He was one of the finest screen actors ever and he is superb in this movie. Leading man type Carlos Rivas who you might recognize from the classic 50's monster film "Giant Scorpion" is also well-cast as a reckless and ambitious young Cuban.

Authentic atmospherics of pre-Castro Cuba, some decent acting, and the brisk pace will probably overcome any reservations you may experience from Flynn's obvious weariness and the B-movie nature of this film. I found it to be an entertaining departure into the long lost era of Errol Flynn and of late-50's Cuba.

Assassin of Youth (1938)

Not a good movie, but......

[4/10 · 24 February 2017]

"Assassin of Youth" aka "The Marijuana Menace" is a cheap exploitation movie, obviously filmed quickly with low-paid actors. However, unlike the worst of such films of the era, there are some legitimate acting talents in this one. The lovely Luana Walters, who in my opinion should have become a much bigger star in Hollywood, has substance and screen presence while being able to actually act. Despite her talents she was often wasted in typical Hollywood fashion in low-budget westerns simply because she had some genuine horsemanship ability, having grown up around horses. Its sad that the movie industry has used and thrown away so many talents for such superficial reasons. Another cast member with a long Hollywood career was the multi-talented Fay McKenzie, who portrays the evil cousin with verve and impact. But in this movie you mostly encounter laughably bad acting by unknown actors being handled by the director in hurry-up fashion.

Another distinction of this particular exploitation movie is that marijuana is clearly portrayed as a threshold drug and not a "Deadly Narcotic" as is so forcefully stated in bold headline letters in the ridiculous and preachy "Reefer Madness". Marijuana is portrayed here as being used to introduce youth to hard drugs, and the hard drugs are being purveyed by hardened organized career criminals, as they were then and still are today.

So this film is old, cheap, bad and all that. But it has a few redeemable qualities that made it at least watchable for me.

Tarzan's Savage Fury (1952)

Good Tarzan Adventure

[6/10 · 16 January 2017]

A good Tarzan adventure film, another of the Lex Barker films that were made with decent budgets and not just cheap knock-offs. Barker does a great job as big hunk Tarzan (its definitely a role that requires more action than acting). First-class actress Dorothy Hart is lovely as Jane and does most of the real acting in this Tarzan household. She was a truly gifted actress who soon quit movies for roles in prestigious television productions and other activities that utilized her worthwhile abilities. There is also a little boy character well played by a lad named Tommy Carleton, although this character seems superfluous to me and was subsequently dropped from the Tarzan series. Former leading man Patrick Knowles does a great job as a vacuous baddie, a weak willed character whose actions are essential to the plot.

The overall story of "Tarzan's Savage Fury" is wholly inconsequential but the movie is directed at a nice crisp pace. It is definitely above average for a b-movie adventure flick. I can recommend this film for the action and physicality that Barker brings to the Tarzan role, and for Dorothy Hart's luminous presence and fine acting.

Tarzan's Peril (1951)

Good Tarzan adventure

[6/10 · 1 January 2017]

This is a good Tarzan action movie. Featuring such notable supporting actors as Alan Napier and Walter Kingsford, you get the impression that the studio wanted to make a quality film here- its not just another b-movie throw away. Talented director Byron Haskins (who directed many notable movies of the 40's, 50's and 60's as well as a career in cinematography) is in charge with a sure and steady hand.

Lex Barker is a big strong hunk and he does a fine job as Tarzan, who faces some serious perils. Bad tribal chief King Bulam very nearly kills Tarzan with his bare hands and a knife in an exciting fight sequence. George Macready is at his meanest as he murders several people and almost kills everybody else. Macready is really a nasty baddie in this one. Virginia Huston is an athletic and poised Jane who contributes her usual lovely and capable movie effort in an underwritten role.

Dorothy Dandridge steals this movie with terrific screen presence. She is ravishing as Good Queen Melmendi. The director wisely showcases Ms. Dandridge, who ignites every scene she is in and makes it special. She is a powerhouse obviously destined for future star potential.

"Tarzan's Peril" is a worthwhile, vigorous and fast-moving adventure movie. You will be satisfied if this is what you are expecting from a film outing with a classic adventure hero.