Mary Poppins

Mary Poppins
August 27, 1964
Disney
Musical, Historical, Fantasy, Children's
DVD
B-

Forgive me, but the magic has faded.  This used to be one of my favorite Disney movies, but watching it now (on the 50th anniversary special edition DVD), I notice things like that the animation isn't as amazing as I remembered, and the bird woman is covered in pigeons (and probably their poo).  Although some people seem to appreciate the "father" plot more now that they're adults, seeing Saving Mr. Banks a few months ago only confirmed that I never cared for Mr. Banks even after he reforms.  (And why is the mother a suffragette on the streets but a "yes, dear" sort of wife at home?)  The "laughing" scenes aren't exactly infectious, and I kept thinking that I'd hate to have a neighbor shoot off a cannon a couple times a day.

That all said, I still like the chemistry between Julie Andrews and Dick Van Dyke (his bad accent aside), the kids are cute but not cutesy, and most of the songs are good to great.  The special effects are impressive for their time.  Bill Walsh also cowrote the screenplay for Merlin Jones, which was directed by Stevenson, and obviously this is more ambitious and imaginative.  It's been a very long while since I've read the books, but I think it's fair to say that the best parts of the movie-- like the very catchy "Step in Time" song & dance by the chimneysweeps, have little to do with the actual story.

Arthur Treacher, who's the constable, does not look 70, but it had been almost 30 years since he played Jeeves.  Sam Harris was in several of my movies, going back to the '30s, but this is the last of his I own.  (He would die in 1969, at 92.)  Marjorie Bennett, who plays Miss Lark, was the corset saleslady in Ma and Pa Kettle at Home.  Marjorie Eaton, who's Miss Persimmon, would appear in Harold and Maude.  Hal Taggart was in There's No Business Like Show Business.  Dal McKennon, who does several voices, was one of the detectives in Merlin Jones.

Elsa Lanchester, who appears early in the film as Katie Nannna, would shortly have a more substantial role, as Aunt Wendy in Pajama Party.  Bert Stevens was in a few of my earlier movies, most recently Some Like It Hot, and he would be in I'll Take Sweden.  Ed Wynn, who plays Uncle Albert, would be in Dear Brigitte.  (And, yes, he's the father of Keenan and the grandfather of Ned, so '64 was a year you could see three generations of Wynns at the movies.)  Thurl Ravenscroft, who does the voice of the hog, would be in The Love God?  Bill Lee, who voices the ram, would be a singer in Charlotte's Web.  Reta Shaw, who plays Cook, would be the manager of the orphanage in Escape to Witch Mountain.  Marc Breaux, who voices the cow and was the choreographer for the movie, would more dubiously be the choreographer for Sextette.

Bikini Beach

Bikini Beach
July 22, 1964
AIP
Comedy, Musical
DVD
B

This is one of the most enjoyable of the Beach Party movies, even if there's a bit too much drag-racing, and the older couple of Martha Hyer as pro-teen teacher Miss Clements and Keenan Wynn as publisher (of The Bikini Bugle) H. H. Honeywagon III don't have plausible chemistry in the way that Cummings and Malone did in Beach Party.  (A "honeywagon" is a mobile toilet unit near a film set.)  The music is generally better, not just Little Stevie Wonder making a brief return, but also the Pyramids, probably the only bald interracial band of the mid-'60s.  Donna Loren sings "Love's a Secret Weapon," which is the first of several songs in the series that seem inspired by dialogue in previous movies.  Frankie and Annette get their first romantic duet, "Because You're You," and it's very sweet.  Most memorably, Frankie, in his role as the British pop star the Potato Bug, a weak but likable Beatles parody, sings a couple songs, with "yeah, yeahs" and McCartneyesque oos.

Instead of Frankie trying to make Dee Dee jealous, Annette casually makes him jealous with, yes, the Potato Bug.  Partly for this reason, and partly for her relatively revealing and polka-dotted wardrobe, she seems to be having more fun than in previous entries, where she too often sat sulking at a table at the teen hangout as Frankie frolicked with other girls.  This time the hangout is Big Drag's Pit Stop, with Don Rickles as Big Drag.  ("I used to be in the fanny business, but that's all behind me now.")  He paints Jackson-Pollock-ish modern art, which catches the eye of an art dealer, played by this film's horror vet guest star, Boris Karloff.

This movie marks the return of Von Zipper and his gang, and we see that a year later (this is set in the summer, while Muscle BP was set over Easter vacation), he's still affected by the "Himalayan suspenders trick," able to accidentally give himself "the finger."  Frankie remarks that Von Zipper is stoned again, I think in the earlier sense of "drunk" or maybe "unconscious," although you can't be sure with these movies.  There are also cops (played by actors who've done a ton of TV although probably not any other of my movies) who are suspected of drinking on the job.  And there's the sound of a toilet flushing.  (Pajama Party would outdo this though.)  Also, there seem to be more shots than usual of the California coast, as well as a not too convincing small town that the chase scene goes through.  (One street is full of New-York-like brownstones.)

With a talking bird, a surfing "chimp" (Janos Prohaska in a costume, as he'd appear on Gilligan's Island, among other TV shows), and a "teenage werewolf monster," the movie verges on sci-fi/fantasy, but doesn't clearly cross over as later entries would.  Asher again cowrote the script with Robert Dillon, so I'm guessing that it's the addition of Leo Townsend that made the overall difference.  (Asher and Townsend would team up for Beach Blanket Bingo, without Dillon.)

Frank Alesia, Patti Chandler (the girl who keeps walking by the camera in a bikini and heels), and Keenan's 23-year-old son Ned join the Beach Party crowd, while John Ashley, Jody McCrea, Linda Benson, Roger Christian, Mickey Dora, Johnny Fain, Ed Garner, Guy Hemric, Luree Holmes, Mary Hughes, Duane King, Darlene Lucht, Meredith MacRae (as the new "Animal," and getting to utter one of the first onscreen uses of the word "groovy" since the '30s), Linda Opie, Salli Sachse, Gary Usher, Dolores Wells (still "Sniffles"), and of course Mike Nader return.  (Here, Nader really establishes his role as the guy who has mishaps happen to him.  You just know that he'll be the one whose chair is yanked right out from under him when he's smooching a girl, and it's of course his surfboard that Clyde borrows.)

Allen Fife joins the Rat Pack of Andy "J.D." Romano (who we learn has to read to Von Zipper, who never went past the 3rd grade), Jerry Brutsche, Bob Harvey, John Macchia, Alberta Nelson, and Linda Rogers.  Ronnie Dayton, who plays the Potato in the shots he shares with Frankie, would become one the Beach Party crowd in subsequent films (and had done stunts in the earlier two entries).

Old Lady #2 Renie Riano would play a maid in Pajama Party.  Timothy Carey would reprise his role as South Dakota Slim in Beach Blanket Bingo.  Meredith MacRae's mother Sheila plays a secretary here, as she would in How to Stuff a Wild Bikini.  Elizabeth Montgomery, whose Bewitched would premiere that fall, was Asher's new wife and she does the French-accented voice for the Lady Bug.  She would have a cameo in a later entry.

A Hard Day's Night

A Hard Day's Night
July 8, 1964
United Artists
Comedy, Musical
DVD
B

Released at the height of Beatlemania, this is a G-rated but mischievous version of the Beatles' lives.  (There are moments when Lennon in particular seems to be undercutting their then squeaky clean image, as when he leers at girls or sniffs Coca-Cola.)  It of course has a soundtrack full of their songs, although a bit too heavy on the ballad side for my taste.  The humour is mostly very dry, with slapstick here and there.  The Beatles come across as likable and charming.  The supporting players unfortunately, with the exception of too young (52) but otherwise just right Wilfrid Brambell, aren't much support.  I do like spotting Pattie Boyd (later ex-wife to George and then Eric Clapton) in her scenes on the train, but she isn't given any lines.  Oh, and the stuffy guy in their compartment is fun, because he's the perfect foil for the lads, especially when they run and bicycle alongside the train.  And there's of course a certain irony that the Beatles would all soon be extremely wealthy, and one of them eventually "Sir Paul."

I've seen the movie several times (the first time in the dress I'd later get married in), and it still feels fresh, thanks partly to the pseudo-documentary style that Richard Lester directs in, especially in the scene where the Beatles goof around in the field.  I don't think it's a great film but it's still, at pushing 50, an undeniably good one.  And, yes, Beatles aside, it captures its time, like the way that the girl who sobs George's name dresses as Barbra Streisand did then, or how Shake and the Beatles like to read MAD Magazine.  Some things don't feel dated, like the packaged TV teen star.  But yeah, I can't watch it now without thinking of what came after, how obsessed fans and arrest-happy police would no longer seem funny to the Beatles a few years later.  Even in '64, things weren't that innocent, but it was still possible to pretend.

Jeremy Lloyd, who's "Tall Dancer at the Disco," would have another bit part in Help!, while "Car Thief" John Bluthal would play Bhuta.  Rosemarie Frankland, who's a showgirl here, would be Marti in I'll Take Sweden.  Phil Collins (yes, that Phil Collins) is "Seated Fan with Necktie" and would be a Vulgarian child in Chitty Chitty Bang Bang.  Anna Quayle, who's Millie here, would be Baroness Bomburst there.

Muscle Beach Party

Muscle Beach Party
March 25, 1964
AIP
Comedy, Musical
DVD
C+

Released the same day as Merlin Jones, this shows Annette's hair looking closer to its usual black, although still with strong red highlights, in some scenes more than others.  It also shows Annette/Dee Dee surfing with Frankie, which is a rarity in these films.  (Annette hated the beach in real life.)  And we see Frankie smoking again, including right after he surfed and as he's singing.  (The Surgeon General's Report on Smoking and Health came out in January of that year, and we will see a gradual decrease in onscreen smoking, but not yet.)

The songs, including the very weak retread of "Don't Stop Now," "Running Wild," as a tribute to Cappy's Place, are for the most part less memorable in this entry, except for "Happy Street" sung twice by 13-year-old Little Stevie Wonder, who'd had a hit with "Fingertips" but was not yet the star he'd become.  If I could use more tags on these posts, I'd tag him, since he'd appear in the follow-up, Bikini Beach.  And I'd tag Morey Amsterdam, who's back as Cappy, although given less to do this time.  Instead of Vincent Price as Big Daddy, we've got Peter Lorre as Mr. Strangdour, one of his last roles, although the credits promise him in Bikini Beach.

Instead of Bob Cummings and Dorothy Malone, we've got Luciana Paluzzi as an Italian contessa and Buddy Hackett seriously miscast as her sarcastic business manager S. Z.  I can't help wondering if the movie might've been improved if Hackett had swapped roles with Don Rickles, who plays wimpy Jack Fanny, manager of a group of musclemen.  This is a parody of Vic Tanny, although everyone calls the character by his full name, so that they can say, "Fanny."  (This naughtiness seems mild compared to the scene where one of the beach guys says either "Let's bug out of here" or "Let's get the f*** out of here.")

This time William Asher not only directed the movie, but he cowrote the script with Robert Dillon, and they'd team up for Bikini Beach as well.  There's some de ja vu here, with jokes being recycled (some not for the last time, as with "You can say that again"), not to mention redone situations like a fight scene at the local teen hangout, but the movie is most notable for what's missing: Eric Von Zipper.  The musclemen just aren't as interesting as the "carbon monoxide commandos."  I'm still using the "Ratz & Mice" tag though, because Alberta Nelson appears as a muscle girl and Bob Harvey (the slightly craggy-faced guy) as a sound-man.

Jody McCrea is still Deadhead, but John Ashley is now known as Johnny instead of Ken.  Candy returns as Candy, now a "secret weapon" who knocks men off their feet and/or surfboards with her fringed go-going.  Donna Loren is introduced as Donna, helping to make the last third of the movie better than the first hour.

Other new additions to the Beach Party crowd include Linda Benson, Guy Hemric, Mary Hughes, Duane King, Darlene Lucht, Linda Opie, and Salli Sachse.  Duane Ament, Roger Christian, Mickey Dora, John Fain, Ed Garner, Ashlyn Martin, Valora Noland (changing from "Rhonda" to "Animal"), Luree Nicholson (now using her married name of Holmes), Lorrie Summers, Gary Usher, Delores Wells (with her character's name changed from "Sue" to "Sniffles"!), and my fave Mike Nader (he this time with a few slangy lines) return.

Future Grizzly Adams star Dan Haggerty plays muscleman Biff, and he'd show up in Girl Happy the next year.

The Misadventures of Merlin Jones

The Misadventures of Merlin Jones
March 25, 1964
Disney
Comedy, Sci-Fi
VHS
C+

By this point in their careers, the two young leads were such Disney veterans that she's known in the credits as simply "Annette," and both are recognizably caricatured in the opening cartoon, which is set to Annette singing the title tune.  They'd done some earlier movies together and have a nice, easy-going chemistry.  Unfortunately, they're not given much to work with.  To begin with, Merlin (played by Kirk) is supposed to be a science nerd, but the two main things he experiments with-- mind-reading and hypnosis-- are more in the nature of pseudoscience.  Yes, misadventures ensue, including some questionable ethics.  Not only does a judge nag Merlin into hypnotizing him to commit a misdemeanor (chimp-napping), but the Science professor not only tricks Merlin into harmless activities like eating a raw potato (telling him it's an apple) and drinking water (telling him it's whiskey), but he has Merlin kiss "the first pretty girl he sees."  Jennifer (Annette) is jealous it's not her, but no one in the class seems to have a problem with the girl being kissed against her will!

Still, there are some mildly amusing moments, like when Kirk eavesdrops on the thoughts of other students in the library, including a beatnik poet.  It's never explained how he doesn't hear everyone in the vicinity, or for that matter how when the Science teacher says Merlin will hear only his voice, Merlin misses all the professor's asides to the class.  My favorite bit, as someone who much prefers cats to dogs, is when Merlin hypnotizes his cat to stand up to the bully neighbor dog.

This was originally made to possibly air as two hour-long (including commercials) Disney TV programs, but reedited for theatrical release it proved popular enough to merit a sequel, The Monkey's Uncle (although as Merlin insists, Stanley is a chimp, not a monkey).  Uncle would have some of the cast besides Tommy and Annette reprising their roles:  Norman Grabowski as the jock Norman, Leon Ames as Judge Holmsby, and Connie Gilchrist as the judge's housekeeper.  (He was the father in Meet Me in St. Louis, while she was Norah Muldoon in Auntie Mame.)  The Augusts would also co-write Uncle's screenplay, while Bill Walsh would co-write Mary Poppins, which would feature the voice of Dal McKennon, who's Detective Hutchins here.  Robert Stevenson would direct both Poppins and Uncle.  Burt Mustin, the elderly bailiff, then 80, would do a lot of television and appear in Mame a decade after this.

Take Her, She's Mine

Take Her, She's Mine
November 13, 1963
Fox
Comedy, Musical
VHS
B-

Inspired by the play by the Ephrons, who in turn were inspired by daughter Nora's letters home from college, this provides an early look at what would in a few years be known as the generation gap.  Yes, earlier movies showed parents dealing with their high-school and college-age children (including not only Dee's Gidget but Stewart's It's a Wonderful Life).  But this one shows some very '60s-specific issues, particularly in Mollie's (Dee's) freshman year, when she embraces protest and folk music.

But her father, Frank Michaelson, played by Stewart, is more worried about the college men she may be embracing.  Although there are some borderline tasteless moments, overall the film offers a sweet if very dated look at a man dealing with "the awakening of sex in his daughter."  Her dad not only wants Mollie to stay a virgin, but he believes that a woman's ultimate happiness is through marriage.  Mollie, despite her social consciousness and her interest in modern art, ends up marrying a rich, handsome, young Frenchman, and that presumably is enough for her happy ending.  (At 19!  But the average age for women marrying for the first time in '63 was 21.)  How this differs from a '50s film-- other than of course Wilder's Sabrina-- is that it's not clear that Mollie keeps her V-card until the wedding night, and ultimately it doesn't really matter.  And if she has had sex with her French boyfriend, at least she doesn't seem to be pressured into it, after being ogled, hit on, and even harassed by various men, including her high school art teacher!  The variations on this theme of the protective dad's "dish" daughter would play out as the '60s moved on and American cinema tried to cope, particularly in Bob Hope "sex comedies."

We get a bit of Mollie's perspective, although the movie is mostly told in Mr. Michaelson's flashbacks.  I'm using the "musical" tag because Dee shows she can sing and dance in a few different numbers, although she's not showcased in the way she'll be in Doctor, You've Got to Be Kidding!  (That's the movie where I most often reinterpret the Grease lyrics, "Look at me, I'm Sandra Dee, lousy with virginity," because she is lousy at dealing with her screen "virtue," particularly in that film.)  Here she sings not only folk but a French song, as well as dancing the can-can.  She's accompanied on the guitar very briefly by everybody's favorite TV beatnik Bob Denver, not yet transitioned to goofy Gilligan.  Equally scene-stealing is the ever quotable Robert Morley.  (While everyone else keeps mistaking Mr. Michaelson for Jimmy Stewart, ha ha, Morley's Mr. Pope-Jones is convinced Frank looks like Henry Fonda.)

Eugene Borden also played a Frenchman in All About Eve, as did Marcel Hillaire in Sabrina (as the professor at the cooking school).  Jack Chefe was in Please Don't Eat the Daisies.  Harry Carter, Pitt Herbert, Gene O'Donnell, and Charles Robinson would be in Dear Brigitte with Stewart.  (Henry Koster would again direct, but Nunnally Johnson would be uncredited for his work on that script.)  Irene Tsu (Miss Wu here) and Jane Wald would do John Goldfarb, Please Come Home!  James Brolin, who's one of the boys greeting Mollie at the airport when she first goes off to college (he was then 23), would be in both movies.  Cynthia Pepper would be in Miss Congeniality 2.  

Palm Springs Weekend

Palm Springs Weekend
November 5, 1963
Warner Bros.
Comedy, Drama, Romance
VHS
C+

This is never as much campy fun as it could be but if you're patient you may find it worthwhile.  Mostly I watch it for the cast, particularly scene-stealing nine-year-old Billy Mumy as Boom Boom.  The more recognizable "teenagers" in the cast include Jerry Van Dyke, 36, providing most of the comic relief, such as it is, and playing the banjo; Robert Conrad, 28, as the spoiled rich villain; Troy Donahue, 27, as the hero (and singer of the title tune); Connie Stevens, 25, as an 18-year-old pretending to be 21; Stefanie Powers, 21, as Bunny, who despite the name comes across as proto-feminist in one scene where she criticizes the double standard.  (She also is, perhaps coincidentally, in a similar situation to Trudy Kockenlocker's in Miracle of Morgan's Creek, in that she works in a record shop and has a protective policeman father, although she decides not to give in to her own or Troy's "biological urges.")

The script is by Earl Hamner, Jr., later of Waltons fame, and among the un-Walton-like elements are

• A patio and swimming pool completely covered in laundry-detergent bubbles
• The policeman's wife trying to put tranquilizers in his orange juice
• Van Dyke trying to give Boom Boom a "milky Finn"
• A house-wrecking brawl
• A Nanette-Fabray-style makeover
• A gigantic Bugs Bunny doll
• A young man who hiccups when he thinks about sex
• A couple drag races 
• A weekend that lasts a whole week (Spring Break/ Easter vacation)
• A folk band in a casino

Hamner obviously isn't responsible for the most unintentionally funny aspect of the film, the repeated shots of the cyclorama of the desert by the casino, with the studio lights clearly visible in several shots!  (And it's not even like I have a big TV.  It's really obvious.)  Trying to make sense out of all this nonsense is Norman Taurog, who had been directing since the '20s (and apparently was one of the several directors of The Wizard of Oz), but in the '60s he started getting "teen movie" assignments, including a few for Elvis, so we'll be seeing his work again.

Jack Weston, who was the playwright/cabbie in Please Don't Eat the Daisies, plays the health-food fanatic basketball coach.  Sam Harris has been in several of my movies, dating back to the '30s, the most recent before this being Auntie Mame; next would be Mary Poppins.  Dorothy Abbott was in The Apartment.  Roger Bacon was in Beach Party and would appear in Pajama Party.  Red West would be in Girl Happy, Jim Shane and Louie Elias in John Goldfarb, Please Come Home!, and Jack Shea in I'll Take Sweden.  Lesley-Marie Coburn, listed at IMDB as "Beatnick [sic] Babe," would do Boy, Did I Get a Wrong Number!

"And I think that's the commissary over there."

Oh, and the trailer is a lot more fun than the movie:
https://www.youtube.com/watch?v=tWB_tDhLLwU

Gidget Goes to Rome

Gidget Goes to Rome
August 7, 1963
Columbia
Comedy
VHS
C-

Released the same day as Beach Party, this is far inferior to not only the AIP series-starter, but to the previous Gidget movies.  The best thing about the movie is Don Porter in the first reel.  (He would also play Gidget's father, now a widower, in the Sally Field TV series a couple years later.)  Also, I do appreciate that they did extensive location shooting, and Rome does look good.  Unfortunately, there are these teens and post-teens cluttering the screen, too.

In the '90s comic Greg Proops would say of Luke 90210 Perry that he was "older than James Darren in the Gidget movies."  Darren was 27 by this point, and his character still has a year to go in college.  Gidget is now 18 and about to start college.  She remarks late in the movie that after visiting Rome she's "not the same person."  That's for sure!  Cindy Carol is the latest Gidget and, thanks to a script that Flippen unfortunately cowrote (rather than her soloing on Goes Hawaiian), and disappointing direction by Wendkos, C.C. plays the girl-midget as a sulky, sometimes crazy know-it-all who keeps getting into fixes that end up at the American Embassy.  (JFK's picture is on the wall, and the New York airport is still called Idlewild, a few months before the assassination.)  The two "steadies" have some moments together as a couple early on, but Jeff wants her to stop calling him Moondoggie.  (As if it wasn't a nickname from his surfer friends, rather than her!)  Soon though, he's flirting with their "Italian" (half-French) guide and dumping Gidget two years [sic] after pinning her.  He only goes back to her when the guide rejects his marriage proposal.  Meanwhile, Gidget "falls in love" with an older man, Paolo Cellini, not realizing that he's an old friend her dad asked to look after her.

The other characters aren't given much to do, although they seem to be trying really hard, especially the guests at the "international set" party.  If you feel the need to see this movie out of a sense of completeness, well, it's not too painful.

Peter Brooks, who plays Clay (the forgettable guy with the umbrella), would be in Girl Happy, as would Joby "Judge" Baker.  Cesare Danova, who's Paolo, would be Pepe Pepponi in Boy, Did I Get a Wrong Number!  Eddra Gale, who is "Fat Party Guest," would be in The Graduate.

"Yeah, and she hears voices and has delusions, too."

Beach Party

Beach Party
August 7, 1963
American International Pictures
Comedy, Musical
DVD
B-

Not bad start to the most famous teen-movie series since Andy Hardy, this is meant to be taken a bit less seriously than the Gidget movies, if not so absurd as the later BP movies would get.  This one has Frankie talking to the audience, Annette (as auburn-haired Dolores) singing advice to herself, and a not fully worked out scheme of love and jealousy.  Is Dolores really just after Professor Bob Cummings to make Frankie jealous, or is she genuinely attracted?  Why does Frankie find it hard to tell Dee Dee (and no, I don't know why it's not Do Do with that spelling) he loves her but he can absent-mindedly say it to Ava (Eva Six)?  Why don't we get any duets with Frankie & Dee Dee, other than the title tune?  And who's the girl with the sexy eyes that has all that chemistry with Frankie in his "Don't Stop Now" number?

Meanwhile, Cummings and the witty Dorothy Malone play an appealing middle-aged couple.  Morey Amsterdam is the sort-of-beatnik running the local hangout, here called Big Daddy's, after the mysterious figure who's revealed to be Vincent Price, there to plug his AIP horror movies.  And of course there's Harvey Lembeck as a brainless Brando (a not so wild one), Eric Von Zipper.  Other than Andy Romano, who plays sidekick J.D., his motorcycle gang of Ratz & Mice are, in alphabetical order, Jerry Brutsche, Bob Harvey, John Macchia, Alberta Nelson (blonde Mouse), and Linda Rogers (auburn-haired Mouse).

John Ashley plays Ken here.  Jody McCrea, who plays Deadhead, is the son of actor Joel McCrea.  (Confusingly, Meredith MacRae is the daughter of Gordon and Sheila MacRae.  She's probably best known for the sitcom Petticoat Junction.)  Valora Noland, who plays Rhonda here (although I'm sure Annette calls her Wanda at first) would in Muscle Beach Party become the first of several actresses to play "Animal" in the series.  Candy Johnson is the fringe-wearing dancer Candy.  Dick Dale (of the Del Tones) plays Dick, and even has his name called out at the beginning of the fight scene (see below), so he can play bongo accompaniment.

Some of the rest of the "Beach Party crowd" in this movie includes musicians Roger Christian and Gary Usher, as well as, in alphabetical order, Duane Ament, Pam Colbert, Mickey Dora, John Fain, Ed Garner, Ashlyn Martin, Laura and Luree Nicholson (yes, the daughters of AIP co-producer James H. Nicholson), Bobby Payne (who would go on to The Muppet Movie, as Robert Payne), Lorie Summers, and Delores Wells.    My personal favorite is Mike Nader, not so much for this movie as his later appearances, especially in Beach Blanket Bingo.  Here he's the tall, thin brunet in a gray sweater in the first Big Daddy's scene.  Brunette yoga girl Sharon Garrett would be a go-go girl in Speedway.

William Asher would go on to direct the rest of the basic series of five.  (I'll discuss the matter of what counts and doesn't, as we go along.)  This first entry not only builds on what the Gidget movies brought to the table, but introduces what would soon be its own traditions, including the big silly fight at the end (this time with a seemingly endless supply of cream pies).  Later entries would get more sci-fi/fantasy, while this one has a moment or two of surprising early '60s realism.  (What kind of cigarette are Frankie and his besties Ken and Deadhead passing back and forth?)  I didn't like the sort of rape joke-- Dee Dee is calling for help from Von Zipper, so Rhonda says, "It's just Dee Dee and that man"-- but otherwise the movie is pretty inoffensive.

"As for their sex life...."  Nonexistent?  Limited to horizontal necking?  We'll never know for sure.

Gidget Goes Hawaiian

Gidget Goes Hawaiian
June 21, 1961
Columbia
Comedy, Musical
VHS
B+

This is an utterly delightful sequel, improving on the original in every regard.  No offence to Sandra Dee, but I think this is a great debut for Deborah Walley, then almost 20.  She could actually surf and this would be far from her last beach movie.  She's spunky in a different way than Dee, more obviously tomboyish, and she actually comes across as more innocent.  (Ironic, considering her AIP roles.)  She even has a bit of chemistry with James Darren, who stops being a jerk for the last 20 or 30 minutes of the movie.

Instead of just a triangle, we get a nine-sided group of teens and post-teens, with various pairings possible, although if the movie does have a weakness, it's that two of the guys and two of the girls are forgettable.  The other girl, Abby, is played by the deliciously feline Vicki Trickett.  (She's even scared of water, which pays off in her "punishment" at the end.)  Moondoggie's main rival is Michael Callan, playing a charming dancer, Eddie Horner.  (He gets saddled with a Broadway-Melody-Ballet-like number, but it's shorter and more bearable.)  Joby Baker actually plays a different character in this one (not just his nickname, since Judge has never met Gidget or Moondoggie before), and he adds to the hokey comedy.  Not that the film isn't genuinely funny much of the time.

It helps that Gidget's parents and Abby's are played by respectively Carl Reiner, Jeff Donnell (she nicknamed herself after "Mutt and Jeff," not after Moondoggie's birth name), Peggy Cass, and Eddie Foy, Jr.  They get a lot of screen time and they deserve it.  Not only do they all know how to make the most of out of their lines, but they manage to make Gidget's suspicions of wife-swapping plausible.  Yes, wife-swapping, although it's not called that.  She has a vivid imagination, and when Abby spreads rumors that Gidget sleeps around (not that it's called that), Gidget imagines herself as, in order, a streetwalker, a fan-dancer, and an unwed mother!  The movie is surprisingly outrageous, and even has jokes about suicide.  Yet it never comes across as sleazy.  Even when Moondoggie, Eddie, and Judge are singing the title tune and 'Doggie emphasizes, "When the Gidget goes Hawaiian, she goes Hawaiian all the way," it's suggestive, not tasteless.

This is the most fun movie of the '60s so far.  I will note in terms of continuity, that this is allegedly set the summer after the first movie, making Gidget almost 18.  Jeff pinning her is changed to this year rather than last.  I'll talk more about chronology when we get to Gidget Goes to Rome, also written by Ruth Brooks Flippen.

Donnell would return as Mrs. Lawrence for GG to Rome, but Foy would be "Beachgoer Wanting to Use Phone."  Don Edmonds, who plays forgettable guy Larry, would do Beach Ball.

The Apartment

The Apartment
June 15, 1960
United Artists
Comedy, Drama, Romance
DVD
B+

Although this has big stars, won five Oscars-- best picture, director, original screenplay, film editing, and set direction-- and has received critical acclaim, then and now, it feels like an obscure little picture.  I don't mean that as an insult.  It's just that Wilder's use of black & white here, and the feel of a stageplay (much of the film is indeed set in the title location, and the cast is relatively small), as well as the intimate, human tone, suggest a low-budget gem.  Yet there are those big stars, and the workplace is huge, with the floor that C.C. Baxter (Jack Lemmon) works on seeming to stretch into infinity.  There's another contradiction in the way the genres clash with each other, the comedy, drama, and romance not blending so much as fighting.  This works much better than it did in Wilder's Sabrina, in part because the central romantic triangle is so much better cast.

Lemmon's Baxter has some of the sweetness and "getting-tookness" of Jerry in Some Like It Hot.  But there's also an unsavory undertone, with him loaning his apartment to executives in his company.  Rock Hunter at least had some fun pretending to romance a movie star in order to achieve success, including that key to the executive washroom.  (Here there's also an unseen executive dining room.)  All Baxter gets at first is a cold.  Mostly, he's pushed around by those four executives, including such familiar faces as Mame's Mr. Upson (Willard Waterman), Bewitched's Larry Tate (David White), and My Favorite Martian (Ray Walston).  (The other exec, David Lewis, would go on to John Goldfarb, Please Come Home!)  When Baxter gets to sit at home for a change, he can't even enjoy himself, because (despite a then-cutting-edge channel-changer) there's nothing on TV but westerns and commercials.

This was an early yet transitional movie for Shirley MacLaine, as Fran Kubelik.  She is amazing in it, even though she's giving probably the most understated performance.  Fran makes mistakes, and knows it, but keeps making them, until she finally has her epiphany in the end.  Her chemistry with Lemmon is just right, as is her reply to his declaration of love.

Then there's Fred MacMurray as J.D. Sheldrake.  This was right around the time MacMurray was making Disney movies, and he would soon be the father of "his three sons" on TV.  At first it's strange to see him play such a sleazeball, but it works, because he does have that bland, pleasant surface.  You can believe he's fooled everyone.  It's almost a throwaway, but I like how one of his preteen sons wants to put two flies on a toy rocket and see if they'll "propagate."  Sheldrake shows as much discomfort as he does with other matters that shouldn't be talked about, like adultery and suicide.  It's not that he's prim and proper; it's that he doesn't like to take responsibility.

You can see how much the Code had crumbled in the seven years since The Moon Is Blue.  Then it was a big deal that a virgin went to a bachelor's apartment, took money from an older man with "no strings attached," and came out of the experience with two marriage proposals.  Here, when Sheldrake gives Fran $100 for Christmas, he does it because he's too uncaring to take the time to buy her a present.  She sees it as him calling her a whore, although this isn't said aloud, just through MacLaine's performance.

The movie is also interesting to contrast with its contemporary, Please Don't Eat the Daisies.  There, a blonde bimbo tells a married man (played by Moon Is Blue's David Niven) that she's on the make for him, but he doesn't succumb, even when he's living in a hotel.  Here there's lots of adultery, including almost Baxter's with the wife of a jockey imprisoned by Castro for non-political reasons.  (And one blonde bimbo is compared to Marilyn Monroe, a forgivable cruelty on Wilder's part, considering the hell Marilyn put everybody through on Some Like It Hot.)  The cheating men always make sure to make the train from New York City back to the suburbs, while Niven's character missed trains while keeping vows.

In Daisies, there are some black extras at Macy's, presented as equals to Doris Day.  Here I think there's only a "shoeshine boy," whom Sheldrake gives a small tip.  More memorably, there are three significant Jewish characters: Baxter's landlady and his neighbors the Dreyfusses.  They speak stereotypically, but believably, as Jewish New Yorkers of their time and generation (roughly 50s).  They are also the heart and soul of the movie, the most decent people, even when they're scolding Baxter, whom they think is a love-'em-and-leave-'em playboy, because of what they overhear from his apartment.  Jack Kruschen as Dr. Dreyfuss is quite good at going back and forth between the comedy and drama, and he, along with Lemmon and MacLaine, was nominated by the Academy, although none of them won.  (Kruschen played French in Ma and Pa Kettle on Vacation.)

Comparing this briefly to my other Billy Wilder movies:

• Fran's suicide attempt is much more realistic and heart-wrenching than Norma Desmond's in Sunset Blvd., because she's a much more sympathetic character, and she's not manipulative, but manipulated. 
• The business world is presented much less sympathetically than in Sabrina, where we're supposed to believe that Linus Larrabee will somehow be able to balance love and success, despite being a workaholic.  (The bowler hat is a very different symbol in that movie.)
• Both Some Like It Hot and this movie have sequences that alternate between two "dates," with Lemmon's dates played entirely for laughs, while Junior & Sugar's rendezvous has heat as well as humor, but Sheldrake & Fran's is dramatic with moments of dark wit.

Joe Palma and Joan Shawlee were in Some Like It Hot, she as Sweet Sue.  One of the office workers, Dorothy Abbott, was a showgirl in There's No Business Like Show Business, and would be a radio operator in Palm Springs Weekend.  Hal Smith, who's a drunk Santa here (he's best known as Otis on The Andy Griffith Show), would be Santa and a ranger in Santa and the Three Bears.

Please Don't Eat the Daisies

Please Don't Eat the Daisies
March 31, 1960
MGM
Comedy, Drama
VHS
C+

Welcome to the 1960s!  OK, it's very early in the '60s, so early that when there's a reference to "an ex-president," it can only be Hoover or Truman.  Still, you can see the cultural shift beginning, particularly with male-female relationships.  There are moments, like when Spring Byington (well cast as Doris Day's mother) gives advice, or when Day uses her "feminine wiles" on husband Niven, that you're not sure where things are going to land.  Is Niven's character right that he's always right?  Is Day really selfish?  Or is it the reverse?  And what's going on with the half-serious seductive actress?  Not to mention the butch doctor who answers a little boy's question of whether she's a man or a woman with "I'm a veterinarian.  That's in between."  Another sign of the times is that I noticed more black extras than in my earlier films (with the exception of It's a Wonderful Life), particularly in the scenes set at Macy's.

The movie is very, very loosely based on Jean Kerr's book, which I reviewed here: http://rereadingeverybookiown.blogspot.com/2012/06/please-dont-eat-daisies.html.   This has little wit in comparison, except for the semi-in-joke about Rock Hudson.  Day sings three songs, including the title song and her trademark "Que Sera Sera," but the only one that really works is her duet (with a heavyset woman) on "Any Way the Wind Blows."  There are four bratty kids, each with a different hair color (although two of them are supposed to be twins), and a big sheepdog, but they don't contribute much to the entertainment.  Patsy Kelly is welcome as always, although she's not playing to her strengths.

Charles Walters also directed Easter Parade.  Marina Koshetz was in Little Women.  Kenner G. Kemp was in Singin' in the Rain and some of my other movies.  Harold Miller was in Auntie Mame.  Hal Taggart might've been in one of my earlier movies, and he would definitely be in Mary Poppins.  Peter Leeds would appear in I'll Take Sweden.  Jack Chefe, who plays the Sardi's headwaiter, would be in Take Her, She's Mine.  Len Lesser, who plays another Sardi's waiter, would be in How to Stuff a Wild Bikini, which would also feature Marianne Gaba as Animal.  Milton Frome would do John Goldfarb, Please Come Home!  Frank Delfino would be in Willy Wonka & the Chocolate Factory and Americathon, but his best known role is probably as a Kaplutian on The Brady Bunch.  Irene Tedrow would be in Foul Play.

We're supposed to feel sorry for them that they bought this house?

Plan 9 from Outer Space

Plan 9 from Outer Space
July 22, 1959
DCA
Sci-Fi
VHS
B-

This was one of the trickier movies to grade, partly because I want the grades to reflect not how "good" or "bad" a movie is, but rather how entertaining I find it.  Also, I've seen this movie multiple times (although not recently) and it's received so much attention-- especially with the Medveds calling it the worst ever-- it's as difficult to come to it fresh as it is to write about some of the "classics."  Watching this time, I tried just approaching it as a film, admittedly a cheap '50s sci-fi film.

What most struck me is how, intentionally or not, Ed Wood, Jr. (writer/director/producer/plus a cameo role) alienates the audience, pun sort of intended.  This is seen most obviously in the way he plays with time.  TV psychic Criswell speaks of the future and yet claims that the events onscreen have already happened.  We're told at one point that "modern women" have "been like this through the ages."  Wood also goes beyond "day for night" shots and seems to not care that it can be entirely different times of the day depending on whether we're at the Trents' home, the graveyard, or the field in between.  At least I think it's the field in between.  We're also dislocated in space.  In fact, space is dislocated in space, with "cigar-shaped" saucers that look more like paper plates (heck, they look more like sombreros than like cigars) able to travel from Earth to I forget what the planet was called in only one Earth day.  Characters keep contradicting each other and themselves, most notably the alien ironically named Eros, who's simultaneously a pacifist and a mass murderer.  A police officer asks a war veteran if he can handle a gun, after we've been treated to multiple scenes of the cop waving his own gun around and even scratching himself with it!

I was going to give this movie a B but, and I know this is an odd time to bring this up, it's too sexist.  Not only do we have everyone "protecting" Mrs. Trent (and putting her in harm's way), but I don't like the way Tanna (the female alien) is treated, especially by Eros.  (Joanna Lee would go on to much better things, as a TV writer, winning an Emmy for The Waltons.)  Yes, I know it's the '50s, and yes, I know the movie makes no sense anyway, but it bugs me because it seems so unnecessary.  You could argue that Gidget is also a sexist movie, with Grandma's old-fashioned sampler presented as profound wisdom about male-female relationships, but even if you don't like what happens to/with the girls in that movie, at least they're presented as full human beings.  That said, yeah, it's kind of fun to watch Vampira walk around as a sort of zombie, even if I can't believe she'd ever marry Bela Lugosi, living or dead.

Gidget

Gidget
April 10, 1959
Columbia
Comedy, Drama, Musical
VHS
B-

Almost 17-year-old Sandra Dee* plays the turning-17 title character (girl + midget).  This is the granddaddy of surf/beach movies, so we first see the-leads-surfing-against-rear-projection-waves mixed in with stunt surfers in long shots, and first hear a lot more talk about than practice of sex among the beach crowd.  This is based on the first of the Gidget books (which were in turn based on the author's daughter).  I've read only one of the books, and my review is here: http://rereadingeverybookiown.blogspot.com/2012/07/affairs-of-gidget.html.  The movies are apparently very different than the books, and I suspect the moral lessons that the mother gently passes on were not in the first novel.  When I first saw the movie in my early teens, I could relate to the pressure to have a boyfriend, and it wasn't till years later that it occurred to me that Gidget's boyish friend Betty Louise's initials may've stood for something else, fraternity pin or not.  Watching it now, I find Cliff Robertson a hell of a lot more attractive than cold fish James Darren, even when the latter is singing love songs.  Darren nonetheless would return as Moondoggie in the sequels, though the Gidgets would change.

Joby Baker is the only other member of the cast who would do the two film sequels, although his character's nickname would change from Stinky to Judge.  Paul Wendkos would stay on as director.  This film also features a 21-year-old Yvonne Craig (Batgirl) as one of Gidget's more buxom pals; and future Billy Jack, Tom Laughlin, as Loverboy.  Mary LaRoche, Gidget's sympathetic mom, would be in The Swinger.  (I don't own Bye Bye Birdie, but that's a very different Ann-Margret film she did.)  Four Preps member Bruce Belland would write "He's Gonna Make It" for The Barefoot Executive.  And, yes, orchestrator John Williams, Jr. is that John Williams.


*Dee's mother may have lied about Sandra's age, making her 15 in 1959.  In any case, she looks much younger than everyone else.

Some Like It Hot

Some Like It Hot
March 29, 1959
United Artists
Comedy, Historical, Musical, Romance
DVD
A

Probably my all-time favorite movie (as well as the top comedy on the AFI list), this is hilarious, clever, sexy, warm, sweet, romantic, cynical, dark, light, wise, silly, gay-friendly, and remarkably well-timed.  That last quality really struck me on this viewing, how not just the wisecracks but everything, from sound effects to exits and entrances, is Swiss-watch-like.  The script by Wilder and Diamond is top-notch, from running jokes like "Type O" to plot twists to its justly famous curtain line to double entendres .  (This time I caught "cherry tarts.")  The three leads were probably never better than they are here: Curtis, playing "heel" Joe, prissy Josephine, and Cary-Grantesque Shell Oil Jr.; Lemmon as insecure Jerry and unsinkable Daphne; and Monroe, still lighting up the screen as she did at the beginning of the decade in All About Eve, here more vulnerable but also more fun-loving as Sugar Kane.  They're well-supported by the rest of the cast, especially the veterans, with "satchel-mouthed" Joe E. Brown priceless as Lemmon's suitor.  Although the film is not a musical per se, it does use music very effectively, not just the jazzy background themes and incidental music, but Marilyn's three very different songs.  (Needless to say, far more memorable than poor Jayne Mansfield's ditties in The Sheriff of Fractured Jaw.)  The costumes, Marilyn's especially, are just right, and the movie is definitely an argument for the beauty of black & white.  (In fact, on their anti-Colorization program, Siskel & Ebert showed a clip of Marilyn teasing and being teased by the shadows and lights during "I Wanna Be Loved by You.")  The comparisons to the farce of the Marx Brothers don't seem overblown, and in fact there's a great improvement on the "crowded compartment" scene of A Night at the Opera.

So why not an A+?  Well, I could say something about perfection, but I think it's that the gangster plot doesn't quite work.  Don't get me wrong.  It provides some great moments, especially when George Raft (Spats) and Pat O'Brien face off, or when we see how stupid and crude Spats's henchmen are, and it doesn't bring the movie too far down, as the gangsters do in The Girl Can't Help It.  But when the mob, or rather mobs, show up in the last half hour of the movie, it takes away some of the sunny bubbliness of the Florida setting.  Still, the two wrong-for-each-other-yet-so-right couples manage to go off into the horizon, on their way to a yacht, and there is that lovely end-line.

Tom Kennedy (not the game show host), who plays a bouncer here, was in the Marxes' Monkey Business.  Jack Gordon was in It's a Wonderful Life.  Carl Sklover was in Abbott and Costello Go to Mars.  Billy Wayne was in The Girl Can't Help It.  Bert Stevens was in Citizen Kane and Auntie Mame, the latter with Arthur Tovey.

Joe Palma and Joan Shawlee (Sweet Sue) would be in The Apartment.  Tiger Joe Marsh would do Beware! The Blob.  Dave Barry (not that Dave Barry), who is Beinstock here, would be in Spinout.  Mike Mazurki, one of Spats's more memorable henchmen, would appear in The Magic of Lassie.  George Raft would play himself in Sextette, while Tony Curtis would chew a lot of scenery as one of the many ex-husbands (the Russian one) of Mae West's character.  Nehemiah Persoff, who's Little Bonaparte, would have a completely different role as Yentl's papa in the Streisand movie.

The Sheriff of Fractured Jaw

The Sheriff of Fractured Jaw
March 14, 1959
Fox
Comedy, Western
DVD
D-

I could go on and on about how remarkably unentertaining this is, with its poor writing (including songwriting), direction, and acting (Mansfield's accent is so bad that "loco" sounds like "local"), not to mention the racism against Indians, slightly redeemed towards the end.  I could point out all the things I disliked, with the only things I liked being a too brief Robert Morley cameo and a collie that knows how to play poker.  Or I could compare this to the far from brilliant but still better comedy westerns of 1940 Go West and My Little Chickadee.  But I think this trailer explains things better than I ever could:
http://youtu.be/VyhXwEn9EQs

Unlike Raoul Walsh, at least Tashlin could've done something with the Freudianism.