Seven Miles from Alcatraz

The star for tomorrow, August 25 on TCM's Summer Under the Stars is Bonita Granville. Once again, I happen to have a movie of hers on my DVR that's showing up in the day and that I haven't blogged about before That movie is Seven Miles from Alcatraz, at 2:45 PM, so in order to be able to do a post on it before it airs, I watched it, which means that again you get a post on an upcoming movie.

Alcatraz, was, of course, famously used as a prison on an island in the middle of San Francisco Bay, a body of water with a lot of shipping traffic and difficult waters so they need a lighthouse too, although that's on a different island. Meanwhile, there's a war going on even though none of the prisoners are doing their part for America by fighting in it. Indeed, one of the prisoners, Champ Larkin (James Craig), is worried that San Francisco Bay is just the place for the Japanese to bomb, meaning there's a good chance a stray bomb or missile could his Alcatraz. Champ is having none of that, so he decides he's going to break out of the most secure prison in all of the United States.

And wouldn't you know it, but pretty much in the very next scene, Champ and his fellow prisoner Jimbo (Frank Jenks) are escaping and are able to evade all the patrol boats. They don't make it to the mainland, however, instead washing ashore on the island with the lighthouse. The lighthouse keeper, Captain Porter (George Cleveland), lives there with his daughter Anne (Bonita Granville). Also working at the lighthouse is a radioman, Brenner (Erford Gage), and the custodian Stormy (Cliff Edwards). Champ and Jimbo break in and immediately set about holding the four hostage, although there's the issue that Brenner is supposed to call in at a certain time as part of his duties. Not doing so would certainly be noticed by the authorities.

On the other hand, what the Porters and the two criminals have no idea of is that Brenner is actually working with Nazis to send and receive coded messages. There's a pair of Nazis aboard a U-boat, as well as a "baroness" on the mainland who has a whole group of fifth columnists around her, because of course there's always one ringleader with a bunch of supporters in movies like this. Anyhow, the message Brenner has been sending is that that ringleader has targeting information that will allow the Nazis to target the coast better, and needs to rendezvous with the Nazis on the U-boat to give them that information.

Now, this being a World War II movie from Hollywood, you know that the two prisoners are going to have a change of heart and be instrumental in foiling the Nazis' diaboloical scheme. But it's also an RKO B movie, which means that it's all done in a shade over an hour with RKO's lesser production values. Seven Miles from Alcatraz is a fun enough premise, if one that would be done dozens of times over the course of the war. The script is a bit of a mess to the point I was wondering whether the Porters would turn out to be part of the Nazi ring, too.

Daisy Kenyon

One of those movies that I had seen part of somewhere along the way but never got around to seeing all of -- probably on the old Fox Movie Channel since it's a Fox movie and I can't remember the last time they ran it -- is Daisy Kenyon. So when TCM showed it as part of a night dedicated to director Otto Preminger, I recorded it in order to be able finally to watch it and write up a review. Tomorrow being Dana Andrews day in Summer Under the Stars, and with my realizing that the movie in tomorrow's schedule I was going to do a post on is one that I actually blogged about four years ago (Brainstorm, Aug. 24 at 6:00 PM), I figure that now is a good time to put up this post on Daisy Kenyon even though it's not airing on TCM tomorrow.

Dan O'Mara (Dana Andrews) is a lawyer at a prestigious firm who takes a taxi to what is probably supposed to be Greenwich Village to see fashion artist Daisy Kenyon (Joan Crawford). It fairly quickly transpires that Dan is carrying on a romantic affair with Daisy. There is, however, a fairly serious issue with this in that Dan is married to Lucille (Ruth Warrick) with two kids about to become teenagers. Not only that, but Lucille is the daughter and granddaughter of the founders of the law firm. So, because of family obligations, Dan has to break off the date he had hoped to have with Daisy.

As Dan is leaving the apartment building, he runs into another man who is about to ring to be let in, Peter Lapham (Henry Fonda). Peter is also seeing Daisy, which is possibly a response from Daisy to the less-than-stellar treatment she's been getting from Dan, although to be fair, Daisy really ought to know she's going to get that sort of treatment from a man who's cheating on his wife. Peter isn't cheating on his wife, because his wife is already really quite dead, having died in a car accident some years back. That's one of the things that prompted Peter to leave his Cape Cod home and serve in the US Army during the recently concluded war. Peter is thinking of going back to Europe to serve in the occupation army. So, as we can see, Daisy is going to have to choose between two men.

But then things get more complicated. Dan is approached by a man who wants to hire O'Mara to represent a man in an important legal case: that of a Japanese-American man who served in the army in Europe with some distinction, only to return home and find he had been dispossessed of his farm Bad Day at Black Rock-style. It's important, but not exactly remunerative. It's going to take Dan away from the clients who are paying him the big money; it's going to take him away from his wife and kids; and it's going to take him away from Daisy.

So eventually Dan returns from doing some research work on this case and finds that Daisy has suddenly gotten married to Peter! Dan probably ought to admit defeat and go back to his wife and the kids he really does love despite the way he treats their mom (who, to be fair, does have enough issues where one can understand why Dan might start looking at other women). Instead, he continues to pursue Daisy, to the point that he stupidly calls Daisy from the house and Lucille listens in on the call. She decides to file for divorce and try to get custody of the kids. In theory, this would have left Dan free to marry Daisy if she hadn't already gotten married. It's also a lot more complicated because Daisy could be the co-respondent in the divorce case.

Ben Mankiewicz, in his comments after the movie, commented that the movie didn't have much of a reputation for a long time, to the point that Otto Preminger claimed many years later not to have remembered much about it. Having watched it, I can see the reason for the lack of reputation. Everything about Daisy Kenyon is competent, and definitely not anything that the cast and crew should want to forget about having made. But, at the same time, the plot is a fairly ridiculous melodrama. It's not as extreme in having to jump through hoops to satisfy the Production Code as something like The Great Lie, but there's a lot here that strains credulity. That, and it feels competent, not an all-time great. Also to be fair, there are quite a few other 40s prestige movies that aren't that well-remembered 80 years on.

So definitely give Daisy Kenyon a watch. It's certainly interesting.

Adventure Girl

Another movie I recorded off of TCM knowing nothing about it beyond the synopsis was the 1934 release Adventure Girl. After watching it and looking it up, it turns out the movie has a very interesting provenance.

The movie is narrated by Joan Lowell, who plays herself and declares in opening title cards that she had made a voyage a year before the movie was released (so, 1933) and had adventures so incredible that she had to recreate them for the screen, or else nobody would believe her. This movie purports to be that retelling of true events which, for reasons that should become clear, should have everyone shaking their heads....

Joan Lowell's father Nicholas Wagner was a seaman, retired by the time of the events of the movie, and Lowell decided to give him a sort of present by fixing up an ocean-going schooner and taking Dad down to the Caribbean along with a crew of two men, Otto and former US Marine Bill. (Neither of them were professional actors, as far as I know.) On the way south, the boat gets caught up in a hurricane, this being the days when forecasting the weather in more remote parts of the world was next to impossible. The hurricane leaves them with a broken mast but in just the right place where there are a bunch of "shipwrecks" that are half above sea level that the motley crew can scavenve for supplies.

One such ship, allegedly a Spanish ship from 100 years earlier, has an intact logbook in a strongbox. The final entry purports to be the captain having found a ridiculously large emerald in a Mayan temple but being forced to leave it there because he would have been killed trying to take it at the time. In any case, despite Dad's belief that you shouldn't plunder other men's treasure, Joan is greedy enough that she plans to sail down to Guatemala to find that emerald and retrieve it for her father.

Now, this is part of where my disbelief really kicked in. Another title card at the beginning of the film thanks the then ruler of Guatemala, Jorge Ubico, for allowing them to film in Guatemala using native actors. Yet, if this portion of the story is to be believed, why would the natives want to film a re-telling of it and let Joan get away with it? In any case, this portion of the film deals with Joan and Bill heading up river to the Mayan (well, descendants of the Mayans) village from which they'd do the overland trek to the temple, guided by a Mayan princess and surreptitiously followed by a bunch of men. To get at that emerald would involve desecration of the temple, an act which the Mayan princess says carries the death penalty. And, a bit suprisingly, Joan Lowell says that she knows what she was doing was wrong, something that very few other explorer-type characters in that era would admit. Now, we know that Joan escapes, since the premise of the movie is that this is all a re-enactment of what happened the previous year.

After having watched Adventure Girl, my first thought was that perhaps if there were any incident with natives in a Central American country, it might have been a country other than Guatemala, and that Ubico would have been happy to use Guatemalans to insult another Central American country. The reality, of course, is that this whole thing is a complete fiction. But that's not the end of the story. What audiences of the day would have known, but would be largely unknown to anybody watching in 2026, is that Lowell had already written a completely fictitious "autobiography" back in 1929 that had been easily debunked. The best guess I read is that Lowell did in fact go on a schooner voyage with her father and the other two men in 1933, and filmed establishing material reminiscent of what Errol Flynn would later do in Cruise of the Zaca. This was then supplemented by staged footage that tells the narrative portions of the story. Since the cameras on the schooner wouldn't have been set up for sound, that requires the narration by Lowell. More interesting is that, after Adventure Girl was debunked as utter fiction, Lowell decamped to Brazil and spent the last 30 years of her life there, which from what I've read might make an interesting movie of its own.

As for Adventure Girl, it's ridiculous nonsense, but interesting because it's utter nonsense.

Don't blame it on Rio

TCM celebrated director Terry Gilliam last year on his 85th birthday. They showed a couple of Monty Python films I haven't blogged about before, but unfortunately YouTube TV's glitch on how many showings of a program it saves left me with a bunch of commercial versions rather than the TCM showing. There was another of his movies I had never gotten around to seeing before, which is Brazil, so I've recently finally watched it and now you get this post.

In a not quite specified time in a non-specified English-speaking country, the country has somehow devolved into a totalitarian state, but one that has a bunch of seemingly private businesses, notably Central Services which handles things like ductwork and HVAC services. How the country never made it past antiquated-looking ducts and pipes taking up valuable space isn't mentioned. But Central Services is the target of a terrorist bombing, with this not being the first.

Sam Lowry (Jonathan Pryce) works for a government body in the Ministry of Information that doesn't seem to do much but push papers around. It's a job that doesn't require much imagination, so Sam finds himself having a sort of Walter Mitty existence. He's got a wealthy mom (Katherine Helmond) who has been trying to get him a promotion to the more prestigious Information Retrieval, but Kurtzmann (Ian Holm), Sam's current boss, doesn't want that. Sam is just too good an employee.

And then a glitch happens in the investigation into the Central Services bombing. Much like the original computer bug, a bug gets stuck in the teletype machine, so instead of instructing the authorities to investigate Archibald Tuttle, they're told to look up a Mr. Archibald Buttle. The botched investigation results in Buttle being killed. Worse, there's another mistake made. As part of the dystopia, people are charged for their own investigation, so the mistaken identity requires a refund check be sent to Mrs. Buttle, who apparently can't handle direct deposit.

In trying to deliver the check, Sam meets Jill Layton (Kim Greist), who has reported the treatment Buttle got to the proper authorities. Unfortunately for her, the proper authorities in this case means those people who are going to turn around and investigate her because you can't go around making the state look bad, can you?

Further complicating things is that, when Sam's own AC goes on the fritz and he calls Central Services, who should show up but Archibald Tuttle? Except that he's no longer working for Central Services, and the real repairmen show up, which is obviously a problem for him and Sam. Sam is also trying to protect Jill although she seems to have disappeared into the world of the paperless....

There's a lot to like about Brazil, but for me it's also a movie that's not without its share of issues. One is a problem for me personally that may not be a problem for others, which is that it's never really explained in a lot of totalitarianism movies how we get to the totalitarian point we did. Hollywood's (or filmmakers' views more generally) view of totalitarianism never seems to match what we get in the real world, and is always more of a way to hang the social/political/moral points one wants to make onto it.

The other issue, which I think is a more general one, is that movie runs a bit too long for its own good and has an overly complicated plot that makes it hard to figure out exactly what's going on at times. But in the 40 years since its original release, Brazil has become a cult classic, so watch and decide for yourself.

Out west with Keir Dullea

Tomorrow, August 21, on TCM's Summer Under the Stars is a day of films devoted to actress Marie Windsor. While Windsor got big showy roles in movies like The Narrow Margin (8:00 PM), some of the movies presented have Windsor in rather smaller roles. One example of this is Mail Order Bride, which you can catch at 4:45 PM.

The movie opens up in Montana, with Will Lane (Buddy Ebsen) camping out along a creek on his way to the town of Congress. A stranger (Keir Dullea) shows up and treats Will like dirt but gets his comeuppance by not recognizing a drop-off in the riverbed. Both men make their way to Congress.

In Congress, Will stops by the grave of a Mr. Carey. It seems that the two were old friends, and when the elder Mr. Carey died, he left his ranch to Will but with strings attached. Those strings were that Carey had a son name Lee who really should inherit the ranch, but isn't yet a responsible enough man to run it. Will should serve as some sort of trustee to see that Lee becomes that responsible man at which point Will is to handle the ranch over to Lee.

It doesn't take much to figure out that Lee is in fact the stranger Will met in the opening; nor does it take much to see how irresponsible Lee is, as he gets drunk, cavorts with the women at the local house of ill repute, and loses his money and cattle playing poker against alleged friend Jace (Warren Oates). Will finds Lee at one such poker game, and after the fight that breaks out, Will takes Lee home. Lee, as you might guess, is none too pleased about finding out the terms of his father's will since Lee understandably expected to be inheriting the ranch.

Will realizes that Lee needs a wife who can tame him, along with the responsibility being a husband should bring to Will. To that end, Will sets off for the nearest big city, Kansas City, to find a suitable wife from the women who have been writing to the mail-order agencies. The gives the opportunity for a bit of humor with Kathleen Freeman playing a Salvation Army missionary, with Marie Windsor getting her one scene that also is some obvious foreshadowing for what the coda at the end of the movie is going to be. Windsor plays saloonkeeper Hanna, who isn't right for Lee. But Hanna has an employee who has no prospects and is in need of a husband, so offers that woman, Annie Boley (Lois Nettleton), up to go off to Montana and marry Lee sight unseen.

Now Annie, as it turns out, also has a son from a previous marriage (played by Jerry Mathers' kid brother). If Lee isn't exactly thrilled at the prospect of having a forced bride, he's definitely not going to be happy about becoming a stepfather. Annie isn't particularly thrilled herself, although she's a bit more willing to make a go of it. Lee's plan is to fake it until Will signs the deed to the ranch over to him, and then allow Annie and the kid to have their freedom.

Once again, you might guess that things aren't going to turn out that way. That's because Jace is still in the background, trying to figure out a way to get the rest of the cattle from the ranch. They're no longer Lee's to lose in a poker game, and Jace has absolutely no respect for Will. But this is also the sort of movie that's going to have a requisite happy ending, never mind the fact that the Code hadn't been completely destroyed yet.

Mail Order Bride is a little movie that isn't exactly great, but it's also certainly not bad. It feels like a predictable story where you know where everything is going to go by the last reel, but it's pleasant enough getting there. Keir Dullea isn't exactly the sort of person you'd expect to see in a western, or at least wasn't whom I expected to see in a western. This also isn't nearly as comedic as you might thing. But it's good enough to pass the time with.

Briefs for August 19-20, 2026

I suppose the first thing I should do is mention the passing of director Mark Rydell, who died last Thursday at the age of 97. He directed On Golden Pond, which I saw ages ago but have not done a post on according to a search of the blog, which means I must have seen it before I started blogging. I came across the end of Bette Midler's The Rose ages ago on the old Fox Movie Channel, I think again before I started blogging, and haven't found it since. However, looking at the list of Rydell movies, it turns out that I do have one of his films in my list of films to blog about, Harry and Walter Go to New York which aired on TCM for Diane Keaton's day. So that will be scheduled for sometime in September.

I just noticed recently that I've been misspelling "Paul Henreid" for years as "Henried", which might explain why searches for him haven't shown everything on my blog, and why the tags are a bit screwy. So I've been going through the archive of old posts and changing the tags, although the actual posts themselves are a bit more of a pain to change.

Also having died recently is actress Peggy Webber, who appeared in Orson Welles' adaptation of Macbeth as well as driving the plot of Alfred Hitchcock's The Wrong Man. Webber was 100 when she died on Saturday.

In news of the odd, apparently grifting Meghan Markle produced a documentary on Girl Scout cookies. The interesting thing isn't that it bombed at the box office per se, but that accodring to the article it was beaten by a movie called CatVideoFest 2026. Not only that, but CatVideoFest has been going on for a decade. Then again, I'm also not in an area that would get it in its limited theatrical run.

Hattie McDaniel is being honored today in Summer Under the Stars, which means another showing of the 1936 version of Show Boat (2:00 AM overnight) which I had on my DVR from the last TCM showing but didn't get around to watching. That will be followed tomorrow by Marlon Brando. I don't think I've actually watched his version of Mutiny on the Bounty (1:00 PM) in its entirety before. There's also The Nightcomers (August 21, 2:15 AM), which I know I hadn't heard of before seeing it show up on the TCM schedule.

The Last Station

I mentioned last August when Christopher Plummer got a day in Summer Under the Stars that I was interested in the movie The Last Station because of its subject matter. Naturally I recorded it, but having recorded so many of Plummer's movies, I had to space out watching them since I didn't want to put up a bunch of posts on one star's movies in close proximity if I could avoid it.

Leo Tolstoy (Christopher Plummer) was one of the best-known writers of the second half of the 19th century, writing from his estate in the country south of Moscow. However, he had some rather idiosyncratic ideas on Christianity that displeased the Orthodox Church as well as the Tsar. On the other hand, those views gained a modest but extremely devoted following to the point that there was a Tolstoyan colony on some lands near Tolstoy's estate. As the movie opens, it's 1910 and Tolstoy is past 80, so there's naturally some thought being given to what's going to happen after he dies. He's got a devoted wife of many years, Sofya (Helen Mirren), and a couple of adult children. Sofya wants to ensure that she and the family will be looked after financially after Leo dies.

Meanwhile, Chertkov (Paul Giamatti) heads the Tolstoyan organization in Moscow. It's something that comes with some political risk and he feels like he's being watched by the authorities. But he's also worried about what's going on down at the Tolstoyan estate. He and the other Tolstoyans feel that, in conjunction with Tolstoy's stated beliefs, the copyrights to Leo's works ought to go into the public domain after he dies. He's trying to get Leo to sign a new will that will do just this, while Sofya is understandably concerned that such a will not be signed. Chertkov, in order to see that his interests are seen to, and wanting to know exactly what Sofya is up to, sends a new secretary, young Valentin (James McAvoy) down to the estate partly as personal secretary and partly as a sort of spy.

Valentin finds a, shall we say, interesting situation that's not quite like the family in You Can't Take It With You, but something that's not too far off. There's that farming commune, while there are all sorts of hangers-on at the actual estate. And a lot of them want to get in Leo's good graces, in part by showing just how Tolstoyan they are, in a belief system that supposedly requires chastity. Valentin does the same thing, although as time goes on he begins to develop quite a bit of sympathy toward Sofya. Meanwhile, one of the working girls, Masha (Kerry Condon), whom you might think is almost a sort of groupie, decides to seduce Valentin: these Tolstoyans apparently need to learn about sex.

As the dispute over whether a new will is going to be signed rages on, we also learn that the marriage between Leo and Sofya is hitting a rough patch. That's partly because of Leo's advanced age; familiarity breeds contempt and all that. There's also Sofya's understandable feelings that Leo isn't looking after her. And with as busy as the estate is, matters are bound to come to a head, and sooner rather than later.

Now, you may not know this bit of history if you didn't study Russian in college like I did, but the end of Tolstoy's life involved him basically getting sick of it all and literally running away from home. However, he wasn't able to run too far as the strain of this resulted in his final illness and death in a country train station, with a bunch of assembled press holding vigil since Tolstoy was after all a prominent celebrity.

The Last Station is a movie looking at something that I don't think has gotten much attention in English-language cinema, although Tolstoy's works themselves obviously have. The movie gets high marks on all of the technical aspects, although filming was done with eastern Germany standing in for Russia. Plummer and Mirren both take the roles they're given and play them for all they're worth, which means extremely showy. I, however, was left at the end wondering why anybody became a Tolstoyan in the first place.

War Hunt

When Robert Redford died last year, TCM responded with one of their 24-hour programming tributes. This gave them a chance to show a couple of movies that I hadn't seen before. One of those was Redford's first big role (he gets an "introducing" credit), in a modest Korean War movie called War Hunt. It's getting an airing tomorrow, August 18, at 6:00 AM as part of Redford's day in Summer Under the Stars, so now is the time to schedule it.

As the movie opens, it's May 1953 in Korea, which means that the Korean War is about to end, or at least the fighting, not that the men on the ground doing that actual fighting know that it's about to end. The negotiations have been going on for ages and they grouse about it. Pvt. Roy Loomis (Robert Redford) is a man fresh out of boot camp who's been shipped over to Korea, and from there to a platoon that's pretty close to the front line, under Captain Pratt (Charles Aidman). Among Loomis' fellow soldiers are a couple of people who would go on to have well-known careers: Sgt. Van Horn (Sydney Pollack), Pvt. Crotty (Gavin MacLeod), and Sgt. Showalter (Tom Skerritt).

But the one guy everybody gives a wide berth to is Pvt. Ray Endore (John Saxon). The only person who doesn't give Endore that wide berth is young Charlie, a Korean orphan who was rescued by Pvt. Endore and now serves as Endore's private aide. Well, Pvt. Loomis doesn't really avoid Endore either, largely because he's new here and doesn't know yet just what Endore is like. The other guys in the outfit certainly try to warn Loomis.

And then one morning Endore returns to camp and wakes up Loomis with his whistling. He's also got a face covered in military-black of the sort used on a night operation when you don't want to be seen in the moonlight. Endore goes out on night patrols by himself, technically AWOL, because Capt. Pratt knows that Endore is able to get good intelligence information. The negatives, especially the big one that Endore likes to knife North Koreans to death, are things that Pratt overlooks because it's war, and war is hell and all that.

Loomis, again being new to all this, doesn't get any of it, and is concerned about the influence all of this is going to have on poor little Charlie. It's bad enough that Charlie has had the horrors of war visited upon him at such a young age; worse is that he's learning all the wrong lessons from a soldier who's showing himself to be increasingly mentally unstable. When Loomis brings up the point about what's going to happen to Charlie after the war, Endore thinks he's going to be able to stay in Korea after the hostilities end and continue to fight his own war.

And then the armistice does get signed, which means that the following night, everybody who's right at the front line with that little bit of demilitarized zone between them, is going to have to be on their best behavior. That's not something that Endore is going to like, and you can guess what he does when the sun goes down and the panic that this engenders in the other guys in his outfit.

War Hunt is a very modest, low-budget affair that somewhat surprisingly got extremely positive reviews back when it was released. It's not that I didn't like it or anything; it's more that the low-budget nature of the movie definitely reveals some of its flaws. Redford and Saxon both do good jobs with their roles, but everyone else is more or less a stock character. Perhaps it's the fact that in 1962, when the movie was released, this side of war was very little seen on screen. The heroic side is what most of the war movies delivered.

What a Woman!

Tomorrow, August 17, is given over to the films of Rosalind Russell as part of TCM's Summer Under the Stars. If I had known this ahead of time, I would have scheduled my post on Roughly Speaking to show up here, since it's airing at 4:15 PM. Instead, I'll post about another of Russell's films that TCM aired around the same time as the last showing of Roughly Speaking but is not getting an airing during Summer Under the Stars: What a Woman!.

The movie opens with the great success of a novel called Whirlwind, a notoriously steamy and scandalous historical romance novel written by an author named Anthony Street. At least, that's the author's pen name; Street doesn't want anyone to know his real identity for professional reasons. At Knickerbocker magazine, they want to cash in on the success of Whirlwind, but there isn't any way they can possibly get an interview with Anthony Street. So the next best thing is decided, which is to write about something and someone tangentially related to Whirlwind.

The book has been optioned for a movie, and Carol Ainsley (Rosalind Rusell) is the agent who has been doing the liaison work between the publisher and the studio to make certain the adaptation goes off well and is a success for all involved. Knickerbocker magazine sends one of their reporters, Henry Pepper (Brian Aherne) to get an interview with Ainsley and do a puff piece on her which really ought to be good publicity for her as well as everybody involved with the adaptation. There is, however, a snag with that adaptation: Hollywood feels it can't find anybody currently in Hollywood who's suitable to play the part of the male lead.

Carol, as the woman who's the go-between between Hollywood and the publisher, so technically also the writer, has access to information on who the real Anthony Street is, although she's supposed to avoid using it if at all possible. But she feels she has to, and she finds out that Anthony Street is actually a professor at Buxton College, one of those small liberal arts colleges that populated Hollywood movies of the era. Carol sets off for Buxton, PA. Henry, who by now is acting a lot like the Melvyn Douglas character in Theodora Goes Wild, gets wind of Carol's travels and follows Carol to Pennsylvania and starts acting obnoxious enough that you wonder why anybody would like him.

As for "Anthony Street, he's really college professor Michael Cobb (Willard Parker), who teaches a course on Elizabethan literature and most definitely doesn't want it known that he wrote the novel. Indeed, his boss is shocked and not entirely happy to find it out. Worse, Carol realizes that Cobb based the physical description of the male lead on himself, and that he would be the perfect person to play that character in the movie, which one supposes would also make a great human interest story. Carol convinces Cobb to come to New York with her and make preparations to train in acting.

Meanwhile, Cobb acts like he's falling in love with Carol, which further complicates the story and sends it to a place where it really starts to lose steam, unfortunately. Cobb, as it turns out, isn't much of an actor, but by now there's too much invested in the movie for him to back out. Henry is still around, continuing to be an obnoxious snoop. Cobb pursues Carol even though she's not certain she wants to marry him, never having been the marrying kind. Eventually the movie gets to the Washington, DC, mansion of Carol's senator father for the finale, which is another plot twist that makes the movie lose steam.

I didn't exactly hate What a Woman!, but it's definitely a movie that's got its fair share of script issues. It was released in late 1943, so at the height of World War II. I can imagine audiences of the day wanting the sort of romantic escapism the movie provides. Eighty years on, however, the characters are a bit too unrealistic for any of this to work well. Besides, everything could have been handled with a Zoom chat and Carol would have been able to prevent Henry find finding out the author's real identity.

Nazi Heist Plot Movie #59486748578267

I mentioned some time back that TCM ran a double feature of movies starring Telly Savalas. The first one, which I already did a post on, was Crooks and Coronets. The second was Inside Out, and now is the time for the post on that movie.

The movie starts off with a prologue set in 1945, the dying days of the Nazi German regime, if you didn't figure that out from the title of the post. A bunch of Nazis are transporting cargo, when they're stopped at a checkpoint. Except that the checkpoint is a ruse for SS agents to shoot the people driving the truck, and take it to a train depot. There, they commandeer one of the trains for, well....

Cut to London in the present day, or, well, 1975 when the movie is set. Harry Morgan (Telly Savalas), is a former US Army officer who served in World War II but has fallen on a bit of hard times, making a living doing scammy things but not enough of a living to keep himself out of debt. He gets a letter from a German he knew, Ernst Furben (James Mason), who meets him to propose a business deal. Apparently, Ernst knows that that train we saw in the opening was supposed to transport looted Nazi gold to the Balkans but never made it there (didn't we see something like this in Charade?) -- the gold just disappeared as far as everyone knows.

Ah, but Ernst knows a way to find out where that gold is. Apparently, the man in charge of the shipment is notorious Nazi prisoner Reinhardt Holtz (Wolfgang Lukschy), who is an obvious stand-in for Rudolf Hess. Holtz is being kept as the only prisoner in a prison co-run by the British, Americans, and Soviets on a rotation basis, which is part of where Morgan comes in. Morgan served in the war with MSgt. Prior (Aldo Ray), who never rose far in the military but is a career officer, is the American who is in charge of day-to-day operations when it's the Americans' turn to oversee the prison. Since Prior and Harry knew each other, perhaps Harry can corrupt Prior to get people into the prison who can get the information out of Holtz as to where that gold really ended up. As if the gold is still where it was 30 years earlier.

Now, at this point, we get the standard second act of a heist movie which involves the protagonist organizing all the other people who are going to be in on the heist. This involves master thief Sly Wells (Robert Culp), currently based in Amsterdam, as well as several Germans. They're able to blackmail the doctor who is the one person who gets to see Holtz on a daily basis, with the plot ultimately being that they're going to drug Holtz, kidnap him, and replace him for a day with the doctor. While under the influence of those drugs, 36 Hours-style, they'll get Holtz to reveal the location of the gold.

Amazingly, this part of the plot goes off without much of a hitch. But when Holtz tells them where the gold is (they're dressed like Nazis and he doesn't realize they're not real Nazis), they discover that the location is in what is now East Berlin. Oops. Good luck getting behind Communist lines. And better luck getting the gold back to West Berlin and then out of West Germany.

Frankly, the heist plot in Inside Out is ridiculous and something that would never work in real life. But this is a movie, and thanks to a cast of professionals who look like they're enjoying themselves, they turn Inside Out into something that's at least 90 minutes of passable entertainment. That is, at least as long as you can suspend disbelief.