A younger acquaintance

Another of the movies that had been sitting on my DVR for quite some time that I kind of knew a bit about going into it was Rich and Famous, which is not to be confused with the Alfred Hitchcock movie Rich and Strange. Instead, it's based on the same stage play as the Bette Davis movie Old Acquaintance, although the two versions have some differences between them.

The movie opens up at Smith College in 1959. Liz (Jacqueline Bisset) and Merry (Candice Bergen) are best friends and roommates, although Merry is about to drop out in order to elope with Doug (David Selby), which causes a bit of tension as it's implied that Doug and Liz may have dated in the past. In any case, Merry and Doug do run off, and since this is still the first reel, you know that happily ever after isn't going to be a thing. You also know that the movie is going to move quite a bit ahead in the future or else we wouldn't have that mention of 1959.

Sure enough, 10 years pass as Liz shows up on a college campus in Los Angeles to do a speaking engagement. Liz has become a famous writer thanks to her one novel as well as a bunch of essays of the sort that wind up in magazines for the smart set, or the people who think they're the smart set. Merry lives in Malibu with Doug and their daughter, and know a bunch of Hollywood types. Indeed, Merry, inspired by Liz's success as a writer, decided that she too should try her hand at writing. But where Liz wrote a critically-acclaimed and award-winning book, Merry writes something that Liz considers not very good writing, and incredibly trashy subject material about all of Merry and Doug's thinly-disguised Hollywood friends. Merry gets Liz to present the novel to her agent Jules Levi (Steven Hill).

As you can guess, Merry's novel becomes a trashy hit, while Liz is still suffering from writers' block as she tries to complete that second novel. On the other hand, Merry and Doug's marriage is falling apart and Doug loves Liz, something that's really going to piss off Merry when she finds out about it, which she's going to in the mid-1970s when she's in New York to do a TV appearance with Merv Griffin.

The final segment of the film comes in 1981 when Merry has finally written a novel that not only gets some critical acclaim, but short-listed for the same award that Liz won all the way back in the 1960s. Liz is on the committee to select this year's winner, and unsurprisingly Merry tries to use her friendship with Liz to get Liz to select her book as the winner. Liz's personal life, meanwhile, is going down the tubes. She's supposed to do an interview with Chris (Hart Bochner), a writer for Rolling Stone, but they end up having a bit of a romantic relationship that's complicated by the fact that Merry's daugher Debby (Meg Ryan) wants to leave home and spends some nights first on the couch in Liz's hotel suite followed by the couch in Chris' suite.

Rich and Famous is a mess of a movie, and it's easy to see why it was neither a critical nor box-office success when it was originally released. Parts of it rise to the level of trashy fun, notably Bergen's horrendous accent in the more melodramatic scenes. But it doesn't rise to the final scene of the original Bette Davis/Miriam Hopkins version.

Another spiral staircase

Christopher Plummer was honored back in August as part of TCM's Summer Under the Stars, which gave me the chance to record quite a few of his movies that I hadn't seen before. Among them was a 1975 version of The Spiral Staircase. According to the TCM schedule, it's appearing on TCM again in the early hours of the morning tomorrow (Jan. 18) at 4:30 AM. (It's theoretically possible the TCM schedule has an error and this could be the more famous 1946 version, but considering the following film stars Jacqueline Bisset as does the 1975 The Spiral Staircase, I'm presuming this is no mistake.)

The movie starts with neither Bisset nor Plummer; instead we get a blind woman walking someplace with her guide dog. It's the sort of urban landscape that involves going on a pedestrian walkway that goes under a roadway. This is as always the perfect sort of place for something untoward to happen, since the place is perpetually in shadow. And, sure enough, something does happen, which is the the poor woman gets shot to death with her poor guide dog standing watch over her until the police and coroners can come.

Cut to a shot of our heroine, Helen Mallory (Jacqueline Bisset). She's seeing a doctor whom you could be forgiven for thinking is also her husband. But she's really seeing him because she's lost her ability to speak for psychological reasons that are continually hinted at later in the film through vision-like flashbacks: she survived a house fire in which a little girl, presumably her daughter, died, with Mom unable to help her. But the big reason this and the opening scene murder fit together is that the murder is the latest in a series of murders that all have one thing in common. The murder victims all suffered from one disability or another. Being a mute (although not a deaf-mute; Helen can still hear just fine) is a disability too, so perhaps Helen should get out of the city for a while.

Thankfully, Helen's grandmother, Mrs. Sherman (Mildred Dunnock), lives out in a suitable big house in the middle of nowhere that's theoretically a wonderfully safe place to be but in a movie like this is bound to be a bigger danger to Helen than staying in the city would have been. Grandma Sherman uses a wheelchair as she's got diabetes, and lives in the house with some servants as well as her son, the respected psychologist Dr. Joseph Sherman (Christopher Sherman). Also in the house is another son, Steven (John Phillip Law), who seemingly just got out of the military and, now back with his family, is carrying on an affair with his brother's secretary Blanche.

Helen gets to the house just before a big rainstorm is about to hit, which is a big plot point because the house is isolated enough that power outages are not infrequent. Indeed, they happen often enough that the house has a generator, but just rarely enough that the generator doesn't get used enough to be checked as frequently as it should be. The manor also has a couple of outbuildings, and a strange man who may or may not be the unseen murderer from the opening scene is found in one of them. However, we learn quickly enough that he wasn't the murderer, as he himself gets bumped off. And, as you might guess, this spells danger for Helen as it's not going to be the last killing in the story.

It's been quite a few years since I've seen the 1940s version of The Spiral Staircase, so I can't quite come up with a good list of the ways in which the plots of the two movies differ. This 1970s version feels a bit convoluted, which I'm guessing is based on the fact that it had a fairly small budget without being part of the studio era where lower budgets could be covered by regular studio overhead. As a result, this remake is always a bit of a mess. It tries hard, but at times comes across as though it's trying too hard. You can see why the cast would want to make a newer version of The Spiral Staircase, but ultimately it feels like less than the sum of its parts.

Warren Oates does comedy!

Another of the movies that I hadn't even heard of before until TCM played it a few months back is The Thief Who Came to Dinner. Once again, it was another of those movies that sounded interesting, so I decided to record it and watch it to do a review on here.

Ryan O'Neal is the star, playing Webster McGee. He's a college graduate, working with computers at a company in Houston in the early mainframe era when everything had banks and banks of reel-to-reel tape drives. However, it's not a very fulfilling life and has led to him getting divorced by his wife Jackie (a young Jill Clayburgh who shows up briefly later in the movie). Webster quits his job to look for something more fulfilling, picking...

Upscale jewel heists. He goes and cases a joint posing as somebody from the water company when only the servants are home, and when he returns late at night he robs the safe. However, he doesn't get all that much in the way of traditional value; instead, he finds a bunch of documents. He's no dummy, and realizes that these documents hold valuable information that would get the guy he stole them from, Henderling (Charles Cioffi) into serious legal trouble. Selling them back to Henderling could give Webster a ton of money.

But that's not quite what he wants, having gotten the jewel heist bug. Henderling being rich knows all the other rich people in Houston's high society, and Webster wants to meet them so that he can case their joints as well and steal their jewels. It's through this that Webster meets Laura Keaton (Jacqueline Bisset). Laura had parents who were house-rich but cash-poor; they've died and left her the house. Instead of selling it, however, she lives there in more or less one room presumably wanting to keep being a part of the higher society. She likes Webster's idea of stealing the rich people's jewels, so she's willing to be an accomplice.

Meanwhile, Webster has made his shtick of a calling card be to write down chess moves, as one of the early robberies was in a room with an ornate chess set. The authorities think he might be a good chess player, and enlist the help of the local newspaper's chess columnist, Zukovsky (Austin Pendleton), to try to figure out Webster's next move. Zukovsky challenges Webster to a correspondence match and Webster, not exactly being good at chess, hacks into a computer to get it to give him good moves (even though it would be close to 20 years before computers would finally be able to take on people of Zukovsky's caliber).

As for Warren Oates, he plays Dave Reilly, an insurance adjuster for Texas Mutual, which insures the jewels of several of the people who were robbed by Webster. They don't want to pay out, of course, so they have an incentive to find Webster and possibly not even press charges in exchange for buying back the jewels at a major discount. He even more than Zukovsky winds up as Webster's comic foil since Dave is smart enough to recognize it's Webster doing the heists.

As I was watching the opening credits, I noticed that The Thief Who Came to Dinner was another Bud Yorkin-Norman Lear production. As with all of the other of their movies that I've seen, there's a lot of potential in the plot, but it unfortunately winds up a bit short of reaching that potential. In this case, I think a lot of that has to do with the chess subplot, as Austin Pendleton seems like he's trying just too hard to be funny (and Eastern European immigrant). It doesn't quite work. Oates, on the other hand, shows he's surprisingly good in the role of something other than a western heavy. Oates died much too young. O'Neal and Bisset also make an appealing enough couple, although both of them later suggested this wasn't their best work.

Despite the flaws, The Thief Who Came to Dinner is an eminently watchable movie.