davidallen-84122 Reviews

Beyond a Reasonable Doubt (1956)

Leaves the viewer feeling deflated.

[4/10 · 22 January 2024]

The majority of reviews are right on target in summing up this film as rather bland and disappointing by failing to deliver on it's initial promise.

Dana Andrews is usually worth watching but this time, he leaves us with very little to be impressed by which only makes his incessant smoking a very annoying prop. Joan Fontaine was also losing her way at this later stage of her distinguished film career and seems merely content with displaying a vast array of 1950's haute couture with every scene change but little concern for developing a convincing or interesting character.

I watched the film again last night, hoping to retrieve something worthwhile but all to no avail. I've decided to eliminate it from my collection.

The Roman Spring of Mrs. Stone (1961)

Can't Buy Me Love

[5/10 · 25 November 2023]

This film has to be viewed as a strictly masochistic experience as we wallow in Karen Stone's fall from grace on her dangerous journey from the loneliness of grief to false hope to utter abandonment.

Even so, it's all dressed up in glamorous accoutrements and hypnotic theme music and an ageing but still attractive Vivien Leigh whose screen appearances had become so rare that fans would go to see her in anything.

I ask myself why I keep re-watching this far from salubrious film when I am always left with a feeling of emptiness. Could it be about an exercise in morbid self- analysis, something that Mrs. Stone herself was avoiding. I tend to think so.

Many years ago, after lending my video of the film to someone I hardly knew, he looked at me cynically and commented : "Your problem is, she had more money than you have".

A Town Like Alice (1956)

Would have liked more than a pinch of Finch.

[6/10 · 16 November 2023]

Peter Finch would have to be my favourite film actor and my sole reason for watching most of his work. Therefore, while understanding all the favourable reviews of ''A Town Like Alice", Finch does not show up until well into the film and then only in snatches, as the poor female prisoners take precedence. We have two intimate scenes as he shares a cigarette and longing eye contact with the heroine and that's about it until the harrowing punishment scene when censorship demanded that the camera film away from Joe and focus on the shocked reaction of the male and female prisoners. Fast forward to the abrupt ending (no spoilers from me).

Black Widow (1954)

Potentially interesting movie in need of a better script.

[4/10 · 28 August 2023]

With the advent of Cinemascope, 20th Century Fox went all out to group at least 6 major stars together in one movie. This formula worked pleasingly in "Woman's World" and "How to Marry a Millionaire" but "Black Widow" is not in the same league. A promising start with the always welcome appearance of gorgeous Gene Tierney quickly drops us into a silly , unconvincing party scene with a rather brassy Ginger Rogers mouthing off inane lines that would make anyone run for cover. Van Heflin photographs well but his role fails to do him justice and his interest in the bland Peggy Ann Garner character is never fully explained. Following numerous miscast cameo appearances, we breathe a sigh of relief at the re-appearance of Gene Tierney to find her with little else to do but sit on sofas looking poised and classy but rather bemused with the general proceedings.

I have to admit to being equally bemused, despite several attempts to warm to this disappointing curiosity.

Dulcimer Street (1948)

Dulcimer Street is Right Up My Alley.

[10/10 · 14 August 2023]

The quaint, dated elements of old British, black and white, post-war films are just my cup of tea.

Intimate insights into the lives of a disparate group of characters, forced to tolerate each other, is the sort of thing only the British do expertly.

Numerous familiar players all excel in their respective roles with stand-outs being Alistair Sim, Joyce Carey, Fay Compton and Richard Attenborough whose convincing portrayal of a terrified good boy gone wrong is palpable.

Great atmospheric music, photography and narration, along with the acting, make this a priceless gem of a film.

If , like me, you love the plays of Terence Rattigan then "London Belongs to Me" belongs to you too.

The Colditz Story (1955)

Grim Reality Delivered Appealingly

[10/10 · 22 June 2023]

Taut direction and atmospheric black and white photography immediately draw the viewer into this concise, 90 minute account of WW2 history.

While always aware of the vast perspective of Colditz Castle, I love the way we are effectively taken on an episodic journey with the POW's and their relentless escape attempts, by way of close-up photography that gives the film a pleasing intimate quality.

The three leading players ; John Mills, Eric Portman and Christopher Rhodes give expert performances while by no means diminishing the contributions of a fine supporting cast. Welcome light relief is charmingly provided by Ian Carmichael and Richard Watts, a perfect fit in the concert segment.

Definitely one of my three favourite British WW2 gems, the other two being "The Way to the Stars" and "The Dam Busters" (it is a pity about that dog's name).

An American in Paris (1951)

Nina Foch stands the test of time

[6/10 · 21 February 2023]

Everything in praise of this so-called classic musical has been mentioned and while much of the dancing is impressive, I find myself getting annoyed with the acting, save one performance. From the moment Nina Foch appears we are at last introduced to an intelligent and very interesting woman. Her cougar like approach to the "younger" man (Kelly, in fact was older than Foch) gives the film an edge that it so sorely needs and when I reach for a repeat viewing of the film it is her performance that I relish. Nina Foch was a very underrated actress.

Leslie Caron can be forgiven for giving a very stilted acting performance in this, her first film. She is so much more enchanting in 'Lili" I really don't enjoy Gene Kelly's husky singing voice but his dancing is brilliant especially in his solo number in Oscar Levant's studio.

The studio-bound Paris setting is surprisingly convincing. Overall, pretty good entertainment but I've seen enough of the stretched out finale.

Rooney (1958)

John Gregson at his very best.

[10/10 · 10 December 2022]

I remember seeing most of John Gregson's 1950's films and enjoyed them all with "Genevieve" and "Rooney" proving to be my favourites.

''Rooney" may not have attracted the wider audience that the emerging Boulting Brothers and Carry On comedies succeeded in doing but those of us who caught it on it's initial release treasure the memory of a well-cast, very charming little British/Irish offering.

Gregson gently and assuredly wins the audience over from the outset and as we share his camaraderie with his rubbish collector mates, led by the always wonderful Noel Purcell, we quickly identify with poor Rooney's plight as he brushes up against a bevy of women of questionable motives and various charms or otherwise. When the right woman for Rooney appears, the delightful Muriel Pavlow, initially plain and down-trodden but sweet and sincere, we are urged to give Rooney a hurry-up. The final outcome brings the film to a quick but highly moving and memorable conclusion.

Special mention : everyone's favourite Irishman, Barry Fitzgerald is along for the ride too so you can't go wrong with this underrated gem.

The Remarkable Mr. Pennypacker (1959)

To be enjoyed as novel entertainment.

[10/10 · 3 December 2022]

Most of the reviewers seem to have taken the premise of this comedy much too seriously and allow themselves to be unnecessarily offended.

I was twelve when my family and I first enjoyed this charming confection in 1959 and I find myself still able to appreciate it for what it is.

To start with the production values are sumptuous and greatly enhanced by wide screen, lush colour and authentic sets and costumes.

The casting is first rate with the polished and ever reliable Clifton Webb firmly at the helm and Dorothy McGuire giving an attractive and intuitive performance that I feel ranks as one of her best. Charles Coburn provides some very funny moments and the fresh and lovely Jill St. John represents the younger generation along with David Nelson and others. I love this film and intend watching it again soon. Come on, give it a go.

Pal Joey (1957)

Love Frank and his solo numbers but just can't rate film generally.

[6/10 · 20 October 2022]

Frank Sinatra is perfectly cast and performs the great R and H songs magically but I prefer listening to the soundtrack album to watching the movie which is visually fine while Frank and Rita Hayworth are on screen but absolutely ruined for me whenever Kim Novak appears.

In a role tailor-made for the charm and talent of Debbie Reynolds we are lumbered with the cringe-worthy, talentless effort of Novak who could not sing or dance to save herself and looked drippy and lost through the whole movie. She is totally wrong in every way.

The dream scene near the end had the potential to be developed into a great number but obviously had to be scaled down to accommodate Novak's inability to match Hayworth's great dancing talent, a fact that must have made Rita feel let-down.

Having said all of the above, I'm no doubt in the minority and would still recommend the movie as a must-see for Sinatra alone ; he remains the greatest singer of them all and is at his stylish best with his four solo numbers. Buy the soundtrack C. D. for his additional 'Bewitched' solo.

Lizzie (1957)

Almost salvaged by two good performances.

[7/10 · 4 September 2022]

''Lizzie" is an intriguing film with the potential to be better than it is. It starts off well with the ever reliable Eleanor Parker setting the mood and immediately winning audience sympathy. Alarmingly, on Elizabeth's return home from work, the film suddenly feels trashy with Joan Blondell, as her frumpy aunt, giving a wild, over the top performance that I find quite repulsive. What a role for Myrna Loy who would have nailed it. Richard Boone matches Parker in class, giving a sound and convincing performance as the pragmatic psychiatrist.

Parker goes somewhat adrift in transforming from the timid Elizabeth to the vulgar Lizzie and the night club scene comes across as ludicrous ; a sort of Jekyll and Hyde parody. I have always admired Eleanor Parker but it's sad to see her talents compromised by unsure direction and the painful scene-stealing attempts by the shrill Blondell.

I intend keeping my DVD copy but will be re-watching the film for the best scenes ; those featuring Parker and Boone.

The Eddie Cantor Story (1953)

Not to be missed for brilliantly staged and performed musical numbers.

[9/10 · 29 August 2022]

Having loved the Cantor sound from my childhood, listening to 'Maxi the Taxi', I've been hunting for a copy of "The Eddie Cantor Story" and have at last made it before I die. After reading numerous negative reviews and distaste for Keefe Brasselle's interpretation of Cantor, I have to say I love everything about him. The brilliantly staged musical numbers could not have been better performed and I could watch repeatedly the highlights ; 'Row, Row, Row', 'How you gonna keep them down on the farm?', 'If you knew Susie', 'Ma, He's making eyes at Me' etc. No problem with Keefe's off-stage acting either and my only reason for 9 and not 10 is the film could have done with some pruning with the domestic scenes e.g the Sunday breakfast scene invaded by reporters. Ninety minutes duration would have made it all perfect.

Waterloo Bridge (1940)

Merciless, melodramatic melancholy.

[5/10 · 6 July 2022]

At the age of 18, when I saw this film for the first time, I was romantic and idealistic so I enjoyed it then. However, in my senior years, having been through my own share of heartache an grief, this so-called classic holds very little appeal for me and I have just finished re-watching it for the last time.

There is no doubting the appeal of Robert Taylor in his prime and he does at least attempt to brighten the depressing plot but he now comes across as rather stupid and annoying. How could he not realise immediately what Leigh was up to when she was so obviously dressed for the part of the tart ?

I've been watching most of Vivien Leigh's films of late and have to admit to tiring of the way she ends up going to the dogs in most of them ; justified in ''That Hamilton Woman" but certainly not in those absurd later films where she played vain, aged coquettes out for their last fling of spring.

Hard for me to rate "Waterloo Bridge" fairly so I give it a 5 out of respect for those viewers who seem to nurture a genuine affection for the film.

Show Boat (1936)

Draws you in and lingers in the memory.

[10/10 · 3 July 2022]

When I watch 1930's movies, I marvel at all the gorgeous film stars that they produced in that decade and can understand why pre-television audiences lined up to see them and obsessed over autographs and pin-up photos. Having just viewed the classic 1936 version of "Show Boat", I feel transported back to that era of movie-idols. This is a stunning film experience that welcomes you in and holds your interest to the end.

I must admit to being particularly taken with Allan Jones and the smooth way he enters the picture ; a very handsome man with a charming approach and a beautiful lyric tenor voice making it so understandable that Magnolia did not have to make believe falling instantly in love.

I'm now very keen to purchase more of Allan's work and have "The Firefly" on order ; he had the most pleasing tenor voice I have ever heard.

Irene Dunne is as lovely as ever and Paul Robeson and Helen Morgan have been rightly singled out for their definitive performances.

The 1950's re-make is colourful and entertaining with an attractive and talented cast but I would call the 1936 version an experience to treasure.

Queen Bee (1955)

PERFECT TYPE-CASTING

[10/10 · 30 June 2022]

I recall Christina Crawford's reference to "Queen Bee" in her book "Mommie Dearest". Christina crept into a cinema to watch her mother strut her stuff in this movie.

As the poor girl watched La Crawford portraying a terrifying, manipulative, man-eating control freak she wrote how this WAS her mother up there on the screen and feeling so sickened that she had to leave the cinema. The above testimony just about says it all. It made me feel so sorry for Christina.

Watching the imperious one attempting to play "nice" women in films like "Goodbye My Fancy" and "Autumn Leaves" leaves me bored to tears but in her bitchy roles like "Harriet Craig", "Torch Song" and "Queen Bee", she is a camp delight. I sit back and roar with laughter, happy to be keeping a safe distance from such women.

Born Yesterday (1950)

Ruined by Broderick Crawford's shouting.

[6/10 · 30 June 2022]

Everything about this movie, worthy of commendation, has been said in the numerous glowing reviews. I love many movies from the early 1950's but I'm afraid "Born Yesterday" is not one of those I relish re-watching. Judy Holiday was a treasure and I can sort of see why she won the Oscar but I feel her very best film is "Bells are Ringing", in which her incredible versatility shines through (nice to see her in colour too). William Holden was at his most handsome at the time "Born Yesterday was filmed and his performance is pleasing. However, I find Broderick Crawford insufferable in the way he yells and shouts his way through the film, causing me to lower the volume to such a degree the I can't hear the other actors. I'm surprised not many other reviewers feel the same.

The Greatest Show on Earth (1952)

Great Saturday Night Entertainment

[9/10 · 12 June 2022]

If you are like me and enjoy wallowing in early 1950's nostalgia then this movie is for you. Just plan an early evening tea around the telly with family, friends or just your own company, consisting of popcorn, hot dogs, coca-cola and ice cream .You'll all have the time of your lives and still be in be in bed by 11 pm.

This is one of those films that is so unashamedly entertaining that you just sit back and enjoy the spectacle, the vivid Technicolor and the all-star cast without ever stopping to consider the quality of the script or the performances. In fact, it's the dated elements of the piece that I find appealing, rather than camp.

The stars are all well cast with James Stewart's enigmatic performance as Buttons the clown, in full make-up throughout, being the most impressive.

My reason for 9 stars rather than 10 ? Gloria Grahame, while pleasing for the most part, drives me crazy by calling everyone "Sugar" and with every sentence yet.

Serenade (1956)

High Camp, For Ardent Lanza Fans Only.

[2/10 · 1 June 2022]

My initial introduction to the screen Lanza was his voice emerging from the handsome persona of Edmund Purdom in "The Student Prince".

When I eventually saw him as the star of "The Seven Hills of Rome", I was less than impressed and even though "The Great Caruso" is a good film, I just don't enjoy watching him on screen."Serenade" is really a very tacky offering, salvaged only by some good opera singing but let down by the tenor bellowing and straining to a couple of otherwise pleasant ballads. His appearance is dissipated and unattractive at best.

Now to the other leads. Joan Fontaine is wrong in stature and visage to play the ruthless siren who tempts the hero to near destruction. Such an obvious man-eater could have been better played by a B-Grade star like Martha Hyer or Dorothy Malone rather than a former A-Grader like La Fontaine who degrades herself trying to give this insufferable woman some class. Every bit as camp and ridiculous is Vincent Price as the leering impresario who seems to spend the whole film delighting in the way Fontaine snares her prey. O. K. For unintentional laughter.

Voyage to the Bottom of the Sea (1961)

Beyond Camp

[3/10 · 26 May 2022]

From the outset, this voyage is so full of flaws that I re-watch it purely for camp value and unintended laughs : Walter Pidgeon giving a repeat of his "Hit the Deck" role, looking smug and puffing cigar smoke into compromised air.

Joan Fontaine, also smug as a glamorised doctor sporting stiletto heels and an absurd hair-do, impossible to maintain.

Barbara Eden in the tightest of skirts and also in stilettos, so appropriate for a submarine voyage. Styled coif as well.

Peter Lorre, totally wasted, unless you consider shark-walking exciting.

That's enough for starters. Oh, yes, we also have a dog on board and a cook bearing a parrot on his shoulder.

With all of the above to keep me laughing, why would I not hold on to this total misfire of a movie ?

Footnote: No spoiler intended but someone really needed to advise La Fontaine that walking across a grated surface, in a shark enclosure, on a rocky submarine, in stiletto heels, may have been a tad risky. Seeing is believing.

Upstairs and Downstairs (1959)

Attractive leads and fun supporting players in polished Rank comedy.

[10/10 · 4 May 2022]

By the late 1950's British cinema was producing some colourful, sophisticated entertainment and this charming offering is amongst the best of them. The first thing that comes to mind for me is, what a cast ! Michael Craig has always been a favourite of mine and in this film, he has a change of pace in a comedy, delivering a smooth and pleasing performance as well as looking especially handsome.

Anne Heywood is equally well cast and looks ravishingly beautiful, complementing Michael perfectly. The supporting cast make up a real who's who of stalwart British actors with Joan Hickson and Joan Sims proving the real stand-outs. James Robertson Justice is a real delight too and plays true to form. The episodic mood of the film takes a subtle turn with the entry of Mylene Demongeot as the Swedish maid and nanny, looking pretty and slightly provocative. Although new to films, she does well, especially in the poignant moments. I'm surprised this gem is not more fondly remembered ; it certainly takes pride of place amongst my large British collection.

Three for the Show (1955)

My taste may be questionable but there you have it.

[10/10 · 13 April 2022]

Much has been said to deride this film, it's stars, it's musical format and general premise but I enjoy it from start to finish. Another musical (from Britain) also released in the mid-fifties ; "Let's Be Happy" was equally dismissed by critics and public and both films are remembered by devotees only. It's a pity that both of these musicals brought to a cruel halt the film careers of Betty Grable and Vera-Ellen respectively ; two of filmdom's brightest and loveliest ladies still in their prime.

The above mentioned musicals are two of my favourites and how overjoyed I am that they have both been preserved on DVD in wide-screen and glorious colour. I'm one very satisfied customer.

Green Mansions (1959)

Enchanting leads, Enchanting film.

[10/10 · 12 April 2022]

Having finally procured and viewed the DVD of "Green Mansions", I'm agreeably surprised to find I love everything about it. The Amazon (pun) release, in wide-screen and nice colour, opens up a world of total enchantment.

How people can say Audrey Hepburn is miscast is totally beyond me. She is magic as the lithe jungle nymph, floating through her familiar environment in a lighter than air manner.

Mel Ferrer directs his wife with great sensitivity capturing breath-taking close-ups of her.

As the equally well cast Anthony Perkins and Audrey fall in love, their awakening is really palpable and touching.

Half way through the story, Tony reclines back, gently strumming a guitar as he sings the title song, revealing a pleasant singing voice. This scene alone is a must-see for all fans of Tony and Audrey and lingers dreamily in the memory.

Mel Ferrer must have loved his wife very much to capture all her delicate beauty and charm without her coming across as too fey. He was a very underrated director and actor. Audrey fell in love with him on seeing "Lili". I'll always be sorry they divorced.

Libel (1959)

Immaculate little film with attractive performances.

[10/10 · 6 April 2022]

This is such a pleasing drama and has become a firm favourite of mine since I first saw it in 1960.

Dirk Bogarde and Olivia De Havilland (looking stunning in timeless fashions and hairdo) both shine throughout, giving highly polished star turns amongst an array of familiar faces, all of whom give competent, pleasing performances. Richard Wattis is cast against type and here plays a very sober judge with none of his usual affectations. Robert Morley and Wilfred Hyde-White complement each other well and provide nice relief from the tension with their dry responses.

Other reviewers have pointed out what they consider some creaky aspects to the film but none of that occurs to me and I consider production values, direction, acting and editing make this "Classic"film to be one of the very best to come out of M. G. M.'s British studio. It really is worthy of an expert re-mastering for DVD.

Oliver! (1968)

PEGGY'S ROLE HARDLY AMOUNTS TO MUCH.

[6/10 · 13 March 2022]

O. K. ; production values , direction and much of the acting (Moody and Reed) are great but overall I'm left disappointed ; Peggy Mount , a brilliant comedienne is sadly underused. Why not include the fun 'I Shall Scream' number which would also have given Harry Secombe more screen time ? Leonard Rossiter too would have done full justice to 'That's Your Funeral'.

In order to fit in the above mentioned songs they could have trimmed 'Consider Yourself' and 'Who Will Buy ?' by half.

Oliver and Nancy are much too sanitised and saccharine. Georgia Brown was a hit as Nancy on both the London and Broadway stages so why not cast her in the film (Shani Wallace is all wrong). Oliver Reed's pungent and truly frightening Bill Sykes is the real deal but this creates an imbalance with the sweeter , chocolate-box aspects which stray too far from Charles Dickens' original masterpiece that paints a far from pretty account of Victorian London (Fagin is very suspect by today's standards).

Pardners (1956)

Would have liked more of Moorehead.

[9/10 · 30 January 2022]

Overall , I would vote this one of my favourites of the teams efforts ; they had really come of age in their penultimate movie together.

It starts off very well as we cover two generations with the always reliable Agnes Moorehead as the sardonic matriarch delivering some very amusing lines as she cuts her two descendants down to size ; I particularly enjoy her contribution and miss her when she fades out.

Moving on in the story , the slapstick comedy of Jerry Lewis and the smooth song delivery of Dean Martin makes this one great value.

Lori Nelson provides most attractive romantic interest and looks really good alongside Dean. Great colourful entertainment. Buy it.