A SUMMER PLACE (1959)

 

I love to revisit this movie that played in theaters when I was only eight years old. Not that I ever would have been allowed to go and see it! Well, hang on a second and I'll correct myself; my parents took us to the drive-ins quite often and my sister and I watched a few movies that featured, shall we say, slightly risqué content. ANATOMY OF A MURDER, also released in 1959, comes to mind. Not to mention THE BRAMBLE BUSH (1960), a hot mess of adultery and corruption starring Richard Burton. Maybe my folks were more liberal minded than I always thought. Or maybe they just didn't investigate film plots as diligently as they might have.

Eventually, A SUMMER PLACE would play on television enough times in my young life for me to practically memorize the dialogue. And, of course, the beautiful theme song from the film, composed by Max Steiner and recorded by Percy Faith, would play on our transistor radios all through 1960 and beyond, becoming the dreamy background music for our own adolescent, and pre-adolescent romances. I look at this film now with a sense of nostalgia, because 1959 was indeed another world. Social and sexual mores have changed completely. But this was still within my living experience, unlike the films of the 1930s and 1940s. It's a totally different kind of nostalgia to reflect on my own young world and a world I never lived in. The simple fact that this once-shocking movie could play, uncut, on TV in the 1960s is evidence of how rapidly social mores were changing in my young life. And yet, even when I see this movie now, I remember how and why it was considered to be shocking. Young people seeing this for the first time in the present age would probably find it hilarious. But I could be wrong.

The story involves two generations of illicit lovers. Ken Jorgensen (Richard Eagan) and his wife, Helen (Constance Ford), are bringing their teenaged daughter, Molly (Sandra Dee), for a summer vacation at a resort on Pine Island off the coast of Maine. The resort belongs to Bart Hunter (Arthur Kennedy) and his wife, Sylvia (Dorothy McGuire), the parents of young Johnny (Troy Donahue). The resort had once been Bart's family estate, but he has allowed it to fall into ruin while losing the family fortune. He and Sylvia now have to rent rooms in order to survive. Ken and Sylvia had been young lovers many years ago on the island, but Sylvia chose to marry the wealthy Bart instead of the working-class Ken. Lonely and broken hearted, Ken, who eventually became successful and wealthy, married Helen on the rebound. Both married couples are unhappy and frustrated.

Once reunited, Ken and Sylvia can't help renewing their love affair. At the same time, Molly and Johnny are immediately smitten with each other. Molly's mother, a cold, shrewish woman who disdains any kind of human sexual feeling, warns Molly to keep away from Johnny, while Ken tries to be understanding and not make his daughter be afraid of her sexuality. After a time, the affair between Ken and Sylvia is exposed and the two couples are divorced. Ken and Sylvia are married, while the two teenagers are attending private schools miles apart and are forbidden by Helen to see each other. The two teens nevertheless continue to communicate and meet in secret. Both are sickened by what has transpired with their parents.

Johnny and Molly become lovers and find themselves expecting a child. Unable to find anyone to marry them, they go to Pine Island, hoping Bart, now in the final throes of alcoholism, will help them. When he refuses, they go to Ken and Sylvia, who welcome them. Sylvia tells Johnny: "We live in a glass house. We're not about to throw any stones." After getting married, the two teenagers return to Pine Island for their honeymoon.

While social mores, certainly those involving unexpected pregnancies, are much different today, I think the sincerity of the story and especially the heartfelt performances by the talented cast of actors will be able to affect modern audiences. The film was directed by Delmer Daves and was based on Sloan Wilson's best-selling novel of 1958. Harry Stradling provided the sumptuous color cinematography.

Richard Eagan, an actor with a forceful, masculine presence, and Dorothy McGuire, possessing a calm, reserved demeanor, make an intriguing match as the star-crossed adult lovers. I do find it slightly hard to believe that these two people, who have torn apart two families by their passionate affair, seem to fall so easily into a comfortable middle-aged marriage, complete with twin beds, discussing the runaway libidos of their children with great trepidation. Still, the actors have strong chemistry between them. And they certainly find a romantic house to live in. The producers used a house built by Frank Lloyd Wright, located in Carmel-by-the-Sea in California as the couple's home. The movie slows down long enough for Sylvia to give Molly, and the rest of us, a guided tour.

Top dramatic acting honors go to Arthur Kennedy as the self-pitying, alcoholic Bart, a man tortured by his own failures as a husband and by his wife's betrayal, and also to the marvelous Constance Ford who plays Helen. Ford was an expert at playing hard, cold, vindictive women, even though she was a very beautiful and desirable women herself. She easily steals any scene she happens to be in, including when she slaps Molly and knocks her right into a Christmas tree. 

The real attractions for moviegoers at the time were the fresh young stars Sandra Dee and Troy Donahue, both visions of almost impossible blonde beauty. Donahue, born in 1936, was a little too old to be playing a teenager, and had already been serving an extensive apprenticeship as an actor in films and television, finally making a major impression in a brief scene in IMITATION OF LIFE (1959). He would be one of the most popular stars in Hollywood for the next few years, but his career would start to falter in the late 1960s as his acting limitations became evident. The years that followed would prove increasingly difficult, both personally and professionally. But Donahue fought his way back and became quite the busy actor in the 1980s and 1990s. He passed away in 2001 at the age of 65.

Sandra Dee, born as Alexandra Zuck, had been a successful child model before she broke into films in UNTIL THEY SAIL (1957). Her progress was rapid, and in 1959 she appeared in no less than five major films, two of which, GIDGET and IMITATION OF LIFE are also considered to be classics. There is a dispute regarding her birth year. Officially, she was born in 1942. But according to her son, Dodd Darin, whose father was singer/actor Bobby Darin, Dee was actually born in 1944. This would make her fourteen or fifteen years old in these films of 1959, and only sixteen when she eloped with Bobby Darin in 1960. Whatever the truth is, Dee was a gifted and sensitive actress. Like Donahue, she was a major star for the next several years. Truthfully, I believe her career peaked in 1959. By the late 1960s, she, too, began to struggle. Unfortunately, her life proved even more troubled than Donahue's. She worked only sporadically in the 1970s and eventually went into seclusion, suffering from bulimia and alcoholism. She attempted a resurgence of her career in the early 1990s but was unable to make much progress. She passed away in 2005 from kidney disease. After all these years, and in spite of her difficult life, Sandra Dee remains a beguiling image of innocent beauty, an enduring symbol of that other world that I still remember and can always return to when I visit A SUMMER PLACE.

A Summer Place 1959 Official Trailer Sandra Dee, Richard Egan Movie HD

A Summer Place (1959, theme)

YOUR MONEY OR YOUR WIFE (1960)

 Life can sometimes be difficult for those of us who are "completist" collectors. We are called upon to endure an excruciating series of bad films and TV shows in order to get our grubby claws on the various forms of physical media featuring our favorite stars and directors. The weird thing about this lifestyle is that the thrill of finding some obscure item or other, oftentimes after years of searching, is as important and rewarding as the item itself. When a collector is driven to complete the filmography of a beloved actor/actress/director, all that matters is having something on the shelf, in its proper order, naturally.

In the case of my admittedly pathological obsession with Barbara Steele, I may never reach my goal of owning all of her film and TV appearances. It's not because her body of work is so extensive, because, God bless her, it really isn't. The problem is that most of her films were low budget projects made in several European countries. Some of them are so obscure, they don't seem to exist anywhere, certainly not in any form of commercial home video release in the United States. 

Still, the search continues. I mean, we all need a hobby, right? 

I was able to find a good bootleg copy of this brainless, seriously unfunny comedy that was released by the Rank Organization in 1960. This was Barbara's fourth and final film for the studio before they sold her contract to 20th Century-Fox in Hollywood. The cover of the DVD-R is purposely deceptive in using a still photo of the actress from Fellini's 8 1/2 on the cover, as the goal is to attract her fans. As it says on the back cover: "Here's a movie for Barbara Steele fans. Her role is not large, but it's important to the plot--and she looks gorgeous!"

The stars of YOUR MONEY OR YOUR WIFE are Veteran English actors Donald Sinden and Peggy Cummins. Miss Cummins is remembered for her iconic role in the classic Noir, GUN CRAZY (1950) and also to horror fans for NIGHT OF THE DEMON (1958). Sinden and Cummins play a middle class married couple with the unlikely names of Pelham and Gay Butterworth. Gay's wealthy aunt has died without a will, which means that Gay will very likely inherit a lot of money. However, her husband unfortunately finds the will hidden away in an old desk. The will complicates matters beyond all comprehension, and no inheritance will be forthcoming unless the couple gets divorced. Not wanting to give up their domestic bliss, the couple tries renting out rooms in the rather large house in order to make money and pay off their considerable debts. This brings a succession of quirky characters into the film. Chaos ensues, complete with an endless string of physical comedy bits and personality clashes, none of them generating much laughter. Steele gets to play a seductive young model named Juliet Frost, who catches the eye and interest of Pelham Butterworth. 

As the plot develops, the couple indeed end up getting divorced after Gay finds Pelham in a compromising position with the flirtatious Juliet. This means she gets the inheritance, and SURPRISE, the estranged couple find their way back to each other's arms as the film ends. Any viewer who is still awake at this point will certainly share in the joyous conclusion.

It's hard to believe anyone at Rank thought this movie would make audiences laugh. It's a real disappointment, especially considering the talented players involved. Sinden, Cummins, and all the various supporting players give their best efforts, but they're all let down by a dull script and unimaginative direction.

As for La Steele, she is indeed gorgeous and shows lots of "femme fatale" potential that, sadly, was not explored very often in her subsequent film career. Her next film assignment, after reporting to Fox in Hollywood, would be a loan-out to an Italian director named Mario Bava for a little horror flick called LA MASCHERA DEL DEMONIO, later to be known as BLACK SUNDAY. That would send her on a trajectory into the Gothic horror movement, a movement that she would come to symbolize. But in this little English comedy, she demonstrates her ability to be sexy and contemporary, possessing a confident style and stunning beauty that could have enlivened many other cinematic genres. She is without a doubt the best thing, indeed the only thing, that makes this silly comedy worth watching and owning. Yes, the search was worth it!!

SPRING 2025 FILM CLASS: THE FILMS OF WILLIAM WYLER

 

William Wyler

My most recent non-credit film class at the Osher Lifelong Learning Institute (OLLI) at the University of Illinois here in Champaign-Urbana was yet another enjoyable deep dive into classic cinema. Our instructor, film scholar and critic Chuck Koplinski, offered us eight films directed by the legendary William Wyler. Mr. Wyler is reasonably familiar to me, and I've already seen, and indeed own copies of, five of the movies Chuck selected. But that didn't take away the sheer pleasure of watching the movies again with a classroom filled with like-minded folks and engaging in discussions. As usual, our instructor provided us with fascinating information about each film during his introductions and in his remarks following the screenings. Here are the films we watched.

DODSWORTH (1936)  This is one of the films I hadn't seen. It stars Walter Huston, Ruth Chatterton, Paul Lukas, Mary Astor and David Niven. It's a drama about the dissolution of a marriage. Samuel Dodsworth (Huston) retires from a successful business and finds that he and his wife (Chatterton) no longer want the same things in life. While he is content to enjoy a down-to-earth retirement, his wife wants more excitement and a more sophisticated social life. She is also unwilling to act her age. The conflicts in their personalities become evident while they're on a trip to Europe and eventually they divorce and go in opposite directions. This is an engaging drama with a brilliant cast of actors. I'd only seen Miss Chatterton in one other film, and I was very impressed by her screen presence. Mary Astor is equally impressive as the woman Samuel finds himself falling for as his marriage deteriorates. 

WUTHERING HEIGHTS (1939)  Another film from what many consider to be THE greatest year for the movies. Starring Merle Oberon, Laurence Olivier, David Niven, Geraldine Fitzgerald, Flora Robson and Donald Crisp. Based on the novel by Emily Bronte. I'd seen this movie before, the most recent time being late in 2024. It's never been a favorite of mine, although I can appreciate the acting talents of everyone in the cast. It always baffled me that so many people consider this to be a great romantic story. To me, it's a dark story about obsession and revenge. I've never read the novel, but from what I learned in the class discussion, the film only covers about half of the book. I liked the film more with this viewing and will definitely rewatch it at some point.

THE WESTERNER (1940)  Starring Gary Cooper, Walter Brennan, Doris Davenport, Fred Stone and Paul Hurst. Smaller roles are filled by Forrest Tucker, Chill Wills and Dana Andrews. This is a film I hadn't seen before, and it was an enjoyable watch. Cooper plays drifter Cole Harden who is falsely accused of stealing a horse and is brought before dishonest Judge Roy Bean (Brennan). Most of the film's dynamics involve the complicated relationship between Cole and the judge, and Cooper and Brennan are both perfect for their roles. Cooper underplays his character, as he generally does, and Brennan won his third Academy Award for Best Supporting Actor.

THE LITTLE FOXES (1941)  Chuck, our instructor, confessed that he's not much of a Bette Davis fan, but he likes her in this movie. I, on the other hand, am a confirmed Bette Davis FREAK, but have always found this particular movie difficult to like. That's probably because Miss Davis plays what can only be described as the most totally despicable role of her career. Based on a play written by Lillian Hellman, the story takes place in the Old South. Davis plays Regina Hubbard Giddens, an ambitious, ruthless woman who is joining forces with her brothers, Ben (Charles Dingle) and Oscar (Carl Benton Reid) to invest in bringing a cotton mill to their town. By taking advantage of cheap labor, they expect to become wealthy. They need money from Regina's husband, Horace (Herbert Marshall), but he is reluctant to go along with the plan, which makes his unhappy marriage to Regina even worse than before. As the three siblings focus on getting rich above every other human consideration, they even plot against each other, causing misery for the whole family. This is not a pleasant film to sit through, although the entire cast is brilliant. Also featuring Teresa Wright, Patricia Collinge, Richard Carlson, Jesse Grayson and Dan Duryea. Regina had been played successfully on Broadway by Talullah Bankhead. Bette Davis and William Wyler disagreed on how the character should be played and there was a lot of tension between them. This was their third and final film together.

THE HEIRESS (1949)  Starring Olivia de Havilland, Montgomery Clift, Ralph Richardson and Miriam Hopkins, this film was based on a play adapted from the 1880 novel Washington Square by Henry James. Miss de Havilland plays the title character, Catherine Sloper, an unsophisticated, socially awkward woman who is dominated by her unloving father, played by Richardson. Her Aunt (Hopkins) tries to encourage Catherine to be more outgoing and try to find a suitable husband. Catherine finds herself being pursued by the handsome young Morris Townsend (Clift) and falls deeply in love with him. But her father doesn't believe Townsend loves Catherine for herself, but for her money. Tragedy ensues. This is another heavy drama that is somewhat difficult to watch, even though the acting is incredible. Miss de Havilland won her second Oscar for Best Actress.

DETECTIVE STORY (1951)  An intense drama with a stellar cast: Kirk Douglas, Eleanor Parker, William Bendix, Cathy O'Donnell, George Macready, Lee Grant, Joseph Wiseman, Gladys George, Horace McMahon, Frank Faylen and Gerald Mohr. The story focuses on one day in a New York City police precinct. Kirk Douglas plays Detective Jim McLeod, an angry, violent, complicated man. In the course of this single day, as he is attempting to bring a criminal to justice, he is forced to confront a terrible secret about his wife's past which connects her to the criminal. Douglas gives a raw, unflinching performance, perfectly matched by Eleanor Parker as his wife. This is one of Wyler's greatest achievements. 

CARRIE (1952)  If THE HEIRESS and THE LITTLE FOXES hadn't been enough to put the entire class into a state of depression, then CARRIE pushed us all over the edge. This is another movie I'd never seen. Based on the novel Sister Carrie by Theodore Dreiser, the film stars Laurence Olivier, Jennifer Jones, Miriam Hopkins and Eddie Albert. Jones plays Carrie Meeber, a girl from a poor family who goes to Chicago to work in a sweatshop while living with her sister. From these humble beginnings, and through a series of bad choices, Carrie somehow survives a doomed relationship with a married man and goes on to become a famous stage actress. The plot may sound somewhat romantic, but, in truth, it's about a man (Olivier) whose life is destroyed by his obsession with Carrie. The ending is quite downbeat, and the film was not a hit with audiences. Wyler wasn't pleased with the casting of Jennifer Jones and the making of the film was not a positive experience for anyone involved. But I always liked Jones, and I like her performance here. Olivier is brilliant and so is Miriam Hopkins as his cold, hateful wife. 

THE CHILDREN'S HOUR (1961)  This incredible, groundbreaking film came about because Wyler wanted to do a remake, of sorts, of his earlier film THESE THREE (1936). It had been based on Lillian Hellman's notorious play THE CHILDREN'S HOUR, which involved allegations concerning a Lesbian relationship between two schoolteachers. The production code standards of the time wouldn't allow any discussion or depiction of homosexuality, so the story was changed to involve two women who were involved with the same man. The women were played by Merle Oberon and Miriam Hopkins, and the man was played by Joel McCrea. Young Bonita Granville gave a standout performance as a vicious student whose lies about the three adults set the drama in motion. With the relaxation of censorship that was developing in the modern era, Wyler decided to adapt Hellman's play as it was written. Audrey Hepburn and Shirley MacLaine were cast as the schoolteachers and James Garner as Hepburn's fiancé. Karen (Hepburn) and Martha (MacLaine), close friends since college, have achieved their dream of opening a private girl's school in a picturesque rural location. When a troubled, lying student, Mary Tilford (Karen Balkin), accuses the two women of being lovers, the school closes and their reputations are ruined. As the two women try to figure out where their lives are going to take them, Martha confesses that she does have romantic feelings for Karen. The story ends in tragedy as Martha takes her own life. The depiction of the gay character may seem regressive to present day audiences, but it was quite progressive for the time. Martha is indeed a tragic character, but also completely sympathetic. And there is no rejection of her coming from Karen, even though the romantic feelings are not returned. In an interesting casting choice, Miriam Hopkins returns, this time as Martha's aunt, a pretentious actress who also teaches at the school. Veteran actress Fay Bainter, in her final film, is a standout as the grandmother of the vicious Mary. The only negative aspect in the movie is the poor performance by Karen Balkin, who almost seems to be playing the role as a parody. This is a real shame, as the character is central to the dramatic development of the story. But here's a good word for another child actress in the film, the marvelous Veronica Cartwright, who brings a lot of intensity in a supporting role.

Another film class completed. And what have I learned? Probably not nearly enough, but I plan to keep at it. Chuck announced that his Fall class will be The Films of Barbara Stanwyck. If the fates allow, I'll be there in my usual spot. Stay tuned...

 

Notes From the Movie Room April 27, 2025

 

🎬 There have been only three times in my life when I can remember feeling a cold chill up my spine when finishing the last page of a novel, and all were in recent years. The first time was when I read the 1962 novel FAIL SAFE, written by Eugene Burdick and Harvey Wheeler. The second time was FLOWERS FOR ALGERNON, the 1966 novel by Daniel Keyes.

The third time, just a few days ago, was when I reached the last page of DOUBLE INDEMNITY, the 1943 crime novel by James M. Cain, which was originally published as an eight-part serial in Liberty Magazine in 1936. I've seen the classic 1944 film adaptation many times, and it's one of those movies that can be watched and enjoyed over and over, even though the story holds no more surprises. And I was aware that the screenplay by novelist Raymond Chandler had been altered considerably for the movie. But I had no idea what was awaiting me in the last chapter of the book. No spoilers will be forthcoming. Please buy the novel and read it for yourself.

Several years ago, I picked up a used copy of a James M. Cain three-novel compilation featuring THE POSTMAN ALWAYS RINGS TWICE (1934), DOUBLE INDEMNITY and MILDRED PIERCE (1941), all of which were made into successful Films Noir. I had already read MILDRED PIERCE, which also differed quite a bit from the 1944 film. It was much more sordid than the slickly made Warner Brothers production, which was primarily a star vehicle for the legendary Joan Crawford. In my experience, books are usually superior to the film adaptations, although there are exceptions. When I started reading DOUBLE INDEMNITY, the main characters were all being portrayed inside my head by Fred MacMurray, Barbara Stanwyck, Edward G. Robinson and Jean Heather. The narrator had MacMurray's distinctive voice. But as I got involved in the twists and turns of the story, especially in its last stages, the cinematic images began to fade, and I was no longer preoccupied with the movie version. Was the book better than the movie? I have to say yes. But that takes nothing away from the movie. The novel's ending could certainly have been adapted into a powerful movie sequence. But considering the prevailing standards and audience expectations of 1944, I doubt if it would have worked. Still, it's fascinating to wonder what might have been. Next up: I plan to dive back into the dark world of James M. Cain with THE POSTMAN ALWAYS RINGS TWICE. Let's see how far I have to get into the book before Lana Turner and John Garfield are no longer smoldering inside of my head.

I've never seen the 1968 film CHARLY, the adaptation of FLOWERS FOR ALGERNON, but I would like to. I did pick up the Criterion Collection release of the 1964 adaptation of FAIL SAFE, directed by Sidney Lumet. I didn't expect the icy chill I experienced at the end of the novel. But I was wrong. It came back, intensified beyond belief. Truly one of the most terrifying cinematic experiences of my life. Highly recommended. 

THE EXPLOSIVE GENERATION (1961)

 

William Shatner, in his iconic role as Captain Kirk in the original Star Trek TV show and the films which followed, did heroic battle with Klingons, Romulans, Kahn and all kinds of dangerous alien characters. But long before he took flight on the Starship Enterprise (He's still there, by the way.), the talented Canadian actor found himself caught up in an even more heated confrontation. In his first starring movie role, Shatner plays a high school teacher who finds himself trapped in the middle of an eternal, universal conflict: teenagers suffering from hormonal overload and the attempts by their frantic parents to make sure those hormones stay unloaded until the little darlings finish college and get married. 

THE EXPLOSIVE GENERATION is a worthy entry into the Teen Angst genre that began with the release of two classic films in 1955: BLACKBOARD JUNGLE and REBEL WITHOUT A CAUSE. These two very serious, critically acclaimed films officially established American teenagers as a distinct social class. More importantly, the kids had money in their pockets and enough free time to go to the movies while their parents were busy working. The rousing success of these two films encouraged the Hollywood studios to make more films focused on teens and their troubles. As the 1950s moved on, cinematic juveniles were not only tangling with those pesky hormones, but with werewolves, vampires, sea monsters and aliens from outer space, with plenty of rock and roll included in the soundtracks.

William Shatner seems shocked to find himself beamed into a high school classroom.

 Today's Teen Angst classic begins at a high school basketball game, followed by a party. Four high school seniors, Janet Sommers (Patty McCormack), her boyfriend Dan Carlyle (Lee Kinsolving), and Marge Ryker (Suzi Carnell) and her date Bobby Herman Jr. (Billy Gray), decide to spend the night at the house, which is owned by Bobby's father, after the party ends. They lie to their parents about where they are. In the morning, Janet wakes up in a panic because they all have to get to school. There's quite a bit of tension among the four about what they've done. 

Patty McCormack, the "Bad Seed" herself, all grown up and filled out. Lee Kinsolving is second from the right.

Janet is especially upset and argues with Dan. In their homeroom class, the teacher, Peter Gifford (William Shatner), asks the students to suggest topics for discussion, topics that address the various problems and concerns of teens who are about to graduate and go out into the adult world. Janet tells Mr. Gifford that what most of the kids are concerned about is sex. This comment gets quite a wild reaction from the other kids and causes some embarrassment for Mr. Gifford. He says such topics are best discussed with parents. But Janet persists and gets support from the class. When the teacher reminds Janet that sex has already been covered in their biology courses, she clarifies that she's concerned about the real personal issues teens deal with, such as how far a girl has to go with a boy to be popular, and how boys feel they have to prove what big men they are. Mr. Gifford finally agrees to discuss anything the students want to talk about. He tells them to write their questions and concerns down and not sign their names. He gathers up the papers and says the class will address the questions next week.

The morning after effect. Lee Kinsolving, Billy Gray, Patty McCormack and Suzi Carnell feeling guilty.

In no time at all, word gets around the whole school about Mr. Gifford's "sex survey". Naturally, the parents also find out, and all hell breaks loose in the community. Janet's parents (Virginia Field and Arch Johnson), now aware that the four teens spent a night together and lied about it, form a committee to visit the school principal (Edward Platt) and demand that the papers be destroyed and Mr. Gifford issue an apology. They accuse him of being a danger to the morals of their children. Mr. Gifford reluctantly gives in to their demands. But when school is resumed, he sees how disappointed the kids are and how badly he's let them down. So, he changes his mind about turning in the papers to the principal. As a result, he gets suspended.

Concerned and well-dressed parents: Virginia Field and Arch Johnson

Mrs. Sommers finds it difficult to struggle through making a high-tech breakfast with Janet's raging hormones filling the kitchen. What IS a mother to do?

The students are angry that their freedom of speech has been taken away from them, so they organize a protest, Dan being the main organizer. Mr. Gifford understands how they feel, but he tries to discourage them from getting into trouble. The kids hold a rally in front of the school and refuse to go to classes until Gifford is reinstated. The police arrive and order them to disperse and be quiet. Dan takes that advice to heart and tells the kids to remain silent for the entire day. The students stay silent even during a basketball game at the end of the school day. And they even get the opposing fans involved by handing out flyers encouraging them to join the protest.

A generation explodes!! Actually, it's more like a pep rally than a protest. Things will heat up considerably in a few years when the Baby Boomers take over.

As the basketball game continues in eerie silence, Janet takes the paper she wrote and reads it to her mother at home. She reveals that nothing happened on the night she and Marge stayed with their boyfriends, because they were all too scared and felt guilty. Lying to their parents made it all seem "dirty". Janet wrote about how much she loves and respects her mother but can't talk to her about her feelings. She loves Dan and wants to marry him someday but is finding it hard not to give into her sexual desires. She hopes that with boys and girls talking about these concerns together they might find the answer. Janet's mother, finally understanding, starts crying and puts her arms around her daughter. 

The parents go to the principal and have Mr. Gifford reinstated. The community crisis is resolved just as the basketball game comes to an end. All the kids erupt in joyous screaming and crowd onto the court as the cheerleaders and school band lead them in a victory march. When classes resume on Monday, the principal brings the student's papers back to Mr. Gifford's class and he begins the discussion.

Beau Bridges and Patty McCormack

Lee Kinsolving and Billy Gray, obviously up to no good!

Billy Gray and Beau Bridges

Gorgeous Patty McCormack

Despite the suggestive title, the movie turns out to be less explosive than promised. Everyone's virtue remains unscathed, and all teenage hormones are safely, if tenuously, under the control of parents and the educational system. Still, the notion of candid discussions about sex was a hot topic in 1962. And considering the controversies happening in our culture today, this modest B-flick turned out to be quite prescient.

William Shatner was still in his apprenticeship period as an actor. His work in films, television and theater began in 1951. In 1961, he had a supporting role in JUDGEMENT AT NUREMBURG. He also starred in two fascinating cult movies: THE INTRUDER (1962) for Roger Corman and the 1966 horror film INCUBUS. Most of his long, successful career has been on television and on other planets. Now ninety-four years old, Shatner shows no signs of slowing down.

Patty McCormack, only sixteen years old, stands out among the young cast. She had already found success in the 1954 Broadway production of THE BAD SEED as the charming but murderous child Rhoda Penmark. The play was a sensation, and Patty reprised her role in the 1956 film version, which won her an Oscar nomination for best supporting actress. In 1957, she played Helen Keller in a television production of THE MIRACLE WORKER, a role that went to Patty Duke for both the Broadway and film adaptations. Her career seems to have peaked at this point and her output since then has been erratic, many of her films being in the exploitational category: JACKTOWN (1962), THE MINISKIRT MOB and THE YOUNG RUNAWAYS, both in 1968. In a sense, her film work after such a lofty beginning in THE BAD SEED seems unworthy of her talents. Still, she has maintained a long career and enduring star status. Evil Rhoda Penmark has stalked her throughout her life, a situation she has happily embraced.

Billy Gray and Lee Kinsolving were both well into their twenties when they made this film. Gray had begun as an extremely talented child actor, making an impression in the sci-fi classic THE DAY THE EARTH STOOD STILL (1951). From 1954 to 1960 he was on the popular TV show FATHER KNOWS BEST. His subsequent acting career has been less than prolific, but he did appear in two cult favorites: THE NAVY VS. THE NIGHT MONSTERS (1966) and a very strange little film called DUSTY AND SWEETS MCGEE (1971). Lee Kinsolving was an intense young actor who began his career in live television and sadly only appeared in three films, THE EXPLOSIVE GENERATION being his last. He was nominated for a Golden Globe for his excellent work in THE DARK AT THE TOP OF THE STAIRS (1960). He left acting in 1964 and died of a heart attack ten years later at age thirty-six. You can see his work in TV shows like GUNSMOKE, THE TWILIGHT ZONE and THE OUTER LIMITS.

Nineteen-year-old Beau Bridges, son of veteran tough-guy actor Lloyd Bridges, was sort of in the background in this film, but his blonde good looks and soulful expression get your attention. He began acting as a child in the late 1940s in films like THE RED PONY (1949) and ZAMBA (1949) and also appeared on his father's hit TV show SEA HUNT. His apprenticeship continued mostly on TV and in movies like VILLAGE OF THE GIANTS (1965), a movie that must be seen to be believed. (Even then, you still won't believe it.) He finally proved himself a brilliant actor in THE INCIDENT (1967), one of my favorite films. He and his younger brother, Jeff, worked together in THE FABULOUS BAKER BOYS (1989). He's had a long and successful career and is still active in the business today.

The film was directed by Buzz Kulik, also known for BRIAN'S SONG (1971) and the miniseries GEORGE WASHINGTON (1984).

THE EXPLOSIVE GENERATION (1961) ♦RARE♦ Theatrical Trailer

♦Drive-In Classics♦ 'The Explosive Generation' (1961) William Shatner, Patty McCormack

This post is part of Brian Shuck's third Favorite Stars in B-Movies Blogathon. Thanks to Brian for inviting all of us to participate!

Films From Beyond the Time Barrier: Day 1 of The Third 'Favorite Stars in B Movies' Blogathon has arrived!

SOMETHING WILD (1961)

 

Recently, I've been rewatching films that have been in my collection for years, many of which I've only seen once. I especially wanted to see films that I remember loving and to find out if the "second watch" experience would change my feelings. This little project ended with more than a few DVDs being added to my "to give away" pile.

One film that definitely didn't lose any of its power is Jack Garfein's SOMETHING WILD. This is a film I remember seeing on television decades ago. I only saw it once and then it seemed to disappear into movie limbo, but it stayed in my mind. When it was released by the Criterion Collection eight years ago, I picked up a DVD copy at my local Barnes & Noble without waiting for one of the semi-annual sales. This is a movie I was more than happy to pay full price for. 

The film stars Carroll Baker, who was married to Jack Garfein at the time. She plays Mary Ann Robinson, a young college student living in New York City. One night, while walking home from a class, she is raped. The rest of the film shows the effects of this traumatic experience and how Mary Ann's life changes in the aftermath. This film is so filled with such surprising twists and turns that I'm reluctant to describe anything more about the story. I'm sorry if this disappoints anyone reading this post, but I would hate to spoil anyone's first time experience. Suffice it to say that this is truly one of the darkest, most downbeat movies I've ever seen. The story goes off in directions that I never would have expected, and the ending is one that will baffle and most likely infuriate most viewers. Baker gives an incredible performance and is perfectly matched by her co-star, Ralph Meeker, and also Mildred Dunnock in a supporting role as Mary Ann's mother. Other familiar faces are Martin Kosleck, Doris Roberts, Diane Ladd in her uncredited film debut, and Jean Stapleton. At this point in time, it's impossible to see Stapleton without thinking of Edith Bunker, and the seedy character she plays here makes me perversely wonder if Edith may have had a secret life before she married Archie and found respectability! 

The screenplay, co-written by Garfein and Alex Karmel, was based on Karmel's 1958 novel, Mary Ann. The marvelous Black & White cinematography was by Eugen Schufftan, with location shooting in New York. The film begins with an intense opening credits montage by Saul Bass showing different shots of the city at accelerated speed, and the expressive, energetic musical score was composed by Aaron Copeland.

SOMETHING WILD was not a box office hit and received mixed critical reviews. One positive review came from Jonas Mekas in Film Quarterly, who said the film was "the most interesting American film of the quarter; it may become the most underestimated film of the year". When it was screened at New York's IFC Center in 2007, it was hailed as a "lost indie film classic".

Most of Jack Garfein's work was in the theater, and he only directed one other film, THE STRANGE ONE (1957), starring Ben Gazzara, Pat Hingle and George Peppard, another dark, disturbing film that also struggled to find an audience, and one I highly recommend.

Ralph Meeker and Carroll Baker

Ralph Meeker found fame in the Broadway production of PICNIC in 1954. His best-known film role is KISS ME DEADLY (1955), in which he plays detective Mike Hammer. He was also in Stanley Kubrick's PATHS OF GLORY (1957), THE DIRTY DOZEN (1967), and played Tuesday Weld's father in I WALK THE LINE (1970). After suffering from several strokes, he died in 1988 at the age of 67.

Carroll Baker is a gifted actress who found screen immortality in BABY DOLL (1956), a role that haunted her for the rest of her life. She went on to have a prolific, if uneven, career. After she appeared in THE CARPETBAGGERS (1964), she was typecast as a sex symbol. She eventually left Hollywood and worked in Europe for ten years, making films such as THE SWEET BODY OF DEBORAH (1968) and ORGASMO (1969). After returning to the US, she appeared in Andy Warhol's BAD (1977). She retired from acting in 2003.

SOMETHING WILD (1961) Carroll Baker Trailer

NEW FROM THE CRITERION COLLECTION: SOMETHING WILD (1961)

The Strange One (1957) ORIGINAL TRAILER

A TOUR OF MY MOVIE ROOM

 THE TRUTH REVEALED!! 

UNTOLD UNTIL NOW!!

SEE CLUTTER YOU WOULDN'T HAVE THOUGHT POSSIBLE!!

SEE WHAT HAPPENS WHEN OBSESSIVE COLLECTING TAKES OVER!!

OK, Mike...let's not get overdramatic. Just show the pictures.

I moved into this eccentric old house thirty-five years ago, and, like me, it has only gotten more eccentric as the years go on. A story and a half, three bedrooms, two up and one down. Hardwood floors that crreeaakkk more every year. Lots of windows, including a living room that gets light from three directions. A creepy basement and an even creepier crawlspace. The house is strange and weird and suits me perfectly. The spare bedroom upstairs has always been used as a sort of retreat area. When I first moved in, I furnished it with a loveseat, a 13-inch TV and some shelves to display my VHS collection and even had a cassette tape player so I could listen to music. Eventually, when I gave in reluctantly to the DVD phenomenon, the room started getting a little crowded. My original shelving system gave way to more efficient ways to store my growing DVD collection, and I began collecting poster art and pictures for the walls. 

Following the death of my last VCR and the demise of my VHS collection, I made more changes, eventually getting my first flatscreen TV. That was ten years ago, and I still have that same Samsung 40-inch set. Works perfectly. The collection kept expanding, more shelves were needed and even the loveseat had to go because I needed the wall space. The collecting thing started getting serious around the same time I started finding other like-minded collectors on Youtube and checking out their impressive movie rooms. My room has never been that impressive and my collection isn't close to what so many other Youtubers have amassed, but I'm happy with what I have, and my room is very comfortable. As of now, my collection stands at a little more that 4,300 titles, mostly DVDs, but a growing number of Blu-rays. 4K has not yet entered into my radar. Maybe someday.

So, let's take a look around.

Here's a nice overview of one side of the room. I rely on Dracula to keep watch over the collection for me. 

Another overview. The DVD shelves came from Best Buy and the bookshelves came from Wal-Mart. 

These shelves contain my miscellaneous DVDs and box sets. Most of the posters came from Creepy Classics.

A word to the wise: Don't make the same mistake I did and buy a cheap vinyl-covered chair, because the vinyl will peel off and wind up on the floor. The chair may not look good, but it's so comfy, I hate to replace it.

My TV and a wall filled with Barbara Steele. The TV cabinet is actually a stereo cabinet that I turned over on its side. I don't have a sound system.

Another wall of Barbara Steele over my horror-sci-fi section.

And still more Steele!

Non-horror Kino-Lorber DVDs/Blu-rays, followed by the bulk of my non-horror and non-Film Noir Blu-ray collection. 

Classic TV display. I like to change the display every once in a while. Route 66 (1960-64) is still my all-time favorite TV show.

More TV, with Film Noir to the left.

My DVDs from The Video Beat. Teen angst dramas, rock 'n roll shows & documentaries, cool 60s TV shows like Hullabaloo and Shindig.

Toy robots from Alpha Video and Space 1999.

My Arrow Video collection.

Doorway art.

My Dave Koenig wall: A Fiend On Film. He designed the top two posters.

This way to the Twilight Zone.

A Ray Dennis Steckler hat and Barbara's autograph. Dracula is enjoying the sun for a change.

Sometimes, I must admit, I walk into this room and think: "What have I done???" And I'm always thinking about ways to make changes in order to utilize the space more efficiently. For example, getting some taller shelves to hold more movies. I also think about moving everything downstairs and making my living room into a movie room. Maybe get a bigger TV screen and a sound system. But the truth is, I'm too comfortable with the way things are and I'm much too lazy to make a change. However, if the collection keeps growing, I may not have a choice.

Maybe I should rent a nice warehouse...