Yesterday was Janet Leigh’s birthday and today is Pat Hitchcock’s birthday so it seems appropriate that today’s scene that I love should feature both of them. From 1960’s Psycho, this scene features Leigh and Hitchcock as office co-workers who meet the very wealthy Mr. Lowry (played by Frank Albertson).
“He was flirting with you. He must have seen my wedding ring,” remains one of the greatest lines ever written.
First released in 1953, The Naked Spur is one of the most cynical and downbeat movies that I’ve ever seen.
It’s also one of the most visually beautiful. Filmed in the Rockies and presented in glorious Technicolor, The Naked Spur is a western that is full of amazing scenery, from green forests to snow-capped mountains to a river that, under different circumstances, would probably be a wonderful place to just sit down and think for a spell. Director Anthony Mann crafts an image of the American frontier that makes it easy to understand why anyone would want to explore it and build a new life there. Mann contrasts the beauty of nature with the ugliness of the people who trample across it.
Jesse Tate (Millard Mitchell) is a grizzled and somewhat sickly prospector who runs into a stranger named Howard Kemp (James Stewart). Kemp is, at first, antagonistic and paranoid but soon, he offers to pay Tate $20 if Tate will help him track down an outlaw named Ben Vandergroat. Vandergroat, wanted for the murder of a U.S. marshal, is believed to be hiding in the mountains. In need of the money, Jesse agrees. Soon, he and Kemp are joined by another wanderer, a recently discharged soldier named Roy Anderson (Ralph Meeker). From the minute that Roy shows up, it’s obvious that he’s not being totally honest about why he’s wandering around the Rockies.
As for Ben Vandergroat (Robert Ryan), he is indeed hiding in the mountains. He’s accompanied by Lina Patrch (Janet Leigh), a naive young woman whose late father was one of Ben’s partners-in-crime. Lina looks up to Ben as a father figure and refuses to believe that he could possibly be guilty of any of the things that he’s been accused of doing. Ben, meanwhile, manipulates Lina into doing his bidding.
After being captured by Kemp, Jesse, and Roy, Ben proves himself to be far more clever than he initially seems. After revealing that Kemp isn’t who Jesse assumed him to be, Ben works to try to turn the three men against each other. There’s a reward on Ben’s head and, after Kemp reluctantly agrees to share the money with Jesse and Roy, Ben mentions that there will be a lot more money if its split two ways instead of three. Soon, Ben has the three men distrusting each other even more than they already did. However, Lina finds herself falling in love with Kemp.
The Naked Spur is a great film. Featuring only five-speaking parts, it plays out like a particularly intense play and every single member of the cast does a great job of bringing the film’s characters to life. Robert Ryan is coolly manipulative as the cocky Ben while Ralph Meeker is crudely menacing as the untrustworthy Roy Anderson. Millard Mitchell is, at times, heart-breaking as the sickly prospector. Janet Leigh reveals the strength underneath Lina’s naive persona. Of course, the film is stolen by James Stewart, who is convincingly bitter and ultimately rather poignant as Howard Kemp. Kemp feels like a continuation of the character that Stewart played in Broken Arrow. He’s seen the worst that humanity has to offer. Even in the beautiful Rockies, Stewart’s character cannot escape the ugliness that he’s witnessed firsthand. Stewart’s performance as that haunted and angry Howard Kemp is one of his best.
The Naked Spur is an intelligent and well-acted western and one of eight movies that Stewart made with director Anthony Mann. It’s psychological complexity, beautiful scenery, compelling script, and brilliant cast make it a true classic.
Norman Bates, now there’s someone who probably made a big deal out of every Mother’s Day. Today’s scene that I love comes from 1960’s Psycho and features Hitchcock, Janet Leigh, and Anthony Perkins at their absolute best,
Though the Academy of Motion Picture Arts and Sciences claim that the Oscars honor the best of the year, we all know that there are always worthy films and performances that end up getting overlooked. Sometimes, it’s because the competition too fierce. Sometimes, it’s because the film itself was too controversial. Often, it’s just a case of a film’s quality not being fully recognized until years after its initial released. This series of reviews takes a look at the films and performances that should have been nominated but were, for whatever reason, overlooked. These are the Unnominated.
I come here to defend Charlton Heston.
1994’s Ed Wood is a great film that has one unfortunate line. Towards the end of the film, director Ed Wood (Johnny Depp) meets his hero, Orson Welles (Vincent D’Onoforio), in a bar. They talk about the difficulties of directing a film. Wood talks about the trouble that he’s having with Plan 9 From Outer Space. Welles says that he can understand what Wood is going through because the studio is forcing him to cast Charlton Heston as a Mexican in his next movie.
And look, I get it. It is true that Charlton Heston does play a Mexican prosecutor named Mike Vargas in Welles’s 1958 film, Touch of Evil. And it is true that Heston is not the most convincing Mexican to ever appear in a film. And I understand that there are people who enjoy taking cheap shots at Charlton Heston because he did have a tendency to come across as being a bit full of himself and he was a conservative in a industry dominated by Leftists. There are people who actually think Michael Moore doesn’t come across like a self-righteous prick when he confronts Heaton in Bowling for Columbine. I get the joke.
But it’s not true and it’s not fair. When Touch of Evil was first put into production by Universal, Welles was not hired to direct. He was hired to play Hank Quinlan, the formerly honest cop with a habit of planting evidence on those who he believed to be guilty. When Charlton Heston was offered the role of Vargas, he asked who had been hired to direct. When he was told that a director hadn’t been selected, Heston was the one who suggested Welles be given the job. When, as often happened with Welles’s film, the studio decided to take the film out of Welles’s hands, Heston argued for Welles’s vision while Welles was off trying to set up his long-dreamed of film of Don Quixote. Say what you will about Charlton Heston’s career, he fought for Orson Welles, just as he later fought for Sam Peckinpah during the making of Major Dundee. Heston may not have agreed with either Welles or Peckinpah politically but he fought for them when few people were willing to do so.
That Touch of Evil is a brilliant film is pretty much entirely due to Welles’s directorial vision. The story is pure pulp. While investigating the murder of an American businessman in Mexico, Vargas comes to believe that Quinlan is attempting to frame a young Mexican for the crime. While Vargas watches Quinlan, his wife Susie (Janet Leigh) is menaced by the crime lord Joe Grandi (Akim Tamiroff), who has his own issues with both Vargas and Quinlan. The plot may be the stuff of a B-programmer but, as directed by Welles, Touch of Evil plays out like a surreal nightmare, a journey into the heart of darkness that is full of eccentric characters, shadowy images, memorably askew camera angles, and lively dialogue. Welles and cinematographer Russell Metty create a world that feels alien despite being familiar. Just as he did with Gregg Toland in Citizen Kane, Welles shapes a film that shows us what’s happening in the shadows that most people try to ignore.
There’s really not a boring character to be found in Touch of Evil and the cast is full of old colleagues and friends of Welles. Marlene Dietrich shows up as Quinlan’s former lover. Mercedes McCambridge plays a leather-clad gang leader. Dennis Weaver is the creepy owner of a remote motel. (Two years before Psycho, Touch of Evil featured Janet Leigh being menaced in a motel. Mort Mills, who played Psycho’s frightening highway patrolman, plays a member of law enforcement here as well.) Zsa Zsa Gabor shows up for a few brief seconds and it makes a strange sort of sense. Why shouldn’t she be here? Everyone else is. Joseph Cotten plays a coroner. Ray Collins plays a local official. In the film’s skewered world, Charlton Heston as Mike Vargas works. His upright performance grounds this film and keeps it from getting buried in its own idiosyncrasies. Big personalites are everywhere and yet the film is stolen by Joseph Calleia, playing Quinlan’s quiet but observant partner. Calleia’s performance is the heart of the film.
Touch of Evil was not nominated for a single Oscar and that’s not surprising. It’s not really the type of film that was noticed by the Academy in the 50s. It was too pulpy and surreal and, with its story of a crooked cop framing someone who might very well be guilty anyway, it was probably too subversive for the Academy of the 1950s. It would take a while for Touch of Evil to be recognized for being the noir masterpiece that it is. In a perfect world, Welles would have been nominated for directing and for his larger-than-life performance as Quinlan. Joseph Calleia would have been nominated for Supporting Actor and perhaps both Janet Leigh and Marlene Dietrtich would have been mentioned for Supporting Actress. That didn’t happen but it would have been nice if it had.
Previous entries in The Unnominated:
Since today is Orson Welles’s birthday, I wanted to share at least one scene that I love from his films. The famous tracking shot from 1958’s Touch of Evil, which begins in America and ends in Mexico, truly shows Orson Welles at his visionary best.
It’s also Welles at his most clever. Knowing that he wouldn’t be given control over the editing of the footage he shot, Welles included as many long shots as possible to make it more difficult for an editor to chop up or alter his vision.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1984. Unfortunately, the show has been removed from most streaming sites. Fortunately, I’ve got nearly every episode on my DVR.
This week, things get strange on the Island!
Episode 6.7 “Roller Derby Dolls/Thanks A Million”
(Dir by Don Weis, originally aired on December 4th, 1982)
Norman Hackett (Vic Tayback) is a sports fanatic who wants to coach his own athletic team. Oddly, he doesn’t specify what type of team he wants to coach. I would think that would be the first thing that a true sports fanatic would make clear. “I want to coach the….” Well, I can’t think of the names of any teams off the top of my head. I’m not a sports person so …. okay, he could have said he wanted to coach the Cowboys. You happy? Yes, I’m from North Texas and our football team sucks, Even I’m embarrassed by them and I don’t even follow football. I’d be tempted to coach the Rangers except I know Erin would get mad at me if the team didn’t make it to the championship. We also have a hockey team called the Stars but Leonard is the biggest hockey fan I know and, if anyone here at TSL deserves to coach hockey, it’s Leonard. What’s that, you say? The Mavericks? Ehh. I hate basketball. Those squeaky shoes drive me nuts. Plus Mark Cuban’s been kind of annoying ever since he decided to run for President in 2028.
Anyway, I’m rambling because this episode really wasn’t that interesting. Because Norman didn’t make it clear what he wanted to coach, Mr. Roarke gives him a whistle and then introduces him to the Belles, an all-female roller derby team. It turns out that roller derby is a big deal on Fantasy Island! There’s a roller derby rink and everything. It also turns out that Norman’s check bounced so, if he abandons the Belles, he’ll have to pay Mr. Roarke even more money …. wait, what? Shouldn’t Norman just be sent home or something? And doesn’t Roarke know enough to make sure the check clears before inviting someone to the Island? No wonder Tattoo used to be in charge of the money.
Speaking of money, Suzanne (Janet Leigh), Roger (James Noble), and Eddie (Art Metrano) come to the Island to take part in a contest. The winner will get $1.000.000 from a mysterious benefactor. The benefactor, by the way, is actually Eddie and it turns out that the entire contest is a private bet between him and Mr. Roarke. Eddie thinks that people will do anything to get money. (This is largely true. Up until a few weeks ago, this moronic woman was trying to sue my dead father’s estate for half a million. Fear not, she got nothing.) Roarke believes that people are good at heart. Eddie puts Suzanne and Roger through a series of increasingly dangerous tests to see how far they’re willing to go. In the end, both Roger and Suzanne prove themselves to be good people, though Suzanne is the one who gets the money. Roarke wins his bet and we’re left wondering how all this came about in the first place. (Seriously, how does Roarke even know Eddie?)
Anyway, this was kind of a strange trip to the Island. I’m not really happy about an episode of Fantasy Island featuring a story that isn’t really a fantasy. Still, at least the scenery was nice. That’s a beautiful island!
116 years ago, an actor named Mort Mills was born.
Mort Mills may have never been a household name but he will be forever remembered for playing the suspicious highway patrolman in 1960’s Psycho. Anyone was have ever had to deal with a grim-faced, flat-voiced highway patrolman will automatically be able to relate to Janet Leigh’s fear in today’s scene that I love. I’ve watched this film numerous times and I still don’t know if the patrolman was just doing his job or if he really was suspicious of Marion. Mort Mills, with those dark glasses and flat affect, keeps you guessing. In this brief role, Mills makes an impression that will never be forgotten.
Poor Anthony Perkins!
Anthony Perkins did not start his career as a horror icon. A talented young actor, Perkins started his career on Broadway and eventually, he started to appear in films. From the start, he was usually cast as nervous young men, the type who awkwardly smiled and struggled to talk to people. Perkins was promoted as a romantic lead, with the Studios and his agents making sure that Perkins was regularly photographed dating Hollywood starlets like Natalie Wood. As witty off-screen as he was nervous on-screen, Perkins was a popular figure in Hollywood. He received his only Oscar nomination for his performance as a young Quaker in 1956’s Friendly Persuasion.
Perkins’s entire career changed when Alfred Hitchcock cast him as the seemingly timid motel owner in 1960’s Psycho. Perkins was reportedly Hitchcock’s first choice for the role, with Hitchcock saying that he felt only Perkins or Dean Stockwell was capable of bringing Norman to life. Perkins was not nominated for Best Actor but the role pretty much defined him in the eyes of many. Perkins spent the rest of his career trying to first escape the shadow of Psycho and then eventually embracing his status as an icon of horror.
Perkins’s performance has been imitated so many times that there’s a tendency to forget just how good he is in the role. In this episode, Perkins-as-Norman discusses his mother with Janet Leigh.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1986. The entire show is currently streaming on Tubi!
This week, Mr. Roarke reunites a family and arranges for a man to battle a “ghost.”
Episode 2.20 “Birthday Party/Ghostbreaker”
(Dir by Cliff Bole, originally aired on March 3rd, 1979)
This week, Tattoo has both a joy buzzer and a pink carnation that squirts water. He explains to Mr. Roarke that he read somewhere the women love a man with a sense of humor. “I want to be the king of humor on Fantasy Island,” he explains.
“Lucky us,” Mr. Roarke replies while dramatically rolling his eyes and reminding viewers of just how much he despises his scene-stealing assistant.
As for the two fantasies, this is another episode where the fantasies don’t really seem like they should be happening on the same island. One is rather serious. The other is a bit cartoonish.
The first guest to get off the plane is Elliott Fielding (Ken Berry), a librarian who believes in ghosts and who is pretty sure that he knows how to exorcise a ghost from a haunted location. He’s so confident that he’s even written a book about it. However, because Elliott has never actually seen a ghost, no one is willing to publish his book. Elliott’s fantasy is to exorcise a real ghost and prove that his theories are true. Mr. Roarke obliges by taking him to a mansion that Roarke explains was once occupied by a murderer known as the Gentleman Strangler. Now, however, it’s a private all-girls boarding school! (This is one of those episodes that leaves the viewer wondering just what exactly Fantasy Island is exactly. When the show started, it was just a resort. Now, it appears to have become a thriving nation, home to not only industry but also an exclusive boarding school.)
The school’s students have been reporting sightings of the ghost of the Gentleman Strangler. Elliott sets out to exorcise the ghost and along the way, he falls in love with the school’s headmistress (Annette Funicello). He also finds an enemy in the form of the school’s fencing instructor (Larry Storch). Oddly there aren’t any other teachers at the school so I guess the students just spend all of their learning how to fence.
This was an odd fantasy because, on the one hand, you had this ghost potentially threatening to strangle a bunch of teenage girls and, on the other hand, you had the very broad comedy of Ken Berry and Larry Storch facing off. Of course, it turns out that there really wasn’t a ghost haunting the school so, at first, it appears that Elliott’s fantasy didn’t come true. However, after Elliott leaves, Roarke explains to Tattoo that Elliott actually did meet a ghost when he had a conversation with a helpful handyman. That probably would have been a good thing to let Elliott know before he left but …. well, Mr. Roarke does what he wants. If there’s any lesson to be learned from watching Fantasy Island, it’s that Mr. Roarke makes the rules and it is best to never question his arbitrary decisions.
Meanwhile, Carol Gates (Janet Leigh) comes to the island to be reunited with the twins (Skye Aubrey and Christopher Stone) that she gave up for her adoption. I was expecting the twins to reject her or to be angry. Instead, with her support, her son gets signed to a football team and her daughter decides not give her own children up for adoption. Yay! It was a bit of an easy fantasy, with little of the drama that I was expecting. But Janet Leigh was a talented actress and she’s good here, bringing a lot of genuine emotion the story.
The fantasies were a bit mismatched but I like ghost stories (even when they’re a bit silly) and Janet Leigh is one of my favorite actresses so this trip to Fantasy Island was worth it.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
It’s time for another cruise!
Episode 2.9 “Till Death Do Us Part–Maybe / Locked Away / Chubs”
(Dir by Allen Baron, originally aired on November 11th, 1978)
The Love Boat is haunted!
Well, no, not really. Instead, one of the passengers is haunted. Ellen Garner (Vernee Watson) is having a difficult time getting over the death of her husband, Mickey (Jimmie Walker, who also appeared on the very first episode of The Love Boat, though as a different character). It’s been two years since Mickey died and Ellen still has not been able to move on. Some of that might be because Mickey’s ghost is still following Ellen around. Only Ellen can see and hear Mickey. This leads to a lot of scenes of her arguing with Mickey while everyone standing around her assumes that she’s talking to herself.
(To be honest, I think most people would be made nervous by a woman who spent the entire cruise loudly arguing with herself but the passengers and the crew of The Love Boat are oddly unconcerned. It was the 70s so I assume everyone just assumed it was due to the cocaine.)
Mickey wants Ellen to move on and he pressures her to find a new husband on the cruise. In fact, Mickey thinks that Ellen should spend some time with Greg Elkins (Greg Morris), who is handsome, polite and wealthy. At first, Ellen resists Mickey’s attempts to push them together but finally, she gives in. Suddenly, Mickey starts to get jealous. By the end of the cruise, though, Mickey is at peace with Ellen moving on and Ellen accepts Greg’s marriage proposal. Mickey tries to congratulate Ellen, just to discover that she can no longer see or hear him. Mickey vanishes into thin air, giving this otherwise frothy story a somewhat bittersweet aftertaste.
Whether you were being haunted or not, would you get married after only knowing someone for a week? I know that there are reality shows built around this very idea but still, I have to wonder how many of these spontaneous Love Boat marriages ended in divorce. Speaking of divorce….
Also on the cruise is a young married couple, Linda (a young Jamie Lee Curtis, looking relieved to not have to deal with Michael Myers or any other knife-wielding madmen) and Wayne (Peter Coffield). Linda and Wayne are on the verge of divorce. Ever since her parents, Les and Gail (Conrad Bain and Curtis’s real-life mother, Janet Leigh), acrimoniously split up, Linda hasn’t believed in love. Linda and Wayne spend most of the cruise fighting, though it’s never quite clear what they’re fighting about. What they don’t know is that Les and Gail are on the cruise as well. Les and Gail came to the ship to see their daughter off and then, as they tried to exit, they accidentally got locked in an unused cabin. Trapped together and subsisting only on peanuts, water, and stowaway sex, Les and Gail discover that they are still in love and they agree to get married for a second time. At the end of the cruise, everyone is reunited and, seeing that her parents are going to give marriage another shot, Linda agrees to give Wayne another shot. Awwwww!
(Again, it should be kept in mind that Les and Gail fell back in love because they literally didn’t have anything else to do. They were trapped in cabin for several days! Will their rekindled love continue once they have to deal with each other in the real world? Considering how much they hated each other before getting trapped, it’s easy to be pessimistic. Can you imagine how Linda will feel if her parents get married a second time just to then get a second divorce? Then again, this is The Love Boat. Perhaps the whole point is not to give it too much thought….)
Finally, Gopher is super excited that his sister will be celebrating her 18th birthday on the cruise! However, Gopher is shocked and horrified to discover that Jennifer (Melissa Sue Anderson) has grown up and now has every guy on the ship hitting on her. Gopher asks Doc Bricker to look after her, which is an odd request given that Doc is a walking HR nightmare. That said, for once, Doc tries to do the right thing. However, Jennifer is eager to lose her virginity and she’s decided that Doc would be the perfect man to which to lose it….
Really? Out of all the guys on that cruise, you’re going to pick Doc?
Stories in which Doc is portrayed as being a legendary lover are always a bit strange because Doc was played be Bernie Kopell, a likable actor who gave off suburban Dad vibes as opposed to international playboy vibes. Kopell, Anderson, and the usually underused Fred Grandy all give likable performances in this storyline but it’s still just odd to think that Jennifer has apparently spent years dreaming about Doc Bricker.
It’s also strange that Captain Stubing mentions that it’s been years since he last saw Gopher’s sister. The previous season established that Captain Stubing had just recently been assigned to the boat and that he was still getting to know the crew. So, either several years passed between the first and the second season or someone in the writer’s room wasn’t paying attention to continuity. Then again, I imagine that continuity wasn’t as big a concern in the days before the Internet. Even if someone did notice the mistake, who would they tell?
This episode was a fairly entertaining one. Janet Leigh and Conrad Bain were definitely the highlight of this episode and it was fun to watch Leigh and Curtis acting opposite of each other. (That said, you just know the show’s producers probably tried to convince Tony Curtis to play Janet Leigh’s ex-husband before they asked Bain.) The ghost subplot had a few funny moments and Gopher finally got to do something. All in all, it was a pleasant cruise on the Love Boat.
Through the Shattered Lens 