Slander

I heartily concur with the first posted comment. Far from being "superficial" as Leonard Maltin's review describes it; "Slander" is a smart, straightforward drama, well acted by all the leads and expertly crafted by veteran director Roy Rowland.

Steve Cochran, generally an inarticulate brute in films, here plays the slick, debonair owner of a notorious gossip magazine who is anxious to break a big scandal to reverse a recent decline in sales. He zeroes in on children's entertainer Van Johnson, a decent, stand-up guy who nonetheless has a secret in his past which would most likely end his suddenly flourishing television career if found out. Johnson can save himself and his family from disrepute if he "trades" Cochran damaging information he has about a popular movie actress he knew while growing up in a tough neighborhood years ago.

The movie chronicles this moral dilemma in a balanced, intelligent way, methodically laying the emotional and intellectual groundwork for the difficult choices the major characters end up making. It's one of those nifty little flicks that reminds one of some efficient piece of machinery - no wasted motion.

Cochran once again is excellent. His technique is exceptional, unerring. He's got this guy, a bullying, insecure poser, down. Watch the scene in the restaurant where he finds out that he's being bumped from a TV talk show due to a fellow guest's refusal to appear on the same program with him. Just before the steely resignation and the business-like thirst for payback, he's hurt, like a little boy who finds out he hasn't made first team. Johnson and Blyth are appealing as the devoted husband and wife, as is the child actor Richard Eyer, who plays their son.

But special mention has to go to the great Marjorie Rambeau, sort of a Susan Sarandon type in her younger days, here she plays Cochran's weary, alcoholic, deeply ashamed mother. Her impossibly large, sad, soulful eyes aptly foreshadow the tragedies that follow.

Not without interest and surely applicable Today, this expose of Tabloid Journalism and what used to be called "Scandal Sheets/Rags" is cold and overly sentimental at the same time. It never seems to find its groove and what is left is a noble, cheap looking misfire.

Van Johnson's Character is sugary sweet, His Wife is barely memorable, and the Son is used for a most overwrought and ludicrous ending. There is some edge to the Movie but it wavers sometimes, with some stiff situations and the look of a TV Production.

Worth a view for its B-Movie effort done by a Major Studio that couldn't seem to go all the way with anything more than the weakest and predictable of conclusions. It is Melodramatic when it should have been darkly cynical. The TV appearance by the Star, unintentional or not, is eerily reminiscent of Nixon's Checkers Speech.

By the way, Slander is Spoken...Libel is Written.

Saw this on TCM yesterday (thank you TCM for unearthing so many great little unknown movies) and was riveted from beginning to end, all the more so, because it's suddenly so relevant with the whole News o/t World debacle going on at present. I liked the fact that the suspense hinged on an ethical dilemma and was excellently acted by all, even Van Johnson, who is one of my least favorite actors, was convincing. Impressive was Steve Cochran, whom so far I have only seen in "pretty boy" roles and proves to be an actor of a lot more depth and gravitas. I agree with some of the statements that the ending was rather melodramatic and for me rather unsatisfying the way it played out. I wanted to see our villain suffer much more for his misdeeds (or I would have given it a 10 out 10). Particularly noticeable was the very natural acting of the young actor, who played Van Johnson's & Ann Blyth's son, whereas most young actors of the old Hollywood days relied mostly on cute posturing and almost rote delivery of their lines. Catch it when it plays again on TCM

A tabloid magazine threatens to ruin a television performer's career in "Slander," a 1956 film starring Van Johnson, Steve Cochran, Ann Blyth and Marjorie Rambeau.

Well, first of all, it should have been called "Libel" which refers to the printed word; slander refers to the spoken. You'd think after years of dealing with both, someone at MGM would have known the difference.

Steve Cochran plays the head of this trash magazine, a type of periodical nowadays so common one doesn't even blink. In the film, his magazine was the pioneer, probably modeled after the real-life "Confidential." As in the film, a host of me-toos followed - in the '50s, this included "Whisper" and "Quick" magazines. These mags released Rory Calhoun's criminal record, accused Lisabeth Scott of using the services of call girls, that sort of thing. Something about the black and white format of the early tabloids made them even sleazier than "The Enquirer" types today, which deal mostly with gossip, hospital records sold to them by the hospital staff, and outing of celebrities. Eventually celebrities fought back by breaking their news first on talk shows.

H.R. Manley (Cochran) believes that everybody has some dirt in their past, and he's after a huge female film star. He knows that a children's TV performer, Scott Martin (Johnson) grew up with her and knows about a problem in her past. He finds out that Martin himself spent four years in prison for armed robbery and intends to print that story and ruin his career if Martin doesn't tell him what happened to his childhood friend. Does he save himself and let her career be sacrificed? His decision leads to tragedy.

Cochran is cold as ice as Manley and handsome in a George Clooney-Tyrone Power kind of way. His facial expression never changes, nor does his smooth voice. He's a man with a dead soul. His mother, played by Marjorie Rambeau, is against what he does to make a living. Rambeau, a favorite actress of mine, is excellent. Van Johnson and Ann Blyth are the Martins; Blyth is really more suited for society women - she's very pretty and also not the warmest person to stand before a camera. But she does a good job, as does Johnson, who is very well cast as a family man and children's entertainer.

The story is dramatized in a somewhat extreme way. It will definitely hold your interest, though the ending could have been better.

Plot—Family man Scott is about to hit the TV big time with his engaging puppet show. Trouble is a scandal magazine run by the unscrupulous Manley threatens to publish a damaging article on Scott's past unless he spills the beans about the indiscretion of a celebrity much bigger than he that only he knows about. Thus Scott faces a moral dilemma—should he make the trade-off or not.

Back in the mid-50's, a lot of folks were tired of Photoplay, Screen Stars, and their like. In short, they wanted insider stories, real low downs on the seamy side of the air-brushed celebs of show biz. Thus Confidential magazine hit the stands with a splash that shook up the whole industry. Hollywood, in particular, quaked in fear; after all, they had big money invested in their carefully molded stars, and any hint of scandal could mean ruin for their investment. Rumors circulated that lesser figures could be sacrificed to the scandal sheets to protect bigger ones, e.g. George Nader to protect Rock Hudson. Of course, public morals were much more stringent in those days. Homosexuality and infidelity, for example, were strictly forbidden, and, if exposed, could wreck a career.

Clearly, Slander is a Hollywood attempt to strike back at the scandal purveyors. Just as clearly, the deck has been loaded by casting choices. Cochran's dark good looks usually translated into tough hoods. Here he still carries a dark appearance and a sinister reputation, but executes the oily slick Manley in expert non-thuggish fashion. It's the most tightly controlled turn I've seen from the fine actor. On the other hand, who embodied All-American virtue more solidly than sandy-haired freckle-faced Van Johnson. Add the sweet innocence of actress Blythe and the boyish appeal of moppet Eyer, and the deck is loaded from the outset.

Nonetheless, the movie's first part setting up Scott's (Johnson) moral dilemma is quite well- done, tight and economical. The second half, however, descends into heavy-handed melodrama, contrived and far-fetched. I take the latter as MGM's effort at hyping the price the magazine and Manley (Cochran) must pay for their unscrupulous acts. Too bad that the screenplay over-hyped this second part since the trade-off's sleaze factor is enough to discredit the magazine's shady enterprise. At the same time, the contrivances not only overdo the worthy message, but work to remind us that this is only a movie, after all.

Of course, changes in public morals have dated the movie. Nonetheless, with a less contrived second half, the film might succeed on its own merits, even now.