Texas, Brooklyn & Heaven

Fits and starts is no way to engage a film spectator. Undivided attention is volunteered and not guaranteed. Clearly with Texas-Brooklyn Castle and the producers forgot these tenets of spectatorship. The long talks in the car had me paying attention to the rear projection in hopes of a bit of action. Although, dry at first these talks later became more interesting through developing the characters aptly. That being said, characterization was ambiguous. I feel that many reviewers of this film will be more forgiving than myself because of how "gosh-darn" cute the couple was. Diana Lynn did play her character very well. If the film story has relevance it is mostly anachronistic in nature. There are plot digressions and long drawn out scenes that do little for forwarding the story. Some mobile framing creeps in, but for the most part Castle is doing nothing special to foster spectator interest. Coney Island makes an appearance again, but unlike in When Strangers Marry there is no creatively edited montage sequence to accompany the fun fair. Margaret Hamilton also makes an appearance but is effectively side-lined rendering her casting value nil. Castle would not make the same mistake when directing her in 13 Ghosts many years later. If you have other things to do, you can either not watch this film, or simply keep it running in the background.

Eddie Tayloe's grandfather leaves him six thousand dollars and the money belt it came in, freeing Tayloe to leave his dull newspaper job in Texas and move to New York to become a playwright. Along the way, his car breaks down and a girl walking along the highway asks for a lift. It turns out she's a nice girl, named Perry, running away from a job at a gasoline station. Soon they're off to New York together, but part ways once they arrive. Time passes and Eddie is failing to sell his play; Perry is failing to find a job. Odd circumstances, involving an old pickpocket named Mandy (Florence Bates), bring them together again. Three starchy sisters (including Irene Ryan and Margaret Hamilton) renting a room, a bartender named Mike, and a sleepy old immigrant (Michael Chekhov) running a mechanical menagerie all play parts in this romantic comedy.

William Castle, before his days of making gimmick-laden shockers, directed this unfunny script, straining to be zany and eccentric, and ending up dull. Guy Madison as Eddie is very handsome but stolid. Diana Lynn as Perry fares a little better, but her affectedly odd character thwarts her efforts. Florence Bates comes off the best. The movie is bad but not unbearable, if you want to see it for the supporting cast, which includes William Frawley, Jesse White and Lionel Stander.

Secretary Diana Lynn and playwright Guy Madison (both from Texas) meet on their way to New York. Due to a misunderstanding Lynn mistakes Madison for a bank robber and tries to keep him from being found out by the police. Posing as his sister she finds a pick pocket in the subway and enlists her as their mother. Plot device shifts quickly to Lynn finding a job at a riding academy (mechanical animals) and Madison failing as a playwright (mechanical acting). An unfunny script, confusing scenes, terrible direction and an annoying soundtrack hinder this below-average B-film despite the likeability of a stellar cast of character actors: William Frawley ("I Love You"), Margaret Hamilton ("The Wizard of Oz"), Lionel Stander ("Hart to Hart"), Irene Ryan ("The Beverly Hillbillies"), and Jesse White (the original "Maytag Repairman") to name just a few. Even Audie Murphy appears in a bit part! Diana Lynn is her usual perky self (looking terrific) and some of the situations are wacky, (just not very funny). For Lynn fans and nostalgic value (though the film looks and sounds like 1930 instead of 1948!) the film can grow on you after a while.

Bill Frawley(Fred Mertz!) , Irene Ryan(Granny!), Margaret Hamilton(the Wicked Witch!), and Florence Bates, and Roscoe Karns. Gadz! who ISN'T in this film from United Artists ?? Boy meets girl on the road, and they are both running away from their jobs. Eddie (Guy Madison) quits when he finds out he has inherited some money from his dead uncle. Diana Lynn is "Perry", who left town when her brother gets married. They get in a car accident, and the whole plot-line is pretty silly, but you just have to go along with the ride. Liberal use of back drops. Lots of talking. and Lionel Stander is the hotel bell-hop.. he was "Max" in Hart to Hart. Flo Bates (the thief on the subway) was in SO many early films, and worked with just everyone..(LOVED her in Rebecca!) Margaret Hamilton is the prim and proper landord, who rents a room (the stable) to Perry. Picture is pretty good, but sound goes way up and way down, so be ready for CRAZY loud commercials. Bill Frawley (Fred Mertz, three years BEFORE I Love Lucy!) is the big shot agent, who doesn't like Eddie's work. a couple funny scenes, at Coney Island, and again when the ladies play cards. These folks were all masters at vaudeville. SO fun to see all these pros in comedy. the film is so understated... too bad the script is so slow. they all would have been even more amazing with a better script. it does go all over the place. but if you stick around, it's a lot of low key fun. This one was important, just for all the big names in here...

Awards should be handed out for sitting through this film. The movie attempts to be, and has the look of, a zany romantic comedy, but everything in the production is just a little off. The cast is loaded with incredible actors--with the exception of Guy Madison, the rather wooden leading man--which just goes to show that even the best actors can't save a really lame script. Or maybe a little Guy Madison wore off on them all. You do get the sense that everyone is trying his best, but the directing by William Castle is stagnant and uninspired, the editing (at least on the print I saw) is choppy to the point of being incoherent at times, and the script...well, enough can't be said about that script. The dialogue, supposedly full of witty repartee, thuds. Entire scenes and plot twists seem pointless. At time it feels like something a fifth grade drama class might dream up. Cross Preston Sturges with Ed Wood, and I imagine the result would be something like Texas, Brooklyn and Heaven.