The Come On

Anne Baxter and John Hoyt have a nice racket. They're in a bad marriage, but there's always a sympathetic man to help her out, with a check to let her run and hide.... and then Hoyt shows up and demands more money, because what he giving his wife the money for? But when Sterling Hayden shows up, it's different. This time, she realizes, it's really love. She confesses it all to Hayden, and he forgives her. But will Hoyt let her go?

It's an ambitious Allied Artists movies straight down my strike zone when it comes to what I like: con men and women weaving a tale that drags in not only the suckers in the movie, but me. Unfortunately, it doesn't do that, although it took me a bit of time to recognize it. That settled, th twists that were offered after that were not surprises at all, just as inevitable as the shootout at the end of a B western.

There are some good performances here, including Mr. Hoyt and Jesse White as a crooked PI. Alas, the leads were not compelling: Hayden , as he so often did in this phase of his career, seemed anxious to get back on his boat, and Miss Baxter seems to play it too broad in overcompensation.

Two genres: Horror and Porn have one characteristic in common: a morbid approach to the subject matter. Allied Artists' relatively obscure 1956 release "The Come On" is late-period film noir, like Welles' "Touch of Evil" coming several years after the post-war genre was dwindling, but is singularly morbid and fatalistic in its approach.

With Anne Baxter and Sterling Hayden as the star-crossed lovers (plus veteran John Hoyt a rather amazing villain), the movie is bookended by visually arresting scenes set on a remote beach in Mexico, where Anne and Sterling first meet and finally face their inevitable fate, staged in an idyllic way that contrasts with the traditional look and mood of noir.

Her casting is a key to the movie's success. She begins the movie looking very sexy in her bathing suit, conjuring up any number of 1950s blonde bombshells like Mamie Van Doren, Anita Ekberg, Greta Thyssen or Juli Reding. But instead we have the Oscar-winning Anne Baxter, just as sexy without pinup credentials, and providing the powerful acting her bustier peers could not dream of bringing to the role of a classic femme fatale that screams "lovely but deadly".

With many, many plot twists that are increasingly hard to swallow, the movie verges on fantasy by film's end. It is notable in its emphasis on misogyny, with every male character an exteme example of male chauvinist. Hayden's opening scene on the beach plays like textbook sexual harassment, and Anne's relationship with heavy John Hoyt is an amazingly morbid portrait of codependecny created by his domination/submission approach to her. Even the private eye played so well by a well-cast Jesse White manipulates Anne unmercifully.

After watching this rather strange movie, I was surprised at how obscure its filmmakers were: director Russell Birdwell directed a couple of early talkies (in 1929 and 1933) and then this film and the even stranger "The Girl in the Kremlin" (with Lex Barker and Zsa Zsa Gabor!) almost three decades later -what a career gap! Novelist/screenwriter Whitman Chambers similarly has few screen credits, but is responsible for a true noir classic "Blonde Ice".

Allied Artists' plot twisty low-budget noir opens with shapely con-artist Anne Baxter emerging from the Pacific to come on to restless fisherman Sterling Hayden who immediately falls hook, line, and sinker. Before you know it, she's begging him to kill her brutal partner-in-crime but Anne isn't wrapped too tight and their plans soon spiral out of control...

In 50s B movies where the budget is spent on the salaries of stars on the cusp of "past their prime", it's their chemistry that counts and although there's none here, it's not for lack of trying on the leading lady's part. Anne Baxter certainly doesn't hold anything back in what amounts to a dry run for her scheming Nefritiri in THE TEN COMMANDMENTS and it's kind of campy seeing her vamp it up in broad strokes, especially since she's no spring chicken. Sterling Hayden always seems the same for some reason and was no different than he was in CRIME OF PASSION (1957) when he steeled himself to make love to a mature Barbara Stanwyck -but at least here he does it in swim trunks, albeit briefly. Quirky character actor John Hoyt smoothly plays Anne's control freak "husband" as a civilized sadist while a rumpled Jesse White (TV's Maytag repairman) provides the sleaze as the two-bit private dick Hoyt hires to watch his wayward woman. The twists and turns the story takes keep the pulpy pot boiling until the star-crossed lovers come full circle in the surf and although Baxter & Hayden are no threat to Romeo & Juliet, the body count is satisfying at least. The director (not that it matters) was publicist Russell Birdwell who coined the tagline "How would you like to tussle with Russell?" for THE OUTLAW and would go on to make the preposterous THE GIRL IN THE KREMLIN with two -make that three- glam-mannequins: the life-like lunk Lex Barker and chattering magyar Zsa Zsa Gabor in a dual role.

Allied Artists Studios was Formed by some of Hollywood's Independent Thinking "Stars".

It was a Reconditioned "Monogram" that had its Place for some Fine Actors to Work Outside the Studio System.

Although Envisioned as an Alternative to Big-Buck, Highly Controlled Studio Work,

the Major Problem was that Transforming a Poverty-Row Studio into a Look-as-Good as the Majors Film Proved to be a Task Insurmountable.

It's Extremely Evident in "The Come On" where there isn't a Scene that looks Stylish, or for that Matter Believable.

Of Course the Outdoor Stuff doesn't Suffer as Much because it Brings its Own "Natural" Ambience.

But Here all the Indoor Scenes Look Tacky, Droll, Lifeless and Void, even though Fronted by some Top-Talented Thespians.

Anne Baxter, is known as one of the Consummate-Professionals, Hard Working, Oscar Winning, and Sexy.

A Privileged Private Upbringing didn't Prepare Her for the Troubling Ups and Downs in Her Private as Well as Professional Life.

Always, Giving Her All, Willing to Work in Prestigious Productions...Nefertiti in "The 10 Commandments" (1956), the same Year as this Bargain-Basement Film-Noir.

She can be Spotted Here, still with some Sexual-Charm (at 32).

Delivering Her Lines and Acting Like this could be an Oscar Contender. She Drives the Picture, almost Single-Handedly.

But Gets Stalwart Support from He-Man Sterling Hayden, very at Home in His Home Away from Home, On-a-Boat.

His Regular-Good-Guy Character is Opposed by John Hoyt, a Serpentine, Domineering Partner-in-Crime with Baxter, and He is a Great Love to Hate Villain.

Character Actor Jesse White is a Sleazy Private-Eye, Uncouth and Uncool, and makes His Presence Count along with the 3 Other Leads.

The Script is a Complicated Contrivance that Fuels Film-Noir Regularly, with Murder, Blackmail, Passion, and Greed.

The Down-Side is the Aforementioned Bland Look of the Thing that Puts the Burden of Making the Sleazy B-Grade Entertainment Entertaining.

They do a Fine Job in this 2nd Tier, Late-Noir, and that Makes it...

Worth a Watch.

It has all the typical ingredients of a standard noir: crime, misery, blackmail, murder, motivation of money, scoundrels and at least one honest chap who commits the mistake of falling in love with the wrong woman, who is a racketeer, has always been so and is deeply involved with racketeers, as she officially but not legally is married to one of the worst of them, a completely ruthless criminal. We are used to see Anne Baxter in such roles, they were the kind of roles she was an expert on, she usually played them out with great passion, and so she does here with a vengeance. Sterling Hayden is the honest man, a fisherman, who isn't stupid but he is too sunken in love not to be bogged down in the confusion of it. John Hoyt is convincing enough as the villain, you hate him from the beginning and there are no mitigating circumstances in anything he does, you simply can't expect anything of him but the worst, which is what he delivers. Anne Baxter's luckless character does have mitigating circumstances though, she was somehow born out of luck which always has kept hounding her, and which she desperately tries to sort herself out of, while she only succeeds in making it worse. She is a tragic figure.