Slander

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.

Though Van Johnson is the subject of the Slander, the driving force behind this film is Steve Cochran as the cynical publisher of a supermarket tabloid magazine. He's one scary dude who has no feelings and no one can reach him, not even his mother Marjorie Rambeau.

Back in 1957 Confidential Magazine which was the prototype of things like the National Enquirer of today was publishing all kinds of exposes on celebrities. Cochran's rag is also looking to do an expose on Van Johnson who is a newly popular host of a kid's show. Back during the Depression he committed a holdup and did his time and Cochran wants an to expose him. Cochran though will back off if he will give him some dirt on another girl who grew up on his block who became a big movie star.

Cochran is such a rat that he approaches Johnson through his wife Ann Blyth. This raises all kinds of issues in their marriage.

Slander also makes some subtle references to the tactics of the House Un American Activities Committee and how they would 'trade up' with immunity if someone would give them a bigger prize.

Johnson and Blyth turn in some good performances, but it's really Cochran you have to watch. He will thoroughly creep you out.

A family friend obtained an invitation for my mother and me to visit Ann Blyth on the set during the making of this film. She was very gracious and I can recall being amazed at the mask-like makeup required for the lights and black-and-white cameras of the day. I couldn't see how she could move one of her facial muscles! The scene being shot involved Marjorie Rambeau coming to the door of the Martin family residence to, if I recall correctly, apologize for her son's depredations upon the career and reputation of Mr. Martin, played by Van Johnson. When I saw the completed film in a theater, I was surprised at how much emotional distress Ann was able to convey through that thick layer of William Tuttle's makeup. Miss Rambeau, by the way, was quite enjoying her return to the spotlight and, between takes, vastly amused the crew with her exclamations of appreciation for the little hand-held battery-operated fan that had been given her. Van Johnson was on the soundstage that day but was schmoozing in his dressing room/trailer with a production executive and didn't emerge once during that long afternoon. Both he and his co-star, Miss Blyth, were often underrated by critics and reviewers in their day, although TIME magazine gave this modestly budgeted production a good review, with praise for all the performers in the cast.

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