‘Experiment in Terror’ 1962

Lee Remick is terrorized and toyed with in 1962's "Experiment in Terror."

In the wake of 1960’s Psycho, a number of modern thrillers were now distinctly on the dark side. One of the most stylish and disturbing Hitchcock prototypes was 1962’s Experiment in Terror, Blake Edwards’ rare film foray into suspense.

The premise of Experiment in Terror is simple: psycho villain Garland “Red” Lynch coerces teller Kelly Sherwood to steal a bundle from her bank employer. If not, Lynch threatens to kill Kelly and her teen sister. It all sounds simple, but there are some sick twists along the way. The film’s story was written by husband and wife team, The Gordons. Another talent that gets interesting billing is Ross Martin, as the villain, who only gets his name at the end credits.

Ross Martin's villain  'Red' is slowly revealed as "Experiment in Terror" progresses.

This was Blake Edwards and Lee Remick’s first collaboration, just before their classic, The Days of Wine and Roses. After grueling roles as the targeted heroine in Experiment in Terror and alcoholic wife in The Days of Wine and Roses, Edwards should’ve invited Remick to star in one of his many comedies!

Ross Martin's maniac ain't playin' as he catches Lee Remick's Kelly calling the FBI.

Like Hitchcock’s suspense films, Experiment in Terror is leisurely paced, by today’s attention span-challenged standards. Edwards’ films are often long, but the night driving opening scene in San Fran, with Henry Mancini’s languid score, sets the eerie mood. At just over two hours, Experiment could’ve been closer to the standard 1 hour and 45 min. mark, yet keeps the viewer intrigued.

"Experiment in Terror" has an dreamy opening score by Henry Mancini.

Philip H. Lathrop’s cinematography is atmospheric, with deep shadows and strategic light for the evening scenes, in sharp contrast to the blinding daytime scenes in sunny CA. Experiment in Terror’s great camera angles and point of view are striking and contribute much of the suspense. Lathrop was a frequent Blake Edwards collaborator and also photographed another mid-century suspense classic, Orson Welles’ Touch of Evil.

"Witness for the Prosecution" lighting? Lee Remick as Kelly, "Experiment in Terror."

One thing I admire about Blake Edwards’ work is that his approach to dramatic material was adult and forward-thinking, especially for the era. For instance, though the targeted heroine and the FBI agent become close while trying to capture the villain, they don’t fall in love. Also admirable is that the heroine Kelly Sherwood is not a cowering victim, though rightfully terrified of the creepy bad guy. Kelly is a bright, independent, stand-up person who’s not afraid to hold her own against the domineering villain. This is emphasized with Lee Remick’s performance. Remick had that gentle side, with those huge, child-like baby blues that made her perfect for projecting fear, in such movies as this, The Running Man, No Way to Treat a Lady, and The Omen. She also originated and won a Tony for the Broadway version of Wait Until Dark. Remick’s sass, warmth, strength, and intelligence are put to good effect in this thriller.

Lee Remick as Kelly, would-be bank robber, brings to mind Hitchcock's "Marnie."

During the scenes where Kelly goes along with the bank heist at the villain’s behest, I kept thinking what a marvelous Marnie Lee Remick would have made, instead of non-actress Tippi Hedren. Lee was also six years younger than Tippi, and more age appropriate to emotionally stunted Marnie. I’ve wondered why Hitch didn’t use Lee in the first half of the ‘60s, when he was often looking for his next Hitchcock blonde.

Lee Remick's heroine hides in the bathroom, just like Tippi Hedren's "Marnie."

Glenn Ford, not one of my favorite actors, is low-key but straightforward as FBI agent John Ripley. One thing I like about Ford is that he was comfortable enough not to act the macho showboat, like Kirk Douglas or Burt Lancaster, or the younger anti-heroes of the ‘60s. Ford comes across like an intelligent, decent guy and his character doesn’t have all the answers.

Glenn Ford is solid as the FBI man, but what's up with his greasy comb-forward?!

Ross Martin as psychotic villain Garland “Red” Lynch is terrifying and terrific. His character’s penchant for disguise is a precursor to Martin’s later role as Artemis Gordon on The Wild, Wild West. I, along with others on the Internet, have found that his disguise in the finale must have inspired the Unabomber! Martin is utterly creepy, pathetic, sadistically funny, and compelling. Any other year, Ross Martin would have been a best supporting actor nominee shoo-in. But 1962 was a strong performance movie year, and Victor Buono got the suspense movie nod, as Edward in Whatever Happened to Baby Jane? Given the Buono played the same type for his entire career, Ross’ virtuoso turn as ‘Red’ was more deserving, in retrospect. Martin was an early Blake Edwards favorite during his previous TV tenure, who gave Ross his first substantial film role as the asthmatic killer in Experiment in Terror. Soon after, Edwards cast him another scene-stealing role, in The Great Race.

Ross Martin, as 'Red' Lynch, lurks among the mannequins in "Experiment in Terror."

Anita Loo, as Susie Soong, is intriguing as the Asian girlfriend of Ross Martin’s “Red.” Her character is ambiguous as to how close they are and how much she knows about his other life. How adult of Edwards to show that the villain has a human side, in this case, helping the woman’s son with medical issues. Also realistic is Soong’s denial and defiant attitude about helping the Feds, only looking from her own personal point of view. Loo plays the enigmatic character in an understated way that is both empathetic and yet rather chilling.

Anita Loo is the killer's mystery woman, with Glenn Ford, in "Experiment in Terror."

Stefanie Powers is nearly unrecognizable as a baby-faced teen, as Toby Sherwood, Kelly’s kid sister. She is sincere and holds her own during some of the later terrifying scenes involving her. Ned Glass is a scene stealer as always, as “Popcorn,” the genial, movie-loving informant. Patricia Huston is Nancy Ashton, a target of the villain’s wrath. Her character is touchingly stoic, as she reaches out for help, but too late. Amusing that the villain’s last name is Lynch and that the heroine lived near Twin Peaks in San Francisco—no coffee loving cops, however. And I love the stars oh so ‘60s names of the sisters, Kelly and Toby Sherwood!

Stefanie Powers is nearly unrecognizable as the kid sister, in "Experiment in Terror."

Experiment in Terror used to be on TV a lot when I was a kid, but I hadn’t watched it as an adult, until just recently. Experiment is an early modern thriller that still chills.

Here’s the movie that made Lee Remick a star, my look at Anatomy of a Murder, filmed entirely in Upper MI, my home! https://ricksrealreel.blogspot.com/2016/08/anatomy-of-murder-film-fiction-draws.html

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  

https://www.facebook.com/groups/178488909366865/

Does Ross Martin's psycho in "Experiment in Terror" remind you of anyone?

‘Fate is the Hunter’ 1964

Suzanne Pleshette is a stewardess and lone survivor of a plane crash, Glenn Ford is the meticulous investigator, in 'Fate is the Hunter.'

While Fate is the Hunter is no classic, I'm surprised that the airplane drama received poor reviews and crashed at the box office in ’64. A shame, since Fate is an engrossing flick which spins the “Grand Hotel in the sky” genre. 

'Fate' derives its drama from the aftermath of a plane crash, unlike most airplane epics.

Instead of drama caused during a perilous flight, Fate is the Hunter tells, in Citizen Kane-style flashback, from its characters, their recollections of a flight captain whose plane has crashed. The investigator hero tries to get at the truth and restore the reputation of his war buddy, which may not be the same thing, according to his naysayers. 

Glenn Ford's Sam McBane retraces the last day of pilot Jack Savage's life,
right through to the plane crash, with traumatized stewardess Suzanne Pleshette.

Fate is the Hunter is definitely escapist entertainment: the story is clever, cast is solid, and cinematography and score are beautiful. Yes, it follows the tropes of the genre. Yes, the movie appears to be filmed on a B+ budget. And yes, the characters are archetypes or stereotypes, depending on your love of old movies. But it is briskly told, with several strong performances, and Fate works just fine within its conventions. At an hour and forty five minutes, Fate’s flight time is much more efficient than Airport or The High and the Mighty, two smash hits of the genre. 

Despite the lack of big special effects, the build-up to the crash and the aftermath are intense.

Glenn Ford has never been one of my favorite actors, especially as he grew older. He seemed solid at best, stolid at worst. Yet, Ford has done some good work, and he's especially effective here. As Sam McBane, the man investigating the crash, he is a perfectionist and a believer in facts. Yet he's emotionally conflicted, as he is both investigating and defending the character of his best friend. Sam gradually finds out that he knows more about science than he does his best friend. Ford has several emotional scenes that seem very uncharacteristic for his acting style. Yet, he plays them earnestly and effectively. And unlike other actors of the era, he's not macho, but empathetic. 

Glenn Ford is an empathetic hero who is trying to resolve what went wrong with the plane that best pal Rod Taylor was flying that fateful night.

 

Rod Taylor, on the other hand, is an actor I always liked and think was underrated in his heyday. However, as the playboy pilot Jack Savage, he's over the top at times, in playing this big personality. At times, you wonder why anyone could find someone so insufferable so irresistible. Even when you find out "the rest of the story," as Paul Harvey would say, Rod as Jack is still too much. But Taylor does have his more subtle scenes, especially with Nancy Kwan.  Everyone else in this movie comes and goes, as they are parts of this charismatic character's life. Nancy Kwan is his last love, and gives Sam some food for thought on how to view the case. Kwan plays a scientist and it's great that she gets to do so in a non-sexist way. She is no "lady scientist." Her Sally Fraser may be stunningly lovely, but she is a strong, wise person. And Kwan plays her simply and strikingly.

Rod Taylor is the late pilot whose rep is on the line. Here is the captain in a flashback,
with Nancy Kwan, as the scientist who sees the real Jack Savage.

Constance Towers plays Sam's loyal assistant and love interest, Peg Burke. Powers, who made a big splash in Sam Fuller's pulp films about this time, has such a bland role here, though her presence and intelligence are evident.

An unbilled Dorothy Malone plays Jack's ex-fiancee, a rich heiress who seems like a tamer version of Malone's mambo loving party girl in Written on the Wind. She sure knows how to milk her few moments on screen, with those wide eyes and energetic eyebrows working overtime!

Dorothy Malone makes an unbilled cameo appearance with Marilyn Monroe's "Happy Birthday, Mr. President" hairdo!

And Suzanne Pleshette is Martha Webster, the stewardess on the ill-fated plane. Pleshette is essentially in the beginning and end of the movie, but her striking looks, great humor, and no-nonsense acting are always refreshing. Suzanne had that quality which Ann Sheridan also possessed. Most of Pleshette’s scenes are with Taylor and Ford, and she holds her own against the leading men. 

Suzanne Pleshette as no-nonsense stew Martha Webster, looking lovely here.

While it's not an all-star cast, Ford was number #1 at the box office in ‘58, and Malone was still coasting on her '57 Oscar win. The younger cast—with Taylor, Pleshette, Kwan, and Towers—were considered strong up and comers. And the supporting cast had a bevy of familiar faces. Wally Cox is a standout with his memory of the real Jack, along with Mary Wickes as the pilot’s nosy landlady, and a strong performance by Mark Stevens as Jack’s drinking buddy. As a favor to the producer, Jane Russell appears in a WWII USO show flashback as herself. Frankly, I’ve never cared for Russell’s rudimentary singing and dancing, but Jane’s good humor still comes across. Maybe Fate just seemed like another old fashioned movie at the time? Hard to say!

Jane Russell as herself, performing 'for the boys,' like she did 20 years earlier in real life.

PS about the cast: Why was Rod Taylor made up to look older in the current scenes, while his war buddy, Glenn Ford looks the same in both present day and flashback? Ford was 16 years older than Taylor, and quite honestly, looked it. Were they trying to even things out in the present day scenes?

Ralph Nelson, who specialized in smaller, realistic movies like Lilies of the Field, directed. It’s notable that the way women and two black characters are treated was forward-thinking. The prolific Jerry Goldsmith created one of his first film scores here, and it’s lovely. Milton Krasner got the film’s sole Oscar nomination for his almost noir-like cinematography.

Secret's in the sauce! That's a subtle hint, as Glenn's investigator recreates the fateful flight.

This is one of those movies that plays well within its genre and is fun to curl up with, when you're in the mood for something entertaining, with familiar faces you’re fond of.

Here’s more on Suzanne Pleshette!

My tribute to Suzanne, a childhood favorite: https://ricksrealreel.blogspot.com/2016/07/suzanne-pleshette-next-liz-taylor-who.html

My review of Youngblood Hawke: https://ricksrealreel.blogspot.com/2019/07/writing-women-dont-mix-for-youngblood.html

FYI: I put all the movie overflow on my public FB  movie page. Check it out & join!  https://www.facebook.com/groups/178488909366865/

 

Here's a sweet set shot of Rod Taylor, Jane Russell, and Glenn Ford!

 

Bette Davis: Twins Times Two!

Bette Davis does twins twice: 1946's 'A Stolen Life' and in 1964's 'Dead Ringer.'

Bette Davis not only started a favorite Hollywood casting stunt, playing twins, but Davis did the sister act twice: 1946’s A Stolen Life and 1964’s Dead Ringer.

Both pictures were made by Bette’s long-time studio, Warner Brothers. The ‘46 A Stolen Life was Davis’ career peak, Bette’s biggest hit at the studio. With the ’64 edition, Davis had made a huge comeback with 1962’s Whatever Happened to Baby Jane? WB only released but didn’t make the surprise hit. This time, Warners’ bit and produced Dead Ringer. Compared to A Stolen Life, Dead Ringer wasn’t a bell ringer. Still, both films are fun, especially for Bette fans.

1964's campy 'Dead Ringer' was playing directly to those 'Baby Jane' people!

A Stolen Life is a dreamy romantic triangle set on the scenic New Bedford, Massachusetts coast versus Dead Ringer’s harsh Los Angeles is a backdrop for wrangling over money, sex, and murder. Whereas A Stolen Life has gentle Freddie as the family counselor to the rich twin sisters, Dead Ringer’s Edie goes from her true blue cop boyfriend to a snake pit of cheaters and chiselers. 

A romantic melodrama, A Stolen Life has lighthouse keeper Bill (Glenn Ford) actually refer to artist Kate as an un-frosted cake! Soon he finds a more complete confection in her man-eater twin, Pat. Bette’s sympathetic Kate is really the star of A Stolen Life. Davis’ devious twin Pat is brought in to stir up trouble before she’s dispatched in a boating accident.

Davis enlisted Glenn Ford, just back from the war, as her leading man in 'A Stolen Life.' Here's Bette as Kate.

Glenn Ford, who was borrowed from Columbia, is quietly appealing, but I’m not sure why producer Bette insisted on casting him. After artsy Kate loses Bill to crafty Pat, she becomes close to rough and rugged artist, Karnock, played by Dane Clark, a typical WB alpha male. Aside from brutally critiquing her art, Karnock takes personal jabs at Pat, all about her not being “a real woman!” Ironically, Davis would soon marry a rough and tough artist in real life!

Dane Clark, with Davis, as the brooding artist whose specialty is making sexist remarks!

Bruce Bennett, Mildred Pierce’s Bert, shows up for just one scene, as Pat’s extramarital lover. Surely Bennett’s part got cut for running time and WB didn’t force him to appear for a scene anyone could have played?

Charles Ruggles offers some reality amidst the farfetched dual/dueling sisters plotting, as family retainer Freddie. Ruggles is sympathetic and no-nonsense, a warm screen presence. There are a typical slew of great characters, including scene stealer Walter Brennan, as a crusty light house keeper. Auntie Em herself, aka Clara Blandick, shows up as the stingy antique store owner.

Romantic and lush, the script attempts to be adult and sophisticated, which it may have been in the ‘40s. Now, some of the lines are cringe-worthy. The photography is lovely, especially the light house scenes. The boating accident, for the era, is also well-done.

Bette Davis as Kate and Pat Bosworth in 'A Stolen Life.' There's an excellent biographer named Patricia Bosworth!

Most notable is that Bette gives restrained performances as the rival twins. The differences are subtle between Kate and Pat, especially in their style. But in characterization, Kate is emotionally subdued and self-doubting, whereas Pat is flirtatious and self-assured. This is again proof that Bette Davis could be subtle when playing sympathetic, as in Now, Voyager or The Great Lie.

The bad sister wears black and the modest sister wears frumpy!

However, there is absolutely nothing subtle about Dead Ringer.

Bette as bar owner Edie, who resents her rich sister. Notice Davis with her own hair,  and willing to look dowdy.

This time out, the twin dramatics cuts to the chase. Modest Edie attends the funeral of long-lost love—lost to her flamboyant twin sister Margaret. The bad sister swept good sister’s beau Frank DeLorca off his feet, and claimed pregnancy to get him to marry her. The sisters reunite after the funeral and its fireworks rather than a lovefest. On the way home, Edie finds out from the chauffeur that there was no DeLorca child born, not even a pregnancy. This sets the long suffering sister off and she demands the conniving sibling to meet at her upstairs apartment. Edie plans to get even!

Here's Davis as devious sister Margaret DeLorca. Notice the subtle original title of 'Dead Ringer.'

Pay attention to the scene where Bette Davis, as Edie, combs out her baby fine hair to resemble her glamorous twin, Margaret. With a little bit of teasing, voila! Edie’s coif now looks just like her sister's lush page boy wig.

Catch the moment when Margaret is summoned by bar owner sis Edie. When the rich bitch looks around her sister’s modest little abode, Edie asks rhetorically, "A dump?" Unlike Bette's mild mutter of “What a dump!” in Beyond the Forest, here Davis gives it that Virginia Woolf over-emphasis!

Davis was directed in 'Dead Ringer' by Paul Henreid, one of Bette's favorite co-stars.

Neither movie makes any sense as to why the "good" sister would want to take the bad sister's place. In A Stolen Life, Kate could just wait and win Bill back, once Pat has accidentally drowned. Kate, who has survived, wakes up with her sister’s wedding ring. So, she decides to go for it—and finds out that her sexy sister wasn’t exactly good wife material. In Dead Ringer, Edie's cop beau adores her and wants to marry her, and start a chicken ranch. I guess the struggling bar owner wants to be rich more? And walking in her sister’s shoes is even more troublesome than in A Stolen Life.

Bette pleads her case in plaid in 'Dead Ringer.' Designer Donfeld's lucky The Fashion Police weren't around then!

Dead Ringer's costume designer, "Donfeld," whipped up designs for Davis in Ringer are baggy, boxy, and just plain bad.

Time magazine was acidic but accurate about Bette's latter day attempt at glamour: "Exuberantly uncorseted, Davis' torso looks like a gunnysack full of galoshes. Coarsely “cosmeticked,” her face looks like a U-2 map of Utah."

George Macready: "Bette, is that gown from the Helena Cassadine collection?"

Despite the strenuous efforts of Edith Head, favorite cinematographer Ernest Haller, and Gene Hibbs' embalming glamour makeup, Bette as a glamour girl looks like drag queen Charles Pierce. I never thought Hibbs' face lift tapes and "painting" makeup were flattering. However, if you see candid shots of stars like Davis, who lived hard, this was about the only solution at the time. Plastic surgery had come in to vogue, but Bette, like some other old-school stars, held out until much later, when such procedures became common place.

Sadly, Peter Lawford didn't get the Gene Hibbs "contouring" and skin tape treatment like Bette!

Then there was the age game. Davis' characters were young adults, who came to blows over the same man 18 years ago, near the end of WWII. This puts Edie and Maggie at 40ish in '63, the time of the filming. Also odd is the painting of Frank DeLorca, the stolen deceased husband. One might assume he'd be about the same age as Edie and Margaret. But the painting looks like an old man.

This sums up Bette's glamour regime in a nutshell: cigarette in one hand, lipstick in the other!

Davis was 55 during filming, pretending to be a woman just past 40. The big problem was Davis looked a decade older. I always thought it absurd when Bette claimed to be the perfect Martha for 1966’s Who’s Afraid of Virginia Woolf? Imagine Davis dirty dancing with George Segal. Or flinging her boobs in his face—first Bette would have to put on a bra—or they’d be hitting Segal’s kneecaps!

The last time Davis looked great on film: 'A Stolen Life.' After that, Bette seemed to age prematurely.

Interestingly, A Stolen Life is the last time Bette Davis looked great on film. In Bette’s next movie, Deception, 38-year-old Davis was pregnant, ill, and stressed out over her violent artist husband. And her looks never recovered. Davis seldom played younger, but when she did, as in Beyond the Forest and Dead Ringer, when she couldn't pull off a facsimile of youth. This wouldn’t have stopped Crawford, who still had the bone structure and trim figure to slightly suspend disbelief. The right age actress, Lana Turner, then in her early 40s, turned this down, who was riding high in Ross Hunter glamour soaps.

Karl Malden as Edie’s Jim is a rock of reality and his Columbo-esque doggedness is delightful to watch. You keep waiting for Bette to belt him one!

Peter Lawford was only 40 when he appeared in 'Dead Ringer,' and this is a flattering picture!

More eye-opening than Bette’s aged appearance is Peter Lawford’s as Maggie’s gigolo. The ‘40s teen heartthrob was more famous in the early ‘60s as a Kennedy brother-in-law. Shockingly, Lawford was only 40 when he played Tony. Puffy, paunchy, and jowly, his heavy drinking and smoking is sorely evident here. Two years later, in The Oscar, Peter played a washed up actor, reduced to working as a restaurant host.

Jean Hagen is a long way from Singin’ in the Rain as the caricature of a shallow society pal to Margaret. Hagen’s a whirling dervish of deviled ham here. And Estelle Winwood, Cyril Delevanti, George Macready, all offer solid support.

Caption this picture! Karl Malden is solid as true blue cop in 'Dead Ringer.'

Paul Henreid, one of Bette’s favorite co-stars, directed Davis with care, and Dead Ringer as a tight, entertaining melodrama. Davis drives Dead Ringer as a star vehicle and convincingly creates two distinct characters once again. Davis uses her old vocal trick of raising her voice to suggest youth and vanity as diva Margaret DeLorca. Unlike Joan Crawford or Lana Turner, Bette Davis was more concerned about characterization than looking glamorous. So it’s admirable that as Edie—while Bette has Hibbs-lite makeup—Davis wears her own hair, frumpy clothes, and lets it all hang out. That morgue shot with the dead sister is startling, as it presents Davis cosmetically au naturale.

You can't say Bette Davis didn't have guts, allowing herself to be seen this way, as the dead sister.

As underdog Edie, Davis actually makes you care, with a real performance. As Margaret, Bette gives the “big” performance that Davis felt fans wanted. Dead Ringer gives you the best of both Bettes—good and bad.

My blogger friend Poseidon has often penned pieces on the ‘80s and ‘90s many bad TV remakes of movie classics. Well, Dead Ringer is no classic, but compared to the ridiculous Ann Jillian remake Killer in the Mirror, it’s Oscar material! Which you can watch on YouTube, if you dare. Check out Poseidon's take on TV remakes:

https://neptsdepths.blogspot.com/2017/12/sorry-wrong-movie.html

What’s your best Bette for Davis as twins? Watch A Stolen Life for romance and Bette looking her best. And see Davis work the diva routine like nobody’s business in Dead Ringer.

Love this shot of Glenn and Bette, looking great on the set of 'A Stolen Life.'