“Hush… Hush, Sweet Charlotte” Still Chills 1964

Bette Davis & Olivia de Havilland go head to head in 1964's southern gothic
suspense film, "Hush... Hush, Sweet Charlotte."

Hush… Hush, Sweet Charlotte was a follow-up to the surprise 1962 smash, What Ever Happened to Baby Jane? While Baby Jane was aptly released that Halloween, Charlotte oddly opened during the 1964 Christmas season. Both fright films got mostly good reviews and made money, but Baby Jane was the one that stayed fixed in movie fans’ memories, with its comic horror look at Hollywood. Still, Charlotte succeeds as a straight-up southern gothic suspense film. While there are numerous similarities to Baby Jane, Charlotte also has some surprises.

"Hush... Hush, Sweet Charlotte" was the 4th and last film that Olivia de Havilland &
 Bette Davis co-starred together.

Aside from the twisty tale, the top drawer cast really puts Hush… Hush, Sweet Charlotte over. Bette Davis, as Charlotte Hollis, gets a raucous role to sink her teeth into. Davis’ son, Michael Merrill, said that she initially didn’t want to play another hag horror role and thought the script was too gruesome. Even after Baby Jane, work and money for 50-something female stars were scarce, so Bette accepted Charlotte.

Victor Buono's a big daddy indeed, as Sam Hollis, who wants to make sure daughter
 Bette Davis doesn't become a Jezebel! 1964's "Hush... Hush, Sweet Charlotte."

Hush… Hush, Sweet Charlotte starts with a prologue in 1927 at the Hollis family mansion. Patriarch Sam Hollis is raging at John Mayhew, a married man who’s having an affair with his young daughter, Charlotte. After some wrangling, John agrees to end it. At a ball in the Hollis mansion, Charlotte’s married lover meets her at the “summer” house. She doesn’t take the news well, despite John’s claims that he did love her. Moments later, someone comes back. John thinks its Charlotte and whoever the visitor is, they brought a cleaver that’s been used to open champagne cases. The ball comes to a halt when Charlotte reappears with blood on her white ball gown. Though she is never charged, everyone assumes that Charlotte butchered John Mayhew. Cut to present day 1964, with eccentric Charlotte fighting the authorities over moving out of the family manse, to make way for highway construction. When Charlotte’s Cousin Miriam comes to help, it’s an even bumpier ride.

Bruce Dern's characters suffered grisly flashback demises in both 1964's
"Marnie" & "Hush... Hush, Sweet Charlotte." 

Young Charlotte's reputation is forever stained by the suspicion of murder of
John Mayhew, in 1964's "Hush... Hush, Sweet Charlotte."

While Bette Davis doesn’t hold back portraying Charlotte’s pepper pot personality, she has subtle moments too, such as scenes with a curious reporter, played by Cecil Kellaway. The same is true of Agnes Moorehead as brash but devoted maid Velma. Moorehead is truly outrageous in some scenes, especially when she spars with Charlotte’s villains. Agnes has sly silent moments as well as sincere ones, like when Velma aims to look out for Charlotte’s welfare. The veteran character actress makes the most of her over the top role and got a well-deserved Best Supporting Actress Oscar nomination, and winning a supporting Golden Globe.

Agnes Moorehead has a field day as fiesty housekeeper Velma, in 1964's
"Hush... Hush, Sweet Charlotte."

As Cousin Miriam, Olivia de Havilland makes one smooth villain. As the poor relation taken in as a child by the Hollis family, Miriam returns at Charlotte’s behest. Olivia’s honeyed gentility and wide-eyed concern harkens back to her classic role as Melanie in Gone with the Wind. Except this time, her southern cousin IS too good to be true. One of Olivia’s few bad girl roles, she’s quite intriguing, and only goes over the top like her other female co-stars when Miriam shows her hand—sometimes literally!

Olivia de Havilland plays "sweet" Cousin Miriam in "Hush... Hush, Sweet Charlotte."

Barbara Stanwyck said that she was never asked to play Miriam, as sometimes written, but was requested to play Jewel Mayhew, John’s wife. Which Stanwyck turned down, as the part consisted of two scenes. In this cameo role, Mary Astor as Jewel is mesmerizing. Mary plays a dying woman in her final acting job, and plays the role simply and hauntingly. Mary’s encounter with Olivia is zingy, and her long scene with Kellaway is melancholy. Astor makes every moment count.

Mary Astor is superb in her cameo role as Jewel Mayhew, the wife of Charlotte's
slain lover. From 1964's Hush... Hush, Sweet Charlotte."

There are several encore actors from Baby Jane: Victor Buono plays Charlotte’s imposing Big Daddy, Sam Hollis; Wesley Addy—Blanche Hudson’s “nice Dr. Shelby”—is the sheriff who must deal with cranky Charlotte; and Dave Willock, Baby Jane’s beloved daddy, is the cab driver who brings Miriam back to the scene of the crime.

Joseph Cotten was the original Dr. Drew! He's Charlotte's doc and Miriam's ex-suitor
 in 1964's "Hush... Hush, Sweet Charlotte."

Joseph Cotten offers his smooth southern charm, played with laconic humor, as Drew Bayliss, Charlotte’s doctor and Miriam’s former beau. Cotton co-starred with Bette Davis 15 years earlier, in her WB swan song, Beyond the Forest. George Kennedy just tangled with Crawford in Strait-Jacket, and does the same as head demolition guy in Hollisport. Bruce Dern plays John Mayhew, Charlotte’s married beau, in the prologue. Later, he’d work again with Davis, as one her criminal sons, in a very special Gunsmoke episode. Cecil Kellaway’s gentle scene stealing offers contrast to some of the ladies and their scenery chewing. And look for John Megna (Dill from To Kill a Mockingbird) as the new kid who’s dared to go inside outcast Charlotte Hollis’ mansion. Lillian Randolph, the beloved Annie of It’s a Wonderful Life, is one of the packing ladies; squeaky-voiced Percy Felton is the funeral director; The Waltons Ellen Corby and Helen Kleeb are local gossips; and Frank Ferguson plays the local newspaper editor, while he was playing Eli Carson on TV’s Peyton Place.

Hush… Hush, Sweet Charlotte has the same upsides and downsides as Baby Jane. On the plus side, the cast is uniformly good, the story entertaining, and the production values strong. The debit side is mostly director Robert Aldrich’s weak points. While he’s a strong storyteller at his best, Aldrich’s tendency to overstatement causes Charlotte to run 2 and ¼ hours, and like Baby Jane, about 15 minutes too long. Both movies have entertaining but lengthy prologues and drag a bit in the last half. Both thrillers have some plot points that don’t bear scrutiny. Also, both movies have theme songs that get reprised one time too many!

Cecil Kellaway as a curious reporter & Bette Davis as Charlotte share some subtle moments in "Hush... Hush, Sweet Charlotte."

Among the other similarities between Charlotte and Baby Jane: Prologues that get a kicker in the films’ finales; two outspoken housekeepers; Bette as a disturbed daughter with daddy issues; Davis’ antagonists are charming phonies; dead bodies that must be disposed of; and Charlotte and Jane’s last scenes are of them being gawked at by onlookers.

Charlotte and Baby Jane were made in the early ‘60s, when there was the last vestige of film glamour versus plot sense. In Jane, Joan Crawford’s invalid Blanche still has lovely nail polish and lipstick despite having been a recluse for three decades. In Charlotte, after Bette Davis bravely threw down the glamour gauntlet as bizarre Baby Jane, is this time out the star that sneaks in a little glam for her aging Jezebel. Though Charlotte Hollis has seen only the maid and her doc for the last 35 plus years, she still sports makeup mortician Gene Hibbs’ war paint. And wears high heels, when not running around barefoot sporting a nightie and a shotgun! If only Bette had sported a more authentic no-makeup look like co-star Mary Astor. But then, maybe that’s why Bette was playing the title role and Astor had a two-scene cameo. Interestingly, Olivia de Havilland shows her Paris way of life in her own Dior wardrobe and chic bouffant, plus makeup that stays inside the lines of her facial features!

"I thought this Gene Hibbs makeup was supposed to make me look younger!"

Much has been made of Joan Crawford’s departure from Hush… Hush, Sweet Charlotte. I’ll only say that Joan could have played the silky villain with assurance and style. In fact, Crawford played a number of charismatic, insincere types for nearly 15 years before Charlotte. Who knows whether Joan left because she was genuinely sick or just sick of sparring with Bette Davis. Crawford claimed illness in another tense situation nearly two decades before, on Oscar night of 1946, with similar speculation. What’s unfortunate is that some Joan fans take out their ire on Olivia, who was a reluctant last minute replacement. Crawford probably would have played in a grander style, closer to Bette and Agnes’ performances. But Olivia’s casting against type, as a cool villain is its own fun.

Joan Crawford was to play Cousin Miriam but claimed illness and dropped out.

Was this the sparkly dress that Olivia's Miriam found slashed in the closet?

Trivia: Was the sparkly dress that Olivia’s Miriam finds slashed in her closet the one that Joan’s Miriam wore for the homecoming dinner scene? Also, I found it amusing that Bette, who liked to slap co-stars as much as Joan did, chickened out in the car scene where Miriam drops her mask. Though new Miriam Olivia was a long-time friend and co-star, Bette asked that her slaps be faked, and it shows! Finally, while a younger double is used for Charlotte, why on earth did they use Bette’s 60-ish cigarette voice, where she attempted to sound younger?

And typical of the mid-century moviemaking, the flashback scene of a ‘20s party looks like a ‘60s prom with a flapper theme. Also unfortunate is that the only blood on Charlotte’s dress is on her lap area! At least the other girls didn’t throw tampons at her, like Carrie!

The story/script by Henry Farrell and Lukas is most clever, despite some holes in logic. The music by DeVol is atmospheric, and Joseph Biroc’s wonderful cinematography is striking and truly adds to the mood. Also, I’ve visited one of the two Louisiana’s mansions featured in Charlotte. Miriam’s home is actually Oak Alley Plantation and it is stunning.

Mary Astor as Jewel, with a the reporter, played by Cecil Kellaway. Jewel's home is
 represented by the Oak Alley plantation. "Hush... Hush, Sweet Charlotte."

Here’s my take on the legendary Baby Jane! https://ricksrealreel.blogspot.com/2016/10/bette-and-joans-acting-duel-whatever.html

Here’s the one other time Olivia played evil, in The Dark Mirror! https://ricksrealreel.blogspot.com/2023/07/10-takeaways-olivia-de-havilland-dark.html 

Bette Davis & Olivia de Havilland aren't exactly kissin' cousins in 1964's
"Hush... Hush, Sweet Charlotte."

 

 

 

 

‘Desert Fury:’ Crazy, Colorful Film Noir 1947

Lizabeth Scott and John Hodiak make a striking team in neon noir "Desert Fury."

Typically, film noir is as visually dark as its storyline. 1947’s Desert Fury is a rare exception. Like Fox’s ’45 noir classic, Leave Her to Heaven, Paramount’s Desert Fury is a film noir in blazing Technicolor.

The story of Fritzi Haller, a tough casino owner whose wayward daughter and gangster ex come back to fictional Chuckawalla, Nevada, and cause dramatic clashes, was originally Desert Town, by Ramona Stewart, her first novel.

Lizabeth Scott is the prodigal daughter, back home & under mom Mary Astor's skeptical eye.

Much has been made of the “gay gaze” of Desert Fury. I won’t dwell on the subtext, as it’s already been much discussed, except to say that Mary Astor’s Fritzi is more like a sugar daddy than a mama, constantly calling daughter Lizabeth Scott “Baby,” and with more conviction than Fred MacMurray does with Barbara Stanwyck in Double Indemnity. Some have commented on Astor’s cropped do, but she sported the look since '41's The Maltese Falcon and the same brusque manner in ‘41’s The Great Lie with Bette Davis, which nabbed Astor a best supporting actress Oscar. Astor’s acting is forceful, though at times her exchanges with daughter Scott are so rapid fire that Robert Rossen’s screenplay sounds like a speed reading contest. 

Daughter Paula wants a big kiss on the mouth from mama Fritzi, at the film's finale!

Then there’s Lizabeth Scott as Paula, the prodigal daughter. She calls her mother “Fritzi” and demands a kiss on the mouth at the finale, and they act more like a bickering couple. Because film noir was for adults, perhaps such subversive material was easier to sneak in during Hollywood’s golden era.

Hodiak's Eddie and Corey's Johnny enjoy a quiet moment at home before Lizabeth Scott's Paula comes along...

John Hodiak’s gangster, Eddie, constantly barks orders at sidekick Wendell Corey’s Johnny, like a bullying husband. And yes, their relationship seems like a charismatic husband, stuck with a jealous wife... and Lizabeth Scott is the third wheel. You could play a drinking game with how many times Astor slaps Scott, or Hodiak belts Corey!

Lizabeth Scott as  Paula, the world's most sophisticated 19-year-old!

I haven’t seen Lizabeth Scott in many movies, so I don't know quite what to make of her. Scott's an intriguing personality and looks stellar full face, yet she has that pushed-in profile like Faye Dunaway, Jessica Lange, and Angie Dickinson, giving her a severe look.

In the novel, Paula is only 17 but already a wild child. In the film, she is 19 and Lizabeth Scott was 25, but with her perfect hair, makeup, clothes, and languid demeanor, Scott looks and acts like a 30-something sophisticated lady. Plus, despite Paula’s wanting to run wild with one of mama’s old gangster boyfriends, Scott seems a bit staid. Unlike Lizabeth here, I don’t think Lana Turner read books by the fire with her gangsta guys! Scott’s style was not as theatrical as most golden era stars, and while a strong screen presence, she doesn’t really rise to the big emotional moments.

Mary Astor as The Purple Sage proprietor & Burt Lancaster as the sexy cop in a leather jacket.

Though Paramount tried to expand Burt Lancaster's part, I don't understand why they shoehorned Burt into the second-lead good guy role. Lancaster had already broken through in The Killers and Brute Force on loan out and would have been a natural for the Hodiak role, but the production must have been set. Nothing against Hodiak, but all you have to do is look at re-release posters. In the film, Hodiak gets top billing. For Fury re-releases, the posters bump him to second billing and finally, third billing. Paramount newcomer Lancaster had to be a team player and play the secondary part. Burt Lancaster is most appealing and self assured, but he has nothing exciting to do in the nice cop role. Still, Burt sure looks good in his uniform, especially with the black leather jacket. Lancaster's tidal wave of a pompadour also preceded Elvis Presley by about a decade.

John Hodiak sure looks like movie star material to me!

John Hodiak got a bit of a bum rap. He was one of those interim male stars who did well when the established stars went off to war. However, post-war, he was swiftly sidelined to second leads. Even though he wasn't the typical star personality like Gable or Jimmy Stewart, he was more natural, and in keeping with the coming generation. But stars like Lancaster and Kirk Douglas were also breaking through, and they were a combo of the old school stars with a bit of the more modern stars of the '50s. I think Hodiak kind of had one foot in both eras, and was rather underrated in both. John Hodiak was interesting, intelligent, and most attractive. Maybe not a Clark Gable style star or a Monty Clift gifted method actor, but certainly a cut above some stars of the time. Spencer Tracy ruled the MGM roost during the war, of course. But Hodiak got lost in the shuffle when aging Gable and the ever-dull Robert Taylor came back. Who else was there? Mickey Rooney? Van Johnson got lots of attention. Robert Walker was on the skids after his breakup with Jennifer Jones. Peter Lawford? Why wasn’t Hodiak ever considered for The Postman Always Rings Twice? MGM borrowed WB’s John Garfield instead, who was brilliant, of course. As Eddie Bendix, the gangster with a short fuse and a fragile ego, John Hodiak is intense and sexy as hell in Desert Fury.

John Hodiak as cuckoo criminal Eddie Bendix loses his cool.

Desert Fury was Wendell Corey’s film debut. Corey had those deadpan cold blue eyes, which he uses to great effect here. In his decade-long tenure as a top movie actor, he could play either the laconic leading man or the stone cold villain. How ironic that a decade later, Corey and Scott would be fighting again, this time over Elvis Presley's loyalty, in Loving You?!

Wendell Corey, in his first film. His Johnny doesn't take to Scott's Paula putting  the moves on Hodiak's Eddie.

The color is lush, but not gaudy, compared to 20^th Century Fox musicals. The visuals seem lavish for a film noir, without any big box office names, but Hal Wallis was giving Lizabeth Scott the big buildup, hence the glamour and production values. There’s lots of lovely Arizona location shooting, especially Cottonwood, standing in for fictional Chuckawalla.

It sure is nice that mom Mary Astor kept college kid Lizabeth Scott's bedroom intact for her!

Edith Head's costumes for the two women look so chic and most of them are so simply timeless, that they could be worn today. Fritzi's house is so lavish that her Purple Sage gambling den must really rake in the loot. Daughter Paula's bedroom in particular is so insanely extravagant. Still, Fritzi drops cigarette ashes all over her home like she’s at The Purple Sage. Speaking of which, in the book, her biz is a gambling joint and brothel. If it’s one in the movie, it’s pretty damn discreet.

Desert Fury is the perfect example of a ‘40s flick, filled with rapid repartee, eye-popping visuals, outlandish coincidences, and old-style performances.

When 'Desert Fury' was released, John Hodiak got top billing in the film.
But when it was re-released several times, Hodiak's billing kept dropping on the posters.

Burt Lancaster and his hair got the big buildup circa 'Desert Fury.'

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

Check it out & join!  https://www.facebook.com/groups/178488909366865/

Writing & Women Don’t Mix For ‘Youngblood Hawke’ 1964

Suzanne Pleshette is James Franciscus' beautiful conscience in 'Youngblood Hawke.'

A type of soap opera that Hollywood doesn’t make any more—for better or worse—is 1964’s “literary” melodrama, Youngblood Hawke. The sudsy saga was based on Herman Wouk’s bestseller, film-friendly author of The Caine Mutiny, The Winds of War, and Marjorie Morningstar. The 700-plus page novel was whittled down for length and censorship, but still clocked in at 2 hours and 20 minutes. The resulting film was largely panned, loved as camp, but still has its serious fans.

Despite what critics said, the romantic trio of 'Youngblood Hawke' is more lifelike than here.

James Franciscus plays the title role of a Kentucky boy wonder/writer who comes of age in the NYC literary jungle. Suzanne Pleshette is his loyal editor who loves the man even more than his purple prose and Genevieve Page is the worldly socialite who is just hot for the southern stud. The medium-wattage trio is bolstered by a big cast of veteran character actors and future familiar TV faces. They put over this over-plotted and sometimes preposterous soap opera.

The main problem with 'Youngblood Hawke' was while James Franciscus was appealing,
his charisma didn't exactly leap off the screen much less across a room.

Youngblood Hawke was originally to be in color and star Warren Beatty. Though most dramas were still shot in B&W, such lavish soap operas by Delmer Daves and Ross Hunter usually got the Technicolor treatment. When promising movie star Beatty dropped out, WB then cast television star James Franciscus, and they cut the budget and filmed in B&W. Some film writers/historians have bemoaned the loss of Beatty, but Warren was an especially drowsy onscreen presence in the ‘60s. Hawke is supposed to be a force of nature, which Franciscus frankly wasn’t, but neither was sleeping Beatty. Though burly Rod Taylor would have hewed closer to the novel’s Hawke, rough-edged yet vulnerable Steve McQueen might have been a perfect film compromise.

James Franciscus as Arthur "Youngblood" Hawke

The story of Youngblood Hawke was inspired by Thomas Wolfe. Legendary for Look Homeward, Angel, Writer Wolfe was a North Carolina lad who died of pneumonia at age 37. Here, “Youngblood” aka Arthur, drives a coal truck for the family business by day, and feverishly writes all night. As his mother dukes it out with her brother-in-laws over mineral rights, Youngblood finally gets the call that his manuscript has been accepted. He is whisked off to New York City Dec. 23, signs a contract Christmas Eve, attends his first fancy cocktail party that same night, and finally, goes home with one of the film’s leading ladies. Several guests mention Hawke will always remember Dec. 24—no kidding! That’s how this whole movie unreels, where a tragedy is immediately followed by a triumph, or vice-versa. For instance, after a final breakup with the married socialite, Arthur gets a telegram that he’s won the Pulitzer Prize. Quite a consolation prize!

The rags to riches saga of 'Youngblood Hawke' has some evocative NYC location filming.

The movie is truly a hodgepodge of the good, bad, and the ugggh. In a nutshell—what’s good? There’s rock solid Suzanne Pleshette, evocative location shooting and photography, nifty production values, and a stellar supporting cast. And despite their uneven portrayals, Franciscus and Page have their moments. What’s bad? The Hollywood “smart” dialogue is hilariously hokey. What’s ugggh? Some of the situations and characters are such eye rolls that they undermine what’s worthwhile about Youngblood Hawke.

James Franciscus as struggling writer/truck driver, who frequently takes his shirt off!
Mildred Dunnock as his mama.

James Franciscus generally got panned as Arthur “Youngblood” Hawke. The kneejerk criticism is unduly harsh, to me. We’re not talking director Delmer Dave’s fave Troy Donahue here. Franciscus was a genuinely handsome, intelligent, sincere actor and brings those qualities to the role. He is also boyishly charming, as he enters the new world of NYC. Franciscus is effective in his quiet scenes, especially with his two female co-stars. A set piece where Arthur gets publicly roasted by a literary critic for his latest tome is subtly handled. However, what Franciscus lacked was the spark and rough edges that make Hawke so irresistible to the NYC literary crowd. Franciscus comes off as patrician and gentlemanly most of the time, and when he goes into his country boy routine for some of the big scenes, it’s overdone.

Franciscus' Hawke gets publicly panned by Edward Porter's acerbic critic,
as Pleshette's Jeanne Green glares daggers.

Ultimately, James Franciscus just isn’t dynamic enough as Youngblood Hawke, and wasn’t charismatic enough for film stardom. Paul Newman and Robert Redford played similar roles at the beginning of their careers and were just as wooden. But both actors were cultivating a cool, anti-hero image, whereas Franciscus had his feet planted in the ‘50s style of handsome leading man who’s a solid, but at times, stolid actor. Hence, Newman and Redford went off to become better actors and cool movie stars, and Franciscus went on to TV stardom.

Suzanne Pleshette shines as savvy and sympathetic editor Jeanne Green.

Suzanne Pleshette is sympathetic and refreshingly natural as career woman Jeanne Green. I wish Pleshette had a more substantial film career. She was very attractive, starting off as a snub-nosed version of Elizabeth Taylor. In fact, she’s sports the same bubble do that ET unfortunately made popular. Yet, Suzanne’s warmth, humor, and no-nonsense personality are all her own, and Pleshette should have gone farther in feature films. But this was the ‘60s, where actresses were carrying movies less and less. The already established actresses benefited from the studio era, branding them with strong images: Doris Day, Audrey Hepburn, Sophia Loren, and Elizabeth Taylor, etc. Pleshette’s essential normalcy may not have made her a top ‘60s movie star, but this quality was key to her becoming a popular TV star in the ‘70’s, as Emily in The Bob Newhart Show.

Let's just say that Frieda Winter (Genevieve Page) isn't as sensible as romantic rival Jeanne.

I wasn’t charmed by Genevieve Page as Frieda Winter, though she got some of the best reviews from critics. I found her accent hard to understand, especially when she was lobbing bon mots. And Page has a habit of crinkling her nose and giggling coyly as she seduces Hawke, which I found off-putting for this alleged woman of the world. Frieda’s character motives and backstory seem more like plot machinations or to garner sympathy. Frieda is far more upset when caught with Arthur by his mother, than earlier in the film, when they are walked in on by her young son! I found her character tiresome and Page less than charismatic. Apparently, the role was originally for an older actress, like Gene Tierney. A Mrs. Robinson type would have been more intriguing, and a way to underscore that Hawke is out of his depth.

Suzanne Pleshette & James Franciscus share a rare happy moment in the super soap 'Youngblood Hawke.'

Some of the tragedies are just tragically lame. For example, when Frieda’s young son commits suicide, due to boarding school bullies taunting him over gossip about her affair with Hawke, he hangs himself by jumping off a stack of Arthur’s doorstop novels. Or when Arthur collapses from overwork and falls into a ditch on the way to the mailbox, to send off his latest draft!

After Hawke's golden boy luck begins to run out, Arthur takes a scenic walk to clear his head.

One of the biggest head scratchers, as it’s a major plot point, is why Arthur takes his new found wealth and invests in his uncle’s latest development project. It’s established at the movie’s opening that Arthur’s uncles have been ripping off him and his mother from their share of the profits mining coal on Hawke’s property. Yet, Arthur goes into business with the dirtbag?

Socialite Frieda has a yen for Youngblood Hawke, and who can blame her?

It also seems unlikely that prominent socialite Frieda Winter would brazenly pick up Hawke at a huge Christmas party on the It Boy’s first night in town, and not set off a firestorm of gossip. In fact, publisher Ross Hodge comments that it was the first time he ever saw Frieda leave a party with anybody but her husband.

What knocked me out is when one character mentions near the finale how much Youngblood Hawke has experienced in one year… I just assumed it took place over several years, and it still felt like several lifetimes!

A toast for Youngblood Hawke. That's Mary Astor second from left. The dark, handsome guy is Robert Aiken, whose agent was predatory legend Henry Willson, who first dubbed him Ford Dunhill. Guess that's classier than Tab or Rock!

In the end, it’s the cast that will help you suspend disbelief over the (mis)adventures of Youngblood Hawke. Aside from James Franciscus’ earnestness, Suzanne Pleshette’s pragmatic persona, and Genevieve Page’s Gallic allure, there is the stellar supporting cast.

Kent Smith, as Paul Winter, Sr., Frieda’s wealthy, older husband, is once again WB’s resident bland, put upon male. Don Porter is sardonically amusing as Ferdie Lax, the literary lawyer who takes on Hawke. Porter is a scene stealer, especially in his big scene, railing against Hawke’s soon to be ex-publisher. Lee Bowman is authoritative as Jason Prince, the first publisher who signs Hawke on. Mark Miller is a refreshing ‘60s movie male, as Ross Hodge, a tough business man who is still a good guy. Mildred Dunnock, often the quavering noble type, this time out is a kick ass Southern mama. John Dehner chews the scenery and cigars as Hawke’s shyster uncle, Scotty Hawke.

I love that sexy little look in Franciscus' eyes when he gazes upon his dream girl, Frieda Winter.
Eva Gabor plays the literary hostess with the mostess.

Edward Andrews is campy fun as Quentin Judd, the literary critic, given to public performance-style critiques. Mary Astor brings authority and class as legendary actress Irene Perry. And Robert Aiken, once one of notorious agent Henry Willson’s boys, later star of Russ Meyer epics, is here Hawke’s literary rival, Howard Fain.

Franciscus and Pleshette are joined by other actors who also found fame on TV: Hayden Rorke of I Dream of Jeannie, Werner Klemperer from Hogan’s Heroes, and Eva Gabor of Green Acres all show up, as well.

Author Herman Wouk, who passed away in May of 2019.

Depending on your mood, Youngblood Hawke is a tall tale made highly entertaining by the old-school WB production and the fine, familiar cast. Or, this loony literary epic will have you looking for a good book to read.

Aside from the obvious, this shot of Franciscus in the pool is noteworthy, because the camera uses Hawke's underwater POV to see people standing around the pool, predating 'The Graduate' by a three years.

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

Check it out & join!  https://www.facebook.com/groups/178488909366865/

Robert Wagner’s Killer Charm: ‘A Kiss Before Dying’ 1956

Joanne Woodward falls for Robert Wagner in a BIG way in 'A Kiss Before Dying!'

Ira Levin’s first novel, A Kiss Before Dying, boldly had a charismatic but killer sociopath as its protagonist. Levin, author of Rosemary’s Baby and The Stepford Wives, got Kiss published in 1953, a year and half before The Talented Mr. Ripley, Patricia Highsmith’s classic charming villain. Boyishly handsome, clever, devious, and desperate in his desire to join ranks of the rich, Levin’s Bud Corliss and Highsmith’s Tom Ripley are practically twins.

Mom had A Kiss Before Dying recorded and we watched out of curiosity, because as a teen, she worked at Manistique’s Oak Theater when this 1956 version came out. This was the first time for me, plus I never saw the ’91 remake.

*A slew of spoilers ahead, needed to write about Kiss’ story and characters.

Love how Wagner's Bud comforts Woodward's pregnant Dorie with cigarettes!

Kiss gets right down to it: Wagner’s Bud consoles girl friend ‘Dorie,’ Dorothy Kingsmith, who just found out she’s pregnant. Bud seems solicitous, but unduly concerned as to who knows. The situation of the upwardly mobile boy and the hapless, pregnant girl is reminiscent of A Place in the Sun, which came out five years prior to Kiss. The difference here is that the girl is not poor, but from a wealthy family. Bud wants to marry into money, but knows that her stern father is all about propriety. Bud wants his entrée into the Kingsmith clan to be smooth.

Bud's reaction when he sees Dorie walk into class the next day, after giving her special 'vitamins' to take!

So, instead of offering to pay for an abortion, Bud decides to kill Dorie. First, Bud decides to poison her and goes to great lengths to procure the chemicals, and tries to pass it off as vitamins for the mother-to-be. Then, after tricking her into writing what could pass as a suicide note, he mails it—but Dorie decides not to take Bud’s little helper. Since he’s already sent the letter—he then proposes to her—when he sees that the municipal building is very tall, with a handy roof. Inspiration from desperation! Bud deliberately times their trip during the lunch hour, and then suggests they check out the view while they wait…

Bud wants Dorie to do her imitation of 'Cat on a Hot Tin Roof!" 

After Bud dispatches with Dorie, he moves on to her sister, Ellen. From here, the movie loses momentum, as it becomes a matter of Bud constantly trying to cover his tracks. Also, Joanne Woodward gives the film’s only performance as someone who resembles a real person. Otherwise, the film is a cast of cardboard cutouts: Jeffrey Hunter, as an assistant college professor who just happens to work part time for his chief of police uncle. You can tell that Hunter’s character is smart because he wears thick glasses and smokes a pipe! With his dark, slicked back hair and black horn rims, Hunter’s Gordon Grant reminds me of Clark Kent. And Hunter works the horn rims and pipe like a community theater newcomer clinging to his props. Fox starlet Virginia Leith gives a robotic ‘50s starlet performance as the second sister.

Doesn't Jeffrey Hunter look smart with his horn rims and pipe, solving murder mysteries?

George Macready, who will always be Gilda’s suavely sinister husband, has little to do except offer rote reactions. The same goes for Mary Astor as Bud’s working class, doting mother. Mary and Joanne’s characters sport two-fer poodle cuts, a trend Joan Crawford once noted only looked good on teenage girls and real poodles, but Mary’s hair has been dyed Lucy Ricardo red, to boot!

Mary Astor, as Robert Wagner's mother, refuses to open her eyes until her hair grows out!

The redeeming character is Dorie, played by Joanne Woodward. If you can get past her hideous curls, Joanne’s rich girl is gentle and almost child-like. Dorie seems far too trusting of Bud’s line of bull, but Woodward’s character is empathetic and likeable. Still, Dorie almost seems like a cartoon doormat, with Bud tricking her into all kinds of traps that seem obvious. One that he doesn’t plan is when she takes a header down the sports bleachers and comes up smiling! Joanne’s natural, modern acting style is a sign of cinema things to come, compared to Virginia Leith’s studio charm school of acting.

Joanne Woodward as Dorie, pregnant and with a poodle cut!

Joanne kept reminding me of "Christina Crawford!"

It’s also fascinating to watch Robert Wagner at his heartthrob peak, melding his smooth, slightly smarmy style with the play-acting psycho, Bud Corliss. Robert Wagner was one of those ‘50s actors who really didn’t progress beyond his heart throb build up. By the ‘60s, the feature film parts became few and far between. Like fellow film lightweights George Hamilton and Roger Moore, television saved the day, with TV series or appearances that allowed the former pretty boys to maintain their maturely handsome looks, while lightly spoofing their image. For Wagner, it was first with It Takes a Thief, and later Hart to Hart.

Joanne Woodward as the slightly air-headed heiress and Robert Wagner as the cool killer.

As Bud Corliss, Wagner’s shortcomings as an actor actually work in favor of his character. Bud oozes charm and always has a corny line for the woman in his life. Wagner’s cultivated voice always sounded slightly phony, mocked hilariously by RJ’s own mini-me, Rob Lowe, in the Austin Powers movies. RJ’s studio-taught mannerisms all make his sociopath pretender especially believable. While Kiss is a far-fetched noir drama, but compare Wagner’s Bud to Monty Clift’s climber in A Place in the Sun, and the difference in the talent level is obvious. Wagner was not an accomplished dramatic actor, but a studio star that got by on good looks and charm, for awhile—just like Bud Corliss. Lucky for Wagner that TV success was down the road.

Here's a candid of very young and handsome Robert Wagner, without the greasy kid's stuff.

Though Bud’s military service is noted, it’s a shame that the film version of A Kiss Before Dying doesn’t recreate the novel’s defining incident with a Japanese soldier, which shows Bud’s thrill of power over someone. This explained how Bud became a ruthless killer.

A Kiss Before Dying is truly a mixed bag of treats. On the goodies side, the use of Cinemascope, Lucien Ballard’s imaginative camera work, lots of Arizona location shooting, and an evocative look at mid-50s USA, all makes Kiss look like the perfect postcard of the past.

Robert Wagner's horseback riding apparel--love it or hate it?

Robert Wagner goes side saddle with the film's other sister, played lethally by Virginia Leith.

On the yucky Kiss side is the strange opening credits, with lots of illustrated magenta lips and baby blue font, accompanied by a peppy theme song. All fit for a romantic romp, but not a suspense flick about a cold-blooded murderer! The song is later played on the restaurant jukebox, and Wagner even hums the cheesy tune to himself several times. Plus, there are a number of amusingly odd moments: when Bud pitches Dorie off the business building roof and holds his arms out in a maestro pose just a bit too long; whenever Bud offers pregnant Dorie a puff of his cigarette when she doesn’t feel good; or RJ’s hipster horseback riding outfit and girly poses; and most especially, when a matronly woman in a see-through blouse and white bra saunters past Bud, and plops down in a chair, during an especially dramatic moment.

This nasty little film noir, in eye-popping color and Cinemascope, is worth a watch, especially since A Kiss Before Dying came out in the wholesome ‘50s.

Robert Wagner "photo-bombing" co-star Jeffery Hunter!