‘Revenge!’ Shelley Winters Style! 1971

Shelley Winters made her TV movie debut in 1971, with the suspense tale "Revenge!"

As a '70s child, I lived for these lurid "grown-up" TV movies!

Revenge! was Shelley Winters first TV movie, which ABC aired Nov. 6, 1971. However, Winters was on a roll with her manic mama roles by then, what with Wild in the Streets, The Mad Room, Bloody Mama, and What's the Matter With Helen? And there would be much more “crazy” to come! 

As Amanda Hilton, a deranged mother who seeks retribution for her daughter’s suicide, Winters is mostly restrained in the early scenes, until her character becomes completely unhinged when her plane for revenge goes awry. I wonder if the premise inspired Stephen King with Misery: A middle-aged woman holds an urban man captive for a perceived wrong and unless he recants, she's going to do increasing bodily harm to him. 

In this case, Winters' maniac mama is convinced that business man Frank Klaner (Bradford Dillman) seduced her daughter at a convention. She later became pregnant and the mother claims he rejected her, leading to her suicide. Now, she wants him to confess his sins to her... or else.

Imagine being shackled in a basement cell, with nobody but a bonkers Shelley Winters
 for company! That's Bradford Dillman's plight in "Revenge!"

While Klaner's missing, his wife Dianne (Carol Rossen) recruits psychic Mark Hembric (Stuart Whitman) to help find him. Also, the wife has a bit of a psychic gift herself. While they team up, the clock is ticking, as Shelley's increasingly crazed mama is plotting not so sweet revenge!

Joseph Stefano’s (Psycho) screenplay has an intriguingly ambiguous feel to the story and characters. Is the businessman innocent? How strong is the Klaners’ marriage? The psychic claims to be a con, but is he? And is Shelley's Amanda looking for revenge or just someone to assign blame?

Bradford Dillman, as the businessman whose briefcase has been swiped and swapped, has convincingly played both good and bad guys in his career. Here, he seems quite earnest that it was some kind of mix up, blaming his fellow business buddy, who has a reputation as a practical joker and player. Did the pal swap names when he met this girl at the convention or not? Dillman gives an intense, naturalistic performance as the man on trial by fury with Judge Shelley. Bradford stands out as a contrast to Shelley's histrionics.

Bradford Dillman and Carol Rossen play a husband and wife separated when
Shelley Winters mad mama holds him hostage in "Revenge!"

Stuart Whitman is the psychic and he's his usual laconic, gruff self. There is an element of dry humor to his character’s possibly being a con man. I was surprised to read that Whitman was only 43 here. He looks quite shaggy, weathered, and raspy in Revenge! 

Stuart Whitman is the cynical psychic who could use a haircut, in "Revenge!"

Carol Rossen was not your typical Hollywood actress, especially for TV, but more like the type that was briefly in vogue in the late ‘60s and early ‘70s, realistic looking and acting. As the concerned wife Dianne, Rossen seems like a real person in this traumatic situation, than acting as a personality or type. She makes the situation here more intriguing, no typical noble or hysterical TV movie wife here. 

Carol Rossen is the wife of the hostage husband in "Revenge!"
Here, Dianne gets a psychic ping from her husband's pen.

Then there’s Shelley Winters. While there are tip-offs that Shelley's Amanda is “off,” like her giving him the wrong address to her home, offering lurid details of the family manse, or wearing a hat suitable for a witch, yet Dillman’s Frank still enters her house. When she tries to stall him with instant coffee that will instantly knock him out, he gets impatient, so Winters gives him two lumps with a fire poker, instead. Their adversarial back and forth, once he's shackled in her basement, is the highlight of the movie.

Shelley Winters gives it her considerable all as the bereaved and disturbed mother in
1971's "Revenge!"

As the businessman and the bereaved mother become increasingly at odds, Winters character becomes ever-more agitated, giving Shelley some over-the-top moments that were her mid-career specialty. As the movie heads into the finale, Winters is so wound up, you’d think she was having an asthma attack!

A testament to Shelley Winters strength as an actress is that she makes you believe the far-fetched plotting. And despite the mother’s obvious insanity, you empathize with her character’s sorrow. The ending is a bit ambiguous, showing both Frank and his prankster pal in a photo with Winters’ daughter, on her fireplace mantel.

Bradford Dillman's businessman rescued in a nick of time, while Stuart Whitman
gets Shelley Winters under control, in "Revenge!" Carol Rossen is Dillman's wife.

The score, by Dominic Frontiere, is typical of its time, with its mix of dirge-like music and distorted choral voices, and still creepy. Some great camera work by John Alonzo, who worked both in film and television, is framed well. Alonzo lensed Harold and Maude the same year! Jud Taylor was an extremely prolific TV director, including multiple episodes of Star Trek, Then Came Bronson, and Love, American Style. That’s just to name a few.

TV movies like "Revenge!" were a perfect fit for reruns on the
afternoon movie shows I watched as a '70s teen.

Revenge! was one of those early ‘70s TV movies of the week that were pretty down and dirty, both in budget and running time. Still, these TV flicks offered veteran familiar faces and then-fresh ones, as well. And the more memorable small screen movies contained scenes that stuck in many baby boomers minds for decades after!

The image of Shelley Winters readying to ship her victim out creeped me out!
1971's "Revenge!"

Kurt Russell Excels as “Elvis” 1979

Kurt Russell, in the role that changed his career: 1979's "Elvis."

Elvis was a career-changer for Kurt Russell for several reasons. First, this was Russell’s big dramatic break as an adult actor. Like Ron Howard, Kurt was a popular child and teen actor, and both moved on to adult roles, but cast as bland boyish types. Well, after Happy Days Ron Howard found his happy ending in directing. And after a slew of TV roles in cop shows and westerns, Kurt Russell was cast by director John Carpenter in Elvis. Raves for Russell as The King of Rock then paved the way for his movie career. Kurt and Carpenter went on to work in four feature films together, including the cult classic, Escape from New York. Finally, Russell and Season Hubley met on the set of Elvis and married shortly afterward, for four years.

I’ve read while John Carpenter was excited by the prospect of making the Elvis Presley story, he was disappointed by the lack of creative control he had over the project. While his Halloween was a surprise movie smash, apparently it didn’t translate to network TV. ABC and their long-time artist/producer Dick Clark were in charge and probably responsible for some of the more questionable choices regarding this three hour TV film. Still, Elvis was such a ratings smash that it was later released overseas as a feature film.

Kurt Russell worked with the real Elvis Presley in "It Happened at the World's Fair."

While there’s a lot to like about this Elvis, there are definitely shortcomings. The main issue is that this telling is overly discreet in delving into Presley’s personal issues.  As a high school grad the year Elvis died in ’77 at age 42, I recall how shocked the public was by Presley’s sudden death. Yes, there had been speculation about Elvis’ physical appearance the last several years of his life. Elizabeth Taylor Warner was going down the same path during this period, but the public just chalked it up to fried chicken and Jack Daniels. And while the press was far less hands-off toward public figures post-Watergate, we didn’t have social media and cell-phone cameras documenting their every move. So, it was a double whammy when Presley passed, that his huge prescription drug dependency was then revealed.

Kurt Russell as Las Vegas Elvis, where the film begins and ends.

There’s no mention of Presley’s drug problem in Elvis. Carpenter cleverly makes allusions to it by way of his mother Gladys. She suffered from depression, drank and took pills to calm her nerves. Gladys died at 46 when Elvis was just 23. Many, including myself, believe this was a huge blow that altered his life. Gladys died Aug. 14, 1958; Elvis died Aug. 16, 1977 at age 42.

Kurt Russell in a scene as Elvis Presley, with little Lisa Marie.

A criticism leveled at the 2022 Elvis is that it doesn’t deal with Presley’s later women. Neither does this version, which awkwardly ends with his 1970 live performing comeback. Also, I’m not sure why country/Elvis tribute performer Ronnie McDowell was chosen to sing for the Elvis soundtrack. Was this over possible legal issues with record companies or manager Colonel Tom Parker? McDowall does a fine job imitating him, but most of the time you’re aware it’s not Presley singing.

Kurt Russell as pre-stardom Elvis Presley, with lighter hair.

Of course, Kurt as Elvis IS the show. And I’d give Russell an A- as Elvis. Kurt Russell is one of the most engaging of actors, so he’s perfect for Presley, who was renowned for his warmth and charm. His first time up at bat in a big dramatic role, and Kurt pretty much hits it out of the park. In a tricky role that could come across like an impersonator, Russell brings his sincerity to the role of Elvis. Presley was open in his emotions as a family guy and entertainer, and Russell embraces this wholeheartedly. His own boyish humor matches Presley’s. Kurt also has the advantage of looking a good bit like the real Elvis, with the same basic build. When Kurt’s Elvis dyes his hair jet black, the effect is striking. And later, Russell fills out the required jumpsuit just fine.

Kurt Russell as Elvis in action. 

The film’s stylists do a great job in creating Kurt’s look as Presley, going from dirty blond rockabilly to Hollywood GI to ‘60s superstar. They only get ahead of themselves when they have Kurt looking like big hair and shades Elvis when he’s still in late ‘60s mode, when he and Priscilla are first married.

Kurt Russell as Elvis at Graceland.

On the minus side, Russell’s musical impersonation of Elvis does leave a bit to be desired: energetic but unmusical, obviously lip-synching, and sporting pretty fake guitar moves. Much of this is hidden with camera angles, so that helps. To everyone’s credit, this film was shot in 30 days, unlike the latest “Elvis” extravaganza. He also didn’t have the musical background of the current Elvis, Austin Butler, or the equal time to musically hone his Presley. Interestingly, the ’79 Elvis runs just 10 minutes longer than the 2022 Elvis! Overall, Kurt Russell gives one of the most believable Elvis Presley screen performances.

Bing Russell as Elvis' dad Vernon Presley was Kurt's real-life father.

Most of the casting is quite good. Veteran character actor Bing Russell is the long-suffering Vernon Presley, who happens to be Kurt’s dad! And he gives a solid performance. Shelley Winters is perfectly cast as Gladys Presley. Winters is more restrained here than other roles of this period. Her trademark doleful demeanor and woeful, whining delivery are perfect for Gladys, who suffered a lot in her short life and found Elvis’ cataclysmic fame hard to take. Shelley also brings working class warmth to her awe at Elvis’ lavish gifts and their new home at Graceland. Winters and Russell’s mother-son scenes together are a highlight.

Shelley Winters is well-cast as Elvis' mother, Gladys Presley. With Kurt Russell.

 What a shame that Pat Hingle has so few scenes as Colonel Tom Parker. Hingle, often cast as the crass villain, is used for that persona, apparently. I’m sure the producers knew if they went too far in depicting Parker, they’d have a law suit on their hands.

A missed opportunity: Pat Hingle as Colonel Tom Parker, who was reduced
to a cameo. This is probably because Elvis' infamous manager was still alive!

‘80s actor Robert Gray, who plays life-time Presley pal Red West, is very good here. Joe Mantegna has one of his first roles as road manager Joe Esposito. Ellen Travolta is the gal at Sun Records who believes in Elvis. Ed Begley, Jr. is musician D.J. Fontana. And Breaking Away’s Dennis Christopher has a cameo as actor Nick Adams.

Season Hubley as Priscilla Presley, who didn't get the same makeover as Kurt Russell
did portraying Elvis!

However, Season Hubley is hard to believe as Priscilla for the same reason the current actress, Olivia DeJonge, who plays her now: both are slim and angular, where as young Priscilla was curvy and soft, very Elizabeth Taylor-esque. And the stylists, who get Russell’s Elvis quite well, back off on the big hair and makeup that Priscilla wore at Presley’s request. So it’s hard to buy Hubley as Elvis’ baby doll bride. Plus, she seems uptight throughout, whereas the real Priscilla seemed more laid back in photos and videos. Also, both Hubley and Russell were 27 when they played the Presleys. The difference was Priscilla was just 14 when she met Elvis, who was then 24. So Hubley in a pinafore is a bit of an eye roll.

Hubley as the 14-year-old Priscilla Presley, pinafore and all.

Some of the scenes in Elvis drag on much longer than they need to. A perfect example is when Hubley’s Priscilla makes it plain to Russell’s Presley that she can live on her own, if need be. This is followed by a scene with her practicing karate by herself. This scene capper doesn’t build at all, it just goes on and on, and finally just goes to the next scene.

There’s probably never going to be the definitive Elvis Presley film. To tell the whole truth, it’s going to take a major documentary or mini-series about Elvis. In the meantime, the 2022 Elvis offers a visual wow about Presley the performer who got crushed under stardom, and the 1979 Elvis is more a straight up but muted look at the life of Elvis. Bottom line, both films boast two fine Elvis Presleys.

A great shot of Kurt Russell as early Elvis Presley.

Here’s a tribute I wrote about Elvis Presley and one of his best vehicles, Loving You: https://ricksrealreel.blogspot.com/2019/08/elvis-presley-fans-still-loving-you-1957.html

 

The three hour TV film was such a hit that it was released theatrically overseas.

 

 

Buoyant “Buona Sera, Mrs. Campbell” 1968

 

Mamma Mia! Gina Lollobrigida is an unwed mother with three possible fathers!
The diverse daddy candidates are Telly Savalas, Peter Lawford, and Phil Silvers.

As far as ‘60s sex comedies go, Buona Sera, Mrs. Campbell has the advantage of getting made in the latter half of ‘60s Hollywood. Most early ‘60s sex farces give me whiplash, with their storyline contortions to appease the censors. Made after the groundbreaking The Graduate, unwed mother Mrs. Campbell is not shamed or contrite over her youthful indiscretions that set the story in motion. This in turn makes Buona Sera, Mrs. Campbell less dated and more fun than most ‘60s bedroom farces.

Gina Lollobrigida is Carla Campbell, the Italian mama whose life's got a lot of drama!

While Buona Sera, Mrs. Campbell is no cinema classic like The Graduate, the film is bright, frothy fun. Longtime Bob Hope comedy writer Melvin Frank writes and directs with a sure hand for character-driven laughs. Perhaps Mrs. Campbell is not deep, nor is it dumb, either.

The pithy plot on a platter: 20 years ago, near the end of WWII, young Carla has passionate—and passing—flings with three soldiers. She soon finds herself pregnant; Carla no idea which one is the actual father. So, she writes to them with her tale of woe, asking for aid. All three offer to help, and being most pragmatic, the pregnant Carla starts collecting checks from the trio—for twenty years! And now, as the village plans to honor the American soldiers, Carla’s crew wants a reunion. This is not in Carla’s grand plan, and sets her in a panic. Does this sound familiar? Musical fans should instantly recognize the plot, though the creator of Mamma Mia! denies taking “inspiration” from this movie’s story. Of course, or the creator would have to pay damages through the nose if there was any admission.

Gina Lollobrigida was 40 when she played Carla.
Italian movie divas sure aged differently from their American counterparts!

Aside from the clever plot, bubbly score, clever plot, and great cast, the main draw is most delicious: Gina Lollobrigida as unwed mama Carla. Gina is gorgeous at 40 and has a fine flair for antic comedy. Lollo also is in fine form and looks lovely in her late ‘60s frocks.

Telly Savalas & Lee Grant are raucously funny as the New Jersey couple.

Then there’s that great cast as the three couples visiting the Italian village: exasperated Phil Silvers and an especially hilarious Shelley Winters; Telly Savalas and Lee Grant are a brazen hoot as the Jersey couple from hell; and Peter Lawford and Dina Merrill-look-alike Marion Moses claw away as the brittle British couple.

Phil Silvers and Shelley Winters are the couple with a bevy of boys.
Winters is in full-Shelley mode here and is quite funny.

Marian Moses & Peter Lawford are the brittle British couple in "Buona Sera, Mrs. Campbell."

The rest of the cast is just as delightful. Janet Margolin is simply gorgeous and warmly charming as Carla’s daughter Gia. Naomi Stevens as the maid Rosa reacts hilariously to the proceedings, a comedy pro from The Apartment (as the neighbor doc’s wife) and the cat-loving secretary of Valley of the Dolls, plus Sister Teresa from The Flying Nun. Philippe Leroy is one fine, feisty Italian lover as Vittorio, the hunky squeeze of Gina’s Carla.

Janet Margolin is appealing and lovely as Gina's daughter Gia in "Buona Sera, Mrs. Campbell."

Italian star Phillipe Leroy is Gina's hunky boyfriend.

An interesting footnote: Of this big cast, most have since passed on. But three of the stars enjoy longevity as of Nov. 1, 2021: Gina Lollobrigida turned 94 July 4^th; Lee Grant is 90-something Oct.31; and Philippe Leroy turned 91 on Oct. 15. Cheers!

If you’re in need of bubbly comfort cinema, may I suggest the lovely Mrs. Campbell?

"Buona Sera, Mrs. Campbell" benefits from a bright script, 
put over by an stellar group of actors. Enjoy!

For the backstory on Lee Grant's '60s comeback, read here: 

https://ricksrealreel.blogspot.com/2021/04/lee-grants-great-comeback-peyton-place.html

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

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

Harry Belafonte’s Bleak “Odds Against Tomorrow” 1959

 

Happy here, Harry Belafonte stars in the grim noir "Odds Against Tomorrow."

Odds Against Tomorrow has been called the last film noir by some, but for me, it's a fascinating character study, with a clear-eyed look at mid-century NYC.

Dave Burke, a bitter ex-cop, has a “surefire” plan to hold up a specific bank. He enlists two men who badly need the money. Johnny Ingram is a black musician and gambler who owes big time to some small-time gangsters. Earle Slater is an ex-con with a bad temper, and relies on his good-hearted girlfriend for dough. Two big problems: One, neither man has ever committed robbery. Second, Earle is an old-school racist and Johnny is a modern black man who doesn't kowtow to whitey. Need I say that this well-planned heist is doomed from the start?

An eerie moment when Robert Ryan's racist goes out of his way to grab the little black girl.

As well-done as the script is in leading to the bank robbery, the story of these two desperate men is what makes this movie compelling. Much has been written about this cult film, so I'll just refresh the basics: Odds Against Tomorrow would considered an indie film today. Shot on a modest budget, the talent involved wanted to work with hot young star Harry Belafonte, who also helped put this film together. That, plus respected director Robert Wise, who was just coming off of I Want To Live! The cast is an intriguing mix of veteran stars like Robert Ryan, Ed Begley, Shelley Winters, and Gloria Grahame, opposite Harry Belafonte, plus future name actors like Wayne Rogers, Richard Bright, Zohra Lampert, and Cicely Tyson, as the nightclub bartender. 

Right, Cicely Tyson is the amused bartender at the club where Belafonte's Johnny sings.

The movie is a moody snapshot of late '50s NYC, with director Wise using infrared film for some exterior scenes to give the city a bleak, cold look. This film is throwback to the economic storytelling from Wise’s early career, and one of the best, Dede Allen, was the film editor. The taut, no-nonsense script was by blacklisted screenwriter Abraham Polonsky, working under a pen name. The great jazz score is by John Lewis, which creates a melancholy mood. Unlike most studio movies at the time, life in the Big Apple isn't prettified for audiences here. One of the men in the park scene asks the cops why nobody goes to the park at night anymore. His answer is, those darn kids. The ex-cop lives in a grand old apartment building, which has seen better days. The gambler/musician lives the night life while his ex-wife is mingling with white folks over PTA luncheons. Racism isn't romanticized, either. In Earle’s first scene, he side steps into a group of kids playing, grabs a little black girl, and tells her to be careful, calling her a "pickaninny."

Gloria Grahame gives a quirky take on Ryan's oddball neighbor in "Odds Against Tomorrow."

Shelley Winters as Lorry, Ryan's sympathetic girlfriend, in "Odds Against Tomorrow."

The realistic acting and storytelling really are what’s riveting about Odds Against Tomorrow. Shelley Winters is truly unglamorous as Earle's long-suffering girlfriend, who can't help but mother hen him, which further infuriates him. Gloria Grahame is the neighbor who’s turned on by Earle's prison past. Gloria plays the role in a peculiar fashion, which seems like something out of Touch of Evil or Twin Peaks. Richard Bright, who became a popular character actor in the "New Hollywood," was just a baby here. As Coco, he’s of the gangsters who just happens to be gay, and loves to come on tauntingly to Johnny. Wayne Rogers makes a strong impression as a soldier who makes the mistake of picking a bar room fight with Earle. Zohra Lampert is the bar girl he's trying to impress. In the night club scene, Diana Sands and Cicely Tyson are uncredited but instantly recognizable as the hostess and bartender, observing Belafonte's drunken antics.

Richard Bright as Coco, who's just wild about Harry in "Odds Against Tomorrow."

What's great about Ed Begley's ex-cop, Harry Belafonte and Robert Ryan's ne’er-do-well cohorts, are that they aren't rationalized, but aren't demonized, either. Begley's former cop Dave is embittered at being sold out by his superiors, but seems like a decent man, in terms of his offer to the two men. Begley, who excelled at corrupt creeps, is most believable as a man who just wants his perceived due. Belafonte's musician is a player and a bad gambler, but Johnny is aware of his flaws as a man. Belafonte, who could be a bit stiff as an actor, luckily had charisma and good looks to spare. And Harry gives one of his best performances here. He's strong and intense, playing a John Garfield-like character. In the scenes where he's up against an ex-wife, mobsters, and a racist partner, he's convincingly desperate. The most difficult character is Earle, who has been in prison twice for assault, and is a walking time bomb. Luckily, the subtle script is in sure hands with the brilliant Robert Ryan. The actor was equally great playing heroes and villains, so here he captures the complicated racist loser. 

Infrared photography for "Odds Against Tomorrow" exteriors makes racist relic Earle look ghostly.

Odds Against Tomorrow is really more than a noir or a heist film. It's about two men trying to live in modern America. Belafonte's Johnny, though smart and proud, doesn't seem to fit in. His gambling life and fast living aren't getting him anywhere, and he resents seeing his wife mainstreamed into white society. Ryan's racist is most timely to today’s film viewers. Earle was a war hero, but is considered a middle-aged relic. The young soldier in the bar room reminds him that Earle was in the last war, his solving problems with his temper and fists have landed him in prison twice, and his knee jerk racism rankles those around him.

The finale bank robbery's a bust. Ed Begley gives great support in "Odds Against Tomorrow."

Odds Against Tomorrow is a good look at what makes a racist, the individual who feels the world has passed them by, and is looking for a scapegoat. In the film, Earle constantly looks to blame Johnny for any mistakes or missteps in their planned heist. Dave's ringleader more than once has to tell Earle to back off, but he just can't help himself, and ultimately his hate and distrust is responsible for the heist going awry. 

Some film fans find the ending of Odds Against Tomorrow a bit too clever. I can see their view, but the ultimate point is still the truth. When you're dead, it doesn't matter what color you are.

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

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

Robert Ryan & Harry Belafonte relaxing on the set of "Odds Against Tomorrow."

 

 

Paul Newman as 'Harper' 1966

Paul Newman as 'Harper,' private eye, posing by his shingle.

Opinions vary about the ’66 neo-film noir, Harper. A number of film fans and critics think it’s a latter day detective classic. Others, like me, just find it a slickly entertaining Paul Newman picture.

Paul Newman's gumshoe sure spends a lot of time in his car or on the phone.

In the ‘60s, genre films were increasingly made with a mod wink at old-time Hollywood—in this case, detective movies. Harper was the brainchild of agent turned producer Elliot Kastner, whose greatest talent was pairing great stars with their cheesiest vehicles. This was perhaps Kastner’s best effort: take Ross Macdonald’s first Lew Archer novel, 1949’s The Moving Target, and riff on the ‘40s film noir era. How he got Harper off the ground is beyond me, when his only previous producer credit was Bus Riley’s Back in Town. Here’s Kastner’s IMDB resume of mostly rubbish: https://www.imdb.com/name/nm0440990/?ref_=nmbio_bio_nm

Ironically, Harper now feels more dated than the original movies it tweaks. Harper’s trailer and poster paint him as modern and irresistible, but the promo material feel like they’re for an old Playboy magazine cover.

The promo copy for 'Harper' tries for cool, but today just seems coy.

There's plenty of elbowing the old gumshoe movies: Detective Lew Harper tells the barracuda wife of the missing millionaire that he's a “new type.” New, maybe—but not better. Newman led the way as the new breed of movie anti-hero, a trend I think didn’t age well, either. At 40, Paul as Harper often feels more like an over-aged frat boy, as opposed to the equally cynical, but more worldly-wise Philip Marlowe, Sam Spade or other past film detectives.

The first client visit for 'Harper' deliberately echoes Lauren Bacall's 'The Big Sleep,'
 with hubby Humphrey Bogart as Philip Marlowe.

William Goldman's script has a number of zingers. His take on mid-60s California dreaming is more like a noir nightmare. It’s funny at times, but they’re all easy targets: new age religion, druggie jazz singers, crooked lawyers and dumb cops, rich people trying to buy their way out of trouble, etc. There's not a relatable one in the bunch—least of all Harper, who is crude with suspects, and also a juvenile jerk to his lovely ex-wife, as well. I realize I’m looking at a ‘60s movie through modern eyes, but this movie is even less evolved than the movies it’s mimicking from 20 years prior.

Lauren Bacall is a catty client, whose snarky repartee is definitely not decaffeinated!

You could say the film has a sexist view toward women, as they are all mercilessly mocked for their shortcomings, but the men don't fare much better. The nearly all-star cast is mostly typecast: Lauren Bacall as the missing rich man's wife, is a snarky bitch; Shelley Winters as a former movie star gone blowzy is treated with particular contempt by Harper; Pamela Tiffin is the young rich chick on the make. However, Julie Harris is oddly cast as the junkie jazz singer who is also treated rottenly by Harper.

Shelley Winters played more latter-day blowsy broads than Joan Blondell! 

Bacall and Winters do their schtick very well. This is an era where Bacall's character is mocked as old and wrinkled at age 41, when Harper was filmed—and a whole year older than Paul Newman. Lauren looked quite timeless and chic as the rich super bitch, IMO. However, Shelley Winters is outrageous as the horny and drunk ex-star, and seems to be Harper’s walking punchline.

Pamela Tiffin, as the rich client's sexy stepdaughter, isn't exactly Ann-Margret!

Pamela Tiffin is all big hair and apple-cheeked, and dances quite badly on a pool board in a polka dot bikini. Tiffin mainly pouts and preens. Julie Harris sings a few bars of yet another Andre and Dore Previn movie theme about being lonely.

Julie Harris is the junkie jazz singer who's too high-strung for torture games.

As for the men, Robert Wagner plays his charming pretty boy bit for good-natured humor, his only real talent. At 35, RJ's on the edge of his beauty, which is what Newman calls him throughout. As the new age nutjob, Strother Martin has a field day, up in a mountain top home that looks like a low-rent version of Liz Taylor's pad in Boom! 

This was the last time Robert Wagner could get away w/playing the shallow pretty boy.

The two best performances are Arthur Hill as the family lawyer who is in love with Tiffin’s rich girl. His lovelorn lawyer gets to go through some changes and plays them skillfully, with a tinge of melancholy. Janet Leigh as Harper’s rightfully exasperated ex-wife makes her few scenes count.

Arthur Hill plays the most realistic character in 'Harper,' as Newman's old pal,
who is now the family lawyer for the kidnapped man.

Harper runs just over two hours, too long for this fast-paced genre, and it drags in spots. The subplot involving Harper and his ex-wife is supposed to show how he's unable to give up a thankless job that doesn't love him back. From today's standpoint, Harper’s interactions with his ex make him look a dick, and I don't mean a private one. The scenes that are supposed to be funny aren’t and the one where Harper barges in on her late at night for a booty call and sympathy, only to ditch her the next morning, doesn’t age well.

Newman's Harper lets his ex down not so easily after a late night visit. W/Janet Leigh.

For anybody who feels that I’m too hard on Harper, I was expecting to love this movie, as mystery/suspense is one of my favorite genres. I also love films that depict an era or locale. This movie feels very ‘60s, but not in a good way, just a mainstream, dated way. One example: the hip music that plays in any scenes with young people sounds like Herb Alpert-style elevator music. And the young folks dancing hip looks like the Peanuts characters when they dance for joy.

'Harper's' spoof of the cool kids is strictly Squares-ville!

What about Harper himself, Paul Newman? At this point, Paul had loosened up as an actor, from his sometimes stiff ‘50s stardom. In his quiet, serious moments, Newman is on his way to the stellar star character actor he later became. Yet, his anti-hero stardom here came with his sometimes heavy-handed sense of humor. A stronger director other than journeyman Jack Smight would have reigned in Paul’s smirking, eye-rolling, lip-pursing, voice-mimicking “humor.” 

Paul Newman as Harper cracks himself up constantly, with his amused contempt
for the crooked characters he encounters. It feels a bit sophomoric today.

 

William Goldman, considered one of the best screenwriters and go-to script doctor, scripted many crowd pleasers like this movie. He was a bit like Robert Towne in that regard. Yet, Towne wrote a modern film noir that actually had depth and resonates just as much today—1974’s Chinatown.

Harper’s finish was one of those mod freeze frame non-endings that made me want to throw something at the screen. Harper wasn’t new, but just a mixed bag.

Paul Newman was 40 when 'Harper' was filmed.

Check out my take on Paul Newman’s early forays into southern melodrama from 1958:

The Long, Hot Summer: https://ricksrealreel.blogspot.com/2017/08/the-long-hot-summer-long-but-not-so-hot.html

Cat on a Hot Tin Roof:  https://ricksrealreel.blogspot.com/2016/08/cat-on-hot-tin-roof-still-scorches-now.html

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

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

 

"Harper" was going to be called "The Moving Target,"
from the original Ross Macdonald book, for a hot minute.