The Cross and the Switchblade

Boone as David Wilkerson.

Based on the 1963 autobiography, The Cross and the Switchblade (1970) tells the true story of David Wilkerson (Pat Boone), a small-town Pennsylvania pastor who moves to New York City to minister to gang members and drug addicts amidst the violent, crime-ridden streets of the late 1960s. Facing intense hostility, Wilkerson attempts to bring a message of hope to rival gangs, specifically targeting the "Mau Maus" and their ruthless warlord, Nicky Cruz (Erik Estrada). Despite death threats and repeated rejections, the pastor's persistence and faith eventually lead to dramatic results. 

I first heard of The Cross and the Switchblade when the movie was shown for free at my junior high school. It wasn't a school-wide event, but rather the film was shown in the evening. I didn't go, but remember seeing the dramatic posters on bulletin boards throughout the school. It's taken me several decades to finally watch The Cross and the Switchblade, but I'm glad I did.

It's a flawed film, to be sure. It suffers from Pat Boone's too-perfect protagonist, whose only shortcoming is a lack of support for his pregnant wife—a plot point that is ultimately left dangling. Furthermore, the movie is hindered by bland, distracting, and dated songs. Actor Don Murray, in his directorial debut, lets the rumbles between the gangs go on for too long. And the screenplay could have been tighter had it focused on David or Nicky, instead of trying to tell both their stories.

Erik Estrada as Nicky.

Still, despite these weaknesses, The Cross and the Switchblade benefits from a fascinating true story, on-location filming in and around Harlem, and a handful of powerful scenes. The most impactful one has a young woman, who has recently gotten clean from her heroin addition, visiting a drug dealer at the first sign of stress. When she explains she has no money, her dealer assures her that the first fix is always on the house. He gleefully prepares her fix, shown in great detail, as she waits in emotional agony.

Pat Boone brings sincerity to his performance as Wilkinson, but I've got to think that the real pastor was more dynamic and more effective at delivering his message. In his first acting role, Erik Estrada, seven years before CHiPs, does a good job showing Nicky's inner struggles--although his climatic transformation still feels underdeveloped.

These days, The Cross and the Switchblade would be classified as a faith-based film. It fits that mold, but it's important to remember that these kinds of movies were rare in the early 1970s. No studio wanted to produce The Cross and the Switchblade, so it was financed independently. While not the ideal star, Pat Boone's enthusiasm for the project and his name recognition were undoubtedly key in getting the film made. On his website, Erik Estrada claims that "The Cross and the Switchblade...is still shown every week at about 500 youth centers across the country because of it’s powerful anti-drug message."

Memories of a Boys' School Headmaster

Robert Donat as Chips. 

Based on James Hilton's novella, Goodbye, Mr. Chips (1939) follows the life of Mr. Charles Chipping (Robert Donat), a shy and somewhat rigid Latin teacher at the English boys’ school Brookfield. Early in his career, he struggles to connect with students and colleagues, remaining an unremarkable figure—until a chance meeting changes everything.

While on holiday in the Alps, Chipping meets Katherine Ellis (Greer Garson), a warm, spirited young woman who sees the kindness beneath his stiff exterior. Their marriage transforms him: he becomes more confident and more compassionate--and also more respected by his students.

Told in flashback, as an elderly "Chips" reflects on his life, Goodbye, Mr. Chips uses a narrative structure built almost entirely from vignettes. Each one is a brief, self‑contained memory from Chips' long life at Brookfield. The film unfolds as though we are moving through his own recollections—quick flashes of defining moments: his disastrous first class of unruly boys, the sting of being passed over for headmaster, the quiet heroism of teaching while bombs fall during World War I. These scenes don’t build a traditional plot so much as accumulate emotional weight, showing how a seemingly modest life becomes meaningful through countless small encounters.

Greer Garson and Donat.

The only extended sequence in the film is the section in which Chips meets, courts, and marries Katherine. Even that runs less than half an hour, but in the context of his life it represents a turning point—the brief, luminous period that reshapes everything that follows. Because Katherine’s influence transforms Chips from a timid, overlooked teacher into the beloved figure remembered by generations of students, it makes sense that the film lingers there. 

Robert Donat carries film wonderfully, portraying Chips as a young man, a middle-aged teacher, and an elderly retired headmaster. His performance earned him a Best Actor Oscar at the 12th Academy Awards against competitors that included Clark Gable (Gone with the Wind), Laurence Olivier (Wuthering Heights), and James Stewart (Mr. Smith Goes to Washington). 

Greer Garson was nominated for Best Actress despite her brief screen time (losing the award to Vivien Leigh). It remains one of Garson's best performances--she lights up the screen as Katherine. In fact, my only quibble with Goodbye, Mr. Chips is that Katherine's role in Chips' story is so small. I understand this is the story as Hilton wrote it--and that he is making a point about how brief periods in one's life may have the greatest impact. That still doesn't negate the fact that Garson makes Katherine so charming, intelligent, and caring that one wants to see more of her!

There have been three other adaptations of Goodbye, Mr. Chips. Peter O'Toole and Petula Clark starred in a pleasant (if overlong) musical version in 1969. A British miniseries in 1984 starred Roy Marsden (Dalgliesh) as Chips and Martin Clunes (Doc Martin) played the character in a 2002 made-for-TV film.

We Describe the Movie...You Name It!

We have described the 15 movies below in one sentence. Your task is simple: Name the movie! 

As always, please answer no more than three questions per day so more people can play and have fun. Try not to research your answers as it'd be pretty easy to google the plot and get a film's title. Note that all these movies are connected...and it's a pretty obvious connection.

1. A troubled con artist with deep childhood trauma is forced into marriage.

2. A timid young woman marries a wealthy widower and moves into his imposing estate.

3. A French intelligence agent uncovers a Soviet spy ring operating inside NATO.

4. A man wrongly accused of murder goes on the run with the only witness who can clear him.

5. A small New England town becomes entangled in the mystery of a dead man.

6. A respected lawyer defends a beautiful woman accused of murdering her husband.

7. A mysterious killer stalks the fog‑shrouded streets of London.

8. An American crime reporter is sent to Europe on the eve of World War II and stumbles into a sprawling conspiracy.

9. A carefree married couple discovers their union was never legally valid.

10. A bomb on a bus.

11. It takes place in Quebec City in Canada.

12. A phony psychic and her cab‑driver boyfriend get into trouble.

13. A newly arrived Irishman in 1830s Australia who becomes entangled in the dark secrets of a troubled aristocratic household.

14. Is a shy heiress's new husband trying to kill her?

15. The Necktie Murderer.

Singers Make Movies: Connie Francis and Donna Summer

Connie Francis & Harve Presnell.

When the Boys Meet the Girls (1965). What possessed a Hollywood producer to pitch a 1960s update of the George and Ira Gershwin stage musical Girl Crazy starring Connie Francis, Liberace, Louis Armstrong, Herman's Hermits, and Sam the Sham & the Pharaohs? We may never know. But shockingly, the movie was made and now we can experience When the Boys Meet the Girls.

The "plot" sends a wealthy college student named Danny Churchill (Harve Presnell) to Nevada to avoid marriage to a vivacious, troublesome blonde (Sue Ane Langdon). Once there, Danny meets Ginger (Connie Francis), a hardworking gal whose father is drowning in gambling debt. Danny quickly becomes invested in helping Ginger save her family’s ranch, which is on the verge of being seized by Reno gangsters. His big idea: transform the ranch into a divorcee getaway resort, with his new college friends pitching in on construction.

This framework is just an excuse for the incongruous musical numbers: Liberace and Louis Armstrong perform their own compositions, Connie and Harve sing Gershwin tunes, and Sam the Sham offers "Monkey See, Monkey Do." Peter Noone does double duty, performing the Gershwins' "Bidin' My Time" and a contemporary tune called "Listen People," which peaked at No. 4 on the Billboard Hot 100 chart the following year.

Unless you're a fan of the musical acts, the only reason to see When the Boys Meet the Girls is Sue Ane Langdon. She looks fabulous, exudes endless energy, and performs a peppy rendition of "Treat Me Rough." If you're like me, you'll be wondering why Danny didn't want to marry her character!

Disco queen Donna Summer.

Thank God It's Friday (1978). At the height of the disco era (yes, I was there), record company giants Motown and Casablanca teamed up for this time-capsule comedy that won an Oscar. I bet that caught your attention! OK, the Oscar was for Best Song for Donna Summer's classic "Last Dance," but, hey, it's still an Oscar.

Thank God It's Friday take place during a single night at The Zoo, a bustling Los Angeles disco. Over the course of the evening, an aspiring singer tries to get her big break, underage teens scheme to enter a dance contest, a married couple’s anniversary takes an unexpected turn, and a frazzled roadie races to deliver The Commodores’ instruments before showtime. As flirtations, mishaps, and disco‑fueled dreams unfold across the crowded dance floor, one is reminded how good Saturday Night Fever really was.

While this is a movie that will test your patience, there are some nuggets of interest. As a young woman looking for love, Debra Winger flashes the charm that would make her a star in An Officer and a Gentleman. Jeff Goldblum, in an early performance, uses his charisma to make the nightclub's sleazy owner almost likable. And Donna Summer proves that no one could match her high-octane and high-octave disco song performances. As a added bonus, The Commodores perform an original song called "Too Hot ta Trot" (take special note of Lionel Ritchie's 1970s hair and mustache).

For trivia fans: Thank God It's Friday has a connection to another Best Song Oscar winner. Terri Nunn, who plays one of the teen girls in the dance contest, later became lead singer for the group Berlin. She sang "Take My Breath Away" for the Top Gun soundtrack in 1986 and that song earned an Academy Award.

Newlywed Problems Abound in "The Family Way"

Hayley Mills and Hywel Bennett.

These days, The Family Way (1966) is best-known for featuring one of Hayley Mills' first grown-up roles and a music score by Paul McCartney. Viewers expecting a song-laden soundtrack by McCartney will be disappointed. It's a pretty pedestrian instrumental score, to be honest, though notable because Paul did it while still a Beatle. On the other hand, Hayley Mills fans will enjoy her nuanced performance as a newlywed--even if her own father, John Mills, steals the film.

Hayley and Hywel Bennett star as Jenny and Arthur, a young, working-class couple in Lancashire whose marriage remains unconsummated due to a lack of privacy, interfering in-laws, and personal anxiety. To make matter worse: they can't get their own place due to a housing shortage; they lose their honeymoon money in a scam; and they barely see each other because Arthur works nights as a movie projectionist. But their biggest challenge is the lack of physical intimacy in their marriage--Arthur begins to feel inadequate and Jenny starts to wonder if she is somehow responsible.

As a result, Arthur seeks professional help from a marriage counselor and, at her mother's urging, Jenny discusses the situation with her Uncle Fred (a masseur, which makes him a "medical professional"). Thanks to gossip and loose lips, family, friends, and neighbors soon learn about the state of Jenny and Arthur's marriage--.which, of course, make their lives exponentially worse.

Bill Naughton wrote an early version of The Family Way as a television play called Honeymoon Postponed, which aired on British TV in 1961. He expanded it into the stage play All in Good Time in 1963, which was a modest hit in Britain and a flop on Broadway in 1965 (that cast included Donald Wolfit, Richard Dysart, and John Karlen). John and Roy Boulting acquired movie rights to the play and produced the film. Roy Boulting began a relationship with his star, Hayley Mills, who was 33 years younger than him. They married in 1971, had a son, separated in 1975, and divorced in 1977.

John Mills as Ezra.

While the film's young stars acquit themselves nicely, The Family Way belongs to John Mills and Majorie Rhodes as Arthur's working-class parents Ezra and Lucy. John Mills gives Ezra a sharp, almost comic rigidity, scolding his son for wasting time on “fancy books” with the bluster of a man terrified of anything he can’t control. Yet, at the same time, he offers Jenny unexpected support that reveals a gentler instinct beneath his hard exterior, making his contradictions feel painfully human.

Naughton's screenplay hints at unresolved issues, specifically the sudden disappearance in the past of Ezra's best friend Billy. In one scene, Ezra reminiscences about his and Lucy's honeymoon, noting that watching a sunrise alone with Billy was the best part. Later, Lucy talks of the night Billy disappeared, leaving one to wonder if Arthur is really Billy's son.

The Family Way isn't among Hayley Mills' best non-Disney films. Those would include Tiger Bay, Whistle Down the Wind (based on a book by her mother), and The Chalk Garden. Yet, it's an effective family drama and well acted by the cast. By the way, that's Murray Head ("One Night in Bangkok") as Arthur's brother. Hayley Mills and Hywel Bennett reteamed for Twisted Nerve (1968) and Endless Night (1972). 

Stanley Baker Takes Command in Yesterday's Enemy

Stanley Baker as Captain Langford.

Set during the Burma Campaign of World War II, Yesterday’s Enemy (1959) follows a small, exhausted remnant of a British Army brigade struggling to escape through the jungle after being cut off by advancing Japanese forces. Led by the hard-edged Captain Alan Langford (Stanley Baker), the group stumbles upon a village held by the Japanese and seizes control after a brief skirmish.

Langford takes possession of a Japanese's general's map, but cannot decipher its meaning. As the situation grows desperate, Langford makes a morally fraught decision: he orders the execution of two innocent villagers to coerce a suspected informer into revealing crucial intelligence. His actions spark outrage from his unit's chaplain and a war correspondent traveling with them.

Langford defends his decision by pointing out the hypocrisy of war: It's easier to accept bombs killing thousands of innocent people than it is to watch two people die by a firing squad. Langford then argues that his actions will save many more lives than the ones lost. Later in the film, Langford’s arc turns on a brutal irony: the very ruthlessness he once justified as “necessary” is eventually used against him. 

Adapted by Peter R. Newman from his own 1958 British TV play, Yesterday's Enemy is a compact, tense drama made on a modest budget by Hammer Films (yes, the same studio famous for its Gothic horror films!). To save money, director Val Guest shot the entire film indoors. Yes, the Burmese jungle look "stagey" (though the black & white photography compensates somewhat). However, the film's artificiality contributes to its claustrophobic setting with Langford and his men trapped in a small village for much of the running time.

Gordon Jackson as Sgt. MacKenzie.

Stanley Baker, as Langford, heads a strong cast consisting of: Gordon Jackson (Upstairs, Downstairs) as Langford's loyal sergeant, Leo McKern (Rumpole of the Bailey) as the journalist, and Guy Rolfe as the chaplain. But this is Baker's show and he excels at playing a leader intent on looking strong and decisive in front of his men--even as he grapples with his inner demons. Baker, Jackson, and director Val Guest earned BAFTA nominations for their work on Yesterday's Enemy.

The previous year's Camp at Blood Island and Yesterday's Enemy were both moneymakers for Hammer. One would have thought more World War II films might have followed, but the only serious effort was The Secret of Blood Island in 1965. Part of the reasons may have had to do with the films' controversies. According Hammer Films: An Exhaustive Filmography, a Japanese film official wanted The Camp at Blood Island banned in the U.S. for its negative portrayal of the Japanese Army. In contrast, Yesterday's Enemy incurred controversy (as did the earlier TV version) for its unflattering portrait of a British Army officer.

Richard Greene Rides Again as Robin Hood

Richard Greene as Robin Hood.

Sandwiched between The Men of Sherwood Forest (1954) and A Challenge for Robin Hood (1967), Hammer Films produced Sword of Sherwood Forest (1960). This action opus about the legendary English outlaw stands out for one big reason: It stars Richard Greene, famous for playing the title role in The Adventures of Robin Hood TV series. As all Robin Hood fans know, that's the one where he's "riding through glen with his band of men."

One might think that Sword of Sherwood Forest is a big screen continuation of the TV series that ran from 1955-59. However, that's not the case in terms of the storyline and the cast (with the exception of Greene and some minor players). The film features veteran actors in most of the major roles: Nigel Green (Hercules in Jason and the Argonauts) as Little John, Niall MacGinnis (Night of the Demon) as Friar Tuck, and Hammer regular Peter Cushing as the Sheriff of Nottingham. 

Peter Cushing as the Sheriff.

Screenwriter Alan Hackney wisely dispenses with the typical Robin Hood origin story. His tale has the Sheriff of Nottingham collaborating with the greedy Earl of Newark (Richard Pasco) to steal land by manipulating the court system. Maid Marian, who is the Sheriff's niece in this version, gets wind of their scheme. When her uncle won't change his evil ways, she seeks help from the Chancellor of England, who is visiting the area in his other capacity as Archbishop of Canterbury. 

Meanwhile, Robin is trying to figure out why the Sheriff killed an unknown traveler. Along the way, he happens on Marian, who has just bathed in a lake (it's a Hammer film, after all). Despite her feeble protests, there is an instant attraction between the two (although Robin is almost twice her age). But before they can get together, the Earl of Newark must be stopped before he can assassinate the Chancellor.

Hammer's most renowned director, Terrence Fisher, keeps Sword of Sherwood Forest moving briskly through its 80-minute running time. There are a plethora of outdoor scenes, perhaps in an attempt to keep production costs down. Contemporary reviews call it colorful, but, unfortunately, the print used for Mill Creek's Blu-ray disc (part of the Hammer Ultimate Collection) is a muted one. 

Sarah Branch as Marian.

Greene still has the required panache to play Robin, but, at age 41, he lacks the physicality required for the role (it's easy to spot his stunt double). Chemistry is definitely lacking between his Robin and Sarah Branch's Marian. The former model had little prior acing experience at the time and, though she tries, she seems miscast as a spunky heroine.

Peter Cushing and Richard Pasco excel as the villains. The problem is that, in a movie this short, there's only room for one villain. As a result, Cushing's Sheriff of Nottingham gets nudged into the background all too often. It's a shame to waste an actor of Cushing's caliber.

Finally, it's always fun to see who pops in British films of the 1960s. In uncredited roles, look for the following:  Desmond Llewelyn (Q in many Bond films) as the "wounded fugitive" at the beginning; Derren Nesbitt (Von Hapen in Where Eagles Dare) as Martin, one of the merry men; and Oliver Reed as Newark's henchman. I am convinced that Oliver Reed was dubbed, even though some sources contradict that claim.

How You Can Celebrate National Classic Movie Day

We love classic cinema throughout the year, but Saturday, May 16th, is a special opportunity to share that love with others. It's the 12th annual National Classic Movie Day! Here are 12 ways that you can celebrate this wonderful day:

Host a Watch Party: Gather friends or family to watch a favorite classic film. You can make it special by creating a "theatrical" atmosphere with dim lighting, cozy seating, and classic snacks like buttered popcorn and candy. You could even encourage guests to dress in "red-carpet best" or as their favorite classic movie character (I'd opt for Robin Hood!).

Introduce a Friend or Relative to a Favorite Classic Film: Share your passion by introducing someone to an iconic film from Hollywood's Golden Age. I enjoy showing kids The Court Jester and The Day the Earth Stood Still (1951), both of which are always hits.

Share on Social Media: Use the hashtag #NationalClassicMovieDay to post your favorite movie lines, memorable posters, or lists of must-watch films.

Join a Blogathon: Many classic film enthusiasts and bloggers participate in themed "blogathons," where they write about their top picks. I hosted a 5 Movies on an Island blogathon for the second National Classic Movie Day and it's still one of my most popular classic movie events.

Research Film History: Spend time learning about great filmmakers like Billy Wilder or Anthony Mann or explore the evolution of various genres like "screwball comedy" and "film noir."

Visit a Museum or Theatre: Spend the day at an institution like the Academy Museum of Motion Pictures or catch a classic screening at a historic theater or a local drive-in. And don't forget that many wonderful movie star museums are not located in Hollywood, such as the Jimmy Stewart Museum (Pennsylvania), Ava Gardner Museum (North Carolina), or Judy Garland Museum (Minnesota).

Explore Filming Locations: If possible, visit sites where famous scenes were shot or take a studio backlot tour at major studios like Warner Bros. or Universal to see where the magic happened. Check out the blog Hometowns to Hollywood for movie-related locations in your state.

Build a Backyard Drive-In: This is a variation of the watch party, but even more fun! If the weather allows, set up an outdoor screening using a portable projector and a white sheet. For families, you can have children decorate cardboard boxes as "cars" to create a personalized, at-home drive-in experience.

Host a Trivia Night: Test your knowledge (and your friends') with trivia questions about classic films, actors, and behind-the-scenes facts. Hey, I still have my Silver Screen Edition cards for Trivial Pursuit!

Create Movie-Themed Meals or Treats: Pair your screening with food inspired by the film, such as Italian dishes for an Italian classic or vintage-style snacks found at historic theaters.

Start a Movie Bucket List: Use the day to commit to your film education by starting a "100 Classics" bucket list. You can find interactive scratch-off posters or dedicated Movie Night Journals to track your progress and write short reviews after each screening.

Play Interactive Movie Games: My favorite is Movie Charades. If you looking for difficult titles to give to an opposing team, try The Day of the Triffids or Hammer Films' Twins of Evil. Both are fondly remembered charade titles among my family and friends.

Pat Boone and Shirley Jones Find April Love

Pat Boone.

Pat Boone as a bad boy? Well, he doesn't really play a bad boy in April Love (1957), but his character Nick is sentenced to probation after being arrested for joyriding in Chicago. To keep him out of trouble, his mother sends Nick to his uncle's rural Kentucky farm. Aunt Henrietta welcomes him, but Uncle Jed (Arthur O'Connell) isn't so sure about the big city troublemaker. Nick feels like a fish out of water until he meets a pretty neighbor named Liz (Shirley Jones) and gets involved with harness racing.

This remake of Home in Indiana (1944) was clearly designed to showcase Pat Boone, who was already a popular singer. His recording of "April Love" would turn out to be one of his biggest hits. The song also earned its writers, Sammy Fain and Paul Francis Webster, an Oscar nomination for Best Song (it lost to "All the Way" from The Joker Is Wild). Boone's co-star Shirley Jones, despite starring in the earlier Oklahoma! (1955) and Carousel (1956), doesn't even get a solo number (though she does sing a reprise of "Give Me a Gentle Girl"). 

Shirley Jones.

As light musicals go, April Love is pleasant, but never compelling. I was hoping that Liz's sister (played by Dolores Michaels) might take a serious interest in Nick, setting up a juicy triangle. But, after some innocent flirting, she makes it clear she's not interested in the boy from Chicago. After that, the viewer just has to wait for Nick to realize that Liz is played by the awesome Shirley Jones and he'd better make a commitment before some other guy comes along.

Incidentally, you may wonder if--after watching April Love--you somehow missed Nick kissing Liz at least once. No, you did not miss it! It never happens--though Nick almost kisses her before the couple is interrupted. You can read why that kiss never took place in this article from TCM.

Pat Boone experienced greater success on the silver screen than many of his singing peers (e.g., Connie Francis). He followed up April Love with a supporting role in the enjoyable Journey to the Center of the Earth (1959), a starring role opposite Ann-Margret in State Fair (1962), the Debbie Reynolds comedy Goodbye Charlie (1964), and the fact-based drama The Cross and the Switchblade (1970). By the early 1970s, Boone's acting career consisted almost entirely of TV appearances.

Devotion: A Biographical Misfire

Ida Lupino as Emily Bronte.

With a top-flight cast, rich source material, and high production values, Devotion (1946) has all the makings of a classic film biography of the Bronte sisters. And yet, when "The End" finally flashed on the screen, all I could do was ponder how things went so terribly wrong. It's not a dreadful movie, mind you--but it's inaccurate, inconsiderate, and empty.

The inaccuracy is nothing new when it comes to film biographies. There are plenty of biographies that take dramatic license with real events. Devotion imagines that Charlotte Bronte (Olivia de Havilland) and her sister Emily (Ida Lupino) fell in love with the same man, a curate (Paul Henreid) who worked for their father. Each sibling pours their passion into their novels and the results are Charlotte's Jane Eyre and Emily's Wuthering Heights. 

According to most accounts, real life featured less emotional turmoil and more interesting people. There was no love triangle. Emily never married; in fact, there is no indication of any romantic relationship in her life. Wuthering Heights was the product of her literary imagination. She and Charlotte were not close (the latter was eight years older); Emily felt a more kindred connection with her younger sister Anne. Keith Winter's screenplay does get some things right: brother Bramwell was an alcoholic; the sisters attended a school in Belgium; and Jane Eyre was a contemporary popular success while Wuthering Heights was not.

Olivia de Havilland as Charlotte.

The inaccuracies in Devotion, though, are less offensive than the film's inconsiderate treatment of its audience. The filmmakers seem to assume that the audience can't handle a serious portrait of the Bronte sisters' lives. The first half of Devotion unfolds like an adaptation of Little Women with the sisters and their brother frolicking on the moors and Charlotte developing a schoolgirl crush on her headmaster. Just as Ida Lupino, who provides some much-needed gravitas, finally steers the film in the right direction, Emily is relegated to the background as Charlotte becomes a London celebrity. From there, Devotion limps to its conclusion.

There are small pleasures to enjoy along the way, in particular Erich Wolfgang Korngold's rich music score and Ernest Haller's atmospheric cinematography. There is almost a quaint charm about the stagey "B" movie sets that are supposed to be the moors. Yet, nothing can save Devotion from its fate as a subpar biography dressed up like a Warner Bros. "A" production.

Although completed in 1944, Devotion was not released until two years later--a rare practice in the 1940s. Some historians believe that the delay was related to Olivia de Havilland's landmark lawsuit against Warner Bros. that resulted in the creation of the De Havilland Law.

Westworld: When Androids Run Amok

Yul Brynner as an android.

Delos is a luxury resort made up of three immersive, android‑populated theme parks: Westworld, Romanworld, and Medievalworld. Guests are greeted with a polished, almost too-perfect welcome that promises “the vacation of your dreams” in a place where nothing can go wrong. The staff present the resort as a flawless, high‑end escape where every desire can be indulged safely, thanks to the supposedly infallible android hosts. It’s a sales pitch wrapped in luxury and reassurance.

Richard Benjamin plays Peter Martin, a first-time visitor, who is still coping with the breakdown of his marriage. His friend John (James Brolin) has brought him to Westworld to forget about his troubles and indulge in his fantasy of living in the Old West. Initially, Peter is skeptical. But after defeating a gunslinger (Yul Brynner) in a saloon shootout and spending the night in a rowdy brothel, he begins to enjoy his vacation.

However, unknown to Peter and John, the scientists that operate the park have noticed some inconsistencies in the behavior of the androids. When a cascading system failure transforms some of the androids into killers, the two men must fight for their survival.

Bestselling author Michael Critchton wrote and directed Westworld (1973). It marked his theatrical film directing debut (he helmed the made-for-TV movie Pursuit one year earlier). The film's theme is one that would become prevalent in many Critchton books and films: When humans build powerful systems they don’t fully understand, the systems eventually stop behaving the way we expect. The most obvious extension of Westworld is Jurassic Park, in which there is a park (again) populated by man-made creatures (again) that react in an unexpected and violent way (again).

Richmond Benjamin.

Westworld is built on a fascinating premise, but its emotional core is thin: the film never invests enough in its characters for us to truly care when their lives are threatened. James Brolin’s John is so smug and self‑assured that he barely registers the danger around him, while Richard Benjamin’s Peter mostly frets about his failed marriage. Other guests—such as Dick Van Patten’s eager Medievalworld visitor—appear briefly and vanish before we can form any attachment. The result is a film rich in ideas but emotionally cold, a clinical exploration of technological hubris that keeps viewers intellectually engaged yet distant from the human stakes.

The supporting cast includes Yul Brynner as an android gunslinger--his all‑black outfit intentionally styled to evoke his iconic role as Chris Adams in The Magnificent Seven. Brynner also appears briefly as the Gunslinger in the best-forgotten Westworld sequel Futureworld (1976), which did not involve Critchon. Star Trek fans may recognize Majel Barrett, Nurse Chapel on the original Star Trek, as the brothel madam.

The Westworld TV series (2016-2022) is not a continuation of Crichton's film. Rather, it is a rethinking that reflects on and expands the original's themes.

Hollywood Goes Welsh: How Green Was My Valley and The Corn Is Green

Maureen O'Hara and Walter Pidgeon.

How Green Was My Valley (1941). One of John Ford's most beloved movies, How Green Was My Valley won five Academy Awards including Best Picture. It ranks #75 in the 2007 edition of the American Film Institute's 100 Years…100 Movies. In 1990, the Library of Congress added it to the National Film Registry, recognizing it as a "culturally, historically, and aesthetically significant work."

The film follows Huw Morgan (Roddy McDowall) as he nostalgically recalls his childhood in a Welsh mining village, where his close‑knit family endures the hardships of dangerous coal‑pit labor, economic decline, and social upheaval. Through Huw’s eyes, the story traces the Morgans’ struggles with a miners’ strike, the fracturing of family unity, and the bittersweet passage from an idyllic green valley to an industrially scarred landscape.

Roddy McDowall.

His sister Angharad (Maureen O'Hara) falls in love with the village preacher, Mr. Gruffydd (Walter Pidgeon), but social pressure pushes her into an unhappy marriage. Huw witnesses his brothers leave the valley in search of better opportunities as wages fall and the mines grow more perilous. He endures his own hardships at school, where he faces bullying before proving his resilience. The central figures in the story, though, are his hard-working father (Donald Crisp) and his steadfast mother (Sara Allgood).

There is much to admire in Ford's family saga, from its outstanding sets and cinematography to the performances of Crisp, Allgood, McDowall, and O'Hara. However, Philip Dunne's adaptation of Richard Llewellyn's 1939 bestseller tries to cram too much plot into the two-hour running time. Characters, such as Huw's charming sister-in-law Bron, are introduced and then ignored for long stretches. A subplot about a local choir performing for Queen Victoria is left hanging. After a long opening narration by the adult Huw, the closing narration feels rushed and incomplete. According to some sources, producer Daryl F. Zanuck originally intended to make a three-hour epic. I think that would have worked better in this case.

How Green Was My Valley is a very good John Ford picture, but I wouldn't rank it with his best. Ford’s most enduring achievements—The Quiet Man and The Man Who Shot Liberty Valance among them—derive their strength from a concentrated attention to a handful of characters. These films reveal how much more incisive Ford becomes when he works on a smaller emotional canvas, rather than the sweeping, ensemble-driven mode of How Green Was My Valley.

Bette Davis as Miss Moffat.

The Corn Is Green (1945). Set in the late 19th century, The Corn Is Green stars Bette Davis as L.C. Moffat, a determined English schoolteacher who moves to a struggling Welsh mining village and opens a school. The story centers on her discovery of a young miner, Morgan Evans, whose academic potential is waiting to be unlocked. As Morgan transforms from an unrefined laborer into a promising scholar, the film highlights themes of social mobility, the power of education, and the personal sacrifices required to change a life.

Adapted from Emlyn Williams' 1938 stage play, which starred Ethel Barrymore on Broadway, The Corn Is Green is a Bette Davis vehicle in every sense of the term. She dominates her scenes with the same conviction that Miss Moffat brings to her role as local educator. It may not be Ms. Davis's most subtle performance, but it's a passionate one that propels the plot and themes effectively. It helps that she is surrounded by polished supporting players, three of whom reprise their roles from the Broadway production: Rhys Williams and Mildred Dunnock whose characters are recruited as teachers, and Rosalind Ivan, who plays Miss Moffat's housekeeper.

Joan Lorring.

However, the only members of the cast nominated for Oscars were John Dall (Supporting Actor) and Joan Lorring (Supporting Actress). The latter has the film's showiest role as the housekeeper's dissatisfied daughter whose selfish desires alter the lives of Miss Moffat and her protege. Lorring pulls off the part with conviction, reminding me a little of Bette Davis's similar performance in Of Human Bondage (1934). Sadly, it was her most notable role in an abbreviated screen movie career.

John Dall provides the necessary earnestness and conflict as Morgan. He shines in a scene in which he recounts to his teacher the simple joy of having an intelligent conversation with a fellow scholar. Still, Dall seems miscast at times. He was a last minute replacement for Richard Waring, who originated the part on Broadway, but entered the Army during World War II. At age 25, Dall looks too old to pass for a teenager (Waring was even older!). The stage-trained actor also sounds too articulate despite his attempts to sound blue-collar. 

Director Irving Rapper directs efficiently, making no attempt to "open up" the stage play adaptation. He worked frequently with friend Bette Davis. Their other collaborations include Shining Victory (1941), Now, Voyager (1942), Deception (1946), and Another Man's Poison (1952).

George Cukor directed Katharine Hepburn in a 1979 made-for-TV adaptation of The Corn Is Green. Five years earlier, Bette Davis starred in a 1974 pre-Broadway musical adaptation called Miss Moffat. It was set in the Southern U.S. with Moffat teaching a young Black man. It closed out of town, never reaching Broadway.

Everybody Was Kung Fu Fighting...Vampires!

John Forbes-Robertson as Dracula.

I first saw The Legend of the 7 Golden Vampires in a re-edited U.S. print called The Seven Brothers Meet Dracula. Let me start this review by encouraging you to never see that movie! It eliminates 14 minutes of plot and, if memory serves, still repeats a couple of scenes. Even the title change makes no sense as one of the "brothers" is a sister.

So, it was with trepidation that I watched The Legend of the 7 Golden Vampires (1974) several years later. My concerns were quickly put to rest as I viewed this wacky, wildly entertaining blend of vampires and kung fu. Over the years, it has become an annual Halloween tradition for this reviewer.

The film begins in Transylvania in 1804 with a Chinese monk named Kah journeying to Castle Dracula. Kah, an evil high priest, used to rule the village of Ping Kuei with his seven Golden Vampires. However, their power is fading and Kah wants Dracula to return them to full strength. Initially, Dracula shrugs off the idea because, obviously, he gains nothing from it. However, realizing that Transylvania has been sucked dry of blood, Dracula kills Kah, assumes his form, and heads to Asia to build a new empire with the Golden Vampires.

Cushing as Van Helsing.

A century later, Hsi Ching, a young man from Ping Kuei, seeks out Professor Van Helsing (Peter Cushing). Hsi Ching wants the famous vampire hunter, who has been lecturing at a Chungking University, to help his fellow villagers destroy the Golden Vampires and their leader. Van Helsing agrees and sets off on a trek to Ping Kuei accompanied by his son Leyland, Hsi Ching and his siblings, and a wealthy, beautiful widow (Julie Ege) who has financed the mission. Along the way, the group is confronted by bandits, staves off a vampire attack in a cave (the film's highlight), and eventually battles the Golden Vampires and Count Dracula.

Although kung fu and vampires might seem like unlikely bedfellows, The Legend of the 7 Golden Vampires merges the two genres seamlessly. The film was a co-production between Hammer Films and Shaw Bros. However, it's definitely a "Hammer film" and boasts the studio's usual polish (e.g., good-looking costumes, James Bernard's music). Peter Cushing, playing Van Helsing (or a descendant) for the fifth and final time, also provides some much-needed of gravitas. 

Most of the film was directed by Hammer veteran Roy Ward Baker. However, according to Geoff Mayer's book Roy Ward Baker, Shaw Bros. executive Run Run Shaw insisted that the fight scenes be overseen by his in-house director Chang Cheh. 

David Chiang as Hsi Ching.

David Chiang, who plays Hsi Ching, was already a popular Asian star and punches and kicks with authority when it's time to pummel vampires. On the other hand, his character's romance with Julie Ege's overdressed widow never quite gels. The same can be said for Leyland Van Helsing's attraction to Hsi Ching's sister. Neither relationship has time to develop given the film's pace and 89-minute running time.

Additionally, The Legend of the 7 Golden Vampires requires a little suspension of belief. It's never clear why Dracula (not played by Christopher Lee) needs to assume the guise of Kah. The timeline is also out of whack with the rest of the Hammer Dracula series. If Dracula started posing as Kah in 1804 and was still doing so a century later, how could he have encountered Van Helsing in Dracula in 1885?

I suppose one needs to cast those quibbles aside and enjoy The Legend of the 7 Golden Vampires for what it is: a unique, quirky mash-up of vampires and kung fu with a dash of plotting borrowed from The Seven Samurai. Now, who can refuse that?

Raquel Welch Races Around the Rink in Kansas City Bomber

Raquel Welch was at or near the peak of her career when she starred as a roller derby queen in Kansas City Bomber (1972). It's not the kind of role one would typically associate with the 1970s biggest sex symbol--but that's probably why she took it. Throughout her career, Welch sought out unexpected roles in films like Hannie Caulder (1971), The Wild Party (1975), and The Legend of Walks Far Woman (1982). Sometimes, her choices panned out (her delightful turn in The Three Musketeers) and sometimes they did not (the ill-fated Myra Breckenridge). Kansas City Bomber falls into the former category.

Welch stars as K.C. Carr, a promising roller derby player who is surprised to learn that she has been traded to the Portland Loggers. Most of her new teammates are unenthused about her arrival--especially Jackie Burdette who fears she is being replaced as the team's star. Actually, Burdette has little cause for concern, as the Loggers' owner (Kevin McCarthy) plans to sell the team and make K.C. a superstar for his new Chicago team. 

So, is Kansas City Bomber a character study? A chronicle of life on the road, in the vein of the later Slap Shot (1977)? Or a a portrait of hardcore fans obsessed with a scripted "sport"? The problem is that Kansas City Bomber is all of those things...and it's too much to pack into a 99-minute movie overstuffed with roller derby footage. 

Welch makes K.C. an fairly interesting, albeit confused, protagonist. The roller derby star wants to be a good single mother, but chooses a job that keeps her away from her family for weeks at a time. Her daughter (a young Jodie Foster) copes well enough, but her son rejects her (a subplot cast by the wayside). K.C. wants to fit in with her teammates, but starts an awkward romantic relationship with the team's owner (talk about accusations of favoritism!). She befriends a socially-challenged male player, totally misreading that he believes it's more than friendship.

K.C.'s exploits are framed against blue collar northwestern locations (much of it was filmed in Portland). Director Jerrold Freedman--who later helmed the excellent made-for-TV thriller A Cold Night's Death--captures the dingy locker rooms, the long bus rides, and the neon bars. He also paints an effective portrait of the manic fans, who spend their money to taunt the players and throw trash on the track. Though George Roy Hill covers the same ground more effectively in Slap Shot, it's worth noting that Freedman did it earlier. Indeed, Freedman's only misstep is the inclusion of too many extraneous roller derby scenes. (Ten minutes could have been easily trimmed from the 99-minute running time.)

Kansas City Bomber is not a hidden gem waiting to be discovered. It's a solid, unexceptional film that proves that Raquel Welch became a better actress as her career progressed. It's a must for Welch fans and for those who appreciate early 1970s cinema (as I do). For other viewers, there are worse ways to spend a lazy afternoon or late night.

Seven Things to Know About Charles Bronson

Bronson in The Dirty Dozen.

1. Charles Bronson and Jack Klugman were roommates early in their careers. According to Klugman, Bronson was by far the neater of the two--in other words, he was sort of the Felix to Klugman's Oscar. When Bronson died in 2003, Klugman wrote a farewell tribute to his friend for Entertainment Weekly.

2. Charles Bronson had become an in-demand supporting actor in 1960s Hollywood, with key performances in big hits like The Magnificent Seven (1960), The Great Escape (1963), and The Dirty Dozen (1967). However, lead roles were few and far between and limited to low-budget movies like Machine Gun Kelly (1958) and Master of the World (1961). Italian director Sergio Leone offered Bronson the starring role in the 1964 Spaghetti Western A Fistful of Dollars. Bronson rejected the part after reading the script and then watched as the film made Clint Eastwood an international star. Even after that, Bronson turned down opportunities to star alongside Eastwood in Leone's classic Westerns For a Few Dollars More and The Good, the Bad and the Ugly. (Bronson was replaced--memorably--by Lee Van Cleef in both films.)

3. Bronson's acting career got the jolt it needed when he teamed with French superstar Alain Delon in the 1968 heist film Farewell, Friend (aka Honor Among Thieves). Delon, who admired Bronson's work in Machine Gun Kelly, played a major role in casting the American as his co-star. Farewell, Friend was a huge hit in Europe and Bronson followed it with Once Upon a Time in the West (finally working with Leone), Rider on the Rain, Red Sun, Chato's Land, and The Valachi Papers. These motion pictures cemented the rugged Bronson's stardom in France (where he was known as  “Le Sacre Monstre”), Italy (where he was dubbed “Il Bruto”), and Spain.  By 1972, he was the subject of a Newsweek article and had been proclaimed the number one box office star in the world by the Hollywood Foreign Press Association.

Bronson in Once Upon a Time.

4. Once Upon a Time in the West (1968) was a huge hit in Europe, but a financial flop in the U.S. Paramount, which handled the American release, trimmed 25 minutes from Leone's 165-minute film, which surely didn't help with understanding the lengthy plot. However, the film's reputation has grown steadily since its original release. In 2005, Time Magazine’s film critics, Richard Corliss and Richard Schickel, included Once Upon a Time in the West on their list of the 100 Greatest Movies. Bronson's performance is often cited as one of his best, along with Death Wish, Hard Times, and the underrated From Noon Till Three.

5. Bronson met David McCallum's wife, Jill Ireland, on the set of The Great Escape in 1962. He famously told McCallum: "I'm going to marry your wife." Bronson was married at the time to Harriet Tendler, whom he divorced in 1965. That same year, Ireland and McCallum separated; they divorced two years later after ten years of marriage. Bronson and Ireland wed in 1968 and remained together until her death from breast cancer in 1990 at age 54. The couple appeared in 15 movies together (not counting a cameo by Ireland in Lola). Their best films together were the previously mentioned From Noon Till Three and Hard Times.

6. After his international box office successes, Charles Bronson returned to the U.S. to star in The Mechanic (1972). He played an assassin who trains a protege, played by Jan-Michael Vincent (Richard Dreyfuss was originally cast in the role, but later dropped out). While The Mechanic, The Stone Killer, and Mr. Majestyk all turned profits, it was Death Wish (1974) that made Bronson a household name in America. The controversial vigilante drama was condemned by some critics and praised by others. It was the thirteenth biggest domestic box office hit in 1974. It had staying power, too, not reaching on the top spot on Variety's box office chart until its twentieth week of release. In response to some of the negative film reviews, Bronson quipped: "We don't make movies for critics, since they don't pay to see them anyhow."

7. Charles Bronson was no stranger to television. He guest-starred on many popular 1960s TV series, to include: Alfred Hitchcock Presents, The Twilight Zone, Have Gun--Will Travel, The Untouchables, Dr. Kildare, Rawhide, The Big Valley, The F.B.I., and The Fugitive. In 1958, Bronson starred in his own TV series, Man With a Camera, for 29 episodes. He played a free-lance photographer in New York City in the half-hour show. Bronson joined the 1963-64 Western series The Travels of Jamie McPheeters at mid-season. A young Kurt Russell played the title role and the Osmond Brothers appeared in nine episodes. The 1965 theatrical film Guns of Diablo is an expanded version of the final episode of The Travels of Jamie McPheeters. Finally, Charles Bronson earned his only Emmy nomination (for best supporting actor) for the anthology series General Electric Theater. In the 1961 episode "Memory in White," he played a boxer alongside Sammy Davis, Jr. and Joe Besser (of the later Three Stooges).

A Double Bout of Amnesia: Love Letters and The Groundstar Conspiracy

Jennifer Jones and Joseph Cotten.

Love Letters (1945). During World War II, soldier Allen Quinton (Joseph Cotten) writes eloquent love letters on behalf of his less‑articulate comrade Roger. The woman receiving them, Victoria (Jennifer Jones), falls in love with the writer--whom she believes is Roger. She and Roger later wed, but the marriage ends in tragedy. The trauma results in amnesia, with Victoria forgetting everything about her past except the name Singleton. After the war, Allen struggles with PTSD. At a low point in his life, he meets a beautiful, strange woman with whom he connects instantly. She goes by a one-word name: Singleton.

Ayn Rand (The Fountainhead) penned the screenplay Love Letters from the novel Pity the Simplicity by Christopher Massie. It's a canny mixture of Cyrano de Bergerac and Random Harvest, though it never reaches those heights in terms of drama. The film's first half works best, with its emphasis on Allen and Singleton and their evolving relationship. Eventually, though, it turns into a somewhat conventional mystery with Allen trying to figure out what happened on the tragic night that caused the amnesia.

Jennifer Jones gives one of her most restrained performances. However, Cotten anchors the film with his quiet compassion. Surprisingly, he was the second choice for the role of Allen, with Gregory Peck turning down the part. The strong supporting cast includes a very likable Ann Richards, Cecil Kellaway in a role that should have been larger, and Glady Cooper in a brief, compelling appearance.

Love Letters earned four Academy Award nominations: Best Actress for Jennifer Jones; Best Score and Best Song for Victor Young; and Best Art Direction (black & white). 

I always find a certain charm about Hollywood's recreation of England in the 1930s and 1940s (see The Ghost and Mrs. Muir, The Uninvited). Love Letters is another fine example, aided by Lee Garmes' evocative cinematography. The acclaimed Garmes worked with Jennifer Jones on three films, the other two being Since You Went Away (1944) and Duel in the Sun (1946). 

George Peppard as Tuxan.

The Groundstar Conspiracy (1972). A sabotage attempt at a top‑secret research facility leaves a single survivor: a badly injured man who insists he has no memory of who he is or why he was there. Government investigator Tuxan (George Peppard) becomes convinced the man—now calling himself Welles—is a spy, and he pressures him for answers. As Welles (Michael Sarrazin) struggles to piece together fragments of his identity, a larger web of deception emerges, revealing that the truth behind the break‑in is far stranger and more unsettling than anyone expected.

The Groundstar Conspiracy was one of several amnesia films made in the 1960s and early 1970s (others include Mirage, Mister Buddwing, and Jigsaw). It's an efficiently made movie that holds interest without delivering the thrill its teases. The big twist at the climax, while lacking originally, works surprisingly well. And that's important in a film like this, because if the "big reveal" is a letdown, then the audience may feel ripped off for investing its time in a shoddy product.

George Peppard's "hero," Tuxan, is an unlikable, relentless security expert. To potentially gain information, he has no qualms about using a hidden camera to film an innocent woman--even when she is making love. Thematically, Tuxan's belief that potential intelligence outweighs an individual's privacy is the most provocative part of The Groundstar Conspiracy and an issue that remains relevant today. However, even of exploring this theme in depth (as The Conversation would do later), The Groundstar Conspiracy is content to function as disposable thriller.

Peppard is well cast, having long ago jettisoned the romantic, nice guy roles that stifled his early career (e.g., Home from the Hill, Breakfast at Tiffany's). He brings a hard edge and a rebellious attitude toward authority to his role. Michael Sarrazin does what he can as the amnesiac, but it's a thankless part to some extent because he essentially functions as what Hitchcock would call the MacGuffin.

I first saw The Groundstar Conspiracy on NBC's Monday Night at the Movies in the 1970s. While I forgot the plot over the years, the opening always stuck with me because of a very long pre-title sequence (an oddity at the time).

Top Ten Posts of 2025

It's a tradition at the Classic Film & TV Cafe to close out the year with a countdown of our ten most viewed posts. We published a total of 24 in 2025. That was our lowest number ever and a far cry from the days when we typically authored 100 posts or more annually.

Naturally, the countdown is a skewed, since those posts that were published at the start of the year will have more views. But that won't stop us...we love year-end lists!

We included only posts that were originally published during 2025. To build a little suspense, we'll begin at No. 10 and work our way to No. 1.

But before we get started, we want to thank each of you who visited this blog this year and send some extra love to those who took the time to leave comments.

10. John Frankenheimer's Black Sunday.

9. Charles Bronson Stages a Breakout.

8. Randolph Scott Rides Alone.

7. Seven Things to Know About Voyage to the Bottom of the Sea.

6. The Prisoner(s) of Zenda.

5. The Dirty Five Out West.

4. The Crime Doctor Solves the Millerson Case.

3. Bert I. Gordon's The Food of the Gods.

2. Revisiting The Red Shoes.

1. The "How to Destroy a Monster According to the Movies" Quiz.

Silly, Sometimes Funny is the Way to Go!

Shirley MacLaine in an Edith Head gown.

When widow Louisa May Hopper Flint Anderson Benson tries to give $211 million to the U.S. treasury, she is referred to a psychiatrist. She explains that she hates money and only wants to be happy. However, every time she marries, her current husband seems to make a boatload of money...and then die!

Louisa (Shirley MacLaine) tells her story in flashback, describing her marriages to a Thoreau-reading store owner (Dick Van Dyke), an avant-garde artist Paul Newman), a successful businessman (Robert Mitchum), and a corny performer (Gene Kelly). 

Made in 1964, What a Way to Go! is silly comedy with impeccable credentials. It was written by Betty Comden and Adolph Green, the team responsible for some of the 1950s most beloved musicals (e.g., Singin' in the Rain). It earned Academy Award nominations for Best Art Decoration and the costumes designed by Edith Head and Moss Mabry.

Shirley MacLaine with Gene Kelly as Pinky.

Those costumes are reason enough to see the movie! Shirley MacLaine must wear over a dozen of them, including a stunning backless swimsuit, an evening gown seemingly made of diamonds, and an all-pink outfit (pink wig, pink dress, pink gloves, etc.). MacLaine supposedly once said that What a Way to Go! "offered pretty good perks...(working with) Edith Head with a $500,000 budget, seventy-two hairstyles to match the gowns, and a $3.5 million gem collection loaned by Harry Winston of New York."

The best of the film's four subplots is the one with Gene Kelly as a small-town entertainer named Pinky Benson. After years of performing the same lame musical-comedy act in a local restaurant, Louisa convinces Pinky to be himself for his last performance. Dressed in a suit, he sings a romantic song...and becomes an overnight sensation. At the peak of his popularity, he has become an egomaniac starring in a five-and-half hour movie called Flaming Lips. When a studio executive suggests that he star in a remake of The Four Horsemen with "Frank, Marlon, and Cary," Pinky replies: "Why should I carry those deadweights? I'll play all four."

This story also features an extravagant musical number with Shirley MacLaine and Gene Kelly. MacLaine may not be Vera-Ellen or Cyd Charisse, but she can hoof it and pairs nicely with Kelly in a homage to Follow the Fleet.

Paul Newman as husband #2.

Surprisingly, What a Way to Go! was originally intended for Marilyn Monroe. Following her death, Shirley MacLaine was cast as the lead. I can't imagine Marilyn in the role, though no doubt the movie was rewritten to capitalize on MacLaine's talents.

Frank Sinatra and Gregory Peck were in the running to play one of Shirley's husbands in the movie. Fred MacMurray was briefly considered as a sixth husband. That was likely scrapped to keep the running time was going over two hours.

What a Way to Go! doesn't rank with Shirley MacLaine's best films, but it's mindless fun that occasionally generates some genuine laughs.