Mandy and A Boy Ten Feet Tall

Mandy Miller as Mandy.

Mandy (aka Crash of Silence) (1952). The lives of Christine and Harry Garland are thrown into turmoil when they discover that their young daughter, Mandy, is congenitally deaf. The parents grapple with their own misconceptions and differing views on how to best support Mandy. Should she be kept at home for private tutoring, as her grandparents suggest, or placed in a school with other deaf children? The tension between the parents, fueled by suspicions of an affair, add emotional weight to the narrative. The first-rate British cast shines all around. Phyllis Calvert and Terence Morgan capture the parents’ emotional struggles as they try to determine if their actions reflect what they want or what their daughter Mandy needs. Jack Hawkins shines as an instructor at the deaf school, whose intense focus on his students puts him at odds with an influential member of the school's board. Finally, there is the young actress Mandy Miller (who was not deaf in real life), who plays Mandy. With very limited dialogue, she expresses the young girl's loneliness, confusion, and frustration, especially when placed in the boarding school and separated from her family. (Incidentally, that's Jane Asher--Paul McCartney's one-time girlfriend--as Mandy's eventual friend at school.) Director Alexander Mackendrick, best known for his Ealing comedies and the noirish Sweet Smell of Success (1957), deserves praise for sensitively portraying Mandy’s world. Through her eyes, we witness the challenges of communication, isolation, and the desire to connect with others. (You can stream Mandy for free on the Million Dollar Movie Classics channel.)

Fergus McClelland and Edward G. Robinson.

A Boy Ten Feet Tall (aka Sammy Going South) (1963).  Another Alexander Mackendrick film with a young protagonist, A Boy Ten Feet Tall focuses on ten-year-old Sammy Hartland. After his parents are killed during the Suez Crisis in 1956, Sammy embarks on an epic journey from Egypt to South Africa. Armed with only a toy compass and the knowledge that his goal to is to travel south, Sammy sets out to find his aunt in Durban. He encounters a variety of characters along the way, including: a Syrian nomad who hopes to profit off Sammy; a well-meaning American tourist; and a kind-hearted diamond smuggler. Despite the immense challenges he faces, including the loss of his parents and the daunting task of traveling across a continent, Sammy remains determined and resourceful. His character evolves from a vulnerable child into a strong and independent young boy, showcasing his inner strength and adaptability. Newcomer Fergus McClelland makes a likable lead, but Edward G. Robinson delivers the film's standout performance as Cocky Wainwright, the diamond smuggler who temporarily becomes Sammy’s surrogate father. Robinson brings warmth and subtle compassion to the role, creating a character that is both gruff and endearing.  Director Mackendrick masterfully allows the audience to see the events through Sammy’s eyes, much as he did with the young protagonist in Mandy. This perspective ensures that the film remains focused on Sammy’s emotional journey, making it a poignant and engaging--if episodic--adventure. The mostly on-location shooting brings a raw, realistic quality to the film, highlighting the vastness and beauty of the African continent. This review is based on the 118-minute cut of A Boy Ten Feet Tall, which you can view stream for free on the Million Dollar Movie Classics channel. The original 129-minute version is believed to be lost. An 88-minute version was released to theaters in the U.S. in the 1960s.

Picnic and Written on the Wind

Kim Novak and William Holden.

Picnic (1955). Joshua Logan, who directed the stage version William Inge's Pulitzer Prize-winning play, also directed this screen adaptation. Set in a small Kansas town, the story revolves around Hal Carter (William Holden), a charming drifter who arrives in town seeking employment and a fresh start. He reconnects with his old fraternity friend, Alan Benson (Clift Robertson), the son of a wealthy businessman. At the town's annual Labor Day picnic, he attracts the attention of Madge Owens (Kim Novak), the local beauty queen and Alan's girlfriend. As Hal and Madge's attraction grows, it causes tension and reveals the hidden desires and frustrations of several townsfolk. At age 37, Holden was perhaps a little old for the role of Hal, but he projects weariness and vulnerability masked by Hal's bravado. Holden and Novak sizzle in their scenes together, particularly a dance at the picnic. As they draw closer to one another, their fingers interlocking momentarily, the music (the 1933 standard "Moonglow") merges into composer George Duning's exquisite Picnic love theme. It's a magical movie moment that lingers long after Picnic ends. Rosalind Russell and a teenaged Susan Strasberg get the best scenes among the supporting cast. Russell is almost too overpowering as a spinster teacher desperate for marriage. However, her outburst toward Hal at the picnic--in which she unleashes her sexual frustrations--shows Russell at her best. In contrast, Strasberg delivers a beautifully understated performance as Madge's bookish younger sister, who surprisingly understands her sibling better than anyone else. Picnic was adapted as a TV movie in 2000 with Josh Brolin and Gretchen Mol as Hal and Madge. It's pleasant enough, but lacks the urgency and sexual tension of the 1955 version.

Rock Hudson and Dorothy Malone.

Written on the Wind (1956). Alcoholic, millionaire playboy Kyle Hadley (Robert Stack) seems to have found meaning in life after falling in love with and marrying secretary Lucy (Lauren Bacall). However, jealousies are simmering beneath the surface. You see, Kyle's best friend Mitch (Rock Hudson) is already smitten with Lucy and Kyle's sister Marylee (Dorothy Malone), who loves Mitch, resents her brother's bride mightily. Based on a novel by Robert Wilder (Flamingo Road), Written on the Wind is a melodramatic big-screen soap that exemplifies director Douglas Sirk's signature stylistic flourishes. It is filled with bright colors, exaggerated sets that don't hide their artificiality, and over-the-top performances courtesy of Stack and Malone (who won a Supporting Actress Oscar). In contrast to their co-stars, Rock Hudson and Lauren Bacall take a low-key approach. That works well for Hudson, but not Lauren Bacall, whose character fades into the background after a promising introduction. Sirk's fans contend that he wanted to subvert American postwar materialism through his films. I prefer to view his work as character-driven stories told on a broad, bright canvas. Written on the Wind lacks the polish of Sirk's best dramas (All That Heaven Allows, Imitation of Life), but I do love the opening (and closing) scene where dead leaves blow into Stack's house through an open door. Incidentally, Wilder's novel was loosely based on the R.J. Reynolds family and dealt with the tobacco industry in North Carolina. For the film adaptation, the setting was changed to Texas and the family business to oil.