I Just Watched...

[LawrenceA]

East of Sumatra (1953) - Technicolor exotic melodrama from Universal Pictures and director Budd Boetticher. Jeff Chandler stars as Duke Mullane, a square-jawed man's man in charge of starting up a tin mining operation on a small island at the title locale. The chieftain of the natives, Kiang (Anthony Quinn), reluctantly agrees to allow the mining to begin, and to provide laborers from among the tribesmen, in exchange for much needed medicine. This tenuous working relationship is strained when corporate boss Catlin (John Sutton) reneges on the medicine, and Kiang's fiancee Minyora (Suzan Ball) starts making time with Duke. Also featuring Marilyn Maxwell, Jay C. Flippen, Peter Graves, Earl Holliman, Aram Katcher, Anthony Eustrel, Eugene Iglesias, James Craven, John Warburton, and Scatman Crothers.

An interesting cast and an exotic location are wasted with tired melodrama and uninspired scripting. Chandler comes across as a thick-headed cliche, and most of his crew act like morons. Quinn tries to imbue his king with quiet dignity, but he often just looks embarrassed. The lovely and tragic Suzan Ball (second cousin to Lucille Ball, briefly the wife of Richard Long, and dead at age 21 in 1955 of cancer) is a highlight of the movie.    (6/10)

Source: rarefilmm.com. The copy uploaded is from a recording off of AMC in the "good old days".

 

[EricJ]

6 hours ago, LornaHansonForbes said:

Also re: BRAINSTORM 

I read the lengthy IMDb trivia section for the film, and I got pretty lost. It talked about what the director wanted to do (F/X wise) and started talking about the aspect ratio and frames per second and it went over my head w/ technical moviemaking jargon.

Basically, in layman's terms:
What Trumbull WANTED to do was film the Walken/Wood scenes in normal film, and the SFX headset footage in his cool new Hobbit-style 60fps-HFR Showscan.  Even if theaters had the projectors to do that, switching back and forth would have burned them out in minutes, so he just switched to the "screen ratio" trick:  The audience would be used to seeing the normal actor scenes in an "average" movie-screen 16:9, until the headset footage suddenly switches to a big widescreen 2.35:1, and then back to normal again...Oo, what just happened, it looked so immersive?  

We didn't notice it on Brainstorm, but we did start noticing the trick once Tim Allen was launched into space in "Galaxy Quest".

[speedracer5]

7 hours ago, LornaHansonForbes said:

There is an especially strange moment in BRAINSTORM when Wood and Walken's characters are selling their ridiculously over-the-top dream home to a couple because they are estranged and expecting to get a divorce.  For some reason they have a swimming pool river running through the middle of the house, which I can only imagine makes the whole place reek of chlorine. Anyhow there's a long shot where everyone is discussing the sale of the house and Natalie's back is to the camera the entire time. It's like a two minute scene. And I figured it must've been a double for Wood, but then at the very end she turned around and it was Natalie wood. I have no idea why they wanted to film the actual, real Natalie Wood with her back to the camera for two minutes, but apparently they did. As far as the rest of her shots being done with the double, I couldn't really tell, but I did not watch the movie closely after the first half hour

I've only seen parts of Brainstorm and lost interest in it very quickly.  What I've heard is that they used some footage they already had of Natalie to re-edit some scenes in the film and they also reconstructed the end of the film with footage of Natalie.  They used a stand-in to fill in some missing shots. 

It's a shame that Natalie's last film was this one.

[speedracer5]

7 hours ago, spence said:

WE SPLIT HERE ON BRAINSTORM THOUGH   Not a great film, but well-made & it's direrctor DOUGLAS TRUNMBULL designed many of the rides at Universal & other theme parks  It didn't get released until almost 2yrs after she went

Are you split with yourself? 

[rosebette]

Ever in My Heart (1933) - This was a surprise to me.  It's a Warner Pre-code with Barbara Stanwyck, Otto Kruger, and Ralph Bellamy.  From the one line synopsis, I expected it to be about German espionage in WWI, but I found this tightly crafter little picture to be an honest look at xenophobia and nationalism and the tragedy that can result.  I won't give the whole plot away due to the danger of spoilers, but Stanwyck plays a young woman from a prominent small town family who marries a German academic, pre-WWI, but the anti-German sentiment as the war breaks out destroys their marriage.  Stanwyck's performance is a revelation, starting from a young bride to a toughened female in uniform.  This is also one of Ralph Bellamy's early roles (already losing the girl in the first reel).  Otto Kruger delivers a sensitive and nuanced performance; perhaps if he hadn't been German, he could have been destined for more than supporting roles.  Anyway, this film is an excellent argument for the "No film longer than 2 hours" thread, as it takes the viewer through the emotional ringer in about 68 minutes, with no cop outs or pat Hollywood endings.  An unrecognized classic that is still relevant today.

[Guest]

Between "Arsenic And Old Lace" and "Annie Get Your Gun," was a fabulous short called, "Let's Sing A Song Of The West."

I have to be thankful to TCM. I didn't know many of these movies before. I knew Betty Hutton only as a singer. "Bushel And A Peck" with Perry Como. Howard Keel from "Dallas."

It is unfortunate the "Leonard Bernstein" is not better quality. Too bad it was television and not film. Still, it is good.

[EricJ]

44 minutes ago, speedracer5 said:

Are you split with yourself? 

I've often thought that theory--It would explain a LOT.  

[scsu1975]

20 minutes ago, rosebette said:

Ever in My Heart (1933) - This was a surprise to me.  It's a Warner Pre-code with Barbara Stanwyck, Otto Kruger, and Ralph Bellamy.  From the one line synopsis, I expected it to be about German espionage in WWI, but I found this tightly crafter little picture to be an honest look at xenophobia and nationalism and the tragedy that can result.  I won't give the whole plot away due to the danger of spoilers, but Stanwyck plays a young woman from a prominent small town family who marries a German academic, pre-WWI, but the anti-German sentiment as the war breaks out destroys their marriage.  Stanwyck's performance is a revelation, starting from a young bride to a toughened female in uniform.  This is also one of Ralph Bellamy's early roles (already losing the girl in the first reel).  Otto Kruger delivers a sensitive and nuanced performance; perhaps if he hadn't been German, he could have been destined for more than supporting roles.  Anyway, this film is an excellent argument for the "No film longer than 2 hours" thread, as it takes the viewer through the emotional ringer in about 68 minutes, with no cop outs or pat Hollywood endings.  An unrecognized classic that is still relevant today.

Thanks for that review. It was a surprising good film, despite being one of the most depressing films I'd ever seen. There were some scenes which seemed out of place, almost comical; the old women whispering about what the Germans do to prisoners, for instance, and Elizabeth Patterson packing heat and poison in case she gets captured.

This film should have been subtitled They Made Me a Hun.

[rosebette]

21 minutes ago, scsu1975 said:

Thanks for that review. It was a surprising good film, despite being one of the most depressing films I'd ever seen. There were some scenes which seemed out of place, almost comical; the old women whispering about what the Germans do to prisoners, for instance, and Elizabeth Patterson packing heat and poison in case she gets captured.

This film should have been subtitled They Made Me a Hun.

I think it was intended to be comical, I think, to point out the absurdity of the propaganda.  There's some irony and foreshadowing in the poison (the purpose for what it's intended and for which it's actually used), but to say more, I'd be offering a spoiler.

[LawrenceA]

Forever Female (1953) - Backstage comedy from Paramount Pictures and director Irving Rapper. Playwright Stanley Krown (William Holden) has a hot new script, and star actress Beatrice Page (Ginger Rogers) wants the lead, only she's too old for it. Her ex-husband and producer Harry Phillips (Paul Douglas) tries to let her down easy. but it's complicated when ambitious newcomer Clara Mootz (Pat Crowley) decides that the role is her ticket to stardom. Also featuring James Gleason, George Reeves, Jesse White Marjorie Rambeau, King Donovan, and Marion Ross.

This reminded me of a number of sophisticated comedies from the 1930's combined with a lighthearted, but still stinging, take on All About Eve. Paramount was really betting big on Pat Crowley, giving her a special "and Pat Crowley" credit at the beginning, and another at the end that stated "introducing a major new star - Pat Crowley". She didn't really do anything for me, and I didn't see what the fuss was about. Ginger was good in a role that took some courage for a working actress at the time. There was a bit too much of a "been there and done that" feeling about the whole thing, though, and I can't say that I'll recall much of this by this time tomorrow.    (6/10)

Source: Amazon video.

 

[Princess of Tap]

17 minutes ago, LawrenceA said:

Forever Female (1953) - Backstage comedy from Paramount Pictures and director Irving Rapper. Playwright Stanley Krown (William Holden) has a hot new script, and star actress Beatrice Page (Ginger Rogers) wants the lead, only she's too old for it. Her ex-husband and producer Harry Phillips (Paul Douglas) tries to let her down easy. but it's complicated when ambitious newcomer Clara Mootz (Pat Crowley) decides that the role is her ticket to stardom. Also featuring James Gleason, George Reeves, Jesse White Marjorie Rambeau, King Donovan, and Marion Ross.

This reminded me of a number of sophisticated comedies from the 1930's combined with a lighthearted, but still stinging, take on All About Eve. Paramount was really betting big on Pat Crowley, giving her special "and Pat Crowley" credit at the beginning, and another at the end that stated "introducing a major new star - Pat Crowley". She didn't really do anything for me, and I didn't see what the fuss was about. Ginger was good in a role that took some courage for a working actress at the time. There was a bit too much of a "been there and done that" feeling about the whole thing, though, and I can't say that I'll recall much of this by this time tomorrow.    (6/10)

Source: Amazon video.

 

Pat was not on the level of movie stardom, but she turned out to be a good utilitarian actress for classic TV series like Maverick and Alfred Hitchcock Presents. I can also remember her on the debut original episodes of The Untouchables  on the Desilu Playhouse.

I believe in the 60s, she briefly had our own series, which was take off on the Doris Day movie, Please Don't Eat the Daisies.

[cigarjoe]

The Blackout (1997) Experimental film by Abel Ferrara, starring Matthew Modine, Dennis Hopper, and Claudia Schiffer, watched it for sh*ts and giggles. Much ado about nothing... I'd ever watch again. lol. 6/10

[LawrenceA]

The Girl Next Door (1953) - Technicolor musical romance from 20th Century Fox and director Richard Sale. Broadway star Jeannie Laird (June Haver) buys a house in upstate New York and begins a romance with her new next door neighbor, comic strip artist and single dad Bill Carter (Dan Dailey). Also featuring Dennis Day,Cara Williams, Billy Gray, Clinton Sundberg, Natalie Schafer, Hayden Rorke, and Mary Jane Saunders.

This is a mild, pleasant entertainment with good performances from Haver and Dailey. I wasn't familiar with Dennis Day, who also got credited above the title. He was a radio star who occasionally made film and TV appearances. I can't see the appeal based on this, though. This was his last movie. This was also June Haver's final film role. There's an animated dream sequence that's just a time-filler.    (6/10)

Source: Fox DVD.

[LawrenceA]

Girl on the Run (1953) - Ultra-low-budget carnival noir, from Astor Pictures and directors Arthur J. Beckhard & Joseph Lee. Bill Martin (Richard Coogan) is a reporter in hiding after being accused of a murder he didn't commit. It's an attempt to shut him up after he started to expose a vice racket involving a seedy local carnival. Bill isn't alone, as his girlfriend Janet (Rosemary Pettit) is also in hiding. She gets a job as a dancer in the carnival's burlesque show, but the cops and the shady characters behind the racket are closing in. Also featuring Frank Albertson, Harry Bannister, Charles Bolender, Edith King, Scott Hale, John Krollers, Joseph Sullivan, Renee De Milo, and Steve McQueen.

There's more style than expected to this very meager production, with excellent set layouts and sound design masking the limited resources available to the filmmakers. A lot of the brief 64 minute running time is taken up by low-rent burlesque dance acts. The acting is underwhelming, although I was impressed by Charles Bolender as the carnival boss. It's a rare dignified character given to a dwarf actor during this period. Look closely at the various rubes in the carnival crowd scenes to spot Steve McQueen in his film debut.     (5/10)

Source: Something Weird/Image Entertainment DVD.

Little Stevie McQueen tries out the strongman test.

[Tikisoo]

Haha I like how they designed the suits so the belly button doesn't show!

A really really good film about "burlesque dancers" is Jacques Poitrenaud's 1963 STRIP-TEASE starring the gorgeous Nico. I'm lucky enough to have it on DVD, but I'll bet you can find it streaming somewhere out there in the ethernet. Nico's schtick is performing with a puppet!

[Sepiatone]

Actually, look up the word "burlesque" and you'll notice the first few definitions have nothing at all to do with the removal of clothing.  How it got reduced to many thinking that's ALL it means is mysterious to me.  

Sepiatone

[TomJH]

Sign of the Cross (1932)

One of the most sadistic and sexually perverse of all pre-code films, Cecil B. DeMille's religious epic about the persecution of the Christians in Nero's Rome was instrumental in the formation of the Catholic Legion of Decency within a couple of years of its release. This production, which almost appears as a promotion of paganism more than Christianity (those pagans are sure having a lot more fun), is also, for the most part, splendidly entertaining and has to rank as one of the director's most enjoyable films.

As successful as DeMille had been with his series of sexual fables, westerns, modern dramas and, above all, epics during the silent era, by the time this film went into production he had just suffered two talkie box office flops in a row, Madam Satan and The Squaw Man. DeMille had a difficult time finding a studio interested in financing this production (based on a stage play and having been previously filmed in 1914) before Paramount finally agreed.

Even then, though, the director had to borrow half of the $650,000 budgeted for the film. But he, cinematographer Karl Struss and art director and costume designer Mitchell Leisen, through the artful use of miniatures among other things, managed to make the final film look like a million dollar production. And it would be, of course, a tremendous box office hit for DeMille. The producer director may best be remembered today for the 1956 Ten Commandments but there would probably never have been a Ten Commandments or any other DeMille epic, for that matter, if The Sign of the Cross had flopped.

But, as they say, sex sells, particularly when accompanied with large chunks of sadism. And in such lavish style!

The story bears a striking resemblance to that of Quo Vadis? with its tale of a Roman prefect who falls in love with a Christian girl in a Rome ruled by a psychopathic emperor Nero and his plotting queen. While the scene with the Christians in secretive prayer meetings is slow and more than a little dull, it's spruced up by the Roman soldiers slowly sneaking up on the meeting in the dark to perform a bow and arrow and spear chucking ambush upon them.

The cast is impressive, headed by Fredric March as a chariot driving Marcus Superbus, prefect of Rome and eventual sucker for a Christian girl (played with appropriate virginal innocence by Elissa Landi). One may be initially a little taken aback by March's tightly curled permed hair but in playing a lusty Roman used to having his way who (predictably) falls for the Christian girl the actor, still riding high after his success as Dr. Jekyll and Mr. Hyde, gives an intelligent interpretation of his role.

Charles Laughton, with a putty Romanesque nose attached to his face, gives an enjoyably hammy portrayal of Nero, happily playing a lute and spouting "poetry" in the film's opening scene as Rome burns or later, while lying on a couch as half naked hand maidens paint his finger and toe nails, complaining of his headache after the previous night's "delicious debauchery." The actor provides strong hints of bisexuality in his portrayal.

But perhaps the best of all is Claudette Colbert in an important breakthrough role for the actress as the wicked Queen Poppaea. Her opening scene in the film is her most famous, as she bathes in a s s e s' milk, with hand maidens in attendance and kittens lapping at the milk. One has to wonder about the number of retakes that may have been involved as DeMille shoots the scene with the line of milk barely (and I do mean that word) above the actress's nipples. In fact, for one brief half second, the audience even gets a glimpse of one of them.

The queen's bisexuality is on display, too, as she asks a patrician visitor to doff her clothes and join her in the bath. The camera pans down the woman's legs as her clothes drop to the floor, lingering for five seconds or so upon her sandal wearing feet (DeMille is said to have had a fetish about feet).

Colbert brings style and a sly sophistication to her character, along with a certain playfulness, morally corrupt as she may be. Probably the most famous dialogue exchange in the film is a brief five word one. After Colbert, jealous of March's love for the Christian girl, convinces Nero, much against March's pleading, to condemn the girl to death along with all the other Christians, March confronts the queen alone.

"You harlot!" he says to her with contempt.

Colbert smiles and shrugs her shoulders.

"I love you," she replies, languidly walking past him.

Impressive as the first three quarters of the film is, it's when the Coliseum games are put on in the film's final half hour that DeMille's knack for epic crowds, sexuality and sadism come into full play. Christians pray in the dungeons below (soon to become victims of lions) while above the Coliseum audience, as well as the film's viewers, get an eyeful.

There is death by elephant trampling, death by tigers, combat with bears. Gladiators battle one another with spiked gloves to slash one another's face open. Amazon women battle African pygmies, one of the pygmies held over one of the Amazon's heads after being skewered by a sword.

There will be a beautiful naked screaming Christian girl, garlands of flowers draped over her breasts and crotch only, suspended in the air as she is tied between two poles as hungry alligators move in on her. There will be another beautiful Christian girl, every bit as naked, tied to a post as a gorilla (or, at least, a man in an ape suit) lumbers towards her.

Some of the scenes, such as the gorilla one, would be edited out of reissues of the film, and it was the chopped version of the film (the 1944 reissue with a WW2 prologue and actor Stanley Ridges, who does not appear in the 1932 original) that would later be the only ones available to television audiences for years.

Another scene missing in prints for years was actress Joyzelle Joyner's "dance of the naked moon" as she undulates around Elissa Landi in movements with blatant lesbian overtones.

As the games are about to begin and the gladiators salute their emperor, a distinctive booming voice can be heard, "We who are about to die salute thee." It is the unmistakable sound of John Carradine's voice, though we do not see him. Shortly afterward the then unknown character actor can be seen among the Christians being herded up a flight of dungeon stairs to their death in the arena.

It's been years since TCM last showed this film (2005, I believe) and I wouldn't hold my breath for their next broadcast. Fortunately The Sign of the Cross has been restored to its original 124 minute length and it is that version that has been released by Universal in a fine looking DVD that reflects the visual black and white richness of the production. The version I have is from The Cecil B. DeMille Collection (one of five films, along with Cleopatra, Four Frightened People, The Crusades and Union Pacific). The film can also be found on another DVD by itself but I'm not certain of the quality of that image.

3 out of 4

 

[LornaHansonForbes]

Now that I'm back at my computer, there is one other thing about BRAINSTORM (1983) that I wanted to bring up

(apologies as always but...)-

Any of the rest of you who've seen it, tell me: did you find the fact that NATALIE WOOD AND CHRISTOPHER WALKEN'S CHARACTERS HAVE A SWIMMING POOL/RIVER FLOWING THROUGH THE MIDDLE OF THEIR LIVING ROOM MORE THAN A LITTLE ODD??????

(I did)

The scene where she and Walken- who are splitting up- are showing their dream** house to prospective buyers is SO ODD, And not just because (as aforementioned) so much of it is shot with Natalie's back to the camera (even though it was apparently the real Wood and not a double!)

Seriously, a "Lazy River" style swimming pool just flows right through their damned living room, I have no idea where it started or where it emptied, BUT THEIR KID WAS SWIMMING LAPS IN IT.

I wonder sometimes-

WHO DID NATALIE WOOD SAY "GO **** UP A ROPE" TO THAT THEY WENT AND AS REVENGE INSERTED SCENES WITH DEEP WATER INTO EVERY DAMN MOVIE SHE DID NO MATTER WHETHER IT MAKES ANY SENSE OR NOT?

Well, not every one, but...

in the scene, she has to tap her son who is doing laps IN THE LIVING ROOM POOL with her toe (to get her attention) and hang on to the pool ladder to reach down to do it and it IS JUST SO ODD!

(even trying to describe it is odd.)

CAN YOU IMAGINE THE REEK OF CHLORINE ALL OVER THE HOUSE? THE INCESSANT HUMIDITY!!!??? THE SKY-HIGH HOMEOWNER'S RATES YOU MUST HAVE TO AFFORD TO HAVE A MOTHERTRUCKING SWIMMING POOL RUNNING THROUGH YOUR DAMN HOUSE!!!???

 

**they must've stayed in a Holiday Inn in Boca Raton and had a revelatory decorative moment or something.

 

[LornaHansonForbes]

SERIOUSLY, I COULD BUY THE WHOLE VIRTUAL REALITY, EXPERIENCING HEAVEN AND HELL, TECHNOBRAINWAVE THING, BUT A SWIMMING POOL RIVER IN SOMEONE'S LIVING ROOM WAS A STEP TOO DAMN FAR FOR ME.

(tried to find pics of the scene to include for reference, but it's a google images challenge)

ETA. FOUND IT:

[LornaHansonForbes]

The cases and cases of DAMP RID you would go through in a year...!!!!!!

(Ok, I'll shut up now)

[speedracer5]

8 minutes ago, LornaHansonForbes said:

The cases and cases of DAMP RID you would go through in a year...!!!!!!

(Ok, I'll shut up now)

The pool in the living room seems like something a child or an eccentric rich person would think up. I agree, the chlorine and humidity would be horrendous. Not to mention if people started using the pool as their personal toilet. And who’d want to worry about falling into their pool accidentally or dropping some priceless family heirloom into it?

There are just so many issues that would come from having a pool in the living room. 

[cigarjoe]

5 hours ago, Sepiatone said:

Actually, look up the word "burlesque" and you'll notice the first few definitions have nothing at all to do with the removal of clothing.  How it got reduced to many thinking that's ALL it means is mysterious to me.  

Sepiatone

guess you may want to visit one then....

[NickAndNora34]

ANT-MAN AND THE WASP (2018) Score: 3.5/5

Starring: Paul Rudd, Evangeline Lilly, Michael Pena, Michael Douglas, Michelle Pfeiffer. 

Marvel's second installment of the "Ant-Man" series. I would call myself a fan of Marvel movies, but it's my own personal opinion that the Ant-Man and Iron Man movies are more enjoyable than some of the other superhero movies (I'm looking at you, Thor 2 and Guardians of the Galaxy 2). 

Without giving too much away for those who want to see this one, I'd like to just say it was entertaining and enjoyable. The end credits scene was upsetting, even though I knew what was going to happen even before seeing the movie. Marvel mogul Stan Lee's cameo was funny in this one. Glad to see he's still going strong. 

[cigarjoe]

16 hours ago, LawrenceA said:

Girl on the Run (1953) - Ultra-low-budget carnival noir, from Astor Pictures and directors Arthur J. Beckhard & Joseph Lee. Bill Martin (Richard Coogan) is a reporter in hiding after being accused of a murder he didn't commit. It's an attempt to shut him up after he started to expose a vice racket involving a seedy local carnival. Bill isn't alone, as his girlfriend Janet (Rosemary Pettit) is also in hiding. She gets a job as a dancer in the carnival's burlesque show, but the cops and the shady characters behind the racket are closing in. Also featuring Frank Albertson, Harry Bannister, Charles Bolender, Edith King, Scott Hale, John Krollers, Joseph Sullivan, Renee De Milo, and Steve McQueen.

There's more style than expected to this very meager production, with excellent set layouts and sound design masking the limited resources available to the filmmakers. A lot of the brief 64 minute running time is taken up by low-rent burlesque dance acts. The acting is underwhelming, although I was impressed by Charles Bolender as the carnival boss. It's a rare dignified character given to a dwarf actor during this period. Look closely at the various rubes in the carnival crowd scenes to spot Steve McQueen in his film debut.     (5/10)

Source: Something Weird/Image Entertainment DVD.

Little Stevie McQueen tries out the strongman test.

 

A shout out to Renee de Milo (her only credit) where ever she may be, she plays the headliner stripper Gigi. She does a complete dance and is so good at it that I suspect that she was an actual carnival stripper. She does her act without removing her bikini type outfit but she's got the moves down so good that you can easily imagine what she'd display. Check out Carnival Strippers - Early Years (1971-1978) | by Susan Meiselas for a reference work.

A 1961 Post story counted four strip houses and two belly dancer clubs in the neighborhood. The author noted the Blue Mirror's beginnings as a jazz club: "But jazz didn't pay so they turned to the money makers, the girls."

A Blue Mirror ad from the time touted seven featured dancers, including Renee de Milo."6'4" of Sex, Song and Satire.""

Rene de Milo.

 

Eddie Kaplan Agency Publicity still

November ‘55 issue of ‘CABARET’ magazine article about Renee and below a publicity flyer from the Eddie Kaplan Agency Inc., 1564 Broadway, New York, New York

 

 

[LawrenceA]

Island in the Sky (1953) - Aviation/man-vs.-nature drama from Warner Brothers and director William Wellman. A U.S. military transport plane, piloted by Captain Dooley (John Wayne), is forced to make an emergency landing on a frozen lake many miles into uncharted territory in the frigid Canadian northeast. Dooley and his four man crew must try to survive until they can be rescued, but the nature of their surroundings will make it a herculean task, both for the men on the ground and the several crews up in the air. Also featuring Lloyd Nolan, Andy Devine, Walter Abel, James Arness, Allyn Joslyn, Sean McClory, Jimmy Lydon, Carl "Alfalfa" Switzer, Fess Parker, Mike Connors, Paul Fix, Darryl Hickman, Herbert Anderson, Bob Steele, Harry Carey Jr., Regis Toomey, Louis Jean Heydt, Hal Baylor, Wally Cassell, Frank Fenton, Gordon Jones, Ed Fury, Robert Keys, Sumner Getchell, and Ann Doran.

This is one of the better aviation disaster and winter survival movies that I've seen. It eschews sensationalism for methodical realism, and aviation buffs will find a lot of interest. The cast is very ensemble-based, with no stand-out stars, and that includes John Wayne, who gives a good, nuanced performance. There are a lot of familiar faces in this one, including many future TV stars. This movie also serves up the unforgettable sight of Andy Devine in swim trunks. This was a production of John Wayne and Robert Fellows, who retained the rights, which explains that while this has the Warner Brothers logo at the beginning, since they distributed the movie theatrically, the DVD is from Paramount. This was also one of those "vault" pictures that Wayne kept out of circulation for a couple of decades. It was worth the wait.     (7/10)

Source: Paramount DVD.

But what an awful poster...