Category: Golden Age Article

Audio Drama Review: The Death and Life of River Song

Solving a mystery is hard. It’s even harder if you’re trying to do it on an Earth nearing an apocalypse. It’s particularly challenging if you’ve been dead for thousands of years. However, Professor River Song (Alex Kingston) has to do just that to return to her family and a happy electronic afterlife in the first box set, “Last Words”, for her new Doctor Who spin-off series from Big Finish Production, The Life and Death of River Song.

Background

For the uninitiated, or even those who only saw Doctor Who on television, some explanation is in order. River Song was introduced as a character in the fourth series of Doctor Who in 2008 in the two-part story, The Silence in the Library andForest of the Dead. She and the Doctor arrive at a mysteriously abandoned library planet. She knows who the Doctor (David Tennant) is but he doesn’t recognize her. The Doctor is a time traveler and she’d met him in his future and they’d had a life of adventures together and (it’ll eventually be revealed) she had married the Doctor. These adventures would play out onscreen during the tenure of Tennant’s successors, Matt Smith and Peter Capaldi.

In her first adventure on-screen, she dies heroically saving the Doctor. However, in last dramatic scene, the Doctor is able to save her data pattern and mental essence onto the library’s massive cloud, along with all the friends she had with her when they came to the Library, giving her a happy digital afterlife.

Of course, her further on-screen adventures add depth to her backstory. They also establish that she operated as a private eye during the 1930s, using the name Melody Malone.

In addition to her on-screen work, Kingston appears in twelve series’ worth of box sets in her previous series, The Diaries of River Song, as well as making guest appearances in numerous Big Finish Doctor Who audio series. None of these extra adventures are necessary to understand this set story, which occurrs after her time being stored in the library.

The Set-Up

It’s the distant future and apocalyptic solar flares are threatening to devastate Earth and its terrestrial-bound inhabitants, who long ago abandoned space travel. A multi-billionaire mogul (Greg Wise) has a bunker and plans to remake the world in his own image once the dust settles. But there’s a fly in the ointment, and mysterious forces could undermine his plans. To get to the bottom of this, he needs help. He acquires the library where River’s essence is housed and extracts that essence into a cloned body – a decaying cloned body.

He tasks River with finding a missing scientist who is the key to the whole conspiracy. If she helps him, she’ll get placed back in the library. If she doesn’t, she’ll die and be forever separated from her family. River thus finds herself alone, in an apocalyptic world of failing technologies and a doomed humanity. Her life depends on her uncovering a dangerous secret that people will kill to keep her from discovering.

Review

This isn’t the first time River Song has played detective (see my review of Series 7 of The Diary of River Song) but this story is different in that the entire four-hour box set tells a single story, a single apocalyptic mystery adventure. While the chapters have different titles, this is mostly a continual stream of the same story. Only the second chapter, “Fate and Fatality”, could be said to be set apart, as some listeners might be confused by River Song apparently being in a regency historical. But really it’s all the same piece.

What we’re given is a complex and well-developed plot that blends the detective and mystery genres seamlessly into the apocalyptic setting. The result is a thoroughly engaging bit of techno-noir within the frame of the Doctor Who universe.

As usual, Big Finish provides a solid cast of regulars from the British acting community with solid performances all around. Greg Wise is appropriately sinister as the ruthless billionaire. Jamie Parker does a great job playing a complex character whose morality and motives remain a mystery until the final chapter.

It’s Kingston who puts in the best performance. Writer Rob Valentine had been under the impression that this would be the last River Song story and wrote it accordingly. In the midst of the mystery and high-speed chases, Valentine shows sensitivity in exploring River as a character with emotional beats as she deals with living in a world without her husband or her library family. However, Valentine avoids making this a navel-gazing production by letting River Song’s actions show who she is more than her words.

Overall Thoughts:

It’s tough to make a four-hour full-cast audio drama work. But Big Finish nailed it. Last Words offers an engaging mystery, sci-fi action, a few laughs, and some beautifully played emotional moments that make this one of the best Big Finish releases of the year, and one of Kingston’s strongest performances.

Rating: 4.5 out of 5.0

The Death and the Life of River Song: Last Words is available exclusively through BigFinish.com through the end of the month

Audio Drama Review: Perry Mason: The Case of the Lucky Legs

A version of this article appeared in 2011.

Colonial Theatre released the third of its Perry Mason audio dramas, “The Case of the Lucky Legs.”  As with the first two, this is an audio drama based on the original Perry Mason novels of the 1930s, but produced in the 21st Century.

Perry Mason is retained initially to take legal action against a beauty contest promoter who cheated small-town businessmen and a local young woman by promising her stardom as the winner of a Lucky Legs contest and then leaving her high and dry in Hollywood. When Perry goes to have a discussion with the con man, he finds the man murdered.

Perry finds himself dodging the police until he can find the truth, questioning the witnesses, all while not even sure who the client is, as the man who gave a retainer for $5,000 to file the lawsuit keeps changing who Perry is supposed to represent.

The recording is quite a bit shorter than the previous Perry Mason stories that Colonial Theater had done and the length works for this story. It really creates a very tight and well-paced mystery. The plot is full of twists and surprises. At one point, Perry even hires another detective agency to spy on Paul Drake’s operative, only it turns out they are working for the man who paid him.

If there is one criticism I have for the production, it is that role of the winner of the Lucky Legs contest had a voice that didn’t fit the part. She sounded more like 14 rather than 21.  Still, that’s a minor flaw in a brilliant production.

Rating: 4.25 out of 5

Book Review: Bulldog Drummond

H.C. McNeile’s novel Bulldog Drummond (originally Bull-dog Drummond) successfully re-introduced the character of Hugh Drummond to the world (following a little-regarded short story in The Strand in which Drummond was a policeman). In the novel, Drummond is a veteran officer of the First World War who finds himself bored with peacetime living. He puts an ad in the London Times advertising for adventure and gets it when a young woman’s concern about his father’s business acquaintances puts Drummond up against a dangerous of ruthless gang of international conspirators.

Bulldog Drummond fits into a continuity of adventure and mystery literature. The catch-and-release game that Drummond and his foes play calls to mind books like The Lone Wolf and its protagonist, Michael Lanyard, a well as many other adventure books of the era. The concern about sensational conspiracies threatening civilization originated from Anarchist activity prior to World War I, the war itself, and the Bolshevik Revolution in Russia. A shadowy conspiracy overthrowing the established fo made for a good villain. It also called to mind several later works. Agatha Christie’s Tommy and Tuppence would use a similar newspaper ad to find adventure in The Secret Adversary two years later. While reading about Drummond’s escapades and the activities of the men who joined him, I couldn’t help but be reminded of The Saint novels by Leslie Charteris.

What sets Bulldog Drummond apart is the titular character. Drummond is unusual in that one of his most noted characteristics was that he was utterly unattractive. (This was an element that films forgot when casting actors like Ray Milland to play him.) The other key point is that Bulldog Drummond came out in an era when many literary adventurers were various shades of gray with criminals and ex-criminals like Boston Blackie, The Saint, and the Lone Wolf. By contrast, Drummond is a heroic figure, whose decision to delay involving the law reflects honor and love, not attempts to acquire boodle. Drummond is proficient and resourceful, but no genius, which means the spots he gets himself into believable and relatable.

Drummond comes off as a simple, likable hero. He defends the world from forces that seek to overthrow it, not because he believes in the status quo, but because he thinks that evolution, rather than revolution, is key to solving society’s ills.

Beyond that, Bulldog Drummond is a good solid mystery adventure story. If you enjoyed the other stories I’ve mentioned and are in the mood for something fun that’s similar to those, this is worth checking out.

Rating: 4 out of 5

Bulldog Drummond is in the Public Domain and can be read for Free at Project Gutenberg

Telefilm Review: Gabriel’s Fire: Pilot

As I was researching the career of James Earl Jones, I found out he had a detective series from 1990-91 called Gabriel’s Fire. The series has not been officially released on DVD but the pilot has been posted on YouTube.

Gabriel Bird (James Earl Jones) is an ex-cop serving a life sentence for murder. A friend is murdered in the prison yard and his friend’s lawyer Victoria Heller (Laila Robins) wants Bird’s help to find the killer, but Bird refuses to cooperate. She decides she wants his cooperation and so sets out to have him freed from prison and gets his two-decade-old murder conviction thrown out on a technicality.

If Heller getting Bird released from prison and getting a murder conviction thrown out without his cooperation is so uncomplicated (compared to actual cases) that it calls to mind comedian Ryan’s George’s catchphrase, “super easy, barely an inconvenience,” Bird’s reaction is much more grounded. While Heller had hoped for gratitude and for Gabriel to agree to help her investigation, what she gets is anger from a man who had long ago given up hope of getting out, and now has to cope with an unfamiliar world he isn’t ready for.

Jones is compelling throughout the episode, capturing the range of emotions of a man who has forgotten what it’s like to be on the outside and is unsure of his place of the world, plagued by his own feelings of guilt, and his fear of being abandoned and forgotten. He’s a man in his 50s who’s trying to figure out who he is. It’s a difficult process, but with some highlights. One of the best scenes is shortly after his release, when he orders a hot dog. It’s a simple scene that shows Jones’s superb talent.

Beyond establishing Bird as a character, and also establishing some plot points that could be addressed in the series proper (his missing ex-wife and daughter, and the police having it in for him), the episode spends most of its time with Bird in the stage of “rejecting the call to adventure,” a stage of the hero’s journey. When he does finally take the case, he manages to solve it within minutes of screen time. The pilot probably would have benefitted from being TV movie length. Still, for as quick as the resolution was, it was still dramatically satisfying and moved Bird’s character forward.

All in all, it was a fascinating hour of television that left me eager to view more. It’s easy to see that Jones won an Emmy for his work on the series. I really hope that rights holders will make this series available on streaming or DVD.

Rating: 4 out of 5

Telefilm Review: Mathnet: The Problem of the Passing Parade

James Earl Jones passed away on September 9th. He was a part of American culture in so many ways. His voice was Darth Vader and Mufasa, and his “People Will Come” speech from Field of Dreams is something every good baseball fan watches every year.

Yet there were other roles. One of my earliest experiences with James Earl Jones was in the 1980s “Mathnet” sketch on PBS’ Square One TV, where Jones plays Chief Thad Green. These programs helped build my love of mysteries. I decided to review one of these cases that made its way onto the Internet.

Background:

Square One TV aimed to teach kids mathematic principles through a series of sketches. These included game shows, sitcom parodies, a Pacman-themed video sketch called “Mathman”, an animated do-gooder called Dirk Niblick, and there was even music videos. Who could forget the Meatloaf-inspired 8% of My Love?

But the segment I loved the best, and which came to dominate the show in its later seasons was “Mathnet.” This Dragnet pastiche features two mathematicians who use math to solve criminal cases. The narrator/Joe Friday parody was Kate Monday (Beverly Leech). In later seasons, she’d be replaced by Pat Tuesday (Toni Di Buono). The partner throughout was Office George Frankly (Joe Howard), who leaned into the zaniness Harry Morgan brought to the role of Bill Gannon. Jones played their boss, Chief Thad Green.

The character’s name is a major Easter egg for fans of the original Dragnet. The name of the second boss on the Dragnet radio series and during the first Dragnet TV episode in 1951 was Thad Brown. This indicates the level of awareness and respect the creative team had for the source show, even though they were making a kids’ TV sketch.

“The Problem of the Passing Parade” was aired as a 9-minute segment on each daily episode of Square One between February 9 and February 13, 1987.  The program begins when Green asks the two mathematicians to help him use some math to plan the logistics for a parade to honor music legend Steve Stringbean (a Bruce Springsteen knock-off played by Alan Schrock). They work out various aspects of security and crowd control using math, but then get word that Stringbean has been kidnapped. With the aid of a young eyewitness, and drummer nicknamed Rimshot (Andre Gower), who is a friend of the kidnapped superstar, they set out to solve the case.

Educational Value:  While I was very entertained by the series as a kid, watching it as an adult nearly forty years later, I realized, “They were teaching us some things.”  Some of the mathematics in this particular episode may have been a bit over viewers’ heads, likely with the hope that they would retain them long-term as they dealt with some of the mathematics of music and the chromatic scale. But for the purpose of the episode, they make it simple enough that your average elementary school kid can follow it. Beyond just the type of math, the episode teaches problem-solving skills. It also introduces kids to the ideas of databases and gives an understanding of how those work, which is something that would become very relevant in the lives of many viewers. In addition, the whole episode makes math look like something relevant that viewers would use in their everyday lives, without being preachy about it. It’s a very solid and worthwhile approach that still stands up.

Comedy: Joe Howard is a delight as George Frankly, making the character hilarious and lovable. While he’s a bit kookier than Gannon, that works for fine on children’s television. Yet he’s never too wacky, can contribute to the problem-solving and knows his math. However, whenever they’re not calculating, George can deliver the most unexpected lines as Kate Monday somehow tries to keep the case moving along despite George’s beautiful strangeness, such as when he does an oral recitation of “I Love a Parade.”

Kate Monday begins segments after Monday by saying they’re watching clips from the previous day’s show, which is an amusing bit of fourth wall breaking.

The Mystery: The case has a reasonable benefit. Like Dragnet, it’s a procedural approach, as they use different mathematical methods and follow clues in order to locate Steve Stringbean. One of the key clues involves touch-tone dialing, which many children of the 1980s and 1990s might appreciate, but might be unfamiliar to more recent arrivals to the planet. Beyond that, it’s a good mystery story that, due to the nature of being told in nine-minute segments, requires big cliffhanger moments every few minutes.

The episode also captures some of the key stylistic beats of Dragnet without becoming farcical about it. Two scenes in particular stood out: a press conference in Green’s office where they speak to reporters about the case, and the capture of the criminals. This was a series that (when it wanted to) could really capture the cadence of the show was imitating.

The Chief: Given that Jones’ passing led to me taking this trip down memory lane, I focused a bit more on his performance. Chief Green, like the captains on the old Dragnet series, has the job of being the voice of authority, and the one who assigns cases to our heroes. In this episode, Green also interacts with the press. Jones was a pro and he delivers everything you could ask for. At this point in his career, he had already won a Grammy, a Tony, and a Golden Globe, and gotten nominated for an Emmy and Oscar. He was arguably overqualified for the part, but still, he adds an air of legitimacy to the proceedings.

Negatives: If there is one part of the proceeding that’s a bit off, it’s Rimshot, in particular, some of his dialogue, which seemed weirdly anachronistic and unnatural. It feels like dialogue from the late 1950s or 1960s, not the 1980s. For me, this sounded a discordant note.

Overall thoughts: This is a fun “Mathnet” story that has all the elements that would make it a beloved favorite that connected with so many viewers. It’s a great mix of math, mystery, and clever nods to Dragnet. Some elements (such as the evolution of databases and telephone technology) do make the story a bit of a cultural artifact that shows how things used to be done rather than providing insight into the way things are currently done. However, it also represents an approach to educational TV that’s not often taken in the 21st century and deserves another look.

 

Rating: 4.0 out of 5

Telefilm Review: The Telltale Clue: The Case of the Dying Accusation

The Telltale Clue was a summer 1954 TV series starring Anthony Ross (the original actor to play Danny Clover in Broadway’s My Beat) as Captain Richard Hale of “The Criminological Division” of the Police Department. Each week he solves a case where a key clue leads to the solution of the crime.

This particular episode of The Telltale Clue aired July 29, 1954. It is noteworthy for having been written by Gore Vidal under a pseudonym, and also for featuring a young Leslie Nielsen.

The story opens with a woman with a bullet wound being thrown from a moving car. With her dying words, she says she was shot by her husband. While that’s a strong piece of evidence, Captain Hale needs more. He finds a whole family’s worth of suspects, with her husband, mother-in-law, and sister-in-law all sure she was cheating on her husband.

As a mystery, the story is reasonably well-done. The mystery is a puzzle and manages to throw out a real red herring. However, as an overall production, it operates very close to the sort of melodrama that defined New York’s radio culture, and would figure in its future as a soap opera mecca for decades to come. In some ways, it’s an odd series to be on television, as CBS chose to launch this as a police procedural when more realistic programs like Dragnet were dominating the airwaves.

Most of the performances play to the heightened, almost soap-operatic style, and certainly Ross fits that mold. Captain Hale is still a sympathetic character in the end, but has to cut a probable solution in under thirty minutes. Ross does a good job, but the same can’t be said for many of his fellow actors, as there are a few bad performances that are either a bit too stiff or a bit too over-the-top for the story.

Twenty-six-year-old Nielsen turns in a solid performance. As with all of Nielsen’s work prior to Airplane in 1980, he turns in a solid dramatic performance as a man who knows more than he’s letting on.

All in all, this is a decent TV episode if you enjoy early live television and if you like your mysteries a little bit soapy.

Rating: 3.5 out of 5

Audio Drama Review: The Great GIldersleeve, Volume 9

Radio Archives’s ninth set of Great Gildersleeve episodes featuring Harold Peary contains twelve episodes, all the circulating programs from September 19, 1943 to March 19, 1944. The bulk of the third season of Gildersleeve focuses on Gildersleeve’s love life. The over-arching through-line in the story is about the love triangle between himself, the very newly widowed Leila Ransom (Shirley Mitchell), and elementary school principal Eve Goodwin (Bea Benaderet), who both find themselves vying for Gildersleeve’s affections.

Beyond this, the episodes are mostly self-contained stories that cover a lot of ground. In one episode, Gildersleeve having agitated against the old water commissioner in the previous season, he finds himself in “hot water” when low water pressure becomes a problem. My favorite episode is “Sleight Ride”, in which Gildersleeve gets together some male friends in the hopes of getting Eve and Leila to join them. The episode is nice for some fun character interactions. It’s also a bit of a time capsule, capturing a practice that you don’t see anymore except for some really rural parts of the country. It was probably out of style by 1944 in most places, but it was a plausible good time to have in a small town where gas rationing limited how much people could drive. The set ends with Gildersleeve launching a mayoral run (and immediately trying to ditch an important meeting with a congressman for the sake of his social life.)

The relationship angle is the most prominent part of the set and also the most frustrating. Once again, this has nothing to do with Radio Archives, but with the episodes missing from circulation. Of the twenty-seven episodes that aired during this time period, there are only twelve in circulation, and the fourteen missing episodes come in chunks of three, seven, and four weeks, so you feel like you’ve missed a few important points in the ongoing romance angle.

Gildersleeve, as a great sitcom hero, manages to provide plenty of situations that lead to misunderstandings, mostly in understandable ways. He’s non-committal and wants to avoid making up his mind, and when he does, he manages to say the wrong thing and botch things up. And by the end of this set, due to his indecision, rivals are emerging for him in both women’s lives, so maybe we’ll write about a love pentagon in the next set.  Of course, he’s not the only one to cause problems. In one episode, Leila tricks Gildersleeve’s cook, Birdie (Lillian Randolph), into letting her take Gildersleeve’s roast. A major issue in an era defined by meat rationing!

The only real issue with Gildersleeve that seems a bit too stupid to be funny is that he keeps actively working to bring Lelia and Eve together for social occasions. They don’t like each other, it’s awkward, and ends uncomfortably for him. There’s no logical in-universe reason to do it. It just makes the story a bit convenient for the writers.

Still, it doesn’t happen that often in twelve episodes, and the series is enjoyable, with a solid ongoing cast. And, as always, Radio Archives does a beautiful job with the transfers. If you’ve enjoyed past GIldersleeve sets, you’ll enjoy this one, even while wishing we could hear all the missing episodes in this collection.

Rating: 3.5 out of 5

Audio Drama Review: CBS Mystery Theater: Ordeal by Fire

Over the past few weeks, we’ve been posting reviews that focus on Batman actors in other detective and mystery programs as part of our Amazing World of Radio Summer Series. However, we’re getting creative this week. The only thing this week’s villain has was a brief cameo as himself, in the second-to-last episode of Kojak. So I decided it’d be nice to review a CBS Radio Mystery Theater episode with another Batman villain who didn’t appear during the Golden Age of Radio, but did some work during the era of radio revival. I’m referring to Julie Newmar, who played Catwoman in seasons one and two of Batman.

In the March 1974 episode, a woman (Newmar) grows alarmed when her father becomes increasingly scared and paranoid. She summons her fiancé (Mandel Kramer) back from his trip to China to help sort things out. The fiancé checks with his millionaire future father-in-law and finds that he’s joined the Prometheus Society, a secret society that wants to bring back moral order to the world by doing stuff (making movies, releasing books) that they’ve not actually done with the donations they’ve received. They are led by a man who claims the ability to control fire, which he demonstrates by setting himself on fire without being burned at every meeting.

The millionaire future father-in-law has been commanded to fork over a million-dollar donation. One of his fellow society members had declined to do so, only to have his feet catch fire while he was at home, leaving such severe burns on his leg that it put him in a wheelchair. The fiancé calls in an old Marine buddy from Vietnam, who had since become a private detective, to help sort of everything out.

All in all, this is a solid mystery. There’s some great atmosphere and a good puzzle throughout that’s well-acted and even has one shocking surprise towards the end of the second act. The ending is harsh, with rough justice being arranged in a way that reminds you that this isn’t the Golden Age of Radio, although it has a strong “moral” about the danger of playing with fire.

My big complaint is that there’s not a ton for Julie Newmar to do in this. Her character brings in the fiancé, and her father reveals what’s going to the fiancé on the condition the fiancé not tell his adult daughter because I guess she can’t handle it. After this, she gets two scenes with nothing to do. It’s a waste of a talented actress, who had a significant number of credits to her name. I can only imagine that this script wasn’t written with her mind, but she happened to be available at the time and took the work, which usually amounted to half a day for a modest wage. On the bright side, she didn’t have to do much work for it.

Overall, other than the waste of Julie Newmar and a so

Telefilm Review: Matt Houston: The Purrfect Crime

We continue our reviews that focus on Batman actors in other detective and mystery programs as part of our Amazing World of Radio Summer Series, focusing on their old-time radio work. This week, we take a look at Zsa Zsa Gabor, who guest-starred in a 1983 episode of Matt Houston, “The Purrfect Crime.” This episode originally aired January 9, 1983.

Background:

Matt Houston (Lee Horsey) is a Texas oil millionaire who moves to California to oversea off-shore drilling, but focuses most of his time on his hobby—being a private investigator. Horsey played Archie Goodwin in the 1980 Nero Wolfe series (See my review). Pamela Hensley plays his lawyer C.J. Parsons, who assists him on his cases, and, in a typical role for him, George Wydner plays Houston’s business manager whose purpose in the series is to hyperventilate about money.

The Plot:

A Cat Food tycoon who kept exotic cats is killed by his favorite tiger. Murder is suspected and his will bars any of his ex-wives (Gabor, Barbi Benton, Pat Crowley, and Janis Page) from collecting a dime of his money. This appears to be resolved when the police arrest the young, “simple” man  (he’d probably be considered on the autism spectrum today) on the general principle of the police arresting the wrong person without any real evidence or motive.

Matt Houston is not convinced (and who could blame him?) and continues his search for the real killer.

This episode is ludicrous. However, some of it is clearly meant to be. Zsa Zsa Gabor’s character owns a spa (which her character in Batman also did.) She has a protective karate master boyfriend, played by Sonny Bono. Sonny. Bono. His character also announces when he’s about to go into karate fighting mode by screaming, “Karate!”

The episode also included an amusement park chase scene where our hero chases his quarry in a bumper boat and then face plants down a water slide after him in hot pursuit. Some of this is entertainingly goofy, but there are also a few moments of genuinely bad acting and some absurd lines that don’t land.

Horsey attempting to deliver homespun aphorisms is something else. “The kid knows no more about murder than a hog knows about a buggy whip.”

Matt Houston

The solution, once you get through a bunch of artificially imposed drama and hoops, is painfully simple. Of course, the question of whodunnit isn’t quite as clear. But based on the limited evidence, it could have been anyone of three of the deceased’s ex-wives. We’re not really given a clue that supports Houston accusing the murderers. But he’s able to prove his theory with a little bit of trickery.

I’ll admit this is my first experience with the series, so I won’t judge it based on this one episode. According to one reviewer of this episode, this was the most goofy episode of the series. That says something, given the description I found of at least one other episode in this series. According to TV Tropes, in one episode, “Matt is abducted by real aliens in an episode where he’s investigating a (fake) claim of abduction covering up a murder. Of course, he doesn’t remember, no one else sees it, and the abduction has no relevance to the rest of the plot at all.”

All in all, while I can’t say I found the plot all that challenging, I was nevertheless entertained. Sonny Bono’s performance is a delight to watch.  The more you appreciate detective programs that go a bit wacky, and enjoy ’80s cheese, the more you’ll like this episode.

Rating: 3.25 out of 5

Matt Houston: The Complete Collection is available on DVD.

 

 

 

DVD/Streaming Review: Lifeboat

We continue our reviews that focus on Batman actors as part of our Amazing World of Radio Summer Series, focusing on their old-time radio work. This week, we take a look at Tallulah Bankhead’s starring role in the 1944 film Lifeboat.

Eight American and British citizens are survivors of a passenger ship sunk by a Nazi U-boat. The first to arrive is famed photographer Connie Porter (Tallulah Bankhead), and she is joined by others, including an engine room crewman (John Hodiak), a wealthy industrialist (Henry Hull), the ship’s steward (Canada Lee), a nurse (Mary Anderson), and a mother (Heather Angel) who lost her baby. The cast is rounded out by actors Gus Smith and Hume Cronyn. They then pull up a U-boat crew survivor (Walter Sleazak), who has plans of his own.

While set in the middle of the ocean, the action is confined to the titular lifeboat, which both gives the film a claustrophobic feel, and a resemblance to a well-done stage play. This effect is furthered by director Alfred Hitchcock’s decision to forgo the orchestral score during the body of the film, with the only music coming from characters singing accompanied by another character on a flute.

That the film feels like a stage play makes it a natural vehicle for Tallulah Bankhead, one of the greatest stage actresses of her era, making a relatively rare film appearance. She gives a performance that shows a nice range. While by default, Connie is a very cynical character, there are softer and lighter moments, as well as a few more extreme moments. At each point, Bankhead is flawless.

Another stand-out performance was William Bendix, best known for his comedy roles, particularly his radio/television work in The Life of Riley. Bendix shows some real dramatic chops in his performance as Gus. Walter Sleazak also portrays a surprisingly complex Nazi character, who is eerily likable for most of his time on screen.

The film is smartly written, and while it’s got a pro-Allies propaganda message, it’s subtler than many of its contemporaries, which caused major controversy at the time. While different from many other Hitchcock vehicles, it still has many hallmarks of the great director’s other work. The limits on budget imposed by wartime hardship are apparent but it makes the most of what it has.

With strong performances all around, this remains an entertaining and engrossing war-time drama even 80 years later.

Rating: 4 out of 5

 

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Telefilm Review: The Snoop Sisters: A Black Day for Bluebeard

We continue our reviews that focus on Batman actors in other detective and mystery programs as part of our Amazing World of Radio Summer Series, focusing on their old-time radio work. This week, we take a look at Vincent Price, who guest starred in the final Snoop Sisters TV movie, A Black Day for Bluebeard. 

Background

The Snoop Sisters was part of NBC’s classic Mystery Wheel programs, which featured rotating detective programs designed to be aired in a ninety-minute time slot. Rather than being a full hour weekly program, each series would turn out several “movies” each year. The anchors of this format during its run were McCloud, McMillan and Wife, and the best of them all, Columbo. Viewers would tune in at the same time each week and see one of these programs. The wheel program began the NBC Sunday Mystery Movie.

In addition to the three mainstays, other series rotated on Sunday. In There was a Wednesday (later Tuesday) Mystery movie series launched as well. None of these series made it long-term in this format, mostly lasting only a season or two. One of these series was The Snoop Sisters, which aired in rotation as part of the Tuesday Mystery Movie. The series was part of the mystery wheel during the 1973-74 season and there were a total of five Snoop Sisters movies made.

The series focused on two elderly sisters, spinster mystery writer Ernesta Snoop (Helen Hayes) and her widowed sister and poet Gwendolyn Snoop Nicholson (Mildred Natwick) who drive around in a mid-1920s Lincoln and end up stumbling into mysteries that they solve with the help of their chauffer Barney.

The Plot:

The sisters are attending a festival of a friend and horrible horror movie actor Michael Bastion (Price) who is hoping to revive his career, and shows off his showmanship by arriving in a coffin. However, his wife is upset with him and uses the occasion of the festival and his attempted comeback to publicly announce she’s divorcing him.

She gets murdered during one of Bastion’s films and, unfortunately for him, he’s said some incriminating things that make him look like he murdered his wife for her money. However, Bastion insists that his wife wrote him out of her will and turns to the sisters to prove his innocence.

Review:

The Snoop Sisters has been compared to Murder, She Wrote for both having older female writers as the lead characters. While the concept is similar, the feel of the films is a bit more like Miss Marple but with a decided comedic edge to the material.

Both leads are delightful and bring a great sense of balance. Ernesta is the more serious-minded and somewhat more straight-laced sleuth. She does the heavy-duty questioning of witnesses and the humor she brings is a lot more subtle. Gwendolyn is the fun sister. She might be pushing 70 but thinks nothing of cosplaying as the Bride of Frankenstein at the horror movie marathon. She makes up outrageous cover stories to get them into places to investigate, hilariously stalls Bastion so he doesn’t get in the way of their investigation, and even improvs being a palmist to stall for time.

Vincent Price is good in this, playing a character that has a lot in common with him. Not only did Bastion make a lot of horror movies, he also has many extravagant tastes and, like Price, is an expert cook. One big difference is that Bastion is a bad actor, while Price was a good one. Bastion’s poor acting is the reason the sisters believe in his innocence. He’s too bad of an actor to actually fake innocence or surprise. Thankfully, only a good actor like Price can play a bad one like Bastion and have a result that’s good. Price is a marvelous guest star, as Bastion has some fun, over-the-top moments, but also does a good job playing the straight man to Gwendolyn’s scheming.

The story leans more towards the comedy than the mystery angle. That can work and mostly does. My main complaint is that before they even begin to investigate the murder, Bastion sends them to his house to retrieve his wife’s will. This means it takes a good long while to get the actually investigating of the murder. While there were some funny moments, plotwise, it comes across as padding. There are also a few minor plot elements that could have been improved. While this was enjoyable, this is a story that feels like it could have been a bit more tight.

Connections:

Roddy McDowell, who also played a villain in the 1960s Batman series, is among the guest stars in this series. On the creative end, three old-time radio veterans contributed to the story. The episode was directed by David Friedkin, who was part of the old-time radio writing team with Mort Fine. They wrote many old-time radio programs, including Broadway’s My Beat. The story was by Jackson GIllis, who wrote for many radio programs, including Let George Do It. One of the co-writers of the screenplay was Tony Barrett, who was a versatile radio character actor who also wrote for some radio programs towards the end of the Golden Age of Radio.

Rating:

I’d gotten the Snoop Sisters DVD a while back but hadn’t gotten around to watching it and was glad this series gave me an excuse to try the series out. Overall, if you love a good cozy mystery with a comedic spin, particularly with an older protagonist, this is a fun film to watch.

Rating: 3.75 out of 5

Availability:

The Snoop Sisters is not available on streaming anywhere. However, unlike many of the shorter-lived mystery wheel series, this one did receive an official DVD Release.  (Affiliate link.)

Favorite Story: Mister Shakespeare (AWR0255)

Batman Villains of Old Time Radio

We continue our look at actors who played villains in the 1966 Batman TV series. This week, we look at Vincent Price, who played the recurring Batman villain Egghead in seasons two and three of Batman (1966).

We begin by featuring an episode of Favorite Story. 

William Shakespeare is brought forward to the 1940s to write Hollywood pictures.

Original Air Date: January 14, 1947

Starring: Vincent Price as “Will” Shakespeare; Betsy Blair; Chilius; William Conrad

After the drama, I talk about the season two two-parter “An Egg Grows in Gotham” and “The Yegg Foes in Gotham” from 1966.

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Telefilm Review: The Naked City: The Death of Princes

We continue our reviews that focus on Batman actors in other detective and mystery programs as part of our Amazing World of Radio Summer Series, focusing on their old-time radio work. This week, we take a look at Eli Wallach, who guest starred on the first episode of the second season of Naked City, which aired on ABC on October 12, 1960.

Background:

During its 39-episode first season from 1958-59, The Naked City had been a critical success as a well-acted half-hour police drama that was noted for shooting from real locations in New York City. It was not a ratings hit and was canceled after one season. However, the series had its supporters at the network, including a sponsor, which got the series a new lease on life as it returned for the 1960-61 season. Horace McMahon reprised his role from the half-hour series as Lt. Mike Parker. The second season would feature a new protagonist, Detective Adam Flint (played by Paul Burke).

The first episode, “Death of Princes”, would be key to giving the show a strong start. The series had landed a notable guest star in Eli Wallach, whose most memorable roles were ahead of him, but who had already won a Tony and a BAFTA.

Review:

The relaunched Naked City has a perfect opening sequence, beginning on a calm Sunday morning, that’s shattered when a shooter (played by a pre-Columbo Peter Falk) opens fire on a police officer. A shootout then commences over three minutes, ending with the shooter out of bullets and telling the detective’s partner, Peter Bane(Eli Wallach) that he’s out of ammo and drops his gun. Bane guns him down anyway, with Flint arriving just in time to see it happen. Bane insists that, from his angle, it didn’t look like the shooter had dropped the gun, and that it was a clear case of self-defense, leaving it as a case of conflicting testimony with no definite evidence.

This is the third suspect that Bane has gunned down since coming to his current precinct (while also winning several medals) and Flint wants a new partner. Lt. Parker wants Flint to watch Bane. Flint hates the idea of spying on a fellow cop and prefers to leave the matter to internal affairs. Meanwhile, Bane has an endgame of his own. Bane has covered up crimes for three people and is blackmailing them into participating in a robbery of the box office at a Madison Square Garden charity boxing match. In their final meeting, he lets them know that in the course of committing the crime, he’ll murder two people to ensure there are no witnesses who can identify him.

There’s a lot to commend in the episode. It’s beautifully shot and flawlessly directed. But for its length, it feels cinematic in the best noir tradition. Paul Burke does a great job as Flint, showing him in this first outing to be a sensitive and complicated man who is trying to do the right thing, but finds himself in a very uncomfortable position. The episode also established Flint’s relationship with up-and-coming actress, Libby Kingston (Nancy Malone) and she plays a pivotal part in helping Flint resolve his dilemma. The blackmailed conspirators all feature solid performances including George Maharis and old time radio veteran Jan Miner.

Yet, this episode belongs to Eli Wallach, who brings Bane to life. Bane is a challenging character to play because the episode makes clear, Bane is evil. Truly evil characters are hard for actors to play without turning them into snarling cartoon characters. But this is exactly the sort of character Wallach could bring to life. His portrayal captures the nuances of the Bane and makes it totally believable that he could survive and thrive on the police force for many years. Bane is intelligent and cunning, he quotes Shakespeare and has a certain charisma. But he’s also utterly corrupt and a sadist. He’s a malign influence and is seeking to turn his three blackmail victims into co-conspirators in a double murder. The character is horrible yet absolutely compelling.

The fundamental question of the story that’s not resolved until its final minutes is whether anyone will dare to take him on and stop him.

Overall, “The Death of Princes” is a superb start for Naked City‘s new format and a compelling episode, with the episode and Wallach’s performance holding up very well more than sixty years later.

Rating: 4.5 out of 5

This episode is available for purchase on Amazon. (Affiliate Link)

Telefilm Review: Matlock: The Last Laugh

We continue our reviews that focus on Batman actors in other detective and mystery programs as part of our Amazing World of Radio Summer Series, focusing on their old-time radio work. This week we look at Milton Berle, guest starring in a 1993 episode Matlock, in a script he co-wrote.

In “The Last Laugh,” the notoriously frugal Ben Matlock (Andy Griffith), after sneering at the ridiculous bids being put up by fellow rich people at a charity auction, gets into a bidding war and wins dinner with a once-famous elderly comedian Harvey Chase (Milton Berle) for the princely sum of $225 ($496 in today’s money). Matlock goes down to a comedy club where Chase is performing, but for no one particular, as his act can’t draw flies. Ben thinks everything Chase says is hilarious and is in peels of the most over-the-top unnatural laughter imaginable, which somehow makes Chase’s routine work.

Chase is fired by the club owner and replaced by one of those new, edgy, dirty comics like those on cable TV. Harvey does the only thing he can – goes in and gets plastered on crème de menthe and heckles the new comic. The potty-mouthed comic is then found murdered, and all signs point to Harvey Chase, including a blood-stained handkerchief found on Harvey, and the powerful odor of crème de menthe at the crime scene. Matlock’s efforts are challenged by the fact that Harvey is always “on” and it’s tough to get a serious answer for him.

In terms of what works in this episode, there are a few really nice moments for Berle as a comedian. There are some jokes that land and are actually pretty funny, and he has a really poignant dramatic scene that captures the feeling of having enjoyed success and fame in the entertainment industry, and then the world moving on.

But the rest of the episode is honestly a bit of a mess. I’ll admit my biases. The era of Matlock when the show had moved to ABC with Matlock assisted by his other daughter Leanne (played by Brynn Thayer) and a dull-witted law school associate who serves as his assistant (Daniel Roebuck) was probably my least favorite era of the show. But there were good episodes. This just wasn’t one of them.

The episode manages to feel rushed and padded at the same time. The A-plot of who actually committed the murder is rushed, and the B-plot of what Harvey is up to and his feeling about his career and being forgotten is massively padded out. A ridiculous amount of time is taken up by Harvey’s improbable attempt to jump bail and leave town by catching a bus out of Atlanta. While Matlock always played a bit fast and loose with rules of procedure and evidence, the mystery reveal on the stand comes right out of nowhere. The police have searched the murder’s home without any evidence, and apparently without notifying the prosecutor, because the episode is almost over.

The script is over-indulgent to the guest star (and co-writer) to the extreme. Leanne is not a fan of Harvey’s at all, but Ben insists she’ll be won over and she is, even though nothing in the script makes that make sense.

Probably the worst part of this is how the script treats the star. Matlock is given short shrift throughout. The scene where Matlock comes into the empty comedy club and does painfully bad stand-up is painful to watch. Even during the courtroom scene, the script has him uncharacteristically mocking a prosecutor by mimicking her tone of voice like a fourth grader. While Matlock was known for blowing his fuse, this seems out of place. He does as good a job as could be expected in the confrontation scene, which, along with some of Berle’s stronger moments, make up the redeeming parts of the episode.

Overall, there are really strong moments that show that both as a comedian and a dramatic actor, even late in life, Berle had a lot to offer. As a mystery writer, not so much.

Rating 2 out of 5

This episode is Matlock is currently available on demand on Pluto.

Telefilm Review: Charlie’s Angels: I Will Be Remembered

We continue our reviews that focus on Batman actors in other detective and mystery programs as part of our Amazing World of Radio Summer Series, focusing on their old-time radio work. This week we look at Ida Lupino’s last television acting appearance in an episode of Charlie’s Angels called “I Will Be Remembered”, which aired on March 9, 1977.

Aging Hollywood Actress Gloria Gibson (Lupino) is looking to stage a career comeback by playing the mother’s role in a remake of a film she made as a young actress. However, she’s been seeing ominous and horrifying sights right out of her old movies. She’s a friend of Charlie’s and Charlie suspects a “gaslight” scheme and so has the Angels (Farrah Fawcett, Kate Jackson, and Jackly Smith) go undercover to find out the truth.

Ida Lupino turns in a tour de force performance. She’s compelling and owns every scene she’s in. Like Burgess Meredith in Mannix a few weeks ago, Lupino delivers a performance that’s massively above what anyone would expect for a TV mystery guest actor. She also has a really great speech on the difference between screen acting and stage acting in making her case to be given the part.

As for the rest of the episode, I have to confess I’ve never seen an episode of Charlie’s Angels before, but it’s a series that you know something about even if you haven’t seen it, particularly the central premise of three beautiful female private eyes working for a male boss who is never seen. The series also had a reputation as being a bad program that tried to use the leads’ sex appeal to paper over weak scripts.

I was pleasantly surprised by the episode. It was a good, competently plotted mystery. Each of the three angels took their own part in the investigation, had her own moment to shine. The mystery was interesting and had a clever solution that didn’t become readily apparent until the last five minutes. While I wouldn’t put it in the same class as the era’s best detective programs, like Columbo or The Rockford Files, this particular episode was a fun hour.

There were a few bits of cheesy dialogue, and two of the Angels crashed through a security gate for no good reason but that’s kind of par for the course for 1970s programs. If there is one issue with the episode, it’s that the solution of how the perpetrators did what they did offers a broad hand-wave solution that’s a massive stretch for at least one incident.

Still, with Ida Lupino’s great performance, this was a solid outing for Charlie’s Angels.

Rating: 3.75 out of 5

This episode of Charlie’s Angels is currently available for free viewing on Tubi