A Blueprint for Murder (1953)

A nice performance from Jean Peters, 1 January 2009

After the mysterious death of his niece, Cam Cameron (Joseph Cotton) begins to suspect that the child's stepmother may be responsible. When the autopsy reveals the presence of strychnine in the girl's system, he's convinced that his dead brother's wife, Lynn Cameron (Jean Peters), is the only person with both a motive and the opportunity. Cam now begins to fear for the life of his nephew. He's got to act fast because Lynn intends to take the young boy to Europe.

While I've given A Blueprint for Murder a positive rating and I readily admit I mostly enjoyed the film, much of what I've got to write about is going to seem negative. As good as it is, it has far too many problems to be called great. A Blueprint for Murder is about the most straight forward mystery/thriller I've run across. And that's part of its biggest weakness. There's no mystery regarding the killer's identity. It's made quite clear early on that Lynn killed her niece. There seemed to be a half-hearted attempt to use Cam as a red-herring, but anyone with half a brain could figure out in 3.2 seconds that Cam couldn't have committed the crime - he wasn't there. Maybe I just imagined the light of suspicion being pointed at Cam because I so wanted to be thrown some kind of curve ball. Even though the killer is known, director Andrew L. Stone is able to wring some tension out of the final scenes as Cam tries to prove Lynn is a killer. You get the feeling that even though you know Lynn is responsible for the girl's death, she just might get away with it. These scenes are, however, undermined by an ending that's terribly rushed with action that, unfortunately, takes place off-screen. Too bad, because A Blueprint for Murder could have been much better.

One of the real highlights for me in A Blueprint for Murder was the acting. The performance of Jean Peters as Lynn Cameron is enlightening. I'm not overly familiar with her work, but she's marvelous as the apparent caring, wonderful parent who is hiding a cold, unfeeling heart. I may have to look for more of her work.

6/10

Project Moon Base (1953)

"Anymore guff out of you and I'll turn you over my knee and spank you.", 4 December 2008

The plot of Project Moon Base is fairly simple – Colonel Briteis is selected to pilot a rocket on a lunar orbit in preparation of an upcoming lunar landing. It's simple enough until it is discovered that an enemy agent is on board with intentions of sabotaging the mission. So whether their superiors like it or not, Colonel Briteis and Major Moore aren't going to be able to complete their mission. They're going to have to try to land on the moon.

Many of the comments you'll see on Project Moon Base focus a lot of attention on the movie's treatment or portrayal of women. Is the movie sexist? Those who argue against it mention Colonel Briteis' (Briteis is a female) position on the space voyage or the fact that the President is a woman. Well so what? Project Moon Base is as sexist as they come. I pointed out some of the sexist comments in Rocketship X-M and that movie's got nothing on Project Moon Base. From the intentional mispronunciation of Colonel Briteis name (Bright Eyes – yeah, right) to General Greene's threat to give Briteis a spanking to Briteis' incapability of fixing the radio after several hours of trying when Major Moore is able to do it in mere seconds – it's about as sexist as I've seen. Sure, it was made in a different time, so don't take my comments as a slam. I'm just pointing out the facts as I see them.

Two things I'm glad to have discovered about Project Moon Base. First, the movie was originally meant to be a television serial. That goes a long way to explaining some of the disjointed scenes and fragmented story lines. Second, many of the props and costumes were also used in Cat Women of the Moon. I thought they seemed awfully familiar. Glad to know I'm not going crazy. Overall, Project Moon Base is a fairly dull programmer with little to hold the attention of the viewer. There aren't any real action scenes and any suspense or drama never materializes. Even by 1953 standards, the special effects had to feel weak and not awfully convincing. Finally, much of the plot is handled rather awkwardly. The notion of an enemy agent infiltration the space program might have been interesting, but here it comes off as just too stupid for words.

As is the case with many of the films I watch, there is another hand. So, on the other hand, Project Moon Base is too enjoyable despite the numerous flaws for me to rate it as a stinker. Donna Martell gives Colonel Briteis an infectious nature that's hard not to enjoy. She's a pleasure to watch. Some of the goofy sight gags are almost charming in their naïveté. Take the scenes on the space station where people walk on the ceiling or the chairs on the wall. Stupid, sure – but fun nonetheless. Finally, there's a real innocence to most everything in Project Moon Base that's often sorely missing from today's movies that I can appreciate. Take the ending of the film where Colonel Briteis is forced to marry Major Bill Moore so people won't talk. And, even though the attitudes of the filmmakers may have been chauvinistic, most of it is harmless enough. Maybe I'm living in the past, but I sort of enjoyed Project Moon Base.

5/10

Cat-Women of the Moon (1953)

"I love you, Doug, and I must kill you!", 29 April 2008

Talk about déjà vu. I feel like I've seen this movie several times recently. It may be older than either Missile to the Moon, Queen of Outer Space, or Fire Maidens from Outer Space, but I saw those first. So for me, watching Cat-Women of the Moon is like watching what is essentially the same movie for the fourth time. And despite the familiarity and a whole slew of other weaknesses, I found myself enjoying it. The 2.5 IMDb rating seems a bit harsh – especially when you consider the rating for Missile to the Moon. Not only does Missile to the Moon follow almost the exact same plot, but it appears to even reuse some of the props (giant puppet spiders) from Cat-Women of the Moon.

The story – five astronauts blast off for the moon only to meet a race of women whose world is slowly being destroyed. The women (known for some inexplicable reason as Cat-Women in this movie) want to use the astronaut's spaceship to take them to Earth to find a new world to conquer.

Maybe I'm just weird, but I get a kick out of some of the same things that a lot of other comments bang on. Weak set design (metal rolling office chairs with a seat belts used in the "spaceship"), poor special effects (once again, the giant puppet spiders), bad acting (could Sonny Tufts be any worse), and bad science (just watch as a cigarette burns on the moon!) – you'll find them all in Cat-Women of the Moon. But it's this naiveté to the whole thing that I can't help but enjoy. It might not be for everyone, but I'll give it a 6/10 even with all its flaws.

6/10

Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953)

Almost as much fun as I remembered, 13 October 2007

Slim and Tubby (Bud Abbott and Lou Costello) are two bumbling American policemen studying the techniques of the British police. They get into a bit of trouble and are kicked off the force. Tracking down the monster that has been terrorizing London would seem to be a way to get them back in the good graces of the police force. Along the way, Slim and Tubby are befriended by a seemingly kindly doctor named Jekyll. But Jekyll is not what or who he seems. He's actually the killer our "heroes" are hunting.

Another childhood favorite, I hadn't seen Abbott and Costello Meet Dr. Jekyll and Mr. Hyde in literally two or more decades. I was worried that it would never live up to the fond memories I've built up over the years. Overall, I enjoyed it. Considering it's one of A&C's later films, it's a solid effort. Part of the reason may be that the boys didn't revisit their classic routines as I've noticed in some of the other movies from this period. And the fact that the boys work within the framework of the plot helps. Whatever, it's just fun. The chase scenes are the highlight for me. I found myself laughing at the same things I found funny 35 years ago. And it's always nice to see Karloff. His scenes with the boys are quite good. If it weren't for the scenes where Costello is turned into a mouse that I find utterly ridiculous (even in the framework of an A&C movie) and that put a drag on the flow of the movie, I might have rated Abbott and Costello Meet Dr. Jekyll and Mr. Hyde even higher.

6/10

The Magic Voyage of Sinbad (1953)

- Sadko
These Russian fantasy movies just don't appeal to me, 3 August 2007

I'll skip the normal plot synopsis and get right to it. Besides, anything I could write about the plot would hardly matter as the American bastardization of Sadko that I watched appears to bear only a passing resemblance to either the original Russian movie or the classic Russian folktale on which it was based. First off, I wonder whose bright idea it was to turn the character named Sadko into Sinbad. Let's see, Sadko is a poor Russian musician – Sinbad is an adventurous Middle-Eastern sailor. A lot of similarity there, huh? Secondly, I really have to wonder if the Russian version of the movie included anything about a quest for a bird of happiness. I say this because in the end the bird hardly seems to matter at all. It's almost as if the idea of the bird was added to the American version to give some sort of justification for "Sinbad" going to sea.

Beyond the problems of Americanizing this Russian movie, I have problems with the bits of the original Sadko that seep through. As I stated in my recent review of The Sword and the Dragon (aka Ilya Muromets), I'm not a fan of this style of Russian movie or acting. "The Sword and the Dragon seemed to be filled with such broad overacting that it became absurd. I realize that the movie was made over 50 years ago in the Soviet Union. I understand that the movie is filled with messages and other pro-worker propaganda. And I appreciate the importance of the film as a relic of the communist system. But none of that means I have to actually like the movie." If you change the title of the movie, this quote accurately reflects my feelings on The Magic Voyage of Sinbad. And even though I realize that my appreciation of the movie might be improved if I were to have the opportunity to see the original film, I doubt the change would be drastic.

Like many others, I saw The Magic Voyage of Sinbad through Mystery Science Theater 3000. I enjoyed this episode much more than the previously mentioned The Sword and the Dragon episode. Overall, some very funny riffs. I'll give episode #505 a 4/5 on my MST3K rating scale.

3/10

The Big Heat (1953)

"We're sisters under the mink.", 4 May 2007

A policeman commits suicide and everyone in the department seems content to let it go. Everyone, that is, except Det. Sgt. Dave Bannion (Glenn Ford). Bannion starts asking some tough questions and sticks his nose where it doesn't belong. Bannion knows he's on the right trail when one of the people he spoke with turns up dead. But when the violence gets a little closer to home, things change for Bannion. It gets personal.

Just about everything works in this movie as I'm sure director Fritz Lang intended. Interesting plot, gorgeous cinematography, terrific acting, fantastic writing, great atmosphere, believable character motivation, etc. etc. etc. All highlights of The Big Heat for me. There's really nothing significant to complain about. But I suppose I was most impressed with Gloria Grahame. I cannot imagine anyone doing more with or being better in the role of Debby Marsh as Grahame is. Innocent, tough, frightened, street-smart – you name, she played it. And usually to perfection. She literally steals every scene in which she appears. And in the end, well, I don't want to give anything away, but Grahame's final scenes are amazing.

8/10

Robot Monster (1953)

"You look like a pooped out pinwheel.", 7 March 2007

Why do I do this to myself? I know that there are those who have seen Robot Monster more times than I have, but when you loath a movie as much as I do this one, why would you watch it three times? Yes, that's right – I think Robot Monster is one of the absolute worst movies ever made with virtually no entertainment or other value, yet I've sat through it on three different occasions. I've tried watching it as a "serious" piece of sci-fi – that obviously won't work. I've tried watching it through the eyes of a child (as someone suggested) – sorry, that didn't work either. I've even tried watching it as a piece of unintentional comedy – too boring for that. It makes for one of the worst MST3K episodes I've so far seen. I must have some sort of problem if I keep revisiting trash like this.

I've noticed that many people go straight for the monster design when discussing Robot Monster. But Ro-Man, as he's known in the movie, is the least of the problems I have with the film. In fact, the image of the gorilla with the diving helmet is the only thing that keeps me from rating the movie lower. Whether intentional or some happy accident, the creature design is iconic. Many people who have never seen the movie or even know what movie it comes from have seen pictures of Ro-Man. Instead, my problems with the movie include every other factor you could think of. The acting is abysmal. Imagine my surprise when I noticed on IMDb that most of the cast actually had extensive acting backgrounds that just happened to include Robot Monster. Did they get on set and suddenly forget everything they knew about acting? The music for Robot Monster was written early in his career by the famed composer Elmer Bernstein. I'm sure this is a proud entry on his resume. The opening music is mind-numbingly bad. Finally, the direction is terrible. The movie has no pace or flow. It's about as exciting as watching grass grow. As a cure for insomnia, Robot Monster might be a winner. But as a movie that provides entertainment on any level, Robot Monster is an unqualified disaster.

2/10

Bad Blonde (1953)

Payton's personal life may be sad, but that doesn't make her an actor., 30 August 2006

Bad Blonde is a great title for a very average movie. It's also the first of the Hammer noirs made in the 1950s I've had a chance to watch. I've always been a fan of Hammer's horror output, so it's a treat to get the opportunity to see what the studio was doing pre-1957. The movie tells the (somewhat unoriginal) story of young up-and-coming boxer who gets mixed up with his promoter's steamy, blonde wife. She bends him to her will and uses him to get what she wants – even if that means committing murder. In a broad, general sense, Bad Blonde kept me entertained throughout. Director Reginald Le Borg keeps things moving at a good pace. The film looks good and the country estate set is a standout. And the movie features a wonderful performance from Sid James. The man carries much of the film on his own. Unfortunately, I can't say the same about some of the rest of the acting. The problems I have with Bad Blonde that make it just barely above average relate almost completely to the two leads. Tony Wright and Barbara Payton, are terribly unconvincing. For Wright, this was his first film, so I can forgive some of his stiffness. But for Payton, Bad Blonde was supposed to something of a return to glory. After only four years of making films, she was already washed-up by 1953. Her story may be a sad one filed with every possible form of self-destruction imaginable, but it doesn't change my opinion of her acting. With the exception of a few memorable moments, she doesn't come across as the smoldering sexpot she's supposed to be. To the contrary, I actually found her quite unappealing.

Even though Bad Blonde didn't knock my socks off, I'm looking forward to giving the other five films in the new Hammer Film Noir Collector's Set a chance. At a minimum, and if for no other reason, it's interesting to see how the American B-noirs were translated to Great Britain.

6/10

The Desert Rats (1953)

You can all but feel the rocks pounding down as each Nazi shell hits., 19 June 2006

The Desert Rats is a very enjoyable WWII film dealing with a portion of the war that may seem alien to those in America. Americans are accused, and sometimes rightly so, of thinking WWII began and ended with America's involvement. But it didn't. The Desert Rats is the story of the Allies last stand in Northern Africa at Tobruk. Rommel and the Nazis would have clear sailing to the important Suez if Tobruk fell. It's up to Capt. MacRoberts (Richard Burton) and his band of green Aussie replacements to stop the advance of Hitler's army.

When you read comments about war movies, you always read complaints about historical accuracy. Is The Desert Rats true to history? I'm not a student of history, so I wouldn't know. Furthermore, I don't really care. To me, it's about the entertainment I get from a film and I've always found The Desert Rats entertaining. The authentic looking sets, the tremendous ground shaking explosions, the plot that focuses on a small band of men, and the action sequences are all highlights of the movie for me. Robert Wise's direction and Lucien Ballard's cinematography put the viewer in the middle of the action. You can all but feel the rocks pounding down as each Nazi shell hits. It's very well done.

My only complaint about The Desert Rats is in the overall construction. I realize that it's a result of attempting to be historically accurate, but history doesn't always put events in the most exciting sequences. The film opens with its best moments. The battle scene between the dug-in Aussie's and Rommel's tanks is as exciting and well filmed as I've seen in a war movie. Unfortunately, the movie (as dictated by history) cannot keep up this pace. The ending, as the now battle-hardened Aussie hold a hill waiting for replacements, is anticlimactic.

7/10

Mesa of Lost Women (1953)

A good example of an Ed Wood movie not made by Ed Wood, 21 November 2005

Where to begin? The plot is so convoluted that I don't know if I can do it justice. I'll give it a brief try. Dr. Leland Masterson, intrigued by the work of Dr. Aranya, visits his secret underground lab to gain an insight on the work he is performing. He is shocked to learn that Dr. Aranya is injecting spider fluids into humans and human fluids into spiders. The result – indestructible spider-women (or dwarfs in the case of the men) and giant, deadly spiders. Masterson is attacked and goes insane. He later escapes from the asylum and hijacks a plane carrying a couple on their way to be married, an Asian servant, Masterson's nurse, and the pilot. The plan crashes on a deserted mesa not far from Dr. Aranya's hideout. Can anyone escape alive from the Mesa of Lost Women?

I thought about doing one of those reviews I've done in the past where I list what worked in the movie and what didn't work. It would look something like this:

What Works: - Nothing.

What Doesn't Work: - Everything.

Mesa of Lost Women is so inept that it would take pages to cover it all. Acting, plot, pacing, special effects, dialogue, and everything else you can think of are as bad as anything Ed Wood ever made. Here's a laundry list of just a few of the things that didn't work:

1. The voice-over narration. The narrator tries to be clever but just comes off as ridiculous when none of his jokes hit their mark. 2. The relationship between the pilot and the woman. This bride-to-be is way to quick to dump her frumpy husband-to-be once the hunky pilot shows up. Their kiss is nausea inducing. 3. The spider-women. Are these things supposed to be menacing? 4. Dr. Aranya. The movie tries hard to let us know that Dr. Aranya is evil. Just take a look at the guy. He's got a bad eye, a wart, and seems more interested in his high school test tube rack than in human life. 5. The Asian servant. His double cross of the others on the plane would make the team of Mission Impossible proud. The fact that he not only knew the plane would crash, but that he knew exactly where the plane would crash obviously took some incredible planning. 6. Tarantella's dance. I suppose it's meant to be seductive, but to whom, I'm not sure. 7. Do I really need to go any further?

None of this is meant to imply that there aren't moments in the movie to enjoy. This is one of those movies that I do not hesitate to call "so bad it's good". For those in the right frame of mind, there's a laugh to be had around almost every corner of Mesa of Lost Women.

2/10