Stanwyck Saves ‘The Night Walker’ 1964

 

Barbara Stanwyck reunited professionally with ex-husband Robert Taylor in
William Castle's 1964 suspense starrer, "The Night Walker."

Cheap thrills artist William Castle’s The Night Walker, was really more suspense than shock. The flamboyant producer/director played up the scares to ride the early ‘60s wave of post-Psycho/Baby Jane style fright flicks, but this outing was light on horror.

The 1964 film was hardly “hag horror” as star Barbara Stanwyck played a perfectly normal person being tormented and looked quite attractive at age 57. Stanwyck was teamed opposite former husband Robert Taylor, who actually did look very haggard and prematurely aged at 53. They worked together as professionals and without feuding, unlike other stars with histrionic “history.” Five years later, Taylor would be dead of lung cancer, after a lifetime of chain-smoking.

Producer/Director William Castle with his stars, Robert Taylor &
Barbara Stanwyck,  for 1964's "The Night Walker."

The premise of this moody noir-like movie is that after the death of her unstable scientist husband (Hayden Rorke in disfigured makeup), Stanwyck’s Irene Trenton returns to her beauty salon to take her mind off hubby’s sudden death. Irene’s dreams have become increasingly romantic, which had inflamed her jealous husband, convinced that she had a lover. Well, we see at least in her dreams that she has one, played by that unctuous smoothie, Lloyd Bochner of Dynasty fame. At least he doesn’t wear his usual smoking jacket and ascot! He’s quite young and handsome, in his aquiline way.

That's quite a liplock dream lover Lloyd Bochner lays on
Barbara Stanwyck in 1964's "The Night Walker."

The dreams become more intense and dire, as Mr. McDreamy wants to marry her. Are the dreams becoming reality? Is Irene in danger? Or is she merely wigging out? With the rather small cast, there are not a lot of suspects to choose from. The plot of The Night Walker is as slim as Stanwyck’s figure. And you know that Barbara Stanwyck, one of the most sensible stars ever, is not going berserk like Joan Crawford or all “Baby”-ish like Bette Davis. So “the how” of this mystery is more the question than whodunit.

Stanwyck is supposed to go over the top in response to her mental torture, but acting a hysterical scream queen is not Barbara’s bag. “Stany” is best when she’s down to earth or cool and understated. In her best film noirs or suspense films, Barbara Stanwyck is the acting equivalent of Peggy Lee, slyly insinuating without going big. Overall, Stanwyck’s performance is her usual total pro turn, with natural empathy. But when she starts screaming and hollering, it feels false and falls flat.

Barbara Stanwyck bellowing hysterically was not a good look for the cool actress!

I think Stanwyck aged quite gracefully and strikingly, with her gray hair now silver, in a subtle hairstyle and makeup. This is a far cry from most of her contemporaries who were becoming increasingly cartoonish looking or just going to seed. Stanwyck looked her age, but with great style.

Barbara Stanwyck was subtle and stylish in her older years, here in 1964's "The Night Walker." Thankfully, "The Big Valley"was just around the corner, a big career boost.

As the family lawyer in The Night Walker, Robert Taylor acts like a sleep walker. As he aged in dog years, Bob looked increasingly dour, much like Alan Ladd. Taylor also didn’t have Gable’s strong personality or Tyrone Power’s warm charm. The long-time MGM star seemed to be put increasingly out to pasture in westerns. Still, this horror film was a hiccup in both Bob and Bab’s careers.

Robert Taylor was a rough-looking 53 when he made 1964's "The Night Walker."

Producer-director William Castle used great imagination to stretch his B-movie budgets. In The Night Castle, the intro, complete with spoken work creepiness by Paul Frees, is visually striking if not terribly related to the movie itself. The score is by Vic Mizzy, the prolific composer who famously came up with The Addams Family theme. One recurring riff sounds amazingly like “Food, Glorious Food” from the Broadway musical Oliver!, which made its Broadway debut around this time. Coincidence? Who can say?

No, Hayden Rorke and Robert Taylor aren't debating who's the hotter dude for Barbara Stanwyck! From 1964's "The Night Walker."

The dream scenes are stylishly done and subtly, too, except when the courtroom wedding scene is populated by puppets that look like life size versions of The Thunderbirds. Hilariously camp, especially when the chandeliers catch fire and spin, with Stanwyck’s smoky voice emitting raspy screams!

No, this isn't Raymond Burr with blonde hair from "Rear Window," it's one of the creepy puppets/mannequins from 1964's "The Night Walker." Bizzaro!

This film has a thin plot, low budget, and loony logic, typical of William Castle. As a mood piece, it’s quite entertaining and shows some style, along with some eye-rolling chills! The Night Walker pairs well with Stanwyck’s half-baked ‘40s WB thriller, Cry Wolf, with Barbara’s character dealing with the loony men in her life, and a secret lab!

Below is a link to "The Night Walker."
Enjoy!

Here is an excellent, free copy of The Night Walker to watch on YouTube: https://www.youtube.com/watch?v=K5RYClikxcc&t=5s

Below is the link to my review at Stanwyck's
"Sorry, Wrong Number."

Here’s my look at Barbara’s best “woman in jeopardy” role, 1948’s “Sorry, Wrong Number”:  https://ricksrealreel.blogspot.com/2025/06/stanwycks-fatal-phone-call-sorry-wrong.html

 

 

Jennifer Jones’ Taskmaster Teacher: ‘Good Morning, Miss Dove’ 1955

 

Jennifer Jones as the tough but caring teacher, 1955's "Good Morning, Miss Dove."

A tribute to schoolteachers, Good Morning, Miss Dove, is corny but very tasty corn if you like nostalgic films about when things were “better.” What helps is a cast of familiar faces, smooth storytelling, and intriguing flashbacks about the characters as children, shaped by a formidable but caring teacher.

The title character, who isn’t given a first name, is played by Jennifer Jones, in her only character role. The story was based on a best seller that started as serialized stories in Ladies’ Home Journal. The film was originally planned for Olivia de Havilland, who was certainly a more versatile actress than Jones. I was also surprised that Jennifer was only three years younger than Olivia! That said, Jones offers a distinctive performance as the disciplined teacher. Dove started off as a promising, talented young woman, with a fiancee who adores her. She gives it up all out when her father dies suddenly and it turns out that he has embezzled from his bank employer and everything he possesses is in hock. Miss Dove becomes a teacher to pay off the debt and gives up her life in the process. That seemed very extreme to me, but there's not a lot of nuance in this type of tearjerkers. Good Morning, Miss Dove would pair well with The Blue Veil, and Jane Wyman’s noble nanny. 

Jennifer Jones in the title role as the feared but revered teacher, 
from 1955's "Good Morning, Miss Dove."

One day in class, Miss Dove's been feeling a pain that can no longer be ignored. She sends a student for help and two of her former students come to her rescue, one now a doctor. They carry her chair-style to the hospital, a most memorable scene for those who have seen Good Morning, Miss Dove. The exteriors for Chapel Hill look like Peyton Place, no coincidence I’m sure, since they were both made at 20^th Century Fox.

In "Good Morning, Miss Dove," Jennifer Jones as the teacher gets some helping hands
 from two former students. 

The students that Miss Dove has helped the most are ones who were from different social situations: one impoverished, one Jewish who doesn't speak English, and one who later becomes an unwed mother, etc. The scenarios are handled sensitively, especially for the era. The flashbacks are handled smoothly, with Miss Dove's bell ringing attention at the beginning and end of each sequence. 

Jennifer Jones has quite a few flashbacks in 1955's "Good Morning, Miss Dove." 

The cast plays their archetype characters with empathy and warmth. Robert Stack is Miss Dove’s doc, who repaired her father’s watch as a kid. Chuck Connors is a cop who was once a kid from the wrong side of the tracks, mentored by Miss Dove. Jerry Paris was once the Jewish kid in class who couldn’t speak a word of English. And Peggy Knudsen shines as the brassy nurse with a heart of gold, who idolized her teacher’s gentility. Many familiar faces in this feel-good tearjerker.

Chuck Connors is the cop who was once a poor kid, "Good Morning, Miss Dove."

Robert Stack is the doc who was once a student of "Good Morning, Miss Dove."

Good Morning, Miss Dove was a small movie that was a modest hit, but was received positively. Great Twentieth Century Fox production values, who did well with this type of Americana. There’s solid direction and handsome photography by Fox pros Henry Koster and Leon Shamroy, respectively.

Miss Dove reminds me of two elementary school teachers from back in the '70s at Hiawatha School in Upper Michigan’s Manistique, who were in their '60s. They were strong ladies and took no nonsense. And in one case, many kids were more than a bit scared of her. Both teachers cared about their kids and the school, and were well remembered for decades, which is why I have a soft spot for this movie. And my mother has regaled us with stories of school nuns from the era of Miss Dove, which certainly rings a bell to me when watching this film.

Peggy Knudsen is a scene stealer as the nurse of "Good Morning, Miss Dove." 
Her character, Billie Jean, had a child out of wedlock, though not Michael Jackson's!

Good Morning, Miss Dove certainly packs a lot of stories with life lessons in its standard running time, just over the 1 hour and 45 minute mark. One area that doesn't clarify and maybe should is how Miss Dove goes from carefree young woman to old maid school teacher. How did she go from one path in life to another is not explained. Perhaps it’s because the focus of her life is on the relationships with her students. These old time movies love to lay on the selflessness of the woman who sacrifices all!

In "Good Morning. Miss Dove," Jennifer Jones gives up personal happiness to
pay off her late father's embezzlement debt.

More than a few viewers have commented that Miss Dove is sort of a female George Bailey from It’s a Wonderful Life. A father's death and banking crisis figure in her life decisions. And we see where Miss Dove's generosity to her students changes their lives. And she's also the old maid Mary Bailey might have become.

Some have likened Miss Dove's firm but emotionless voice to Siri or a robot. I admit she at times reminded me of Sheldon on The Big Bang Theory. But I then remembered my 3rd grade teacher, who had a booming voice like Greer Garson. And she also had many pet phrases that she pronounced by rote!

Jennifer Jones at the finale of "Good Morning, Miss Dove," when she feels the love
of the townspeople after her successful operation. Jones reminds me of Kim Cattrall.

Jennifer Jones is an actress people seemed to love or loathe. Good Morning, Miss Dove is her one character role and Jones plays with understatement. While some may dislike her dispensed wisdom, underneath she shows flashes of pleasure at her student's progress or fear when she knows that she is in serious pain. It's also noteworthy that she only plays young in the opening scenes, and then ages onward to the teacher's present age of 55. Jones was 36 at the time and the aging makeup is fairly subtle. 

Yes, the movie is very contrived and sentimental. But there are some universal truths that one never forgets from teachers who were instrumental in shaping our lives. Good Morning, Miss Dove gets a gold star for telling that story.

Here’s my look at Jennifer Jones as Madame Bovary, the 1949 Vincente Minnelli version: https://ricksrealreel.blogspot.com/2017/11/madame-bovary-1949.html 

Jennifer Jones as the young and carefree title character in the opening scenes of 1955's
 "Good Morning, Miss Dove."

Zachary Scott is ‘Ruthless’ to Stellar Co-Stars 1948

 

Louis Hayward & Diana Lynn look on in disbelief at Zachary Scott's
shameless selfishness in 1948's film noir by Edgar G. Ulmer, "Ruthless."

The rise and fall of a charming but scoundrel of a man was a movie staple even before Citizen Kane. But the movies that came after that iconic epic often had more than a hint of Kane-style storytelling. Such is the case with Edgar G. Ulmer’s B+ budget noir soap from 1948, Ruthless, starring Zachary Scott as the ambitious heel, naturally.

In Ruthless, you get a bit more of the anti-hero’s back story than the typical Zachary Scott villain. It’s a dark tale of a boy torn between his cold, bitter mother and charming, but unreliable father. Let down by both parents one fateful night, young Horace Vendig turns up at a family who have befriended him, with a daughter that Horace had saved from drowning, as well. From then on, Vendig seems determined to take any upwardly mobile opportunities that come his way, no matter who gets hurt. 

Robert Anderson, so endearing as young George Bailey in "It's a Wonderful Life,"
 grows up to be rotten Zachary Scott in 1948's "Ruthless."

What's interesting for movie fans is that young Horace is played by Robert Anderson, who was famed for portraying young George Bailey in It's a Wonderful Life. He's so inherently earnest that it's hard to see him grow up into Zachary Scott, who often did everything but twirl his mustache in multiple movies, as the charming but cunning cad. What sets this apart from Scott's rogue's gallery of bad guys is that Vendig is aware of his fatal flaw but can't help himself. And Scott was a subtle enough actor who could convey this duality.

Here's Zachary Scott, giving his patented baleful stare to Louis Hayward,
who plays life-long friend Vic in 1948's "Ruthless."

Even though the family that takes him in and treats him like a son, going so far as to send him off to Harvard, even when he has the love of their sweetheart daughter, it's just not enough. Vendig goes through several dream opportunities, but tosses them away when he something better to exploit. Eventually, karma calls!

This movie packs a lot of story in the usual 1 hour and 45 minute running time, but cult director Edgar G. Ulmer gets the job done! Those Citizen Kane touches, with the great man’s humble beginnings, the characters introduced and then cast aside, great wealth conveyed on a budget, and Vendig’s goals become grandiose to the point that he’s bound to get his comeuppance.

I like Zachary Scott without his pencil mustache that he typically sported.
Scott as young Horace Zendig in 1948's "Ruthless."

What truly makes this movie a guilty treasure treat is not the soap opera story but the fantastic cast. Zachary Scott is good as usual in the lead, with Robert Anderson empathetic as his younger self. Raymond Burr appears as Vendig's gambler dad and is quite grand as the showboater. Diana Lynn is quite endearing and sparkling as Horace's first love, Martha, who any man would be happy with. She later appears as another more pragmatic woman, Mallory, who bewitches Vendig. Louis Hayward is solid is Vendig's life-long friend, Vic, and later his critic, much like Joseph  Cotten was to Orson Welles as Citizen Kane. The child actors who portray them are very good. Aside from Robert Anderson as young Horace, there’s Ann Carter as young Martha and Arthur Curtis who really looks like Hayward as a young Vic. Martha Vickers is beautiful and warm as good girl Susan, who also gets taken for a ride by Horace. Later on, Lucille Bremer, coming on like an early Bette Davis neurotic, plays his wife, Christa. Horace steals her from besotted Sydney Greenstreet, as Buck Mansfield, a business giant that Vendig takes down. This is one hell of a cast, with everyone is quite believable in their roles. The only scene that’s not believable is when massive Greenstreet and whippet-thin Scott struggle to the death on a dock!

Zachary Scott as Horace Vendig, about to explain his shady past,
in 1948's film noir, "Ruthless."

The storytelling is flashback, noir style, which I'm fine with. But I had to laugh when the first LONG flashback occurred when Scott's Vendig was about to light a cigarette. And when the flashback is over, Lynn extinguishes his match, some 40 minutes later! Zach must have relayed his backstory with the speed of a narrator citing the side effects of a drug in a TV commercial!

Diana Lynn in a dual role, here as Mallory, hilariously blows out Scott's match
40 minutes later after the flashback, in 1948's "Ruthless."

The story of Ruthless Vendig is very dramatic and soapy ala JR Ewing in Dallas! But the movie's style, acting, and a few twists make this a very enjoyable '40s noir melodrama. 

Diana Lynn is utterly winning as Zachary Scott's first love in 1948's "Ruthless."

Martha Vickers is quite lovely and appealing as Zachary Scott's next conquest,
in 1948's film noir, "Reckless."

Lucille Bremer first plays Sydney Greenstreet's trophy wife, then Zachary Scott's,
in 1948's film noir "Ruthless."

Here’s my take on the film that features Zachary Scott’s greatest villain, Monte Beragon, in the 1945 Joan Crawford  Oscar vehicle, Mildred Pierce: https://ricksrealreel.blogspot.com/2020/03/how-joan-crawford-became-mildred-pierce.html

 

The poster for 1948's "Ruthless" looks like a score card for
each character's dominant personality trait!