Van Johnson in Hitchcock-Style ‘23 Paces to Baker Street’ 1956

 

Van Johnson plays a blind man who overs the kidnap plan of a child,
in 1956's "23 Paces to Baker Street."

I had never heard of 1956's 23 Paces to Baker Street, but read that it was considered Hitchcock-esque, which always gets my attention.

This Henry Hathaway-directed film was indeed Hitch-esque, in a good way. 23 Paces to Baker Street is the story of a blind playwright that overhears a plot to kidnap a child, only to become a target himself. The suspense flick has elements of Alfred Hitchcock classics Rear Window and The Man Who Knew Too Much, and 1967’s Hitch-like Wait Until Dark.

"23 Paces to Baker Street," a solid 1956 suspense film, in the Hitchcock style.

23 Paces to Baker Street stands on its own, despite Hitchcock comparisons, derived from Philip McDonald’s Warrant for X in1938. The popular British novelist also wrote The List of Adrian Messenger. Yet, the film does shape the story in the Hitchcock mold. The result is a solid and stylish suspense film.

A 20th Century Fox film in Cinemascope, 23 Paces to Baker Street is beautifully lensed, with a fair amount of eye-catching post-war London location shooting. Milton R. Krasner, one of Fox’s top cinematographers, does a fine job here. Henry Hathaway, perhaps Fox's best studio director, tells the story with some style and with a sure hand. These old pros were in the last hurrah of their studio tenure.

Van Johnson is a blind and bitter playwright in the 1956 mystery,
"23 Paces to Baker Street."

Van Johnson, whose stardom had peaked at this point, was doing some latter day dramatic roles. They seemed to tap into Van’s bitter and petulant off-camera side, as his star was fading at 40, post-MGM glory years. It works for the role as the blinded playwright, Phillip Hannon. Van’s acting is natural and not overdone, as he could be at times in his Metro heyday. Phillip now uses his other senses to compensate, and hence uses his playwright's listening skills to get a bead on the kidnappers.

Vera Miles got the closest to playing a glamorous Hitchcock blonde
in 1956's "23 Paces to Baker Street." Note the gray suit!

Vera Miles plays Van's ex-fiancee, Jean Lennox, who the playwright spurned in self-pity after his accident. Vera is quite pretty and does a good approximation of the game Hitchcock blonde, right down to the fitted gray suits. A shame Miles’ character wasn’t as carefree as Grace Kelly’s Lisa in Rear Window, instead of a long-suffering ex. Miles was 26 here, a promising starlet. As of April 2026, Vera is still with us, and turns 96 August 23!

Vera Miles was 26 the year "23 Paces to Baker Street" was released. 

Cecil Parker is a scene-stealer as man servant Bob Matthews to Van’s tense playwright; Patricia Laffan (Quo Vadis villainess) is a shady lady governess from the employment agency; Estelle Winwood is the good egg bar maid from the pub: Natalie Norwick is sought-after Janet Murch; and Isobel Elsom is charming fun as Lady Syrett. A excellent supporting cast round out the various cops, bystanders, and bad guys in this tense mystery. 

Estelle Winwood offers fun character flavor, in "23 Paces to Baker Street."

Once the unknown villains are on to the playwright's being on to them, the stakes become much higher, leading to some precarious moments for the blind man. The scene where Van's amateur detective is lured into a condemned building is a nail biter. The finale is very reminiscent of Audrey Hepburn's Wait Until Dark, but this movie came out a decade before, and it’s also exciting.

The villain, who's been stalking the blind playwright, about to be revealed, 
in 1956's "23 Paces to Baker Street."

As Van's playwright, his manservant, and ex-girlfriend aid the police investigation, there are a few quirky surprises along the way. Alfred Hitchcock was so often imitated on film that the better examples are often called "Could Have Been Hitchcock." The main difference is that the imitations usually lack Hitch's twisted subtext. All in all, 23 Paces to Baker Street is a nifty little nail-biter!

Van Johnson, the blind playwright who puts himself on the edge of danger,
in 1956's "23 Paces to Baker Street."

Rear Window remains one of Alfred Hitchcock’s best Technicolor blockbusters. My look at Rear Window here:

"Rear Window," 1954

https://ricksrealreel.blogspot.com/2017/06/hitchcocks-rear-window-still-thrills.html

 

'Lucky Lady' & Other Cine-bombs of My '70s Youth

 

The most memorable thing about 1975's 'Lucky Lady'
starring Gene Hackman, Liza Minnelli, & Burt Reynolds
may be this beautiful Richard Amsel poster.

 

I discovered classic films during the early '70s, on TV afternoon movies. This coincided when Hollywood struck gold with modern cinematic gems that harkened to its studio era heyday: The Way We Were; The Sting; Chinatown; and That's Entertainment, to name the most notable.

Alas, there were an equal amount of much-hyped films that my '70s teen self couldn't wait to see, but which never made it to my local theater in Upper Michigan. And for good reason—most were flops!

One of the few film duds that did come to my hometown Manistique was 1974's The Great Gatsby. The 3rd version of F. Scott Fitzgerald's novel actually made money, but was a disappointment because of the enormous money spent making and promoting the lifeless movie. I was turned off because I already loved the book and couldn't imagine why anyone would pine after Mia Farrow for a decade. As for remote Robert Redford, he was not great as Gatsby. The supporting cast came off best in this fashion spread of a movie, which I never saw again.

My entertainment guru of the '70s was Rona Barrett, who really beat the
 drums for 1974's "The Great Gatsby." Note the Lucy headline at lower left!

I was also excited to see Lucille Ball as Mame in ’74. I watched all three of Lucy's series, which CBS was running: I Love Lucy and The Lucy Show in daytime reruns and Here's Lucy in prime time. The latest series should have been a warning. Canned comedy ensued whenever Lucy Carter met a celebrity and irritated them with her star struck antics or looked for an excuse to sing. On I Love Lucy, Ball's singing always caused intentional laughter. 

'Lucille Ball as Mame' was the hype mantra for this 1974 mammoth musical.

There were all kinds of promo for Mame. The gay geek that I was, I kept looking at the big spreads Rona Barrett's mags, marveling at how young Lucy looked. And there was the new fave, TV's Maude, Bea Arthur in a black Joan Crawford wig and ankle straps. I was awestruck —and so naive.

Love this headline for Rona Barrett's 1974 story on "Mame."
The short answer is NO!

Then the bad reviews for Mame came out… then there were stories about the reviews! I read one news story of Lucy at an event, dabbing tears away, distraught over the backlash. The news photo showed that she did not look young, despite Ball all dolled up like Mame. The film never shook the blues in my hometown! 

I saw Mame a couple times later on TV. My thought was that if the songs with Lucy's raspy singing were cut, Mame would have been much better. Only, then you would have Auntie Mame again. So why not just watch the 1958 Rosalind Russell as Mame Dennis?

Lucille Ball was a favorite veteran star for Rona Barrett magazines. 

Next, I was fascinated that my favorite star, Elizabeth Taylor, was heading an all-star musical remake of The Blue Bird, filmed in Russia. Directed by George Cukor, it was hyped as the ‘70s answer to The Wizard of Oz. I read gossip items on the troubled filming, but when I saw that Rona Barrett was promoting a big spread for the epic in her next issue, I was hopeful. Then the issue came out, and no sneak preview of Easter 1976’s The Blue Bird! I've only seen clips of the elusive epic on You Tube since and that was plenty. The Blue Bird looks like a chintzy costume party.

I was agog when I bought this People magazine with Elizabeth Taylor in
 costume in "The Blue Bird." I think I still have the Milton Greene cover shot.

A lovely poster for 1976's "The Blue Bird," a gawd-awful movie.

By 1976, I was becoming a jaded teen when it came to modern Hollywood cashing in on old-time Tinseltown. I loved the biography book, Gable and Lombard, which made me a new fan of Carole Lombard. When they cast Marcus Welby's James Brolin as Clark and newcomer Jill Clayburgh as Carole, I was appalled. When clips were previewed on TV talk shows, I knew once again that the onscreen Gable and Lombard was never coming to Upper Michigan. I finally watched Gable and Lombard during 2020's Covid lockdown, and found the film bio inaccurate at best, smutty and juvenile at worst.

I was hoping that 1976's "Gable and Lombard" wouldn't be as terrible
as it looked... sadly, it was!

And there was so much bad press about Barbra Streisand's ’76 remake of A Star is Born that I vowed not to go see it. In the '70s, people would flock to see Streisand sing from a phone book, so Star was a big hit. My female classmates loved it and when I sang the praises of Judy Garland's version over Babs', their sullen stares said, “Shut up, nerd!” I didn't see Streisand's Star until 2017, over 40 years later. It was indeed still awful, after all these years!

By the time 1976's "A Star is Born" came out, I never wanted to hear about this
 ego trip again. I finally watched Babs' version in 2017!

This brings me to 1975's Lucky Lady, which inspired all these movie memories. This was another event movie that I was all excited about back then: Cool Burt Reynolds! Judy Garland's daughter, Liza Minnelli! Gene Hackman, that guy from The Poseidon Adventure! And dreamboat Robby Benson, who sealed the deal! They were starring in a comedy caper like The Sting, which I loved. Once again, I pored over my bible, Rona Barrett’s magazines, trying to figure out what Lucky Lady was all about. Turns out, not much! The Christmas blockbuster was looked upon as a cinematic lump of coal and bad word of mouth trumped three superstars at the height of their appeal. This too didn't come to pass at my hometown's theater.

Just watched 1975's "Lucky Lady" for the 1st time in 2026! Better late than never?

I just saw a great copy of Lucky Lady for the first time on YouTube, in March 2026, over 50 years later. The disjointed story and style of Lucky Lady reflects its troubled filming. The plot of Lucky Lady was inspired by rum running stories on the western coast and classic buddy movies where the men fight over the sassy leading lady. What appeared onscreen was pretty thin, and no one knew how to end the movie. No one liked the original finale, where the men were killed, ala Butch Cassidy and the Sundance Kid. One version that was quickly discarded had the trio reunited in their senior years and looking decomposed, not aged. 

The "old age" ending for 1975's "Lucky Lady" was quickly scrapped,
for good reason. The stars look mummified!

Stanley Donen, a classic era director fave of mine, was past his prime and out of his depth. As the romantic triangle, Gene Hackman fares well enough, displaying an early comic touch. Liza Minnelli, the leading lady, just wrote in her memoirs that Gene was extremely rude to her throughout filming. Hackman could be a curmudgeon, I think because he was rarely cast as a romantic leading man. Or perhaps it was because Gene was appalled by Liza's obnoxious performance as Claire. If you looked up "over the top," in the dictionary, I'm sure Liza's picture is on that page. And Liza goes beyond the pale in Lucky Lady. Minnelli is all over the place—character, comically, and she caterwauls her dialogue and two songs, both Kander and Ebb on autopilot. My guess is director Donen turned Liza loose, hoping the results would be triple threat Judy all over again. She looks like a deranged Clara Bow and whines and wheezes in her harried moments like Shelley Winters! Burt Reynolds is the surprise here. As the handsome but dim rum runner, Burt doesn't fall on his mock macho shtick and is quite endearing. Reynolds was a natural comic actor and could be a strong dramatic one, too. A shame Burt didn't prioritize those qualities over stardom.

Liza Minnelli, Gene Hackman, & Burt Reynolds take over the "Tonight Show"
 to promote 1975's "Lucky Lady." Everyone seems jovial here.

Gene Hackman, Liza Minnelli,  & Burt Reynolds may be wondering how
they got stuck in 1975's "Lucky Lady" here.

It must be said while Gene, Liza, and Burt were at the top of their ‘70s stardom, independent modern day stars weren't any better at choosing scripts than the old studio star system. All three made some real clinkers during this time: Gene in Zandy's Bride and Bite the Bullet; Liza in A Matter of Time and New York, New York; Burt in W.W. and the Dixie Dance Kings, At Long Last Love, and Nickelodeon. None of which I have seen, nor plan to, ever!

Of the superstar menage a trois with Burt, Liza, & Gene? I'd take only one!
 1975's "Lucky Lady."

As for Lucky Lady, what began with anticipation became a boondoggle, with a final film that satisfied no one. Visually, it's lovely despite the excessive soft focus, filmed along the water in Mexico. Some beautiful architecture serves as backdrops. Despite the incoherent story and unfunny dialogue, Gene, Burt, and Robby Benson, do decent work. But you have to be a hardcore Liza fan to enjoy her performance—she's one unlucky lady here. 

A sweet snapshot of the "Lucky Lady" cast: Robby Benson, Burt Reynolds,
 Liza Minnelli, & Gene Hackman.

Up next for Minnelli was New York, New York, which was another troubled production that flopped on first release. A few years later, a director's cut was released, to better effect. While Liza won praise for New York, New York, it's almost an anti-musical, not a tribute. To revamp a quip that Bette Midler made about another '70s song-laden movie disaster, "I never miss a Martin Scorsese musical.”

Well actually, I did. I don’t even recall if New York, New York came to Manistique—a Minnelli miss to be remedied at a later date!

Another big movie everyone was excited about... until it was released!
Rona Barrett gives the big build-up for 1977's "New York, New York."

My deep dish on Barbra Streisand's diva version of A Star is Born: 

https://ricksrealreel.blogspot.com/2017/08/barbra-streisands-star-is-born-still.html

 

 

 

 

Gina Lollobrigida an Unhappy Hooker in ‘Go Naked in the World’ 1961

 

In 1961's "Go Naked in the World, " Gina Lollobrigida's working girl
can't even go to Acapulco without being recognized!

MGM's Go Naked in the World is one of those mid-century movie soap operas that have one foot in the fuddy-duddy '50s and the other in the sexy '60s. And the disparity shows in this schizophrenic story. The 1961 slick sudser stars Gina Lollobrigida as high class call girl Julie and Tony Franciosa as returning GI Nick Stratton, who's gaga for Lollo. Standing in the way is his overbearing father, Pete Stratton, overplayed to the hilt by Ernest Borgnine.

Sizzling romance, followed by gloomy guilt, is the wash, rinse, repeat formula
 of 1961's "Go Naked in the World." With Gina Lollobrigida & Tony Franciosa.

If this plot seems vaguely familiar, MGM had just released BUtterfield 8 the year before, with Elizabeth Taylor as a high class girl who has an ill-fated love affair with one of her admirers. Later in '61, Metro would also release Ada, starring Susan Hayward, as a working class hooker who propels her hubby to congress—doesn’t sound so absurd today, does it?! 

If classy MGM seemed preoccupied with prostitutes during this time, legend has it when Elizabeth Taylor was on the hook for one last film they offered her all three roles in succession to cash in on her then scandalous image. She grudgingly settled on BUtterfield 8, which became their highest grossing film of the year. The other movies were not hits. Frankly, all three are just entertaining trash, but Taylor was at her zenith, and the public flocked to see her sinner soap opera.

Gina Lollobrigida as a hot & haughty call girl, 1961's "Go Naked in the World."

Like Taylor's fiery call girl, Gina's Julie is similarly independent, and also brought low by love in Go Naked in the World. They both meet smooth-talking men, fall head over stiletto heels, yet feel tortured by their sinful lifestyles, all while slinking around in Helen Rose cocktail dresses. And yes, to pay for their sins, these ladies of the evening gowns pay the ultimate price. And the men who loved them get off the hook scot-free save for some noble tears.

Tony Franciosa & Gina Lollobrigida flirt/fight, 1961's "Go Naked in the World."

In the case of Go Naked in the World, the sinful set up seems silly from the get-go. Franciosa's returning soldier brags that he knows how to make love in 12 languages, yet doesn't recognize a call girl when he sees one. Tony is made out to be boyish and his Nick is constantly referred to as a "kid." From the same name novel, Nick’s 23, but Tony's 33 here, with Gina, who was 34. So his naiveté seems false. He first sees Julie, all dolled up at a cocktail bar with an older man, who suddenly must stand her up. Later, at her apartment, Nick comments that her phone is always ringing and that her apartment seems impersonal, with an empty fridge, save for champagne and olives. Clue, she's not a librarian! On Julie’s part, she knows that his father was one of her former clients, not to mention all his business pals! With Sonny Boy instantly falling in love, why even go there? Romance and regret ensue, natch.

Tony Franciosa's soldier thinks working girl Gina Lollobrigida's swanky pad
 is sterile in 1961's "Go Naked in the World. "

Aside from Tony being too old as the young swain, he's also only 10 years younger than Borgnine. As his pop, Ernie’s the Greek buffoon/tycoon, forever yelling that he's an old dying man. He clutches his hollering heart attack more than Fred Sanford!

Ernest Borgnine's Greek papa has more heart attacks than Fred Sanford,
in 1961's "Go Naked in the World."

The moment we see Ernie's Pete, he's waiting for Nick in his hotel room, irate he hasn't returned immediately to the family home. The minute Pete sees his son, he yells louder than Seinfeld's Frank Costanza! Bellowing, berating, belittling—all because he wants what’s best for son Nick. The fatherly demonstrations of love to his family have to be seen to be believed! Ernest's carrying on like an old man at 43 is especially absurd.

Tony Franciosa as prodigal son Nick is exhausted by his father's overbearing
 personality, in 1961's "Go Naked in the World."

Tony's Nick repeatedly proclaims that he wants to be his own man, but he's always hitting up his dad for dough, or sponging off Julie. The one truly good scene in this sleazy soap is when Ernie makes his son come out on a construction beam 20 stories high for his handout. 

Tony Franciosa's Nick has to work hard for his handout from father Pete
 (Ernest Borgnine) in 1961's "Go Naked in the World."

Tony is head over heels with Gina after one night—typical romantic movie scenario. He naively brings her to his parents' anniversary party, where she is all dolled up and sticking out like a sore thumb. Well, Pops and all his aging buddies recognize her! When Nick has his eyes opened, he goes through the typical wronged movie male tropes, capped by flinging money in Julie’s face. From then on, it's a cycle of recriminations, reconciling, and regret. Their affair becomes exhausting!

What's a sordid soap opera if the jealous lover doesn't throw money
in the face of his working girl, in 1961's "Go Naked in the World."

The cast are given thankless roles, with illogical plot turns, and truly absurd dialogue. While Ernest Borgnine is a great actor and has some touching scenes, he is encouraged to go big, and certainly does!

Ernest Borgnine goes full tilt as a Greek tycoon, in '61's "Go Naked in the World."

Tony Franciosa, while handsome and capable, played the weak charmer once too often and I think it hurt his film career. I always found him glib and affected, with his line delivery reminiscent of a smarmy Tony Curtis.

Tony Franciosa as the louche son, should put his "skills" to good use,
but lives off his rich dad & working girl, in 1961's "Go Naked in the World."

Gina Lollobrigida comes off best here. While Gina never had Sophia Loren's natural fluid emotional quality, she does well here, for the most part. Like Elizabeth's call girl Gloria, Gina's Julie is the story's whipping post for the phony morality after wallowing in dirty soap suds. And like Gloria, Julie must pay for her sins by death.

An intense scene when Gina Lollobrigida's Julie instigates her lover's
 jealousy and a subsequent gang rape, in 1961's "Go Naked in the World." 

At the finale, Julie debases herself in a dive bar to drive Nick away, and on the way home from her walk of shame, takes a plain white dress she finds on a clothes line. Once home, with makeup and hairdo washed away, garbed in a white death shroud, Julie jumps to her death. Gina does a good job of giving Julie empathy.

Gina Lollobrigida's final scene, where she comes clean of her prostitute
 persona and commits suicide. 1961's "Go Naked in the World. "

This was one of screenwriter Ranald MacDougall's few directorial efforts. He is not in good form at either in this campy outing. The storytelling in plotting and dialogue are so bad that Go Naked in the World plays like a SCTV spoof. The film is adapted from a novel, by Tom T. Chamales, who also wrote Never So Few, which later starred Frank Sinatra and Gina. Milton R. Krasner's cinematography is lovely, the MGM glam squad makes Gina look like a million, and Lollo's in very fine form in Helen Rose's swanky creations. My guilty pleasure is Julie 's plush pad, complete with a portrait of Gina that looks like a Keane!

Working girl Gina Lollobrigida's phone number is busier than "BUtterfield 8."
 From 1961's "Go Naked in the World  "

Go Naked in the World is fun if you're in the mood for camp. The dialogue must be heard to be believed. Maybe better to watch on mute!

Next on Jerry Springer!: "My Son's Dating a Prostitute and Brought Her
to Our Wedding Anniversary!" 1961's "Go Naked in the World."

Gina Lollobrigida was 40 & fab in the 1968 comedy Buona Sera, Mrs. Campbell. Gina's fiery, funny, & sexy as the mother of a daughter about to be married, & has 3 long ago flings who each think they are the girl's father. Sound familiar?! My look at Gina as Mrs. Campbell here: 

https://ricksrealreel.blogspot.com/2021/11/buoyant-buona-sera-mrs-campbell-1968.html

Mrs. Campbell!