Debbie & Tony in One-Gag ‘Goodbye Charlie’ 1964

Tony & Debbie: Two '50s stars turn a corner. Curtis faces 40 & Reynolds morphs into her Vegas persona.

For a one-gag premise, Goodbye Charlie is one of the most gaga sex comedies from the '60s. Some current critics have drooled over Charlie, viewing the gender bending as forward thinking. George Axelrod’s plays were certainly risqué in their era, like The Seven Year Itch, Will Success Spoil Rock Hunter, and Goodbye, Charlie. The fact that none of them have endured beyond their original shelf life, along with other Hollywood sex comedies of the era, indicates that they were aiming for prurient Playboy-era laughs than profound humor.  

And Charlie director Vincente Minnelli was not one to push the envelope, like a Billy Wilder. Minnelli craved both the security of his role as a studio director and hetero Hollywood husband, to risk going audacious auteur.

The French poster for 'Goodbye Charlie' is more to the point.

20^th Century Fox bought this lesser George Axelrod play as a possible Marilyn Monroe movie, one of several properties earmarked for Marilyn before she went goodbye in the summer of ‘62. Fox offered the movie to Billy Wilder, who had directed MM in Axelrod’s The Seven Year Itch, but Billy turned it down to direct his own tasteless sex comedy, Kiss Me, Stupid.

Tony Curtis as the late Charlie's pal, Richard, who's about to get a surprise!

The premise: an alpha male screenwriter gets shot aboard a wild yacht party, only to be reincarnated as a female, when alleged hilarity ensues. Debbie Reynolds is the new Charlie, found naked by a millionaire Mama's boy, dropped off at Charlie's pad, where his pal Richard is staying to settle his affairs.

Fox brought in a gaggle of MGM pros to help put this over, director Vincente Minnelli and star Debbie Reynolds, with backup from Metro’s Helen Rose for gowns and Sydney Guilaroff to design Debbie’s hair/wigs. Tony Curtis, who had starred with Debbie in The Rat Race, is cast as Richard.

Debbie Reynolds is game as Charlie, reincarnated as a woman. But is she good aping a guy? 

Reynolds tries to put over this one-note material, but is mostly one-speed. She first plays Charlie trance-like, as if she's under hypnosis. When she realizes who she was, but now in a woman's body, Debbie’s performance goes broad and butch. Debbie certainly had comedic talent, but is miscast, and overcompensates. Reynolds has some smaller, sly moments that demonstrate what might have been.

'Charlie' gets a makeover, while scheming to make his new situation work to his advantage.

Tony Curtis seems to be on autopilot, but his character isn’t given much to do. Tony is competent, but is stuck playing the straight man, when he was actually a Charlie type. Perhaps Tony should have donned Some Like it Hot drag again!

Tony's Richard with Ellen Burstyn's Frannie and her burstin' floral hat!

Walter Matthau has amusing moments, hamming outrageously as the horny Hungarian producer who shot Charlie. Joanna Barnes, the mean fiancée in 1961’s The Parent Trap, is amusingly snarky here as a Hollywood matron Janie. Pat Boone is smooth if smarmy as millionaire Bruce—not Wayne—who wants to marry Charlie.

Walter Matthau as the Hungarian film producer whose accent changes with each scene!

Also, look for Ellen Burstyn—billed as Ellen MacCrae—as one of the Beverly Hills wives Charlie dallied with. Interesting that Ellen is the same age as Debbie Reynolds and many of her contemporaries, yet Burstyn was just busting out at age 32 in movies, late by Hollywood standards. By the mid ‘70s Ellen was a "realistic" star, while old school stars like Debbie were considered passé in movies.

Debbie's Charlie is washed up on shore, now a woman, with white blonde hair and makeup.

Since this is a Vincente Minnelli movie, set in Hollywood to boot, you can bet the sets and women are highly over-decorated! The women are an array of “Color Me Beautiful” Helen Rose gowns. And whoever did Debbie’s makeup was “inspired” by MM’s last makeover, lots of white and beige costumes, pale blonde hair and nude eye makeup. The Monroe-esque makeup and hair job they gave Reynolds reminds me of all the other actresses of the era who took over parts for Marilyn or were supposed to be the next Monroe. Like Joanne Woodward in The Stripper or Carroll Baker, who looked more like MM than Harlow during this era.  Charlie's Malibu pad is a dress rehearsal for Elizabeth Taylor's Big Sur hippie "shack" in Minnelli's next movie, The Sandpiper. Both abodes looked like the ideal beach home for a tasteful, older director rather than a randy screenwriter or a free-spirited artist!

The animated opening credits gave 'Charlie' a sitcom feel, the Previns' title song didn't help.

The movie's opening, complete with a nutty theme song and animated credits, feels like a ‘60s sitcom—minus the smut. Dory and Andre Previn offered up more of their very on the nose ditties for Charlie, that feel like parody. Three years later, they took this to an art form with Valley of the Dolls.

The glossy production values, stage-bound feel, excess rear-projection shots, and the leering attitude, all made Charlie instantly dated upon release. Time hasn’t changed that. But if you’re in the mood for a time capsule rom-com romp, Goodbye Charlie might be for you.

This movie still sums up the problem with 'Goodbye Charlie.' Released at the end of '64,
it looks, sounds, and feels like a '50s film. 'Virginia Woolf' and 'Bonnie and Clyde' were just around the corner.

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‘Where Love Has Gone’ 1964

Mike Connors & Susan Hayward fight over doll of daughter Joey Heatherton. Bette Davis looks on balefully.

"Somewhere along the line, the world has lost all of its standards and all of its taste." Acerbic film critic Judith Crist lifted this line, from 1964’s Where Love Has Gone, to point out the same lack of standards and taste in this sleazy soap. I agree, but it’s also why I enjoyed this crass classic!

Not up on your golden era Hollywood gossip? Where Love Has Gone, a Harold Robbins bestseller, lifts the 1958 Lana Turner-Johnny Stompanato-Cheryl Crane stabbing scandal as its basis. The ’62 novel was snapped up by Joseph E. Levine and Paramount, who assigned the director/screenwriter team who mounted their Robbins bestseller, The Carpetbaggers, for the big screen.

Daughter & mother have a big secret, as well as big hair! Joey Heatherton & Susan Hayward.

The Mildred Pierce-style opening has a naughty bad boy who gets himself fatally caught between a sparring mother and daughter. After the daughter is taken into custody, Daddy is called, and then it's flashback time. It's a good thing that Luke Miller (Mike Connors) is a war hero, because if it wasn't for his uniform, you'd never know it was WWII. The sets and especially the star style of Susan Hayward all signal mid-1960s, not the '40s! Hayward plays Valerie Hayden, a sexually charged artist. Bette Davis is her rich bitch mother, who just thinks she’s in charge. Their off-screen animosity nearly starts WWIII on-screen. And 20-ish Joey Heatherton plays the problem child, Dani? Wasn’t Patty Duke available?!

One critic singled out this piece of furniture Bette's perched on 'as the world's ugliest chair.'

What newlyweds wouldn't love a hideous portrait of this monster-in-law in their new abode?

The film’s story is told on autopilot, via director Edward Dmtryk and John Michael Hayes. Dymtryk’s taut film noir days were long behind him, and Hayes had gone from Alfred Hitchcock to pseudo smart smut like The Carpetbaggers and BUtterfield 8. The cliché fest story-telling, with its over-emphatic "happy" scenes, make viewers wonder how many scenes will pass before everything goes to hell. In Where Love Has Gone, the plot moves with whiplash speed: the war hero and rich girl artist spar; she falls instantly in love when he tells her rich mother off; they marry, their life mapped out for them by meddling mama; then comes a baby girl; he hits the bottle after attempts to be his own man; the artist/wife reverts to being a needy nympho; they divorce and he is cast out of the wealthy family. 

New mother Susan doesn't look very happy. Maybe something to do with HER old mother?

Luke and Valerie’s 15-year-old daughter Dani brings them back together, when she is accused of murdering Mommie's latest playmate. What’s funny is that the neglected daughter's story is pivotal, yet you only see her in the flashback as a swaddled infant, at her christening!

Susan Hayward gets the star treatment in 'Where Love Has Gone' and looks great at 47.

Susan Hayward, after her Oscar win for 1958’s I Want to Live, trudged through a series of trashy soaps, with Valley of the Dolls still to come. Oh, how Susie tries here. Hayward gushes like a political wife in the "happy bride" moments, and soon snarls like a banshee in the "unhappy home maker" scenes. When her hubby finally bails on her, Hayward howls up the stairs at him like she's auditioning for Martha in Who's Afraid of Virginia Woolf?

"Who's Afraid of Susan Hayward?" In this scene, Mike Connors should be!

Despite the fact that Susan looks sensational at 47, her flashbacks as a blushing bride and new mama are a stretch. Mike Connors as the young war hero/groom, at 39, was pushing credibility, too. It’s to Susan’s no-nonsense credit that she didn’t draw outside the lines of nature with makeup and become a caricature of herself like many golden era divas.

Mike & Susie as newlyweds: "Was this movie good for you?" Wait, don't answer that!

Speaking of which, Bette Davis plays the thankless part as the monster mother. Davis was forced to wear a white Marcel wave wig, which critics sniped, made her look like George Washington. In the ‘60s, Bette was in the hands of Gene Hibbs, whose makeup “magic” on Bette inspired drag queen Charles Pierce. Movie fans may also recall Bette’s big hit, Mr. Skeffington, with Bette’s withered Fanny. Davis looks and acts like a tough prison matron rather than a society matron.

Bette as George Washington: "I can not tell a lie.
I only did this movie to pay for my daughter's wedding!" True story!

As for Davis' performance, she falls back on her famed mannerisms, delivering each line like it's a proclamation, with pauses that you could take a potty break in between. Bette has a few quiet moments, but she's in the movie to manipulate and exacerbate events, not make peace. And her last lines, Davis brings her artificial high pitched line readings. The cemetery scene is a hoot, as Bette’s granny tells Dani in a sing-song delivery, before being led away by her parole officer: “I will come and see you very often.” Then she walks up to her former son-in-law and says his name normally, before nearly shouting at him, “Valerie was destined for tragedy!”

Bette gets the Gene Hibbs magic makeup/mini-facelift treatment... and THIS is the results!

Then there's Joey Heatherton as Dani, Hayward's troubled teen. In a movie with dramatic hair, Joey's tidal wave of brown hair makes her look like a female Elvis, especially with her sleepy eyes and open-mouthed sneer. Dani petulantly pouts "Daddy!" enough times to fill a dozen porno films. The girl veers between a lonely girl and a tough teen. Either way, Joey is not convincing. I recall Rona Barrett joking in her gossip mags if a picture of Joey with her mouth closed actually existed.

Joey Heatherton's lower lip gives her hair a puffy run for the money as 15-year-old 'Dani.'

Mike Connors, late on his 15 year road to stardom before he finally hit it big with Mannix, gives a reasonable if light-weight performance as Luke Miller, war hero/drunk husband/absentee father. 

George MacReady, as the steely family lawyer, gets off the film’s most tawdry double entendre—which is saying something—regarding the dead boy toy: "He wasn't any good at double entry bookkeeping, but he was great at double entry housekeeping."

This is easily the best scene in 'Where Love Has Gone,' when Jane Greer's parole officer
sizes up Hayward's wayward mother!

Jane Greer, as Dani’s parole officer, gives the film's most realistic performance, amidst all the posturing. Greer’s piercing dark eyes and her no-nonsense manner stand out, especially in the home inspection between her and Susan’s wayward mother, and is easily the movie’s most authentic scene.

DeForest Kelley may have wished someone had beamed him up out of this movie, as the acerbic art critic and Hayward’s best pal. Kelly’s character is there to provide “insights” into Hayward’s artist.

DeForest Kelley as the art critic who critiques art AND Hayward's morals. But not her hair!

Where Love Has Gone is one of many '60s trash classic, the last gasp of old Hollywood promising vicarious thrills, while piously lecturing audiences over the story’s sinners. The movie makes a big point that Dani is no longer a virgin. Valerie’s sex drive is driven home, as Kelly’s character lets us know that her artistic juices only flow when… well you get the tawdry picture!

John Michael Hayes borrows a bit from BUtterfield 8, with viewers first seeing Valerie waking up after a rough night, as if from an erotic dream, then facing reality and reaching for a cig. Valerie’s last scene has Susie speeding through San Fran to her censor-satisfying suicide.

"No, this isn't BUtterfield 8!' Note the ciggies at the bedside...they taste just like candy!

Somehow, the dopey opening title song got nominated for an Oscar. The lyrics are so ‘moon-June-spoon’ nonsensical that it would be perfect for Valley of the Dolls' Tony Polar. Instead, The Love Boat crooner Jack Jones does the honors. There is skillful and loving cinematography by Joseph MacDonald, with beauty shots of San Francisco as well of the diversely-aged female stars.

Sparks fly whenever Susan Hayward is around.

For camp lovers, there’s hooty dialogue, big hair, heavy eye makeup, and tacky décor. Par for the ‘60s course, just about everyone onscreen is constantly pouring a drink or lighting a smoke! Watching Susie the artist, with a cig hanging out of her mouth, is a sight to behold. And Mike Connors matches her cig for cig. Amazingly, legendary smoker Bette doesn’t light up once. I guess that’s dedication to her craft, playing the self-righteous rich hag. I’ll let you decide whether Where Love Has Gone is smokin’ hot or just blowin’ smoke!

You just know that somebody is gonna trash Bette Davis' portrait by the end of the movie.
I bet Susan Hayward didn't have to ask what her motivation was here!

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‘House of Strangers’ 1949

Edward G. Robinson wasn't large, but he's in charge as the patriarch of 'House of Strangers.'

House of Strangers is not Joseph L. Mankiewicz’ typical cinematic cup of tea, but the director does great work in this family melodrama. The ’49 film plays to Mankiewicz’ strongest suit: character dynamics. From 20^th Century Fox, House displays Mank’s trademark snappy dialogue and refreshing adult attitudes.

Robinson's controlling papa pits his sons against each other throughout 'House of Strangers.'

A fine ensemble cast resides in this House. Edward G. Robertson gives his all as the overpowering papa. He plays Gino Monetti totally old school—you love and hate him at the same time. The patriarch claims to do everything for “the family,” but by the finale, Gino’s need to control has cost him everything. Edward’s performance may be too “Eye-talian,” but in a fiery performance, he brings this flawed character vividly to life.

Edward G. Robinson gives his all as larger than life Gino Monetti. 

I knew Eddie that had never won an Oscar, but was SHOCKED to find out that he was never even nominated, for any of these Robinson performances: Little Caesar (the role that made him a star!), Dr. Ehrlich’s Magic Bullet, Double Indemnity (wow!), Scarlet Street, The Woman in the Window, The Sea Wolf, Key Largo (double wow!) All My Sons, House of Strangers, and in his last, as Sol, in Soylent Green. Robinson did receive an Honorary Oscar, given in true half-assed Academy style, when Eddie was dying. Robinson passed away before he could accept.

Richard Conte comes on strong as the cocky, favorite son Max Monetti. 

Richard Conte is so good, but was he ultimately typecast because of his ethnicity? Both Conte and Robinson were later considered to play The Godfather. But Coppola thought outside the box with Brando, and Conte appeared as another “Don,” Barzini.

Susan Hayward is snappy and sexy as Irene Bennett, the rich young woman who’s attracted to bad boys. Her character has a serious side, too, wanting Max to be his own man, and stop following his father’s commands. Susan is superb, in what could have been a dull leading lady role, given great verve by Hayward.

Richard Conte and Susan Hayward make a dynamic duo, whether fighting or kissing!

The attraction between favorite son Max Monetti and sexy socialite Irene Bennett is fiery, magnetic, and love-hate. Richard Conte and Susan Hayward sizzle in the roles, though I kept wondering if Frank Sinatra and Ava Gardner were yet a couple, as this film duo would have been right up their alley!

Luther Adler has the perfect mug to play Edward G. Robinson's son! As oldest son, Joe.

Luther Adler, with a pickle puss that made him perfect to play Edward G. Robinson’s son, is Joe Monetti. He is the eldest who is tired of being second best to father’s fave, Max. Also grating is that he is treated like a lackey by Gino. Adler’s a chilling cold fish here, though you can hardly blame the character.

Then there's Efrem Zimbalist, Jr. as the charming son. Was this guy ever NOT handsome?

Efrem Zimbalist, Jr. is incredibly handsome and all smiles as the go-along, get-along son Tony Monetti. Debra Paget, in her first film, is incredibly lovely and sensuous as Max’s fiancé. A wow since Debra was only 15 years old at the time! Diana Douglas—first wife of Kirk, mother of Michael—plays the dissatisfied wife of eldest son, Joe.

Love how Robinson's Gino is always threatening to pull a Ralph Kramden on future in-law, Hope Emerson.
My money's on Hope! That's lovely Debra Paget in the middle, at 15!

Hope Emerson is humorously cast as Debra Paget’s mother. Emerson was often typecast as the villain due to her imposing height and face. Future in-law Edward G Robinson is always threatening her, though Emerson could knock Eddie flat with her pinkie finger!

The story origin for House of Strangers goes all the way back to King Lear, with sons instead of daughters. The direct story for this film came from a novel, with a script by Phillip Yordan, which director Mankiewicz massively overhauled. The story’s been regularly repeated, from Broken Lance, to The Sons of Katie Elder, and especially, The Godfather. Nothing against the above films, but House of Strangers is an unsung near-classic.

Max Monetti & Irene Bennett at a boxing match. They're no strangers to sparring!

The director’s decision to do some location shooting in NYC’s Little Italy goes a long way in providing some atmosphere. Typical of the era, though the film is set during the Depression era, the look is post-war ‘40s. Still, the Little Italy scenes look far more real than 20^th Century Fox’s prettified back lot.

The story, told mostly in flashback, is tautly told, with great atmosphere. House of Strangers makes you feel like you’re peeking in the windows of the Monetti clan.

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It's not a pretty picture for Robinson's Gino Monetti by the end of 'House of Strangers.'

‘North by Northwest’ 1959

Cary Grant & Eva Marie Saint get a "rush" of a cliffhanger in this Alfred Hitchcock classic.

The Alfred Hitchcock catch me if you can classic, North by Northwest, was the film forerunner to the modern summer blockbuster.

North by Northwest was a distinctly commercial venture after Vertigo. Hitchcock had received some criticism in the ‘50s as too smoothly commercial, with his Grace Kelly movies, The Man Who Knew Too Much, and 1959’s North by Northwest. 1960’s Psycho would be his answer to THAT criticism!

Cary Grant spends the entire time in 'North By Northwest' on the run!

Here’s the complicated plot of NBNW in a nutshell: Devil-may-care ad man Roger Thornhill is abducted by henchmen and taken to spy Philip Vandamm. He is convinced that Roger is an undercover agent. They then engage in a cross-country game of cat/mouse, when a cool blonde enters into the mix of this smart suspense thriller. The deeper Roger gets entangled into this espionage web, the more he realizes there’s a thin line between the good guys and bad guys.

Alfred Hitchcock, master of suspense AND master showman, promoting 'NBNW.'

North by Northwest was Hitch's double whammy with the plot device he called the “MacGuffin.” This was an inconsequential object of a story that sets everything in motion. While the MacGuffin here is microfilm hidden in an antique, I think that George Caplan, a non-existent person who Cary Grant's ad man is mistaken for, is the real MacGuffin here.

The microfilm revealed late in 'NBNW' may be the official 'MacGuffin,' but for me,
Grant's Roger Thornhill mistaken for George Caplan is the REAL MacGuffin!

NBNW is the epitome of a mid-century movie: sophisticated yet totally entertaining; a clever plot and plenty of action; sexy yet classy; a star and director's vehicle. North by Northwest’s story takes the audience across the much of the United States, from NYC to Mount Rushmore. This suspense film is what summer blockbusters call a "thrill ride." Unlike many modern versions, North by Northwest was meticulously thought out and filmed, with director Hitchcock at his height of storytelling talents.

Cary Grant, the essence of movie star cool, and IMO, Hitchcock's best movie hero.

Roger Thornhill was Cary Grant's last great role, though he appeared in several more popular movies before making a graceful film farewell in 1966. At 55, Cary looks like a million and deserved every cent he demanded. Perhaps the healthiest and best-preserved male movie star of his generation, Grant is stylish, sexy, fit, graceful, and charming—a total catch for any leading lady. Also, Cary’s droll humor is also on full display. Though his role resembles the government agent he played for Hitch over a dozen years earlier in Notorious, Cary is less moody here. Grant is great with a funny line, whether broad or sly, and his body language is fantastic, when playing drunk or playing the fool at an art auction. North by Northwest also demonstrates that had he been a decade or so younger, what a great James Bond he would have made in the coming decade. 

At 55, Cary Grant is still in fine form, and aged better than any of his fellow male stars.

I've written how understated Eva Marie Saint as Eve Kendall is the secret weapon of North by Northwest, which you can read here:
https://ricksrealreel.blogspot.com/2019/07/eva-marie-saint-secret-weapon-of-north.html

Cary Grant, Eva Marie Saint, and the red & black cocktail dress.

I’ll recap that Eva brought her acting talent and sly sex appeal to the role of Eve. Saint had a great rapport with Grant and Alfred Hitchcock. I’m always a bit puzzled why Hitch didn’t use Eva Marie Saint again, in some of his ‘60s films.

Cary Grant & James Mason as hero & villain: Mason's persona makes me think of a dark side version of Grant.

"You have to choose ONE of us, Mister!" Martin Landau, James Mason's "loyal" henchman.

James Mason, who I always thought of as a mortal version of Cary Grant, is a wonderful villain in North by Northwest. Silky would be the cliché adjective to describe his Phillip Vandamm, but damn, Mason is silky and sexy. He's intelligent yet intimidating, charming yet creepy, cool but with an underlying attitude of sadness—an update of Claude Rains’ cuckold character in Notorious. It's a great role for James Mason and his ambiguous attitude toward Eve and henchman Leonard is fascinating. Martin Landau, tall and ominous—a handsome Lurch—those glaring ice blue eyes, is smartly sinister as Leonard. His attitude toward Eve and a few key lines makes it very apparent that Leonard is not just a villain, but also just a jealous guy, as John Lennon once sang.

Left: Jessie Royce Landis, amusing as Grant's exasperated mother, asking these thugs
if they're really trying to kill her son!

A fine supporting cast goes far in making North by Northwest a smooth ride: Jessie Royce Landis as Grant’s mother; Leo G. Carroll, as the FBI “good guy;” Josephine Hutchinson as “Mrs. Townsend;” and Philip Ober as Lester Townsend; Ernest Anderson as the train porter, and Ned Glass as the station ticket master who’s on to Grant are welcome familiar faces.

Eye-catching Saul Bass titles & Bernard Herrmann's score get 'NBNW' off to a rousing start!

Ernest Lehman wrote one of the wittiest Hitchcock screenplays ever in NBNW. The classic opening credits by Saul Bass, paid homage to in Mad Men, still stuns on each viewing. The energetic and slightly exotic score by Bernard Herrmann is one of his best. One of Hitchcock’s favorite cinematographers, Robert Burks was up to the challenge of framing the thrilling set pieces. Perhaps that’s why Burks shot 12 films for Hitchcock. And for a ‘50s movie, the Mount Rushmore mock ups look pretty damn good. Hitch's love of rear projection, matte work, and actual location shooting is mixed just about perfectly in NBNW.

There’s the villain’s heavenly hideout home, even though it’s just a set and a mural/miniature. How amusing that Hitchcock has the villain live in a Frank Lloyd Wright-esque house that’s located next door to Mount Rushmore—totally inconspicuous, right?

Where else would a spy's hideout be located, but in a Frank Lloyd Wright-style mansion
next door to Mount Rushmore? Talk about hiding in plain sight!

At 2 ¼ hours, my one “nay” about North by Northwest is that it’s a tad overlong. Studio era movies could be deliberate in their storytelling set up, especially to today’s attention span deprived eyes. And this was especially true of Hitch. I recall at a retrospective showing of Rear Window, there were signs of audience restlessness during the opening scenes. In NBNW, Roger Thornhill’s kidnapping, induced drinking, drunken car ride, and subsequent arrest could be much shorter. Drunk scenes for laughs don’t play well today, and it doesn’t advance the movie much, except to show Grant’s comedic skills, and Hitch’s sometimes heavy-handed humor. By contrast, the near-silent crop duster scene hasn’t a wasted moment.

As with Alfred Hitchcock’s work, North by Northwest can be enjoyed multiple times. There are so many layers to Hitch’s storytelling and he utilizes all the top notch production elements to the fullest. NBNW is a film journey I love to re-visit.

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This Julius Kroll promotional caricature captures all the elements of Hitchcock's 'NBNW.'