Before 'Babylon,' Raquel Welch’s 'Wild Party' 1975

Raquel Welch & Perry King make such a pretty pair in 1975's "The Wild Party."

 

The '70s nostalgia craze resulted in a flurry of films set in the early 20^th century, especially golden era Hollywood. By the mid-70s, enough of these productions had bombed to cool the trend. For every Chinatown or The Sting, there were more movies like At Long Last Love, Gable and Lombard, W.C. Fields and Me, Nickelodeon, The Day of the Locust, The Great Gatsby, and Won Ton Ton, The Dog Who Saved Hollywood. One of the latter category was1975’s The Wild Party, a tale of the debauched silent movie era, before sound and censorship came in and cleaned house.

"The Wild Party" was part of the '70s nostalgia craze.

Today's film fans might be surprised at the variety of debauchery presented in this ‘70s movie. One of several big problems is that The Wild Party itself isn’t presented until near the end of the movie—unlike Babylon, which devotes nearly 30 minutes of its running time to a party/orgy, before the opening credits!

James Coco was very good as the laughing on the outside/yelling on the outside
silent film comedian Jolly Grimm in 1975's "The Wild Party."

James Coco is well-cast as Jolly Grimm and gives a good dramatic performance as the Jekyll and Hyde comedian, whose career is on the skids. The Wild Party is loosely taken from a novel-length poem by Joseph Moncure March, that chronicles the fall of a once-great vaudeville comic, taking kept woman Queenie down with him. The story was transplanted to Hollywood to echo the notorious end of silent movie star Fatty Arbuckle’s career.

Raquel Welch as the kept starlet in "The Wild Party." Problem with that is Jolly
found the starving starlet as a teen and Raquel was 34 as the adult Queenie!

Jolly Grimm throws a big party to entice important film folk to a sneak preview of his film comeback. Coco's recreations of Jolly Grimm in “silents” are believable, but typical of latter day films, it’s a hybrid of silent movie style shown through a modern lens. For his “return,” Jolly cajoles and pulls strings, also promising booze and broads, as commerce for his art.

The story of "The Wild Party" is told by Jolly's writer, Jimmy Morrison,
who observes the downfall of Grimm and Queenie. He's played by David Dukes.

Coco's character berates Queenie for all his problems and yet bemoans to others that he's losing her. This behavior is not uncommon for failing men toward their women, especially in Hollywood. And Coco captures it quite well, even if it's not always pleasant to watch. What Jolly and Queenie need each other for doesn't come across as authentic. The big problem is that Coco’s Jolly is emanating genuine flop sweat and Raquel's undulating and sashaying around like Gilda.

"Party! Party! Party!" The fun couple the morning of "The Wild Party."

The Wild Party was an early Ismail Merchant and James Ivory film. Unfortunately, they were at the start of their illustrious career and the film got higher financing only because Raquel Welch chose to star. The producer/director duo’s rather precious vision of the silent era’s twilight clashed with Raquel’s, whose star was on the rise. After surviving 1970’s infamous Myra Breckinridge, Welch was part of two 1973 all-star projects, The Last of Sheila and The Three Musketeers—the latter’s sequel, The Four Musketeers, was also filmed at the same time. The first was a critical hit and the latter two were box office hits. Welch took this as a mandate to be taken seriously, and not as her generation’s Jane Russell.

As Queenie, Raquel Welch wakes up after a rough night in "The Wild Party."
As you can see, Raquel sheds glamour for authenticity in her dramatic role.

The finished product glaringly shows the contrasting scenes. The filmmakers’ stylized presentation of scandalous silent film stars clash with star Welch, as she swans about showing off her fab form and immaculate glamour.

When Welch tries to emote as vulnerable starlet Queenie, empathy is not her strong point. And Raquel’s singing and dancing feels like a commercial for her ‘70s Vegas act. What points up Welch's lack of genuine talent, warmth or charisma, is when “rusty” Raquel sings and dances as "Singapore Sally." As Queenie, she’s supposed to wow the crowd, along with male characters Tex, Jimmy, and Dale. They are all unabashedly adoring—and then it cuts back to Raquel doing her damnedest just to stay afloat. 

"Triple threat" Raquel Welch sings, dances, and acts dramatic as kept Queenie
in 1975's "The Wild Party."

One of Hollywood’s biggest clichés is casting 30-something “name” actresses as “starlets”: Lana Turner in Imitation of Life, Kim Novak in Lylah Clare, and the stars from all versions of A Star is Born! At 34, Welch was a decade too old to play the starlet who is kept, rescued as a struggling teen by comic star Jolly Grimm. A shame, as the character could have been touching. The curvy, toned, and shellacked Raquel does not suggest a silent starlet in the least, while her breathy “coffee, tea, or me” voice makes you wish this were a silent picture.

Raquel Welch as Queenie in full-drag for no apparent reason the morning of
"The Wild Party." That faint mark on her cheek is a bruise from Jolly's abuse!

As striking as Raquel Welch is physically, she reminds me of one of those modern stars doing a spoof of a bygone era. There is little authenticity in her performance. The same year, Karen Black played a far more realistic no-talent golden era starlet in The Day of the Locust. Though Goldie Hawn was only five years younger than Raquel, I could see Goldie playing this vulnerable and still girlish starlet. And around this time Hawn was showing her genuine acting chops in The Sugarland Express and Shampoo.

David Dukes, earnest as the good guy unable to stop the tragedy of "The Wild Party."

David Dukes earnestly plays a showbiz version of Gatsby's Nick Carraway in this film, as James “Jimmy” Morrison, the rational observer of the rich and reckless. Queenie could be considered sort of a Myrtle Wilson, a good-hearted broad who just wants more out of life, but not as played by the vacuous Raquel. Myrtle was actually played the year before by, yet again, Karen Black!

Tiffany Bolling as Queenie's pal Kate, who's sorry that she brought date matinee idol Dale Sword (Perry King) to "The Wild Party." Yes, he's looking at Raquel!

Perry King is perfectly cast as a silent movie heart throb with a porn name, Dale Sword. What a shame Perry’s great looks were out of style in the realistic ‘70s. King’s aristocratic features, blue eyes, blonde hair, and athletic body are a stunning package. And Perry gives a good performance, too. In his quiet scenes with Raquel’s Queenie, he is totally natural, unlike Welch, who sounds like she’s doing an audition read.

Perry King was damn good-looking and a good actor, in 1975's "The Wild Party."

Royal Dano as Jolly’s side kick Tex is solid. Dano was a familiar movie and television face, with those piercing blue eyes and his Abraham Lincoln-esque visage. Tiffany Bolling as fellow starlet Kate out-acts and out-sings Raquel Welch without even trying, and in the fraction of the screen time. The young girl who temporarily takes Jolly out of his Grimm-ness is Chris Gilmore. Her precocious performance as Nadine, the teen star wannabe, is a bit over the top, but gives the movie some energy.

Chris Gilmore as precocious Nadine in "The Wild Party" makes the most of her role.

As the film unreels, Jolly’s new picture flops and his guests provide their own entertainment. By the last reel, Jolly’s alienated Queenie, and now sloppy drunk. The film’s suggestion of Grimm making a move on young Nadine sets off the fatal climax. Except for Jolly, the characters are cardboard, so it's hard to shed any tears—which has also been a criticism of the characters/archetypes of Babylon.

James Coco as Jolly Grimm, near the end of his rope, as Royal Dano & David Dukes
 look on, as his entourage.

Critics of the time and later online reviewers have ripped this movie apart on every level. I’m no expert, but I thought the period detail looked realistic and it was filmed at the historic Mission Inn, in Riverside, CA. Ron Talsky’s costumes for Raquel Welch look stunning and the supporting cast costumes were good, too. Ralph Lauren provided the male stars’ clothes. Considering this film was made for low-budget American International Pictures for under a million dollars, it looked pretty swell to me. There was talk of filming The Wild Party as a musical, but that idea was scrapped, though there are songs curiously commenting on the action in the film score. Patricia Birch was the choreographer. Ironically, the story was later a hit Broadway musical. The film was also made in just over a month, which is pretty amazing, considering the turmoil.

Ron Talsky, Raquel Welch's boyfriend at the time, designed a
glam wardrobe for the star in "The Wild Party."

The bad publicity regarding Raquel Welch’s diva behavior during the production and the studio re-cutting the film a couple of times to make it more commercial caused the critics to come down hard. The Wild Party was a critical and commercial flop. Welch would star in just one more hit movie, Mother, Jugs, and Speed, the following year. Aside from Welch, The Wild Party has its moments. But like Ann-Margret taking Bus Riley’s Back in Town hostage with her sex kitten histrionics, Raquel’s unconvincing Queenie is a real drag on this party.

"The Wild Party" before, when guests are bored by Jolly Grimm's film "return."

Then the guests decide to make their own kind of fun in "The Wild Party."

‘To Kill a Mockingbird’ a Still-Great Story 1962

1962's "To Kill a Mockingbird" may have a race trial as its dramatic centerpiece,
but the heart of the film is the story of a father, through his child's eyes.

The film adaptation of Harper Lee’s classic story, To Kill a Mockingbird, celebrated its 60th anniversary Christmas Day, 2022.

***Spoilers Ahead***

Some who look at this story where race is the centerpiece feel it's too genteel or focused on the white Finch family. To Kill a Mockingbird was a major step toward dealing with race on film at the time it was made six decades ago. If the story was truly a sugar-coated fairy tale, Atticus Finch would have won his case and Tom Robinson wouldn't have been killed. 

Small-town lawyer Atticus Finch & his client, Tom Robinson, who is accused of
raping a white woman, in "To Kill a Mockingbird."

Also, To Kill a Mockingbird is truly about Atticus Finch’s family, through the eyes of daughter Scout, based on Lee's own upbringing. It's a slice of life of the south during the height of the Depression.

"To Kill a Mockingbird" author Harper Lee, with her fictional childhood
counterpart, Mary Badham, as Scout.

The film couldn’t be made in Harper Lee's actual hometown as it was too modernized 30 years later. The fictional town of Maycomb, Alabama was recreated realistically on the Universal back lot. The look and lifestyle of the small town is not prettied up. Peck looks realistically rumpled, as the lawyer and widowed father. The kids are dressed like real children, who run outside all day. Nobody lives in a fanciful Hollywood version of a rural home. Also, To Kill a Mockingbird is of the few period films of this era where the visuals look authentic.

Small-town life is beautifully and realistically captured in "To Kill a Mockingbird."

Universal's biggest star, Rock Hudson, wanted very much to play small town lawyer Atticus Finch. He probably could have done a good job, too. Hudson had the same quiet strength and commanding speaking voice that Peck possessed. And Rock was probably closer in age to Atticus, where as Peck was in his mid-40s. But Gregory Peck was more seasoned as an actor and was the perfect choice to play Atticus Finch, the same way Clark Gable was born to play Rhett Butler. Author Lee was so pleased by Peck’s performance that she gave him her father’s watch, when the real lawyer had died, shortly after the film was made.

A number of name actors might have been quite good as Atticus Finch, but Gregory Peck was a natural fit for the character and actor, in "To Kill a Mockingbird."

Peck commented on how this role was perhaps his easiest, due to his similar upbringing. The actors were perfectly cast, with a script that captures the southern era by Texan-born playwright Horton Foote. Also, a young production and direction team, Alan Pakula and Robert Mulligan, imbued the film with genuine feeling without becoming overly sentimental.

Mary Badham as the fearless tomboy Scout, in "To Kill a Mockingbird."

The children are bright, articulate, and natural. Mary Badham as “Scout,” aka Jean Louise Finch, is incredibly open as the free-spirited tomboy. Her observations, both silent and verbal, give emphasis that this story is told through her eyes. Phillip Alford is equally impressive as Jem, Scout’s slightly older brother. As the boy who longs to be “grown up,” Alford seems like an old soul, with his piercing, inquiring eyes. Both Badham and Alford make this famous pair of siblings effortlessly believable. John Megna is “Dill” Harris, the visiting neighbor boy who the siblings befriend. Lee based him on childhood friend Truman Capote.

Phillip Alford is intense as precocious older brother Jem, in "To Kill a Mockingbird."

 Mockingbird has a stellar supporting cast: Alice Ghostley as Dill’s caregiver, Paul Fix as the judge, Rosemary Murphy as the neighbor, and Robert Duvall in his haunting film debut as Boo Radley. Brock Peters is intense as Tom Robinson, the young black man accused of raping a young white woman. Peter’s piercing eyes convey the character’s fear of contradicting her accusations. Nostrils flaring, sweating, eyes glittering, Peters’ field hand seems about to explode in fear. Contrast that with William Windom, as the prosecutor. His lazy demeanor is subtly illustrated with one leg hanging over his chair, listening for anything to pounce upon. James Anderson and Collin Wilcox are believably hateful as the father and daughter accusing the black man of rape. Kim Stanley is the wryly warm narrator, as the adult Scout.

Robert Duvall made his film debut as the much-talked about, but little-seen
Boo Radley, in "To Kill a Mockingbird."

Gregory Peck was not the most versatile or expressive actor of his era, but like Fonda and Cooper, when he was well-cast, Gregory Peck was memorable. As Atticus Finch, Gregory Peck was iconic. I hate “lists” from magazines and organizations that often feel self-promotional, but the American Film Institute (AFI) declared Atticus Finch as film’s #1 heroic character—and I’d agree. Peck’s decency, empathy, and warmth are perfect for Atticus. Some of the key people involved in this film remained friends: Brock Peters gave the eulogy at Gregory Peck’s funeral and said that Greg and Atticus were one and the same; Mary Badham stayed in touch with Peck and used their characters’ names as their nicknames for one another; and while Harper Lee was rather reclusive, she stayed in touch with Peck. All this off-screen bonding is evident on-screen.

A classic moment in "To Kill a Mockingbird," when Atticus Finch loses in his attempt for justice for Tom Robinson, but wins the respect of the local black community.

The opening credits are simple, but striking, depicting a child’s secret world. The Elmer Bernstein score and Russell Harlan’s black and white cinematography are atmospheric and lovely. A veteran director like William Wyler might have done just as fine of a job with To Kill a Mockingbird. But Robert Mulligan focuses on naturalistic performances and realistically conveys the story through the eyes of a child. The movie has moments of sentiment, but mostly it's underplayed. 

The opening credits in "To Kill a Mockingbird" are simple, yet so imaginative.

Six decades letter, To Kill a Mockingbird tells a still-relevant story, and the film version of Harper Lee’s novel is straightforward and beautifully told, which is why it still endures today.

The expressive face of Mary Badham, as Scout, in "To Kill a Mockingbird."

 

 

Young Janet Leigh & Robert Mitchum in ‘Holiday Affair’ 1949

Janet Leigh, romanced by Robert Mitchum & Wendell Corey, 1949's "Holiday Affair."

Holiday Affair was originally envisioned with bigger stars, but economical RKO settled on up and comers Janet Leigh and Robert Mitchum, and that made the film open for more naturalism and less of a star vehicle. As a widowed mother, Leigh's suitors are Mitchum and Wendell Corey, who seem more suited to film noir, but work well here. This 1949 Affair was filmed in B&W at low-glam RKO. Leigh is still in her early honey brown phase, before she went platinum blonde. All of this adds to the realism of the post-war romantic tale.

Janet Leigh is a war widow with two suitors, Robert Mitchum and Wendell Corey,
in "Holiday Affair." She's also a mother with a young son, played by Gordon Gebert.

Off-camera, Mitchum had just survived a potential career-busting pot bust and jail sentence. Lucky for Mitch, of the two bosses who shared his contract, David Selznick and Howard Hughes, the latter was an eccentric who took chances, and he bought Bob’s contract from Selznick. Speaking of Hughes, Janet Leigh found herself in the same position as many young starlets who caught Howard’s obsessive eye. But she firmly put him in her place, as she was a Metro star, and just loaned out to Hughes’ RKO. Still, Leigh was loaned out to Hughes-run (into the ground!) RKO three times—was this MGM’s way of punishing Janet?

Though Robert Mitchum's image might suggest he's stealing the presents,
he's actually very appealing as free spirit Steve in "Holiday Affair."

Robert Mitchum’s bemused, droll attitude is actually a good fit for light romantic comedy. He’s a straight shooter as Steve in Holiday Affair, offering realistic takes on life and love. Mitchum’s free spirit calls ‘em like he sees ‘em and makes no bones about his attraction to Janet Leigh’s Connie. Her war widow, while appealing and kind, is stuck in the past with her lost soldier husband. Wendell Corey’s Carl is the kindly current suitor for the preoccupied young mother. The stars make a good trio in this triangle. Realistically, both men are decent, and there’s no last minute turning one of them into a bad guy. And Connie, while frustrating in her vacillation, has a lot on her young shoulders as a widow and working mother.

While it's amusing to see film noir faves Wendell Corey & Robert Mitchum as nice guys competing for good girl Janet Leigh, the guys are good in "Holiday Affair."

What’s interesting about this movie is that the story is very fanciful in its set up and storytelling, yet realistic in its dialogue about love and loss, in post-war life. The opening and closing use a miniature train set that morphs into and out of real life. Some of the situations would indeed be considered corny and cringe-worthy by today’s standards. But instead of sledge hammering the plot points with sentimentality, they are handled deftly, a rarity for the era. The three stars play with their typical down to earth manner: Janet Leigh looks quite naturally pretty in her early career, plus regular guys Robert Mitchum and Wendell Corey play with their trademark diffidence. All of this is filmed modestly at RKO. Imagine Holiday Affair at MGM with, for instance, June Allyson, Van Johnson, and Robert Walker. The glamour and sentimental goo would have been slathered on super thick!

Janet Leigh was just 22 when "Holiday Affair" was released for the holidays in '49. 

Janet Leigh brings her warmth and natural appeal to Holiday Affair, a solid actress from the get-go, just three years after being discovered by retired screen legend Norma Shearer. The former Metro star saw Janet’s photo at a ski lodge in early 1946 and recommended her to MGM. By the end of the year, Janet made her acting debut on a radio Christmas Eve broadcast the same year. The following year, Leigh made her film debut as Van Johnson’s love interest in The Romance of Rosy Ridge. The rest, as they say, was history.

Janet Leigh & Gordon Gebert's scenes as mother & son are warmly believable
in 1949's "Holiday Affair."

Robert Mitchum came up in Hollywood the typical way—“extra” work and bit parts. But in just three short years, he scored with The Story of G.I. Joe and got his only Oscar nomination. And like Leigh, his nom was in the supporting category, except Mitchum’s was at the beginning of his career, and hers in mid-career. Wendell Corey also became a star right after the war, making his film debut in 1947’s Desert Fury. Corey was more of a character actor than star, but often added wry humor to his roles, such as Jimmy Stewart’s pal in Rear Window.

The scenes with Leigh and Gordon Gebert, who plays her son Timmy, are pretty adorable but in a realistic way. Gebert certainly isn’t shy in his scenes and he acted until early adulthood. From there, he went to college, and then had a career teaching architecture.

Gordon Gebert was quite the scene-stealer as Timmy in 1949's "Holiday Affair."

Director Don Hartman had been a screenwriter at Paramount for many Bob Hope and several Danny Kaye vehicles. After directing, he became an executive producer at Paramount and then an independent producer, his last was The Matchmaker, before his death at 57 in 1958. Hartman’s humorous touch shows in this comedy-drama.

Holiday Affair has a number of charming scenes that transcend its clichés. The straightforward telling makes this film feels like a scrapbook of another era and not just a too-glamorous old movie. Enjoy this film on its own terms and you will find this a most happy affair.

Train set lovers will just love 1949's "Holiday Affair!"

                                      

"King" Charlton Heston Rules in 'Diamond Head'

Yvette Mimieux & Charlton Heston have some sibling issues in "Diamond Head."

 

Diamond Head, the “sprawling saga” of spoiled plantation owners and struggling Hawaiian locals, has often been written off as a glossy soap. Diamond Head is damn soapy, for sure. But it’s not synthetic Ross Hunter soapy. Nor is it stylized like Douglas Sirk’s sudsy cinema. Diamond Head was taken from the same-named novel by Peter Gilman, who covered Hawaii as a reporter, and gives it some authenticity. The '63 film is set in 1959, when Hawaii became a US state.

The social issues & characters' issues of "Diamond Head" was in the vein of "Giant."

Spoiler alerts for soap opera plot points ahead!

What’s surprising about Diamond Head is how outspoken it was for a mid-century mainstream movie regarding racism, white patriarchy, division of wealth, and sexism. I'm looking at this film thru 2022 eyes, but there's some pretty sharp commentary by characters who question the late ‘50s status quo.

Charlton Heston as the aptly nicknamed "King" in 1963's "Diamond Head."

The film stars Charlton Heston as the nicknamed "King." Need I tell you who plays the pineapple plantation owner? Over the opening titles, Heston's Richard Howland is riding his white horse along his kingdom, and when he sees a plane parked near his manse, he gives a small, smug smile. King knows the visitors are politicos, courting him to run for state senator. Heston is a tad less surly than usual, but is well-cast as the alpha male, with snide quips to his political ass-kissers. Throughout Diamond Head, King orders everyone around and runs roughshod over anyone who opposes him.

Yvette Mimieux is Sloane, who wants to marry a Hawaiian man in "Diamond Head."

This happens to be the same day his sister is coming home from college. Sloane is played by Yvette Mimieux, in perhaps her most spirited role. Their parents are dead and the siblings are unusually close. There also seems to be an age difference between them, almost 20 years in real life. He seems more like her father, who was alive in the novel. However, princess Sloane has a surprise for big brother King. 

James Darren is the even-keeled brother who Yvette Mimieux loves in "Diamond Head."

She plans to marry childhood friend Paul Kahana, who's Hawaiian. He's played by '60s heart throb James Darren. King sees himself as a benevolent ruler, as long as everyone knows their place. The Howland siblings are the last of their line and King doesn't want mixed blood inheriting their empire, since it's been in the family for over 100 years. King seems to forget that the Hawaiians were there just a bit longer than that. There are echoes of Giant with the reactionary alpha male who likes to get his way, doesn’t like change, and tolerates the locals. Instead of a willful wife, King has a strong-willed sister in Sloane.

"King" has just given sister Sloane an expensive graduation gift in "Diamond Head."

Paul Kahana's older half-brother Dean is brought in to talk him out of marriage to Sloane. He is also half-Hawaiian, played by recent Oscar winner George Chakiris. No fan of the puffed-up patriarch, island doctor Dean tells King that the real problem is he does not want any man in his sister's bed! 

George Chakiris is Dr. Dean Kahana, half-brother to James Darren's Paul in "Diamond Head." Here, he spars with Heston's "King" over Sloane, left.

Paul and Dean's mother, Kapiolani, has been married to both a white man and a Hawaiian, and doesn't approve of mixing races, either. But knowing firsthand that love transcends race, she gives her blessing. The beloved matriarch is played by the great character actress, Aline MacMahon. 

Aline MacMahon plays the mother of the Kahana brothers and Elizabeth Allen
plays  the aunt of Sloane in "Diamond Head."

The King's widowed sister-in-law Laura doesn't approve either, who is more garden variety white superior. She's played by lovely Elizabeth Allen, who becomes more empathetic as the film goes on. Like her niece, she idolizes King as well, and marks time hoping he'll see how much she loves him.

However, King Richard is a hypocrite, since he's having a secret affair with a Hawaiian woman, Mai Chen, played by France Nuyen. An even bigger surprise comes when she tells him that she's pregnant. Let's just say Heston's King doesn't take the news well. He’s stone cold about commitment, as his wife and children were wiped out in a tidal wave, leaving him emotionally unavailable, except for secret trysts. 

France Nuyen's Hawaiian lover looks as if she'd like to stick that cigar up
plantation owner Charlton Heston's back 40 in "Diamond Head."

What's contrary about this movie is while it's outspoken about race issues, the stars that play Hawaiians are just about everything but: James Darren is Italian and George Chakiris is Greek, and seem to be sporting tan makeup; Aline MacMahon was white and given the brown-face treatment; and France Nuyen is French-Asian. Still, these actors all give good performances, without going over the top. While I think today's politically correct casting goes overboard at times, this '63 film is at the other end of the pendulum, when box office was the determining factor to casting actors. Hence, a star got cast as various nationalities, as did Diamond Head hunk George Chakiris, who won his Oscar for playing a Puerto Rican.

George Chakiris glares & Charlton Heston scowls as their characters react to their engaged siblings' sexy Hawaiian dance in "Diamond Head."

Yvette Mimieux & James Darren go Hawaiian in "Diamond Head."

When Mai’s drunken brother tangles with King at Paul and Sloane's engagement party, Paul fatally tries to break it up. From here, Sloane and King clash, especially when she rebounds with Paul's brother! More soapy scenes ensue, but what makes the movie intriguing is how direct it is in addressing various social issues. Sloane zings back at some of the male characters' judgment of her behavior as sexist, and she can also admit to her own privilege. The King knows he’s more or less having his cake and eating it, too, regarding his retrograde race relations while also involved with a Hawaiian woman. Yet, he falls back on the old “that's the way it's always been” argument. Chakiris' character and others call out the King for thinking he's above reproach. What's especially timely is King, who had to be courted into running for senator, now stubbornly refuses to drop out, despite being involved in an accidental killing and getting a Hawaiian woman pregnant! Heston plays hard-headed hubris wonderfully.

Charlton Heston's "King" decides to run for senator in "Diamond Head."

Director David Green may be the reason that Diamond Head is direct about the issues discussed in the film. Green is the director of The Mark and A Patch of Blue, which deal with societal topics. The British director seems to have gotten uniformly good performances out of the cast, as well.

Charlton Heston as King, clashing w/ favorite subject, his sister, in "Diamond Head."

Heston isn't as sneering and sullen as he later became, but he's still well-cast! Charlton’s King has some subtle moments, as when he recounts his family's sudden death or reacts to his later son's birth. Heston uses his physicality to show King’s privileged attitude, as if the world revolves around him. Heston uses his trademark scowls, side eyes, and curt line readings to great effect. Yet, occasionally, King is shown to be caring, under all the attitude, and Heston conveys that well. It’s also to the star’s credit that he was willing to play such a role; off-camera, Heston was actively involved with civil rights. Noteworthy, Charlton Heston was 37 when Diamond Head filmed and he’s at the absolute peak of his physical prime here. That Roman coin profile is put to good use as King!

Yvette Mimieux is lovely and spirited as rich girl Sloane in "Diamond Head."

Yvette Mimieux, who often played child-like characters, gets to tap into that childishness here as the headstrong Sloane. Yet, she also stands up to the bull-headed men in her life, which reminded me a bit of Elizabeth Taylor in Giant, when she snaps back at the alpha males around her. At 20, Yvette is quite beautiful here, as well as beguiling.

George Chakiris as Dean, the half-Hawaiian doctor in "Diamond Head."

George Chakiris and James Darren may be the hunkiest brother act in movie history. And both aged beautifully and are still alive at this writing, 90 and 86, in 2022! Chakiris gives a strong performance as the coolly appraising brother, who has come up the hard way as a half-Hawaiian. He holds his own against Heston’s hot-headed character quite well. And Chakiris and Yvette Mimieux make a handsome couple, though their characters spend most of their time quarreling. Darren’s brother is more good-natured and while not the most exciting role, James makes him likeable and it’s a jolt when he’s killed.

James Darren as Paul Kahana, a Hawaiian who wants to marry outside his race,
in "Diamond Head."

Aline MacMahon was warm and authoritative as the Kahana brothers’ mother. This wasn’t her first exotic role, either. Aline played Chinese along with Katharine Hepburn in Dragonseed!  Elizabeth Allen and France Nuyen do their best, playing thankless characters who suffer for being in love with Heston’s insufferable King.

Aline MacMahon plays Kapiolani, the Kahana brothers' mother in "Diamond Head."

The production takes advantage of location shooting with Diamond Head and there’s a great Johnny Williams score. In fact, the only major fault with this epic is the sudsy incestuous brother-sister angle. The makers of this movie could have dropped this titillating subplot, which serves no real purpose, but seemed to be trendy during the ‘60s: The Last Sunset, Bunny Lake is Missing, Secret Ceremony, etc. Yes, it was a “shocking” selling point of the book and movie, but the film could have dug even deeper into the more universal issues of racial and sexual equality, and power and wealth. The one truly camp moment is the water fall dream sequence. Sloane dreams of her younger days, when she skinny dipped in her favorite fall. First, she tries to cajole George Chakiris’ Dean to join her. He just stares morosely. Then James Darren’s Paul walks into the water—fully clothed!—to join. After he kisses her, Paul steps back, and he becomes Heston’s King—also fully dressed. Naturally, Sloane wakes up startled!  And while some may find the engagement Hawaiian dirty dancing camp, too, beautiful Darren and Mimieux acquit themselves well, I think.

First Sloane dreams of her dead fiancee in "Diamond Head..."

Then the late lover morphs into sister Sloane's brother, in "Diamond Head."

If you can get past the whitewashing of the “Hawaiian” characters and the soapy incest subplot, Diamond Head is well worth watching.

What real Hawaiians looked like in "Diamond Head," as extras!

A decade later, Charlton Heston was in full sullen and sneer mode as the cynical cop in the futuristic Soylent Green. My take here: https://ricksrealreel.blogspot.com/2018/03/scenery-chewing-main-course-of-soylent.html

 

One last shot of that on-screen charmer, Charlton Heston! From "Diamond Head."