‘Fate is the Hunter’ 1964

Suzanne Pleshette is a stewardess and lone survivor of a plane crash, Glenn Ford is the meticulous investigator, in 'Fate is the Hunter.'

While Fate is the Hunter is no classic, I'm surprised that the airplane drama received poor reviews and crashed at the box office in ’64. A shame, since Fate is an engrossing flick which spins the “Grand Hotel in the sky” genre. 

'Fate' derives its drama from the aftermath of a plane crash, unlike most airplane epics.

Instead of drama caused during a perilous flight, Fate is the Hunter tells, in Citizen Kane-style flashback, from its characters, their recollections of a flight captain whose plane has crashed. The investigator hero tries to get at the truth and restore the reputation of his war buddy, which may not be the same thing, according to his naysayers. 

Glenn Ford's Sam McBane retraces the last day of pilot Jack Savage's life,
right through to the plane crash, with traumatized stewardess Suzanne Pleshette.

Fate is the Hunter is definitely escapist entertainment: the story is clever, cast is solid, and cinematography and score are beautiful. Yes, it follows the tropes of the genre. Yes, the movie appears to be filmed on a B+ budget. And yes, the characters are archetypes or stereotypes, depending on your love of old movies. But it is briskly told, with several strong performances, and Fate works just fine within its conventions. At an hour and forty five minutes, Fate’s flight time is much more efficient than Airport or The High and the Mighty, two smash hits of the genre. 

Despite the lack of big special effects, the build-up to the crash and the aftermath are intense.

Glenn Ford has never been one of my favorite actors, especially as he grew older. He seemed solid at best, stolid at worst. Yet, Ford has done some good work, and he's especially effective here. As Sam McBane, the man investigating the crash, he is a perfectionist and a believer in facts. Yet he's emotionally conflicted, as he is both investigating and defending the character of his best friend. Sam gradually finds out that he knows more about science than he does his best friend. Ford has several emotional scenes that seem very uncharacteristic for his acting style. Yet, he plays them earnestly and effectively. And unlike other actors of the era, he's not macho, but empathetic. 

Glenn Ford is an empathetic hero who is trying to resolve what went wrong with the plane that best pal Rod Taylor was flying that fateful night.

 

Rod Taylor, on the other hand, is an actor I always liked and think was underrated in his heyday. However, as the playboy pilot Jack Savage, he's over the top at times, in playing this big personality. At times, you wonder why anyone could find someone so insufferable so irresistible. Even when you find out "the rest of the story," as Paul Harvey would say, Rod as Jack is still too much. But Taylor does have his more subtle scenes, especially with Nancy Kwan.  Everyone else in this movie comes and goes, as they are parts of this charismatic character's life. Nancy Kwan is his last love, and gives Sam some food for thought on how to view the case. Kwan plays a scientist and it's great that she gets to do so in a non-sexist way. She is no "lady scientist." Her Sally Fraser may be stunningly lovely, but she is a strong, wise person. And Kwan plays her simply and strikingly.

Rod Taylor is the late pilot whose rep is on the line. Here is the captain in a flashback,
with Nancy Kwan, as the scientist who sees the real Jack Savage.

Constance Towers plays Sam's loyal assistant and love interest, Peg Burke. Powers, who made a big splash in Sam Fuller's pulp films about this time, has such a bland role here, though her presence and intelligence are evident.

An unbilled Dorothy Malone plays Jack's ex-fiancee, a rich heiress who seems like a tamer version of Malone's mambo loving party girl in Written on the Wind. She sure knows how to milk her few moments on screen, with those wide eyes and energetic eyebrows working overtime!

Dorothy Malone makes an unbilled cameo appearance with Marilyn Monroe's "Happy Birthday, Mr. President" hairdo!

And Suzanne Pleshette is Martha Webster, the stewardess on the ill-fated plane. Pleshette is essentially in the beginning and end of the movie, but her striking looks, great humor, and no-nonsense acting are always refreshing. Suzanne had that quality which Ann Sheridan also possessed. Most of Pleshette’s scenes are with Taylor and Ford, and she holds her own against the leading men. 

Suzanne Pleshette as no-nonsense stew Martha Webster, looking lovely here.

While it's not an all-star cast, Ford was number #1 at the box office in ‘58, and Malone was still coasting on her '57 Oscar win. The younger cast—with Taylor, Pleshette, Kwan, and Towers—were considered strong up and comers. And the supporting cast had a bevy of familiar faces. Wally Cox is a standout with his memory of the real Jack, along with Mary Wickes as the pilot’s nosy landlady, and a strong performance by Mark Stevens as Jack’s drinking buddy. As a favor to the producer, Jane Russell appears in a WWII USO show flashback as herself. Frankly, I’ve never cared for Russell’s rudimentary singing and dancing, but Jane’s good humor still comes across. Maybe Fate just seemed like another old fashioned movie at the time? Hard to say!

Jane Russell as herself, performing 'for the boys,' like she did 20 years earlier in real life.

PS about the cast: Why was Rod Taylor made up to look older in the current scenes, while his war buddy, Glenn Ford looks the same in both present day and flashback? Ford was 16 years older than Taylor, and quite honestly, looked it. Were they trying to even things out in the present day scenes?

Ralph Nelson, who specialized in smaller, realistic movies like Lilies of the Field, directed. It’s notable that the way women and two black characters are treated was forward-thinking. The prolific Jerry Goldsmith created one of his first film scores here, and it’s lovely. Milton Krasner got the film’s sole Oscar nomination for his almost noir-like cinematography.

Secret's in the sauce! That's a subtle hint, as Glenn's investigator recreates the fateful flight.

This is one of those movies that plays well within its genre and is fun to curl up with, when you're in the mood for something entertaining, with familiar faces you’re fond of.

Here’s more on Suzanne Pleshette!

My tribute to Suzanne, a childhood favorite: https://ricksrealreel.blogspot.com/2016/07/suzanne-pleshette-next-liz-taylor-who.html

My review of Youngblood Hawke: https://ricksrealreel.blogspot.com/2019/07/writing-women-dont-mix-for-youngblood.html

FYI: I put all the movie overflow on my public FB  movie page. Check it out & join!  https://www.facebook.com/groups/178488909366865/

 

Here's a sweet set shot of Rod Taylor, Jane Russell, and Glenn Ford!

 

Jane Russell in Fine Form as ‘Mamie Stover’ 1956

Richard Egan & Jane Russell teamed for "The Revolt of Mamie Stover."

Jane Russell became a redhead as tart with a heart 'Mamie Stover.' 

Away from Howard Hughes’ RKO, Jane Russell usually fared better, with more focus on her acting than her more obvious attributes. At Fox, The Revolt of Mamie Stover ’56 film was very toned down from the novel. Still, material girl Mamie fits Jane like one of her Travilla-designed gowns.

At the movie's opening, brunette Russell gives her famed sneer before leaving San Francisco.

The movie Mamie is the “lite” version of the novel. William Bradford Huie wrote unvarnished looks at WWII and post-war American life, including The Americanization of Emily. On the page, Mamie Stover is a most pragmatic prostitute. She’s been battered in Hollywood and books to Honolulu. In Mamie Stover, the movie, she’s been busted by the cops (no specifics) and they are escorting her out of San Francisco.

The novel's revolt was far more overt.

Mamie meets Jim Blair, a writer who likes and doesn’t judge her. While they have a shipboard romance, they’re realistic. He has a steady fiancée; her finances are a mess. So, Mamie heads to work for Bertha, bar/dancehall proprietor.  Bertha’s a taskmaster, with draconian rules for the “girls,” which leads Mamie to break a few, natch. Despite missteps, Mamie’s making a mint, but her romance with Egan doesn’t progress. And it’s not because Mamie is a “hostess” or that he already has a girlfriend, but because Jim thinks she’s a mercenary.

In the Huie novel, Stover’s a steamroller, defiantly breaking rules, bringing in big bucks, and later buying out the madam, while snapping up real estate. The movie Mamie does the same, but it’s way watered down, like the drinks at her bar.

A blonde Agnes Moorehead and Michael Pate are the madam and her enforcer.

At Mamie’s finish, she parts ways with Bill, and gives away all her money. Mamie travels through San Fran on the way back home to Mississippi. A far cry from the literary Mamie, but at least she didn’t die for her sins, as typical of the movie era.

Beach scenes were big after 'From Here to Eternity,' and with Egan & Russell's fine forms, a must!

In the opening scenes, Jane is her usual brash brunette. Once she works at the club, Russell goes Rita Hayworth red. And Jane looks great, softer. This also draws comparisons to Rita’s then-recent take on Sadie Thompson, literature’s infamous shady lady. What’s refreshing about Mamie Stover, is that there’s no judging in director Raoul Walsh’s storytelling, especially given the censorship code. Much like the recent From Here to Eternity, the brothel becomes a dancehall/bar, where soldiers can “fraternize” with the “hostesses.” Back then, audiences were good at reading between the lines.

Put the blame on Mamie! Designer Travilla does Jane.

Russell was not an emotionally fluid actress like other bombshells, such as Sophia or Marilyn. But Jane’s good natured humor and straightforward performing is a plus. This suits Mamie Stover’s character quite well.

Richard Egan is strong enough to hold his own against Jane, as Jim Blair. Egan’s rugged features, blue eyes, big smile, imposing body, and that resonant voice were his calling card. His mellow nature and laid-back humor makes him a compatible pairing with Russell.

Agnes Moorehead, as Bertha, goes from her usual redhead to blonde! She’s brittle as always, but Agnes’ madam eventually treats Mamie as an equal. Australian actor Michael Pate makes a menacing “enforcer” for Bertha. Poor Joan Leslie, whose career collapsed after leaving WB, has nothing to do as the patient fiancee.

Jane Russell & Richard Egan make a handsome pair, and don't you love his car?!

The solid team of Russell and Egan and great Hawaiian locations are pleasant to watch, and even with the streamlined story, Mamie is a moderately entertaining movie.

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/