An immensely talented playwright, screenwriter, and satirist, George Axelrod has rarely received the recognition he deserves within the Hollywood industry yet he was the man behind some of the wittiest screenplays of the fifties and early sixties. Foremost among them are two of Marilyn Monroe’s best films (The Seven Year Itch (1955) and Bus Stop, 1956), Breakfast at Tiffany’s (1961) starring Audrey Hepburn in her signature role, and The Manchurian Candidate (1962), a highly paranoid thriller about a political conspiracy which prefigured President Kennedy’s assassination by a year. Less well known but equally audacious is his go-for-broke directorial debut, Lord Love a Duck (1966), a wicked lampoon of the movie business that nourished him and a satire of Southern California culture with its drive-in chapels, fast food restaurants, and self-improvement seminars.
Every once in a while a low-budget independent film with a no-name cast will come along and captivate critics and audiences alike with its audaciousness, honesty and ability to transcend easy categorization. In the film industry, they sometimes call this a “sleeper” and, while this kind of movie rarely becomes a box office hit, it can acquire a cult status or insider buzz that saves it from falling off the radar and vanishing into obscurity. Such is the case with A Cold Wind in August (1961), a steamy little adult drama that was targeted for grindhouses and the drive-in trade with the tagline: “If you care about love, you’ll talk about a teenage boy and a woman who is all allure, all tenderness…all tragedy.” The poster depicted two lovers in a torrid horizontal embrace while the figure of an exotic stripper, dressed in an open cape and eye mask, towers over them, revealing her shapely, half-naked body.
When a movie is released under various titles it usually means there are problems. It could be confusion over how to market it or a simple case of a movie that doesn’t fit clearly into any designated genre or maybe it’s a star-driven, major studio release that’s too quirky for the average moviegoer but yields enough curiosity value to inspire various promotional approaches to finding the right audience. All of these could apply to Joy House (1964), an international production based on a pulp fiction paperback by American author Day Keene and filmed on the Riviera near Nice. It stars English-speaking (Lola Albright, Jane Fonda, Sorrell Booke, George Gaynes of Tootsie fame) and French-speaking actors (Alain Delon, Andre Oumansky, Annette Poivre, Marc Mazza) and is also known as The Love Cage and Les Felins (the original French title). Joy House was not a popular success at the time (most critics were unkind in their coverage) but it is a favorite film of mine, flaws and all. Continue reading
Think of the teeming hub of humanity that is New York City and then imagine a person with a highly contagious and deadly disease wandering among the masses, spreading death and panic. Based on an actual case in 1946 – a smallpox scare in which millions of New Yorkers received free vaccinations – The Killer That Stalked New York (1950) is a fictionalized dramatization of that incident. It stars Evelyn Keyes as Sheila Bennet, a modern day “Typhoid Mary” who contracts smallpox in Cuba while serving as a courier for Matt (Charles Korvin), her no-good musician boyfriend, in a stolen diamond smuggling scheme.