I was drawn to The Running Man because of the cast: Lee Remick, Laurence Harvey, and Alan Bates. For me, a mediocre script is always more bearable when good-looking people are delivering the lines. This movie wasn't that great, but I stuck with it because I'm a sucker for an attractive cast.

Lee plays a beautiful widow whose husband's body was never found. Alan is an insurance investigator, suspecting she is not a widow at all: her and her husband might be committing insurance fraud. It turns out they are doing just that. Larry is hiding out, communicating with Lee secretly so they can pull it off and run away to Europe. Lee gets to wear some adorable Barbie-style dresses, but that's really the highlight of the movie. Her character is incredibly stupid, the plot twists could have been better, and the finished product felt like a tv movie. If you do like this movie, though, check out the similar plot of Five Miles to Midnight, from the same year.

I will never understand why Simone Signoret won an Academy Award for her performance in Room at the Top. She didn't even have enough screen time to qualify her for the Best Actress category - and in my opinion, she shouldn't even have been nominated. But, either she really wanted an Oscar, the studio wanted her to become bankable in the United States, or the Board just felt sorry for her character and didn't realize Simone herself wasn't actually the injured party.

Laurence Harvey was also nominated for Best Actor (but since it was the year of Ben-Hur, I hope he realized he didn't stand a chance), and it wasn't his career-best performance. He plays a pretty one-dimensional villain who uses women to climb up the social and corporate ladder. He does much more acting in The Alamo, The Manchurian Candidate, and Walk on the Wild Side.

As far as recommendations go, this movie is only really for Laurence Harvey fans. If you're delving into old movies, I don't think Room at the Top will make anyone's must-see list. It is relatively well-known, but if you don't know who Harvey is, he'll make a bad first impression. You're better off starting with the three I listed above; that way, when he plays an absolute cad, you can take it with a grain of salt.

Julie Christie won her Oscar for Darling, famously beating out another Julie in her incredible rendition of Maria Von Trapp. But, since Miss Andrews had already won her statuette the previous year, no one seemed to look at it as a travesty. And, since Miss Christie also gave a great performance in Doctor Zhivago the same year, it really wasn't a travesty. However, at the Hot Toasty Rag awards, we voted in favor of Miss Andrews in 1965 - not in 1964. It was a rare case of us not exactly "righting the wrong" and not exactly "wronging the right".

That being said, Miss Christie was very good in Darling. When you watch the movie, you might be tempted to write it off as a quirky British dramedy about a beautiful, self-centered young woman who really doesn't have a handle on her life. She pouts when she doesn't get her way, she says mean things whenever the mood strikes, she loves attention, and she doesn't understand consequences until they truly hit home. Julie makes it look like she's just playing herself. There's no apparent effort behind her performance, which also gives her character no depth - which also makes her seem even more self-centered and immature. But is she just playing herself? There's no way for us to know, of course, but if you watch the movie as an analyst instead of just an audience member, you'll find that she's been asked to do quite a lot throughout the film. It's often tempting to think a beautiful woman playing a beautiful woman doesn't do any actual acting (hence the reason so many of them are drawn to roles that "ugly themselves up" so they can show off their acting chops). Julie Christie may have been handed a role tailor-made for her, or she may have been given a script that forced her to create a completely foreign character. The end result is this: Darling looks like candid-camera.

I'm complimenting the writing and the acting, of course, not insulting the direction. Director John Schlesinger created a very polished film, with quick cuts between scenes to hold your interest and a great balance between 1960s glamour and British "kitchen sink". As is the case with most young women's journeys, she has relationships with bad boys without understanding how harmful they can be. Dirk Bogarde and Laurence Harvey are two different men in her life who treat her badly, but in different ways. Dirk promises her love and a future, and Larry is just in it for a good time. They both hurt her, and even though she's a bit bratty, we come to feel intensely sorry for her.

There are countless famous moments in this movie, from the "impersonation" party to the hospital scene to the obvious (and extremely scandalous at the time) inclusion of oral sex. If you've written this one off as a quirky dated flick or "Meredith's Story" from Georgy Girl, rent it with an open mind.

In a surprise during the opening credits, you'll learn the leading man in The Ceremony also directed it: Laurence Harvey. I don't know why he was drawn to such a strange story, but perhaps he wanted to pair it with equally strange direction. His angles and framing were odd (or, if you want to be kind, avant-garde), but it's always a treat to see an actor try his hand at a role behind the camera.

The plot features Larry as a convict on death row in South America. He was in a bank robbery, and although he didn't commit the murder, he's given an unusually harsh punishment for being an accessory. As the clock ticks down until his firing squad, his younger brother Robert Walker Jr. And his girlfriend Sarah Miles try to execute their plot to break him out of prison. It involves impersonating a priest, a seduction, and a flat tire. Incredibly simple, and you would think that in 1963, prison break movies would be a bit more complex.

Sarah's acting style always grates on my nerves, since she stammers around as if she's frightened of speaking her next line. Her perpetually wide eyes don't seem to hold much expression, but thankfully, she's not the lead. Larry certainly gives his all in this movie, so if you want to watch it, it had better be because you're a Laurence Harvey fan. The conclusion is a bit obvious, so strictly as a prison break drama, I wouldn't really recommend it.

Kim Novak was only forty when she made The Third Girl from the Left, playing a thirty-six-year-old character, and almost the entirety of the film is dedicated to harping on her age. She's described as an "aging chorus girl", and when she's tired of being ignored by her boyfriend Tony Curtis, she takes up with the significantly younger Michael Brandon. He's supposed to be twenty-three, but at the time he was twenty-eight. A twelve-year age gap, and it's supposed to be the end of the world? Once, their relationship is even referred to as akin to mother-son.

Age aside, the movie had some pros and cons to it. Dory Previn's teleplay was very realistic, but if you're not a cynic you probably won't like it. At the same time, the plot itself was a little thin. Kim plays a chorus girl, but hardly any of the movie focuses on her time at work, an environment I found interesting and would have liked to see more of. If you really love Kim, you can rent this one, but there are also lots of other May-December movies you can choose from. I don't particularly like that genre, so I won't be singing this movie's praises too loudly.

The start of this film follows Kim Novak as she leaves the movie theaters alone. She's made eyes at Fred MacMurray, but he also leaves the theater alone. She goes to her car, but it won't start. Fred asks if she needs assistance. While a mechanic takes a look at her car, they kill time in his apartment. . . It's too convenient, isn't it? Somebody's getting played, but who?

Pushover marks Kim Novak's first movie, unless you count her uncredited model appearance in The French Line. Imagine landing the lead role your first time at bat! Well, it's extremely obvious that her sole direction in the film was, "Act like Marilyn Monroe." From her walk to her breathy voice to her hooded eyes to the way she held her upper lip-Kim gave a very good Marilyn impression, which was ironic, since her name was actually Marilyn, and she had to change it because of the already established star.

I don't really want to tell you any more of the plot, because it's terribly exciting if you don't know what's going to happen. So, if you rent it, don't read the plot synopsis! Needless to say, it's a very thrilling film noir, with a constantly tense atmosphere and a sexy, smoldering haze throughout the frequent romantic scenes. Fred MacMurray is great in his deceptive role, and even when he makes a stupid or wrong decision, the audience is biting their nails, hoping he'll make it through. Philip Carey, also known as Charlton Heston's twin, joins the supporting cast, along with Dorothy Malone and E. G. Marshall. Pushover is one exciting ride from the first to the last scene! Rent this one with your sweetie pie, but don't watch it on a first date, unless you want thing to get steamy fast. . .

The 1964 version of Of Human Bondage was the last film adaptation made, but I don't know why. The book is full of salacious material that could easily remain uncensored for a modern audience. The 1934 film with Bette Davis was closest to the novel, and if you watch the movie with Laurence Harvey and Kim Novak, you'll get a very different interpretation of the story.

First of all, Kim is a beautiful woman, and her character is not supposed to be. She's supposed to be a seedy, revolting prostitute with a mean, vindictive heart. Kim is sweet and genuinely falls in love with Larry, so their obstacles are completely different. Next up, Larry's character is supposed to be completely insecure and internally wounded; because of his club foot, he thinks no woman will want him. He's not supposed to be smooth and charming like Laurence Harvey. So, basically, what you have with this version are two beautiful people who fall in love but have outside dalliances. It's an entertaining movie with lots of eye candy, and the acting is very good. It just has very little to do with the original story. And one more thing: Of Human Bondage features the famous Bette Davis monologue ending with, "And after you kissed me, I always used to wipe my mouth. Wipe my mouth!" She's angry with him because he just said, "You disgust me." Can you imagine any man telling that to Kim Novak after she's just taken her clothes off?

Kiss Me, Stupid is one of my favorite Kim Novak movies, and since I really like her, that's saying a lot! It's adorable, funny, clever, hopeful, and a touch sad. The only aspect that could use improvement is the title. I would have called it Mrs. Spooner, but I guess in the 1960s, the title they settled on went over better with the public.

Ray Walston is a piano teacher in a small town. He's married to Felicia Farr and has a lovely little life, but he dreams of becoming a famous songwriter. He's even written a hit song with his pal Cliff Osmond, only no one knows about it. When a famous singer, unexpectedly visits the town, Ray sees his chance to make his dreams come true! The only problem? His wife is crazy about the crooner, who has a reputation of seducing every woman he meets. How can he protect his marriage and realize his dreams? By picking a fight with his wife so she leaves him-hopefully just for a few days-and hiring a floozy to impersonate his wife.

As you might expect, Dean Martin plays the womanizing singing sensation, and Kim Novak plays the loose, dumb blonde for hire. All three of the leads give great comic performances, and even though everyone was pretty much a caricature, they seemed like they had fun with the script. The plot is hilarious and clever, with both situational comedy and quick gags galore. It certainly doesn't treat marriage with the most traditional attitude, but it's a great classic. While the film has never seen a remake, or an adaptation as a stage musical, both of which would be fantastic to see, the original itself is enough. Give it a watch to see what I mean.

Kim Novak starred as the stage and screen star Jeanne Eagels in the biopic costarring Jeff Chandler, Agnes Moorehead, Murray Hamilton, Charles Drake, and Gene Lockhart. Jeanne was very beautiful and got her start as a carnival performer. She made it on the stage and screen, but then discovered the allure of drugs and alcohol. . .

While the film takes a lot of liberties with her life story, it's pretty entertaining. She's portrayed as a pretty terrible person, though, as she schemes her way to the top, stepping over anyone and everyone she can. Jeff Chandler loves her, but after she's gotten as far as she can in the carnival, she ditches him for the theater. She loses her temper and disrespects people who try to help her-but then again, how interesting would it be if she was an incredibly nice lady who never got into trouble? Hollywood probably wouldn't have chosen to make a movie about her if that was the case. Kim Novak tries very hard, giving one of the best performances in her career, next to Of Human Bondage. If you are a Kim Novak fan, this is a must-see. Also, if you liked her unstable character in The Eddie Duchin Story, you'll love her in this. She's so incredibly beautiful, it probably wouldn't matter if her acting was lousy; you'd still want to stare at her gorgeous face for two hours.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. There are two scenes, one during a roller coaster ride and one when Kim Novak has a breakdown onstage, during which the camera spins and might make you sick. In other words, "Don't Look, Mom!"

If you liked Tom Jones, you'll love The Amorous Adventures of Moll Flanders: a very silly, British period piece that spends two hours setting up and delivering sexual scenes and jokes. Kim Novak plays the title character: a poor, oversexed maid, who sleeps with every man she gets her hands on, including Vittorio De Sica, Richard Johnson, and George Sanders. I didn't like Tom Jones, so by my own recommendation, you might think I'd rake Moll Flanders across the coals.

However, even though it's too silly, historically inaccurate, and dated for my usual taste, I found it far more entertaining and funnier than its predecessor. Perhaps Miss Novak was just delightful enough to save the movie, but my money lies on the script's concept instead. Albert Finney was delightful as well, but his version was nearly unbearable. There have always been rouges who have charmed women into proverbial haystacks and then abandoned them. Over the centuries, there have been no consequence to men acting that way, so a story that centered around a bed-hopping cad could have been realistic. Since Tom Jones was so ridiculous, I found it incongruous. Moll Flanders centered around a bed-hopping woman - which in itself was ridiculous. In the 1700s, a woman couldn't sleep her way to the top without drastic consequences and earning a society-shunning reputation. However, the initial concept lets the audience know, "Yes, this comedy could never have happened in real life," so we can feel free to laugh at its inane historical inaccuracy.

5 Against the House is part romance, part buddy movie, part Vegas getaway, part robbery, and part analyzation of the social dynamics of bullying. With all those elements, you'd think it would have a chance at being a good movie, but maybe screenwriters Stirling Silliphant, William Bowers, and John Barnwell spread themselves too thin. It tries to do too much, and doesn't really succeed in any of the attempts.

Guy Madison, Brian Keith, Alvy Moore, and Kerwin Mathews are all college buddies who enjoy a lost weekend in Las Vegas. They witness an attempted robbery, and when they return to campus, Brian Keith gets an idea to return to Vegas and rob a casino themselves. Guy Madison isn't interested, though; he's too busy romancing Kim Novak and trying to get her to marry him. Most of the guys spend the movie bullying younger kids on campus as well as each other, and while Guy is the head honcho, Brian sometimes has mental problems that flare up and cause the others grief.

This isn't the worst movie in the world, but there's just nothing spectacular about it. Even if you love Kim Novak, she doesn't have a very demanding part; she just sings and looks pretty. You're better off watching Pushover.

I never liked Robert Taylor when he was in his heyday in the 1930s, but in the early 1950s, I grew to like him. He gave a great performance as the conflicted bomb-dropper of Enola Gay in Above and Beyond, and when Hollywood paired him again with Eleanor Parker, he was just as interesting. This time, the dynamic duo traveled to Cairo to film their picture, and the location shots were breathtaking. Miss Parker got to take more than one "work vacation" in 1954; she also filmed The Naked Jungle in Panama! I hope she enjoyed exotic climates.

In both movies, she plays an elegant lady with an unending supply of gorgeous (and constantly clean) gowns, who travels to an uncivilized part of the world on a mission. In this one, it's to prove her late father's theory right about a hidden, undiscovered Egyptian tomb. She's married to the untrustworthy Carlos Thompson, but as soon as she meets professional "tomb raider" Robert Taylor, the sparks fly. Want to see the pyramids, Hollywood stars riding camels, and fight scenes in undiscovered tombs? Check out Valley of the Kings; it's thrilling!

If Ronald Reagan weren't in The Voice of the Turtle, I don't know whether I would have thought it so cute. It has one of those "propriety above all else" screenplays from the 1940s that was probably written specifically to pass the Production Code. And Eleanor Parker was once again "slumming it" by acting in a light romantic comedy instead of utilizing her great dramatic talents. But Ronald Reagan is extremely cute, and so the rest of the movie is, too.

The plot involves a sex scandal - of the 1940s variety. Reagan has a date with Eleanor's loose friend, Eve Arden. When Eve gets a better offer (how can that be?), she stands him up and Eleanor goes out with him instead. He's a soldier on leave, and all the hotels are full. So, after quite a bit of debating the propriety of the situation, Eleanor agrees to let him sleep on her couch for the weekend. But what will the neighbors think? When they see him leaving her apartment in the morning, still buttoning his coat, they're bound to think "the worst".

Yes, it's dated, but in my opinion, it's still pretty cute. Sometimes a time capsule is fun to watch, even though we don't have the same moral standards (or the same Production Code to make our films pretend we have the same moral standards) as eighty years ago. But, there are two good-looking people who get to fall in love with each other over the course of forty-eight hours, and who have to resist sharing a bed even though they're sleeping under the same roof - so what's not to like? On a side-note, if you've seen some famous outtakes of old movies, this one has been frequently featured: In one scene, Reagan has to zip up Eleanor's dress, and it took several hilarious takes to get it right!

Since I've never seen a Rudolph Valentino movie, I wasn't the target audience to really appreciate the 1951 biopic. However, it was Eleanor Parker's time as Star of the Week, so I wanted to rent it. Anthony Dexter looked remarkably like the famous Latin Lover, so it was really fun to see him come to life. There were also several impressive ballroom dance scenes so audiences could see another reason why an unknown actor was found and cast in the title role. If you've seen Valentino's movies, you'll love the recreations of his silent movies like The Shiek and The Four Horsemen and the Apocolypse.

Given the constraints of the Hays Code, it was pretty surprising how much the movie got away with. According to this movie, Rudy's background stems from being a gigolo stationed at a nightclub, when he's discovered by a silent movie director, played by Richard Carlson. The term gigolo is used repeatedly, and it's made very clear what it means. After finding out he was merely working during their date, Eleanor insults him by offering him money like he's accustomed to. Anthony retaliates by grabbing her and kissing her. "That was so you'd know what it felt like to be kissed like that by a gigolo, and for free!"

I love Richard Carlson; he's such a cutie! I've never seen him in Technicolor, and he doesn't disappoint. Eleanor certainly has a tough decision on her hands, since Anthony is such a sexy guy who knows how to handle women. I don't know why this movie was a box office flop. Sure, the women have 1950s hairstyles instead of 1920s 'dos, but it's an interesting story about a beloved silent icon with a near lookalike. What's not to like?

Three Secrets is a very interesting drama that will keep you interested until the end. Eleanor Parker, Patricia Neal, and Ruth Roman play women with a common bond. They all got pregnant, gave birth to baby boys, and gave their sons up for adoption - at the exact same time. The women don't know each other, but they all suffer a terrible fate: When a five-year-old boy is the only survivor of a plane crash, the newspapers reveal his birthday. The three women fear and hope that their little boy is alright, and they await more information from the authorities and reporters. The film cuts back and forth between the current timeline, rife with tension, and flashbacks from each of the women's stories from five years earlier. Why did they give their babies up for adoption? Who is the mother (if any) of the little boy on the plane? And what will happen after he's identified and recovered?

Released the same year as A Letter to Three Wives, this movie has been swept under the carpet because it's not glib or heartwarming. But it has a similar format and is far more dramatic, so if you'd like to give it a try, chances are you'll like the end result. For me, an extra bonus was seeing Eleanor and Patricia in a film together, since I always thought they resembled each other in their younger days.

Hands down, the best thing about Scaramouche is Victor Young's music. So, you can save yourself two hours and listen to the soundtrack online. Yes, Eleanor Parker is breathtakingly beautiful, but you can just watch Interrupted Melody or The Sound of Music to appreciate what God gave her. This movie is just plain silly, and not in a good way.

When the love triangle revolves around Mel Ferrer, Janet Leigh, and Stewart Granger, you can't expect to see good acting. Mel is a member of high society who tends to kill men when challenged to a duel. When he kills Stewart's pal, Stewart vows revenge. He has to train first, though, and in the meantime, he joins a theatre troupe and woos Eleanor (a bawdy actress who could have tackled The Taming of the Shrew or Kiss Me Kate in her sleep). Nothing is really explained in this movie; it's all supposed to be fluffy and entertaining. However, since I'm of the opinion that three of the four leads can't act their way out of paper bags, I don't find it very entertaining. Had the three been replaced by David Niven, Richard Burton, and Elizabeth Taylor, Scaramouche would have stood a chance. Seriously, folks, just listen to Victor Young's theme. It'll make you lose all respect for Laurence Rosenthal's nearly plagiarized music for Clash of the Titans, but it's rousing, lovely, and the only good part of the film.

You might not think of it, because The Best Years of Our Lives is so famous, but Pride of the Marines was ahead of its time. Written and released the year before the aforementioned coming home classic, it boldly discussed veterans' issues. While Marlon Brando's doctor talked about his inability to "make a woman happy" in 1950, and while Dana Andrews suffered shell shock in 1946, in 1945, John Garfield, Dane Clark, and Don McGuire lamented the "benefits" of veterans' rights. One of the men defended the government, claiming they'd been promised all their jobs would be saved. Don answered in anger. In theory, the jobs were saved for the returning veterans, but in reality, he'd received a letter from his boss saying his particular position had been eliminated from the company. And since he had a steel plate in his head, he wasn't sure what other kind of work he'd be fit for. It was a heartbreaking scene that was daring to film in 1945 before the war had ended.

I love the screenplay of Pride of the Marines. It's sad, realistic, hopeful, romantic, funny, and charming. In the scenes before the war, John Garfield has a playful banter with Eleanor Parker. They don't exactly hit it off when they're set up by mutual friends, but they wear each other down and fall hard. After John enlists in the Marines, he has the cutest farewell scene at the train station. Both he and Eleanor are reluctant to spill their deep feelings for one another, but the risks of war break down their protective walls. He asks, "Do you love me? Well, me too, you." How adorable! She tells him to come home in one piece, and he promises, saying, "I've got a reason to, now." If ever you doubted John Garfield was a doll, this movie will convince you.

Of course, this is a war drama, so it's not all cute love scenes. When John goes to war, there are gritty, frightening sequences that show what he and his fellow Marines have to live through in their foxholes. As they wait, manning their machine gun through the night vigil, enemy soldiers taunt them by shouting, "Tonight you die!" Pride of the Marines is one of the best films of 1945, and had it not been up against such stiff competition (there were a host of incredible war pictures that year), it probably would have swept up the most coveted award at the Hot Toasty Rags. However, it did win Best Dramatic Screenplay - highly deserved!

Filmed on location in Central America, you'll get to see some beautiful exotic locales behind the beautiful stars in The Naked Jungle. Eleanor Parker gave her audition for Baroness Schraeder in this movie with her frosty voice and calm composure. She's a mail order bride who travels from the United States to Brazil to marry Charlton Heston, and her finery and ladylike manners are a bit out of place. As in the classic Hollywood tradition, she's dressed in nearly an entirely white wardrobe to show how ill-equipped she is to handle life in South America. By contrast, Chuck is rugged and uncouth, and completely at home on his cocoa plantation. He runs an incredible business and has focused solely on work his entire life. He's never been with a woman, and when entrusting his brother to arrange his marriage, he's hopeful to wed a woman as inexperienced as he is. He's extremely disappointed to learn Eleanor is a widow, and he's extremely rude and cold to her. While it might not be believable that Charlton Heston is as virtuous as an altar boy, he certainly convinces the audience of his frustration and need for female companionship. Do you think Eleanor might win him over? She's strikingly beautiful, seductive, and has a killer figure. I'm betting she might.

The rest of the story focuses on Chuck's plantation and the natural obstacles he faces. There are incredible special effects that take you on a wild ride when the place is overrun with killer ants - special effects that won the film a Hot Toasty Rag award for Best Director! The action scenes are impressive enough to drop your jaw, especially when you take into consideration that there were no computers to help, and it was really Charlton Heston with very little assistance from a stunt double! I'd definitely recommend this one; it's quite a lot of fun and full of adventure.

I'm not the biggest Robert Taylor fan, but Above and Beyond might be my favorite of his performances. Perhaps the subject matter really spoke to him, or perhaps he responded well to his directors Melvin Frank and Norman Panama. He stars as a test pilot whose professional work affects his personal life. His wife Eleanor Parker is tired of worrying about his safety, as well as the long absences when he's up in the air. However, there is great love between them, and whenever he is on the ground, they try to work on their marriage.

The big crux of the situation comes when Robert is hired to pilot the Enola Gay aircraft. He's sworn to secrecy, but the magnitude of his assignment weighs heavily on him - and the fact that he can't talk to his wife about it threatens the little trust they have left. Both leads give great performance, but believe it or not, Robert is the one who shines. If you've only seen the movies where he looks like he can't act (pretty much all his other films), consider renting this one to see what he's been hiding up his sleeve.

In Chain Lightning, Humphrey Bogart takes on a different type of role. He's not a gangster, he never wears a trench coat, and he's not particularly tough. He's a pilot in the Air Force who, after the war, continues to be a test pilot and takes enormous risks to his personal safety. The film cuts back and forth from the wartime to the present time; in the war he was romantically involved with Eleanor Parker until his transfer parted them, and in the current timeline they are brought back together when he's hired by the company she works for.

Unless you love movies about test pilots, this movie probably won't capture your attention. There is a fair amount of screen time devoted to the second chance romance, but Humph never really seems to value Eleanor as much as he does his flying. Since that's exactly how his character is written, we can't really root for him to win her back. If he wants to win her back after all those years of heartache, he should learn to value her.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. Every time Humphrey Bogart goes up in the air, the camera turns and tilts, and it might make you sick. In other words, "Don't Look, Mom!"

I always got the feeling that in the vast majority of her films, Eleanor Parker felt she was "slumming it". Her talents were seldom utilized, and somehow, it came across through the screen to me that Eleanor knew she was capable of far better. You can watch Caged, Interrupted Melody, The Man with the Golden Arm, and The Sound of Music for proof of her incredible talent. But in The Very Thought of You, Chain Lightning, and The Voice of the Turtle, any other actress could have been cast. Eleanor Parker's particular brand of high intensity and passionate dramatics weren't necessary or required. However, since she is a very beautiful woman, it never hurts to watch her in these movies. In The Very Thought of You, she gets involved in a whirlwind romance with a soldier on leave, Dennis Morgan. Dennis's friend, Dane Clark, also has a whirlwind romance with Eleanor's friend, Faye Emerson. The foursome bond over Thanksgiving weekend, and Eleanor's mother, Beulah Bondi completely disapproves. Her father, Henry Travers, is more supportive, and actually helps cover up the surprise when Eleanor runs away and elopes with Dennis. This movie is a World War II romance that serves no real purpose other than to bolster the women who are waiting for their men in uniform to return. It's not a very good movie, but it probably made the audience feel inspired and hopeful. If you are looking for a good quality movie of a wartime romance over a holiday during the holiday, check out Joseph Cotten and Ginger Rogers in I'll be Seeing You.

I don't know why Alexis Smith got top billing in the film The Woman in White when Eleanor Parker not only played a dual role, but one of the roles was the titular character. There must have been some dispute amongst the ladies' contracts, but Miss Smith was absolutely not the lead in this movie.

Eleanor Parker plays both the insane woman who has escaped from her asylum and always dresses in white and a fine, well-bred lady who lives with Alexis and her guardian, Sydney Greenstreet. Also in the house is the scene stealing John Abbott, a hypochondriacal, nervous wreck; he's very funny in his dramatic outbursts, and the movie probably would have been more entertaining, if not less productive, had he been given more scenes. In any case, the story revolves around Gig Young, hired as a private art tutor for the girls, discovering a mystery about the house and the insane young lady. He shares his findings with Alexis, and together they try to protect both Eleanors before it is too late.

If you like old Victorian Gothic mysteries, you will probably be entertained by this one. I was a little bit bored, but I did appreciate the work that went into it and the originality of the story of its time. Plus, Eleanor Parker was an extremely beautiful woman, so it was always a pleasure to watch her in a movie regardless of how riveting the plot line is. When I saw how easy it was for her to play an insane woman, I was once again reminded as to what travesty it was that she was not cast as Blanche Dubois.

It was a great casting choice to pick David Janssen as the lead in the thriller Warning Shot. As he was extremely popular in The Fugitive, playing a man who was falsely accused and had to clear his name, in this movie, he's also a man who's falsely accused and has to clear his name. He plays a police officer who's a very upstanding citizen with no vices; in addition to not drinking alcohol, he also doesn't smoke a single cigarette in this film - very rare for him. While on a stakeout, he sees a suspicious man crawling prowling, and when he orders the man to freeze, the man runs. After he sees the man pull out a gun from his pocket, Dave shoots and kills the man. When the gun is never uncovered, the public tries to crucify Dave for killing whom they believe was an unarmed man. There is picketing outside the courthouse, and the people holding signs call for a shutdown of the police force. Sound familiar?

Made in 1966, the movie was ahead of its time. Obviously, it takes a stand with Dave as he tries to find the missing gun. Dave believes he is right, and no one can convince him otherwise: not his partner Keenan Wynn, police chief Ed Begley, soon-to-be ex-wife Joan Collins, lawyer Walter Pigeon, the victim's widow Eleanor Parker, or the kind-hearted little old lady who was as close to a witness as the prosecution could get, Lillian Gish. Also in the supporting cast are George Sanders, Carroll O'Connor, Stefanie Powers, Sam Wanamaker, George Grizzard, and Steve Allen.

Up until the last five minutes, which felt a little contrived, Warning Shot was very entertaining. I love David Janssen so I would pretty much sit through any movie he was in, but I also enjoyed seeing the large supporting cast. There must have been quite a lure to this movie for so many people to want to have tiny parts - or else everyone was a huge fan of The Fugitive and wanted to act alongside David Janssen even if just for a few minutes. Lillian Gish had a very cute part, but I couldn't help feeling sorry for Eleanor Parker. She had only one scene and spent her few minutes of screen time drinking and kissing her co-star. Personally, I would have signed on for a movie where I could kiss David Janssen and not even ask for a salary, but I don't know if Miss Parker shared my crush. You would think coming off of The Sound of Music, she would have wanted a bigger role. In any case, don't watch this movie for her. Watch it for the very compelling protagonist (even if you don't think he is extremely sexy like I do, he's still great in a thriller and easy to root for) and the fast-paced story that will keep you guessing until the end.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. In the beginning, when David Janssen is on his stakeout and chases the prowler, the camera is handheld and swerving. Also, when Dave gets beaten up by the four punks, the camera uses a warped visual effect; the same effect is used when his drink gets drugged - and it will make you sick. In other words, "Don't Look, Mom!"

Hardly similar to the 1934 film The Painted Veil, Eleanor Parker starred in a 1957 remake, The Seventh Sin. I saw the cast list of Bill Travers and George Sanders, and naturally I assumed George would be the rigid, unforgiving husband with Bill as the young lover. Imagine my surprise to find that Bill was cast as the husband!

Eleanor's young lover was a French actor, Jean-Pierre Aumont, and George played a friend in their new surroundings when they relocate to treat the cholera epidemic. I absolutely loved George in this movie, both his character and the spunky delivery he brought to his lines. He's funny and charming, but without the acerbic Addison Dewitt typecast. Eleanor and Bill are also very good in the film, and with both characters being extremely flawed, it's hard to make them likable. But you feel very sorry for Bill, and Eleanor is so beautiful, it's hard to believe she ever does anything wrong. Even though Bill treats her infidelity as justification for a thinly-veiled death penalty, he acts out from being in pain rather than from cruelty. If you have never seen version of this classic story, you can try either film. This one has a different ending than the original, but don't let that stand in your way. Pick which cast appeals to you and get ready for a very good acting and in a very heavy story. And just forget about Ellen Corby's "French" accent.

With the film Caged, you're getting more than just an incredible tour-de-force from its leading lady Eleanor Parker. You're getting more than just a classic prison movie. This film takes a definite stance and proves its point. Eleanor starts the film as an innocent and lovely young lady, who only goes to jail because of her boyfriend's wrongdoing. But her time inside destroys her and corrupts her. Between a sadistic lesbian prison warden and the unsavory, unscrupulous inmates, Eleanor's life view changes. She no longer tries to see the good in people, and she no longer tries to do the right thing. She learns she will be punished for being honest, and that people are out to harm rather than help her.

This is a very upsetting story, and while I do recommend it so that you can see Eleanor Parker's incredible talent, it is not a movie I would ever want to watch again. It is a very gritty, bleak depiction of prison life. In one very upsetting scene, Eleanor is held down by her fellow inmates as her head is shaved. In another, a baby kitten is smuggled into the prison and later killed in a brawl.

Prison movies usually feature a scene where the lead character is up for parole and pleads his or her case to the parole board. In this movie, when Eleanor screams and begs to be paroled or else she will turn into the criminal that the court thought she was, the audience completely believes it is true. At that point in the movie, she has just a slim chance left of returning to humanity and civilization. If she stays any longer inside the prison, there will be no more hope for her.

Watch at your own risk, but if you do, just remind yourself that Judy Holliday won the Academy Award that year for Born Yesterday.

Kiddy Warning: Obviously, you have control over your own children. However, due to an upsetting scene involving an animal, I wouldn't let my kids watch it.