Hell to Eternity (1960, Allied Artists)

Hell to Eternity is a profoundly moving cinematic work recounting the true story of Pfc. Guy Gabaldon (played by Jeffrey Hunter), a U.S. Marine who, having been adopted as a boy by a Japanese-American family, finds himself serving in Japan during World War II. While war films hold a particular fascination for me, they are a challenge, as my misophonia renders the cacophony of gunfire and explosions almost intolerable. Otherwise, I tend to love the genre. This film also features the enchanting Patricia Owens (below), who delivers a captivating and sultry performance in a truly magnificent scene.

Copyright 2024, Arthur Newhook. @Sunking278 and @FloydEtcetera on X, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, BLUESKY - @arthurnewhook.bsky.social. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Raquel Welch on the set of ‘Myra Breckinridge’, 1970

A shadow play of curious conceit, ‘Myra Breckinridge’ was a notorious box office and critical flop. I attempted to watch it during a TCM airing some time ago and tapped out quickly, its folly unbearable. Then, as now, the notion that someone as supremely feminine as Raquel Welch could have been a man strains all credulity. In 2024, sex reassignment and plastic surgery have only progressed so far in transforming men into attractive and functional women, or vice versa.

The alchemy to transmute a man to Venus, or a woman to Mars, remains elusive in earnest. Witness the metamorphosis of the former Ellen Page, a reasonably cute young lady who is now a very strange-looking, baby-faced man named Elliot. Science has simply not yet advanced to the point where any man can legitimately become as beautiful a woman as Raquel Welch, or any woman can transform into a rugged and handsome gentleman. Back in 1970, the concept was purely science fiction.

I know, everyone and their angry, MAGA hat-wearing uncles appear to be talking about transgender issues these days, and I am weary of the endless clamour. Almost never do I post on these issues, and perchance I shall rue this venture. Do what one will with one’s life and body; the world shall not crumble solely on this account (though society *is* teetering on the brink of ruin, make no mistake).

Yet, I cannot but marvel at the reasoning of those who wrought this spectacle, for who could be so beguiled as to credit such absurdity? For whatever it is worth, 77-year-old Mae West, whose star once shone resplendent, graces this unworthy film with her presence, a fleeting flicker in the twilight of her career. Gore Vidal, the wit who birthed this satirical tale in written form, recoiled in horror at its cinematic incarnation, deeming it ‘an awful joke’. Even within the realm of a ‘deliberately campy sex change comedy’, the notion of Raquel Welch, a living goddess with such proportions, having been born the opposite sex is indeed an awful joke.

Copyright 2024, Arthur Newhook. @Sunking278 and @FloydEtcetera on X, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, BLUESKY - @arthurnewhook.bsky.social. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Mamie Van Doren and Elinor Donahue in ‘Girls Town’, ‘an awful picture’ from 1959

Mamie Van Doren, publicity photo for 'Girls Town', MGM 1959.

‘Girls Town’ was an MGM attempt to capitalise on the teen ‘exploitation’ B-movie genre that was popular in the 1950s. The dramatic plot centres around a teenage misfit named Silver (Mamie Van Doren) trapped in a juvenile detention facility run by nuns, whilst trying to save her sister (played by Elinor Donahue) from being sold into the Tijuana slave trade by Mel Tormé’s character. Featuring appearances by The Platters and Paul Anka, starring as themselves, this quirky and not particularly good film ended up being a financial loss for MGM and was later lampooned in the 1990s on ‘Mystery Science Theater 3000’.

Elinor Donahue. Photo: Virgil Apger/Archive Photos/Getty Images

Elinor Donahue said of her part: ‘I would just as soon forget the whole thing. In the first five minutes of the picture it was established that I was a good girl, being pushed into being a bad girl. The rest of the picture I spent doing practically nothing but crying and saying, 'Help me, help me!' It was fun making it, but it was an awful picture’.

Copyright 2024, Arthur Newhook. @Sunking278 and @FloydEtcetera on X, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, BLUESKY - @arthurnewhook.bsky.social. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Film review: Brigitte Bardot dans ‘Et Dieu … crea la femme’ (‘And God Created Woman’) 1956

Brigitte Bardot with Jean-Louis Trintignant in ‘And God Created Woman’, 1956. Photo: Criterion Collection

A French film and young star that caused a worldwide sensation - almost anon becoming the most successful foreign-language film in the United States up to that time - I, in mine own person, do not find Roger Vadim’s 1956 blockbuster 'And God Created Woman' to be an enjoyable experience. Its plot is shallow and, at times, convoluted, and grows increasingly tiresome as the film progresses.

While undeniably and exceptionally attractive, the character of 18-year-old Juliette Hardy is an entirely unsympathetic, spoiled brat. Granted, the film's central theme revolves around the character's arrogance and sense of entitlement, but it is laid on quite thick. If only the writers had provided us with a genuine protagonist to engage with. Instead, every supporting character presented here - aside from, perhaps, the pet rabbit - comes across as utterly impossible to root for, most merely appearing as hopeless and pathetic dupes for a young woman 'made to destroy men'. 

Verily, my lack of enjoyment of this movie stems from being a jaded and cynical 46-year-old man who recognises that many fair appearances mask darker truths beneath. Lord knows, I am excessively weary of witnessing individuals ensnared by ancient deceits and timeless falsehoods, thusly shaping my outlook on the world. Yet, despite my reservations, at certain junctures this movie gives the impression that its sole intent was to flaunt Brigitte Bardot’s body in its zenith. Had the producers not bothered with any pretense of a plot, I would not voice grievance. In her time, this lady was historically stunning eye candy, but we have countless images documenting her unearthly eroticism and allure. Spending any length of time with this movie will only convince one that beauty is skin deep and often serves as a mere facade masking inner ugliness.

Alas, that would seem to be precisely the larger point Roger Vadim and the producers may have been going for, and in this they do succeed, but excessively so. ‘And God Created Woman’ is a film that possesses one notable merit: Brigitte Bardot selling her sensuality as few women who have ever graced the stage and screen have accomplished. Ultimately, howbeit, one is left feeling flat and not particularly enamoured with humanity in general by the end of its 91 minutes.

Copyright 2024, Arthur Newhook. @Sunking278 and @FloydEtcetera on X, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, BLUESKY - @arthurnewhook.bsky.social, and @arthurnewhook on POST. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

Film review: ‘The War Against Mrs. Hadley’ (1942)

Jean Rogers and Van Johnson in 'The War Against Mrs. Hadley'

'The War Against Mrs. Hadley,' a cinematic masterwork from the latter part of 1942. Commencing on December 7, 1941, and starring Fay Bainter as an imperious, snobbish, entitled widow of a former newspaper proprietor who encounters difficulty in embracing the reality of America's entry into World War II; to the extent that she estranges nearly all the individuals in her life. As one character is quoted, 'she hasn’t an ounce of patriotism in her,' and she 'acts as if the war is a personal crusade against her.' Showcasing a cast of renowned actors, with the distinguished Edward Arnold in the lead, and a screenplay by George Oppenheimer that received an Academy Award nomination, this picture is obligatory viewing for anyone with an interest in domestic life in America during World War II. Outstanding work.

Copyright 2023, Arthur Newhook. @Sunking278 and @FloydEtcetera on X, and at the same handles on FACEBOOK. MASTODON - @ArthurNewhook@mastodon.world, and @arthurnewhook on POST and THREADS.