That handsome, vivacious young man arrived to audition for a movie destined to be one of the greatest films of all time. Little did he suspect that he would be forever etched in a film classic such as Gone with the Wind. This seemed to catapult him enough to at least get parts in other films such as lighthearted comedies to westerns, and to dramas. His presence was felt even in short sequences such as Fighting 69^th, The Strawberry Blonde, Dead Men Tell, and Lydia. He stole the scenes in Pony Express Days, Always a Bride, Man At Large, and Blue, White, and Perfect to name just a few.

The scene now shows Elsa on the phone and in walks tall, dark and handsome George himself, sporting a pencil type moustache.  He is Doug Abbott, Elsa’s nephew who announces that he had just gotten a job as a reporter, of all things.  He states further that he was playing cards with the boys (seems he did this quite a bit in films), won the game, but instead of the “kitty” being money, it was the contract for a prize fighter. Doug works on his aunt to sponsor the fighter by planting the idea that a boxing match would raise money for her beloved Milk Fund Bazaar.  

Jim Beaver for IMDb

GEORGE OF THE JUNGLE?

“Lions and tigers who wait in the shadows—

They’re fast but they’re lazy, and sleep in green meadows.
Lets bungle in the jungle—well, that’s all right by me.” – Jethro Tull

I’ve held off as long as I can for this one.  George’s first appearance with this scenery was Jungle Goddess.  Apparently, he didn’t have enough as he ended 1948 with his Jungle Jim appearance.  And then the TAOS writers decided to incorporate more in “Drums of Death” and “Jungle Devil”.

JUNGLE GODDESS (1948)

This film opens up at the waterfront café, Portugee Joe’s, with a songstress serenading Bob Simpson, portrayed by Ralph Byrd. She sets the tone when stating, “You’re sweet, but dangerous, Mr. Simpson”.  Enter Mike Patton (George) wearing a leather jacket, searching through the café.  He pushes his pilot cap back on his head, gives us a disgusted look, and then saunters over to Simpson.  Mike reminds his Casanova friend that they have two passengers waiting for them, however, Bob seems oblivious. Mike is handed a newspaper in which he reads that a missing heiress, Greta Vanderhorn is the sole recipient of her parents’ fortune.  She had been missing since the outbreak of WW II in Europe. Patton wants nothing to do with trying to find the missing daughter.  His concern is trying to keep their flight service afloat, but is persuaded that the mission is worthwhile. Simpson is intent on finding her – dead or alive – and collecting a $20,000 reward for her whereabouts. As Bob tells Mike in no uncertain terms, “I hate to remind you, Son, but you’re only the junior partner in this concern”.

So the two set off in their plane to Zimbabwe territory in Africa.  George (Mike) is flying the plane and as he is glancing downward to see any sign of the plane wreckage, we see a look that will be so typical of those Superman flying scenes.  Simpson spots what appears to be the wreckage, so they land the plane in an attempt to search for any signs of life.  Simpson is frightened by a member of a hunting party, so he shoots the native dead with his rifle.  Both men are then captured, taken back to the village, and brought before the White Goddess.  Simpson tries to speak to her as Greta, but she silences him.   very assertive George pipes up: “Maybe you wouldn’t mind telling me exactly what goes on here”. The duo is then told a trial will be held that night to determine the innocence or guilt of both of them. 

We hear the “drums of death” reminiscent of those in the TAOS episode of the same name.  Mike is told that he can return safely to his plane because he had not done any harm to the natives and had tried to prevent the killing.  Bob is to be executed in eight days.  Mike is then summoned to meet with Greta. Departing from her authoritative stance, she asks him about her father.  George’s look of compassion in telling her of her father’s death is very similar to his expression in “Superman on Earth” when told that Eben had died.  Greta tells Mike how she turned up missing and how she has survived all this time.  She wins his respect and admiration for her courage and perseverance.  Upon return to his hut, he argues over Bob’s imagined plot to cheat him out of the reward and leave him to face the natives.  Once again, we get a glimpse of what is seen in season one TAOS when Mike grabs Bob’s shirt and says, “You would think of that. I ought to crush your skull!”

Greta sends the natives out to hunt to expedite their escape. Realizing that Bob is becoming more paranoid, Mike struggles to take a gun away from Bob. In the process, another native is injured. Mike is concerned for Greta’s safety, while Bob wants to ditch her to fend for herself.  Throughout the film we see footage from what appears to be Wild Kingdom as the trio makes their way through the jungle back to the plane.  Greta injures her ankle and, while caring for her, Mike is knocked unconscious.  By now, the natives are catching up with the trio and in the last struggle between Mike and Bob, the latter dies as a spear is thrust into his back.  Mike and Greta make it to the plane and take off. 

George’s entrance in the film and subsequent exchanges with Ralph Byrd is an example of why they were probably paired in Thunder in the Pines.  Wanda McKay appears as the actual ‘Goddess’.  She had been married to Hoagy Carmichael.  This marks her only appearance with George, but she did go on to guest star in episodes of “The Range Rider”, “The Cisco Kid” and “The Lone Ranger”.  Jordan “Smoki” Whitfield portrayed Oolonga, the witch doctor.  He will be the voodoo drum player in the TAOS episode, “Drums of Death”.

Most of the reviews I’ve read of this B-film are less than kind.  As the authors state, “Actors returning from World War II had varying experiences reviving their careers, and George didn’t have the greatest cinematic track record after World War II.  While George delivers a believable performance, this was not a career building choice” (p.162).  Witnessing the essence of what George brought to The Adventures of Superman makes this movie worthwhile.  If nothing else, you begin to see TAOS in a different light.

JUNGLE JIM (1948)

This was the closer of the year for George.  It was filmed at the Los Angeles State and County Arboretum in Arcadia, as well as the Corrigan Ranch in California.  Some of the wilder areas will be recognized as locations where the RKO Tarzan movies were made.  In fact, early in the film you see the lions, tigers, panthers, monkeys, and elephants that are obviously stock footage from Weissmuller’s Tarzan movies.  This was a Sam Katzman venture and proved to be one of George’s best and most sinister performances.

We first see George as Bruce Edwards, prone on a couch with his hat over his face.  The other man in the room with him is Commissioner Marsden (Holmes Herbert from Dead Men Tell No Tales) who comments on a vial containing hieroglyphics from the temple Zimbalu, to which George replies, “That tired thing…it’s just a legend anyway”.  He flashes a disgusted look like Boulder from “The Face and the Voice”, revealing the pinky ring we’ve come to know and some premature graying at the temples.  At the sound of searching for treasure, his eyes open wide and those same looks from the TAOS series are seen here.  “Now you’re beginning to interest me, especially that part about the treasure”, which gets him up off the couch.  He makes his first reference to Johnny Weissmuller with “By the way, where is Jungle James about now?  I could use another small loan.”  Edwards freelances by photographing the natives and selling the pictures to magazines.  As he put it so aptly, “Well, it’s a living.  It keeps me in food and drink, mostly drinks of course.”  And that is the profile of the character that our man Reeves portrays in the film.

Virginia Grey as Dr. Hilary Parker is in search of a gel used to cure infantile paralysis.  She states it is used by the devil doctors.  She is accompanied by a very annoying dog who goes running through the jungle barking, and with all that noise, you feel that his days are numbered out in the wild!  Weissmuller’s character is her guide to finding the precious gel.  Lita Baron is Zia, a native girl whose dance around the campfire resembles more of a Latin character similar to what she was like in Champagne For Two.  Also seen is Rick Vallin, the Masai chief, seen the next year in The Adventures of Sir Galahad. Vallin is also uncredited in Atom Man vs. Superman, and four episodes of TAOS (“The Seven Souvenirs”, “Jimmy the Kid”, “Three In One”, and “Close Shave”).  The expedition is not without close calls – one involving Vallin being pushed off a cliff, and attempting to push Jim into a pit with a lion.  Considering these close calls, Jungle Jim realizes that Bruce Edwards cannot be trusted.

Lita Baron (Zia) and Weissmuller demonstrate their swimming skills as they use a huge rock formation as their diving platform into the water.  It seems like such a tranquil scene until the crocodiles enter the water pursuing Zia.  We also see George smoking a pipe in this film and with the camera at his back; we also see some gray streaks in his hair.

Throughout the movie, George’s lines are memorable.  When asked how he found the campfire in the dark, he stated, “I didn’t.  I heard your drum and I saw your campfire.  You don’t happen to have an elephant on you, do you?  I’m so hungry that I could eat one!”  In this film, Jim (Weissmuller) says that Bruce (Reeves) doesn’t know how to handle a gun.  How ironic when in reality, George was to become a gun collector.  Bruce’s response of “What are you talking about?  I’m a superb marksman. Here, I’ll show you” gave me a chuckle.  The very best though is near the end of the film.  George has an extensive monologue that showcases how great he could be as a villain.  It comes out in lines like “But don’t expect me to use my magic to save your necks.  When the devil doctors finish you off, all that treasure in the next room will belong to me.  That’s what I’ve been after right from the beginning.”  And, proving once again that crime does not pay, George’s character dies in the end by falling into a fiery pit.  While the movie itself has had mixed reviews, it seemed a logical transition for Weissmuller from his Tarzan movies.  It also gives more screen time to George and the opportunity to be viewed in something other than a romantic lead or a hero. 

SUPERMAN AND THE JUNGLE DEVIL (1953)

Subtitled by Jan and Steve as Leftover Mind Machines, Blonde Apes, and a Double Exposure, the reader will most likely be aware that this was a three episode compilation from the TV series.  Keeping with the theme of this ‘Cape’ installment, it is “Jungle Devil” taking center stage.  Dr. Harper and his wife, Gloria have been reported missing while trying to obtain a rare drug.  Clark has been assigned to find him, but Lois manages to convince the Chief that she should also go despite Clark’s warnings that “the jungle is no place for a woman.”  While in the air, the reporters discover a stowaway – Jimmy.  While searching for any signs of life, the plane develops engine trouble.  Clark instructs the pilot (James Sheay, also in “The Mind Machine” and the sheriff in the Fury series), Lois and Jimmy to watch for any signs.  Meanwhile, he locks himself in the baggage compartment, changes to Superman and exits the plane in order to find the Harpers. He locates not only the lost party, but finds a clearing in which to land the plane.  He returns to the plane and ends up talking the plane down. 

The three reporters are intercepted by the natives and taken hostage, where they meet up with the Harpers.  The story is then told of how Mrs. Harper removed a diamond eye from their idol and dropped it in quicksand, when startled by the natives.  One of the party is to become the sacrificial offering.  Clark puts all white pebbles and one black one in Lois’ hat to see who will be the victim.  He uses his x-ray vision to select the lone black pebble and is led away by the natives.  He is tied to a stake, about to be burned, when something like a smoke bomb goes off to now reveal Superman in Kent’s place.  Just then, a white gorilla, the so-called jungle devil appears.  While fleeing, the chief stumbles to the ground.  As the authors state, “Superman does a few seconds worth of battle with the beast, then knocks it on its behind, saving the chief in the process.”  Kent is brought back to the others a hero and is proclaimed “a mighty warrior”.  He now turns his attention to the diamond eye.  He goes over to the pool, removes a large piece of carbon from his pocket, and then crushes it into a diamond.  Concealed within his hand, he now puts his hand in the pool, pulls out the diamond, and replaces it in the idol’s eye.

Throughout this episode, Clark is given a chance to shine brightly, and keep Superman under wraps.  And like frosting on the cake, we witness Lois’ appreciation for Clark.  There is no doubting her sincerity when she tells Clark that she doesn’t know how he did it, but credits him for saving all of them without the aid of Superman. 

Among the supporting cast in this episode are Doris Singleton (Gloria Harper), who is best known as Caroline Appleby in the I Love Lucy series.  As Dr. Harper, Damian O’Flynn had been in several films with George. He was Captain Saunders in So Proudly We Hail, and was promoted to Colonel Ross in Winged Victory.  He was in another TAOS episode, “Jimmy the Kid” as J.W. Gridley.  He had a somewhat recurring role as Doc Goodfellow in The Life and Legend of Wyatt Earp. Leon Lontoc, the witch doctor, was no stranger to acting, but he was most frequently seen as the chauffer, Henry in Burke’s Law.

We see that fashions changed a bit for the jungle.  From 1948 to 1953 we see that George has traded in the traditional bell-shaped hardhat for a more flattering Panama wide-brimmed hat.  In his safari attire, he definitely fills out the shirt quite nicely—a great pleaser for the ladies, I’m sure!  Noel also does a great deal for jungle attire and the feminine touch of mesh on her hardhat gives it a softer appearance.

BEHIND THE CRIMSON CAPE:

The Cinema of George Reeves

By Jan Alan Henderson and Steve Randisi

Reviewed by Colete Morlock

#7 Installment 

GEORGE THE VILLAIN

In any good plot, there is a hero and other characters that contribute to the storyline.  Of the most important elements in a really good story, however, is the character you love to hate, namely, the villain.  We’ve seen them in TAOS as portrayed by some very talented actors.  Villains appear as a contrast to highlight the best qualities of the hero. In some films, the villain becomes the most important character.  It is no wonder then, that actors probably want to be cast as a villain at least once during their career. In George Reeves’ case, he had more than one opportunity to portray the “V-Man”. 

DEAD MEN TELL (1941)  

The opening credits show a treasure map and this is the first hint at what the storyline will be for this film.  We see a couple reading a signpost that states “Buried Treasure – Dig for 60,000 on Cocos Island – Join the Treasure Hunt Cruise Aboard The Suva Star”.  This Charlie Chan film revolves around an elderly Miss Nodbury, who calls selected people together to assist on a treasure hunt for her family’s fortune.  She confides to Charlie that her hotel room had been ransacked by someone trying to obtain the map containing the treasure’s location.  The intelligent Miss Nodbury has split the map into four pieces in order to deter any robberies.  We also discover that the ship is a partial museum devoted to famous pirates, Black Hook being Miss Nodbury’s grandfather.  Her death prompts Chan to conclude she was frightened to death and an investigation begins to determine who is the murderer. 

As usual, #2 son, portrayed by Victor Sen Yung (Wong in “The Riddle of the Chinese Jade”, and Hop Sing from Bonanza) and his antics are what bring Charlie on board and into the film in the first place.  We first see George lighting up a cigarette and disappearing inside a door to his cabin.  He poses as Bill Lydig, a St. Louis newspaperman (talk about being typecast!).  Charlie is introduced to George, now in pajamas, however, the audience and Charlie notice that his shirtsleeve is peeking out beneath the cuff of his pajama sleeve.   Chan also knows that Lydig was deceased, but George quickly explains that it was his brother who died.  When Miss Nodbury is found dead, Lydig is nearby, listening as Charlie reviews the clues of the peg leg floor prints, footprints, scratches on door, and a remnant of a fake beard.  The first revealing of Lydig (George) with criminal behavior occurs when Jimmy Chan (Victor Sen Yung) is sent ashore to call the police.   How ironic that George appears with another youth named Jimmy!  Lydig (George) agrees to go ashore to notify his paper.  As he escorts the younger Chan, Lydig is poised to hit Jimmy over the head with a wooden pin except he is being watched.  George quickly disposes of the pin.  Another passenger, LaFarge (Milton Parsons), the victim of “anxiety neurosis”, informs Charlie Chan that he witnessed Lydig’s attempt to knock Jimmy out.  George’s response is “Who, me?  You’re crazy!”  He then turns to Jimmy and says, “What?  Did I try and hit you with a pin?”  The younger Chan says that he heard a noise and Lydig told him it was a fish.  Of course, the audience knows better. 

Charlie becomes the holder of all the map pieces for safekeeping.  One of George’s last lines comes right after this when he states, “Is this the real McCoy?”  All of a sudden they hear the sound of a peg leg coming toward them.  Jimmy has dressed up as the pirate Black Hook.  Throughout the film, Jimmy goes through a litany of suspects as the killer.  They notice that Lydig is missing, as is one of the female guests, Kate.  They find her, unconscious inside a museum piece resembling a sarcophagus.  Charlie notes a magazine nearby as Kate tells him that she recognized Lydig as being a criminal at large.  The search for Lydig leads them to the cargo hold.  Inside a bathysphere is the lifeless body of Lydig, one more suspect eliminated, and this ends George’s scenes in the film.  The identity of the real killer is a bit of a surprise, so I won’t give it away.  Suffice to say that Charlie does solve the case and the movie ends with another Jimmy getting all wet!  This is one for real Charlie Chan fans and George shows us a more devious side of him than anything we’ve seen.   I believe this one is available in the Charlie Chan collection if you are interested. 

John Larkin, who wrote the script, also did the original screenplay for Man At Large.  Sheila Ryan, who portrayed Kate Ransome, had two husbands in show business.  Her first was Allan Lane who was the voice of Mister Ed.  Her second husband was Pat Buttram, sidekick to Gene Autry and later on appeared in Green Acres.  Robert Weldon, as another passenger, Steve Daniels, was also a soldier in Sex Hygiene.  In addition to his TAOS, Kung Fu and Bonanza appearances, Victor Sen Yung was also in Mad Martindales, and as Harry Wong, in The Blue Gardenia. 

THE MUTINEERS (OR IS IT PIRATE SHIP?) (1949) 

This was the first film George did in 1949.  Jean Yarbrough who did various episodes of The Abbott and Costello Show, Gunsmoke, Petticoat Junction, Addams Family, My Favorite Martian, Death Valley Days, and the Guns of Will Sonnett directed the film.  One interesting note is that this picture was originally entitled The Mutineers, however, the mutiny did not occur among the crew.  Perhaps that is why it was renamed Pirate Ship.  This was a Sam Katzman production.  Ironically, George’s first and last films of this year would be Katzman projects, the latter being The Adventures of Sir Galahad. Dan Gordon is credited for the story.  He also has a Superman connection for the 1943 radio show, Jungle Drums as director starring Bud Collyer as CK/Superman and also the uncredited producer for Secret Agent (1943), which also credits Joe Shuster and Jerry Siegel as character writers.  As for George, as Henderson and Randisi state, “though he receives third billing, George has the most desirable role as the ruthless, girl-slapping gangster who masterminds the piracy of an ocean freightliner” (p.181).  I agree that George turns in one fine performance as a subversive. 

This film starts out with a docked ship named the Island Princess.  We hear a foghorn similar to what is heard on Moose Island in “The Haunted Lighthouse”.  Lyle Talbot puts in a brief appearance as Captain Jim Duncan.  He meets up with Nick Shaw (Jon Hall) and persuades Shaw to sign on as his first mate.  Next thing we see is Capt. Duncan dead on the pier with counterfeit money in his pockets.  Shaw recalls that a mysterious Mr. Nagle sent for the captain the night before and had been most anxious about when they would depart.  Nagle pretends to be ill, but he is transporting arms and counterfeit money to Lisbon.  He has brought his henchmen along on the voyage as well and will be up to no good. 

Next we see Mr. Shaw greeting all the passengers onboard.  He comes to Thomas Nagle’s cabin but discovers he is not in.  Searching Nagle’s trench coat pockets he finds a telegram.  Suddenly, a woman identifying herself as Norma Harrison, secretary and nurse to said Nagle asks Shaw if she can be of assistance.  Now George (Nagle) enters the cabin, seeing that Norma has already begun flirting with Shaw.  He comments on this, ‘Lets’ not try so hard, shall we?”  His tone of voice denotes a slight jealousy.  Meanwhile, Shaw’s suspicions are confirmed when he finds a crate with guns in the cargo hold.  He is attacked by one of the henchmen and subdued.  Nagle is then informed that someone had tampered with the guns.  He goes to investigate but they do not find Shaw.  Now the guns are moved into Nagle’s cabin in order to avoid any further incidents.  Nagle gives Norma an order regarding Shaw to “find out what he’s all about.” 

Meanwhile, Nagle sets out to get on Shaw’s good side.  He invites him to a poker game in his cabin – in case you hadn’t noticed, George seems to play cards quite a bit in his films!  Nagle deliberately loses to Shaw in order to bring him in as an accomplice.  Nagle has Norma playing up to Shaw, despite his jealousy of her flirtations.  There are scenes between George and Adele Jerkins on the deck in the moonlight that are worth playing more than once!  On one hand he is quoting Shakespeare and, yet he has an icy coldness to his voice as he warns her to get close to Shaw, but not to forget her place with him. 

Even though Nagle’s men had taken over the ship, Shaw hatches a plan to take back control.  He and the crew manage to trap Nagle and his thugs down in the engine room, but that means that they have no power.  Shaw ingeniously has them gathering all the canvas on the ship to rig up sails and resume their original course.  Nagle and company realize the ship is moving, but the supply of fresh air is cut off, causing them to be very lightheaded and irritable.  Speaking through the tube, Nagle is informed that Shaw knows the former killed Captain Duncan.  We hear George’s voice say “You told him!” followed by loud slaps and then a shot is fired.  The cavalry, or, in this case, the Lisbon Harbor Police finally arrive.  They go down to the engine room to find Nagle dead.  One of his henchmen blurts out, “I told him not to hit her”.  Norma asks Shaw for a match and cigarette one last time and then walks out.   

Jon Hall (Shaw) had done Jungle Jim the year before with George.  He is best known as Ramar of the Jungle.  In fact, the small cap that he wears in this film certainly looks out of place by comparison to his jungle attire.  Adele Jergens (Norma) had been named “Fairest of the Fair” at the NY World’s Fair in 1939.  She worked as a Rockette in the early 1940s and had been named Number One Showgirl in NYC.  She was also an understudy for Gypsy Rose Lee during her burlesque days. She worked with Jon Hall in Prince of Thieves (1948), Red Skelton in The Fuller Brush Man (1948), and Warner Baxter in The Crime Doctor’s Diary (1949). Among her TV credits were Abbott and Costello and I Married Joan.  Don C. Harvey (Miles) appeared with George in The Adventures of Sir Galahad.  He was also a henchman in Atom Man vs. Superman.  He was also part of the Batman and Robin serial.  He appeared in many westerns during the time Reeves was doing TAOS. 

George the Villain in The Mutineers is similar to what we see of him in Rancho Notorious or his cold-hearted character in Jungle Jim.  If you can find this film (I’ve seen it on Robert’shardtofindvideos. com), it is well worth the money you’ll spend on it.  To see George on the other side of the law, and do so convincingly, is very rewarding. 

SPECIAL AGENT (1949) 

Take it from me, if you purchase the DVD of this film by itself, you’ll find it is very dark and hard to see.  A better version comes on the DVD entitled “After The Molemen”.  Should you decide to order this one, I do have a possible source for it. 

If you are a train lover as I am, then you’ll love some of the scenes in this film!  The opening shows both steam and diesel engines.  Truman Bradley, who narrates the film, is familiar as he was in Dead Men Tell as Capt. Kane.  He also narrated the Jack Larson film Fighter Squadron.  The format for the movie reminds me of the Jim Davis TV series, Stories of the Century.  In fact, the opening title states that the film is “based on material in the official file of American Railroads” (p.184) just like the Jim Davis series.  Only the timeline is different.  Special Agent follows William Ethye as Johnny Douglas, a railroad agent assigned to a more remote area. 

The young agent keeps wishing for excitement and he got it and then some!  Old Number 6, which has both passengers and freight, is the object of a daring holdup for a $100,000 payroll.  Several people are killed, the brothers Devereaux are responsible, and seek shelter in an abandoned mine shaft.  During their getaway, the younger brother, Paul (George) injures his ankle, forcing them into hiding sooner than they had expected. We soon discover that Paul is a reluctant outlaw, or as Jan and Steve put it so well, “a choir-boy-gone-wrong type of guy” (p.185).  His brother Edmond (Paul Valentine), however, and the one who actually murdered the three, “exhibits not the slightest sign of remorse” (p.185).  While Paul’s ankle is being wrapped, he says, “I wish you didn’t kill those men”.  Brother Ed tells him he had no choice as Paul had dropped his mask and could now be identified.  He tells his brother to forget it.  George’s delivery is so touching: “I can’t forget it!  Killing those men, especially the old one.  I feel it just like Grandfather Devereaux or the priest at the mission.  His face was so gentle and so kind.”  A very embittered Ed responds that it was shooting and killing that took everything away from their family.   

Big brother cautions Paul about his relationship with Rose McCreary (Carole Mathews) and chastises him for getting involved with her. Once again, the tone of George’s voice really impresses you, “I don’t know what to think. But you can’t make me believe that all this shooting and killing and stealing will ever get us anywhere.” The anger you hear in his voice and see on his face is similar to the first season of TAOS.  Meanwhile, Rose overhears that the railroad agents are in pursuit of the brothers.  She goes to the Devereaux ranch to warn the boys.  We see Paul (George) standing up to his brother once more, “Listen, Ed, we’ve done everything your way so far.  When it comes to Rose, I do as I please!” The brothers barely get out the door when the sheriff shows up.   

If he’d been smarter, Paul would have headed back to the mineshaft.  Instead, he steals a car and heads to Rose’s house (“The Things We Do For Love”).  With the same determination he had while making little Ann Carson believe in Superman, George had to try and make Rose believe that he didn’t kill those men.  He even asks if she believes him, and then he takes her in his arms and kisses her.  With the agents in hot pursuit, he takes off, grabs the rest of the payroll from its secret hiding place, and heads back to the shaft.  He isn’t aware that he has been followed.  Ed meets Paul there, but, overcome with greed, the brothers fight and George is killed.  Ed is taken into custody and this case is closed.

The supporting cast has some rather interesting connections with George.  Laura Elliot portraying Lucille Peters appears in her first film.  She was in Samson and Delilah where GR had one scene.  She made the rounds of TV shows like Maverick, Perry Mason, and Bat Masterson.  She was probably more famous as Julie Anderson in Peyton Place and Louise Tate in Bewitched.  Frank Puglia (Grandfather Devereaux) was King Ferdinand VII in the short Monroe Doctrine, the bartender at the end of ‘Til We Meet Again, and the police chiefs in Torrid Zone and Argentine Nights.  Virginia Christine (Mabel Rumpler) needs no introduction as our Lady In Black, but for a more detailed listing of her career, please see her tribute on GHP at Colete’s View.  Jeff York (Jake Rumpler) also appeared in Samson and Delilah, as Hank Breckenridge in Westward Ho The Wagons and the recurring role of Joe Crane in Disney’s Zorro.  He also made appearances in Old Yeller, Perry Mason, The Lone Ranger, and Daniel Boone. 

This marks the last time George wears the dark “V” for villain before TAOS.  The dark hats will now be traded in for the brown and gray of a superhero.  He won’t take it back until 1952 when he appears in Rancho Notorious with Marlene Dietrich. 

My sincerest gratitude to Sandy Jackson and Green Ink Girl without whose assistance these reviews could not be done.  Thanks, Ladies! 

April 2008

BEHIND THE CRIMSON CAPE:

The Cinema of George Reeves

By Jan Alan Henderson and Steve Randisi

Reviewed by Colete Morlock

#6 Installment 

Agent George Reeves

This film and the other one I’ll review were two of George’s brightest performances. Ever wonder if George could have been a Lewis Erskine (Efrem Zimbalist, Jr), of The FBI series? These two films will answer that question for you! 

MAN AT LARGE (1941) 

John Larkin, who wrote the screenplay, also wrote the Charlie Chan film, Dead Men Tell. Within the first minutes of this film you see one Hans Brinkner (Kurt Katch) who was followed into the newspaper offices by one Robert Grayson (Reeves). While Grayson is occupied at the water cooler, Brinkner is shot with a silencer. George’s character, looking for a job on the paper, hastily departs in order to try and catch the murderer. How ironic that George seeks employment here when 10 years later he will do so again at another newspaper! We see a growling editor (is this where we get the basic personality for Perry White?), and a secretary who is a “female reporter wanna be” (Marjorie Weaver), who resorts to any means to find the scoop to get her recognized as a serious reporter. Does this sound like anyone we know? 

George’s scenes really keep you guessing, as you are never quite sure what side of the law he’s on until you are really into the movie. We see him speaking German with a man dressed in as a Nazi officer, being smuggled back to Germany with valuable information on the locations of British warships.  Richard Derr is the officer Maximillian Von Roen. Derr also starred in Sex Hygiene, but is probably better known for the sci-fi classic When Worlds Collide. Dallas Davis (Weaver) is promised a reporter job if she can locate Von Roen and get his exclusive interview.  On a lucky hunch, she picks the exact motel where he is staying, and sees him in Nazi attire through the window. Early on, there are some humorous exchanges between Dallas and Grayson. The chemistry between Reeves and Weaver is no coincidence. In addition to this film, they are paired in Blue, White and Perfect, and The Mad Martindales. As Dallas Davis, Weaver’s determination gets her into trouble. She is way over her head for espionage. In some ways, she resembles the Lois Lane of Phyllis Coates and the film noir era. There is also a naiveté about Dallas Davis that is reminiscent of those Nancy Drew movies. 

There are other familiar faces in this film. Lucien Littlefield (Prof. Horatio Hinkle) from “The Runaway Robot” appears in this movie. Steven Geray (Professor Van Wick of “The Deadly Rock”) portrays the blind writer named Karl Botany, who actually heads the Nazi spy ring operating in the U.S. Elisha Cook, Jr. (Homer Garrity of “Semi-Private Eye”) appears as a hotel clerk, while George Cleveland (Gramps in “Jeff’s Collie”) is Sheriff Pickering. George Chandler, who appeared in three TAOS episodes, the most notable being “The Face and the Voice”, is a cab driver.   

We discover that Derr is actually a British Naval Intelligence agent impersonating a high-ranking German officer in order to catch the “21 Whistlers” Nazi infiltrator group. He has been captured and is being transported back to Germany. Throughout the film Grayson and Dallas have some rather comical exchanges. When Dallas is caught spying outside Grayson’s room, Grayson subdues her. Reeves and Weaver fall back on the bed, breaking it. George ends up on top of her, only to roll over so Derr can bind and gag her. A bit later, Grayson waits for his partner, who never comes out of the treatment room in a throat specialist’s office. The doctor fronts for the Nazi ring. Dallas plunders in once again, believing that it is Grayson who is actually one of the spies. While George genuinely tries to convince her how much danger she is actually in, she handcuffs him to a typewriter and rolling stand, while she vainly attempts to contact the police. George tries to grab the phone away, still handcuffed to the typewriter, and clumsily falls back into a chair. Meanwhile, Dallas makes her getaway. Grayson has no alternative but to follow her, complete with typewriter and stand.   

Next stop is the clock repair shop of Otto Kisling (William Edmunds, Casablanca, ‘Til We Meet Again, and It’s A Wonderful Life among others). When Dallas is startled by a cuckoo clock, she jumps right into Grayson’s arms. She stays in George’s arms until she orders him to put her down.  So he just lets go, and luckily she lands on her feet!  Kisling is killed before they can find out whom he was working for, but he does give a clue – The Harmonica Club. Mrs. Zagra, (Ethel Griffies of Dead Men Tell), runs the club and thinks that Grayson and Davis are the act she has been waiting to arrive. Talk about coincidence – they are like the TAOS characters, Swami Amada and his assistant in a mind reading act! Dallas uses key words so that Reeves’ character can identify the object since he is blindfolded. It’s no wonder that years later Lois Lane thought the assistant gave clues by what she said to the swami! 

In the end, the FBI and British Intelligence prevail. Once again the infernal cuckoo starts up and Dallas jumps into Richard Derr’s arms this time. George hands his hat to Derr, and takes Dallas from him and they are locked in a kiss for the end of the movie. If you can get a copy of this one, it is well worth it.  While there are lighthearted moments throughout the movie, perhaps the most poignant lines come from Steve Geray at the end: “We are everywhere over here. Just below the surface of everyday life.” As Jan and Steve so aptly state, “There can be no doubt that this is another example of Reeves’ superior acting chops. Like a confident musician on a solo, Reeves’ acting is believable and assured, yet tender in places” (p.103). 

BLUE, WHITE AND PERFECT (1941) 

This little gem is part of a collection of the Michael Shayne, Private Detective series starring Lloyd Nolan. The casting of Nolan in this role is perfect. This is another film where we are not sure how George’s character fits in to the story. As our authors mention, “Blue is especially interesting because it provides George with ample screen time, and an opportunity to demonstrate his linguistic skills. With remarkable fluency, he delivers a toast in Spanish…George in his third outing as an Hispanic character, is highly effective” (p103). 

In the opening scene, Mike Shayne exits a taxicab with a shot of the L.A. City Hall (also used for the Daily Planet) seeking his girlfriend (Mary Beth Hughes). The first person he meets is Marie Blake, older sister to Jeannette MacDonald, who will be seen years later as Grandmama in “The Addams Family”. Because Mike’s profession as a detective is not considered steady work, Shayne gets a job as a riveter in an aircraft factory, although he is undercover to find out how the industrial diamonds are being stolen from the plant by Nazi spies. They are being smuggled out of the country in the buttons of dresses from a clothier. Shayne finds the dresses are being shipped to Honolulu and books passage on the ship. 

While on board, Shayne meets an old acquaintance, Helen Shaw (Helene Reynolds). Traveling under the alias of Connie Ross, she is associated with Hagerman, one of the smugglers. Also on board is one suave and debonair Juan Arturo O’Hara (George). He is definitely interested in Ms. Ross, and during the course of the film, tries to detract her attention from Shayne. By the way, Reeves is sporting a moustache reminiscent of Sgt. Preston. We are wondering which side of the law O’Hara (Reeves) is on, as he unpacks his gun with silencer and then goes looking for Shayne and Ross. While the two are on deck, a bullet from a silencer narrowly misses Shayne.  Shortly thereafter, Reeves appears and comes on to Ms. Ross. Meanwhile, Shayne takes a walk down to the cargo bay where he discovers Ross’s trunks. He is puzzled when he doesn’t find the diamonds hidden in the dress buttons. O’Hara follows Shayne down to the cargo bay and holds him at gunpoint though not for long. Shayne has had lots of practice getting out of trouble. He and O’Hara end up fighting. While Reeves’ character appears to be struggling a bit, we see some of his boxing moves. Shayne subdues O’Hara only to discover that the latter is actually an FBI agent shadowing Ross on the trail of the missing diamonds. 

We get a bit of a scare when both Shayne and O’Hara are locked in the cargo bay, which is now becoming flooded. Just when you think that both will perish, it is Connie of all people who puts in an anonymous distress call to the ship’s switchboard operator. The captain and crew rescue both, but not before George is winged by Hagerman. While George is recuperating on the ship, Nolan escorts Ross ashore. He discovers that the diamonds have been hidden inside jars of hard candy. Needless to say, they are anything but Blue, White and Perfect. And the head of the Nazi ring is none other than the ship’s purser, Nappy! 

In addition to the supporting cast already mentioned, we have Steven Geray once more. Arthur Loft (Capt. McCordy) was uncredited in Pony Express Days. Ann Doran from “Night of Terror” makes an appearance as does Charles Williams (“Topsy Turvy” and “The Clown Who Cried”).    Edward Earle, as the ship’s first officer was uncredited as a doctor in So Proudly We Hail. Then there is Emmett Vogan, who was the Secretary of National Security in the 1948 Kirk Alyn Superman movie. Frank Orth, best known as Inspector Faraday in the Boston Blackie movies, was also Al in “The Mind Machine”. Charles Trowbridge as a police captain also appeared in Sex Hygiene and Captain America. Another TAOS connection is Al Kikume who portrays a Hawaiian cop but is better known as the native chief in “Jungle Devil”. 

I have to agree with Jan and Steve that “Lloyd Nolan carries the show with more than excellent support from George. Imagine George as Mike Shayne! It has been rumored that George was to take over the Dick Tracy T.V. series (after Superman) from screen mate Ralph Byrd (Jungle Goddess, Thunder in the Pines)” (pp.106-107). The authors also point out that both Nolan and Reeves shared a common heritage from the Pasadena Playhouse. Nolan was there before George. I highly recommend not only this film but also the rest of the Mike Shayne films. If you are looking for really good performances turned in by George, these two will satisfy!

Special thanks to Sandy Jackson for Man At Large.

April 2008

BEHIND THE CRIMSON CAPE:

The Cinema of George Reeves

By Jan Alan Henderson and Steve Randisi

Reviewed by Colete Morlock

#5b Installment 

FROM HERE TO ETERNITY (1953) 

I had a difficult time reviewing this movie because the main plot of this movie is not about war, its horrors and how it affects people.  In fact, the attack on Pearl Harbor is almost incidental to the main plot of the love affairs between Burt Lancaster and Deborah Kerr, along with Montgomery Clift and Donna Reed. 

The barracks seen in this film are a dead ringer for where my son resided at Ft. Benning.  While the life of a military man and his family is far from ideal, being assigned to one of the most romantic settings in the world does have its perks.  With fabulous beaches to explore, marvelous botanical gardens, and a lifestyle that takes time to appreciate what Mother Nature has to offer, Hawaii certainly seems to be Paradise.  Who could have imagined that all this would end early on the morning of December 7? 

Such is the backdrop for a different view of the troops right before the beginning of WW II in the Pacific.  With thirteen Academy Award nominations and eight wins, this should have been another feather in the cap for George Reeves.  Despite the debate as to whether or not George’s lines and scenes were cut, we see him, just like in The Fighting 69^th, in a fair number of scenes in the background, or off to the side.  As Sergeant Maylon Stark, we see George sporting a new hairstyle. That longer, wavy crop of hair above his forehead has been sheared into the “military do”.  George appears to be healthier and is quite comfortable in his role as Sergeant Stark, proving once more that he wears a uniform well!  It is his appearance in this film though that makes me believe he would have been great as Major Groves in The Deserter. 

As for the main characters in the film, there is Montgomery Clift (Prewitt) who has his own war to fight.  His enemies are not the Japanese, but his own fellow soldiers.  He is fighting for their respect, especially when he refuses to represent the unit at a boxing match.  He falls victim to Sgt. Henderson, who had been egging him on to fight.  By the way, Robert J. Wilke, who portrays Henderson, is Bingham from the gym in “Perry White’s Scoop.”   One of George’s scenes is among the spectators at Prewitt and Henderson’s fight.  There’s just a look on George’s face where you wonder if he would have jumped in and started boxing himself!  George is running in and out in scenes in the kitchen and mess hall, or remaining in the background to Clift and Lancaster’s characters.  Of course, there is the one unforgettable scene between George and Burt Lancaster that we’ve seen in photos. George, sporting a Hawaiian shirt, shows us a more seasoned actor.  This is now fourteen years after he had been Brent Tarleton in his other Academy Award picture.  The “Face and the Voice” tell it all with his most memorable line: “Leva tells me you've been eyeing the Captain's wife like a hound dog at huntin’ time. “  In the tavern we see Reeves’ character taking obvious delight in watching the rear view of a lady passing by.  George is also part of the force trying to defend the base from the Japanese Zeros on the roof of one of the buildings, shooting at the planes as they pass overhead. 

The movie features layers of plot to be explored.  There is the soldier’s life in the barracks, complete with drills, KP duty, antics during weekend passes, and the competitive nature between military units in the boxing matches.  There is the journey where Prewitt leads us – from his having to prove himself to his fellow soldiers to his tragic death because he didn’t have proper identification.  There are two love affairs going on – Burt Lancaster and Deborah Kerr, along with Montgomery Clift and Donna Reed.  Of course, probably the one scene that everyone remembers from this film is the love scene between Lancaster and Kerr.  Her line of “Nobody ever kissed me the way you do” says it all.  The other piece is the unexpected attack on Pearl Harbor with the troops unprepared and the chaos that resulted.   

One of the most interesting aspects of this film is that some of its stars were “acting out of character”.   In her last film of 1953, Deborah Kerr, usually very prim and proper is carrying on a torrid love affair with Burt Lancaster.  Also missing is her unmistakable British accent.  Then there’s Donna Reed, the wholesome wife of Jimmy Stewart in It’s A Wonderful Life and later on The Donna Reed Show, now a “lady of the night”.  This performance won her the Oscar for Best Supporting Actress.  Ernest Borgnine was used to playing the heavy or villains that enjoyed torture, so his role as Sgt. “Fatso” Judson was the norm.  What is unusual is that two years later, Borgnine would win the Oscar as best actor for his performance in Marty, a character who is 360° from the one he had in From Here To Eternity. 

While it’s always good to see George on the screen, his experience is an example of how fickle Tinseltown can be – one day you could be a rising star, and the next you are as old as yesterday’s news.  As Jan Henderson/Steve Randisi write: “Reeves’ cinematic future would grow no brighter than this.  What a shame such a highly talented actor never made it to a higher level of notoriety.  But such is the justice in the Hollywood jungle” (p.237). 

THE LAST WILL AND TESTAMENT OF TOM SMITH (1943) 

George’s first film of 1943 was a ten-minute short with very different consequences of war – the life of a POW.  Most POWs at the mercy of the Japanese were forced into building roads and were extremely malnourished.  This was intended to be part of the government propaganda films shown to the troops only.  For Reeves’ fans, however, it’s a good thing this one has become available.  You see George in a starring role and at his finest.  What piques your initial interest are the scrolling credits shown on crumpled pieces of paper, with printing and scribbled drawings in the background.   From the book: “The narrator sets the tone: “This is the story of Tom Smith, prisoner of war.  This is the story of a man in a prison cell.  This is the story of death in Japan.” (p.113).  The opening scene shows George standing in the cell, which looks more like a dungeon.  He is gazing out through the barred window to the outside; this is a far cry from what he would experience during the TAOS episode “Divide and Conquer”. 

We hear George’s voice sarcastically state, “Come to romantic Japan in cherry blossom time.  All the ads in slick magazines and smiling, lying faces.”  No sooner have we heard these words than the door flings open and the Japanese captain appears.  George is nervously grabbing his arm with his other hand, awaiting his fate.  The captain tells him how he was educated at Yale, class of ’32.  Tom Smith (Reeves) lightheartedly states, “You probably won’t be able to understand me.  I never got out of a jerkwater college.”  The young soldier is then told of his crime – the graves of the Japanese gods were destroyed and he must pay with his life.  George lets us see the reality and disbelief sinking in: “Shot?  Well…. I’m an aviator, a soldier, I only…” and he is then cut off.  The captain uses strong words to convey his sentiment: “We will strike such a terror in your homeland that you will never come here again.”  One can only wonder if he was predicting what would have taken place at Pearl Harbor.  George’s voice becomes as cold as steel: “Your gods are gonna have plenty of headaches.”  He is then told he has 20 minutes to live, so he decides to write his last will and testament.  Going through his pockets he finds some string and a Liberty dime.  If we fast-forward to season one of TAOS, his demeanor is the same at the coffee and donut stand in “The Secret of Superman”. 

Your heart really goes out to this soldier as George masterfully shows us in flashbacks what he bequeaths.  To his sweetheart, Grace, it is the right to happiness, based on a certain day in June that meant so much to both of them.  To the kids on his block, it was the “American earth – real, solid, green.”  To Gramps (Lionel Barrymore), it was the freedom to say what he thinks.  George now looks at the dime from his pocket and ponders what is inscribed on it: Liberty, In God We Trust.  He hears his grandfather’s voice saying, “Ya gotta believe or you ain’t nobody.” 

While being walked through the prison yard with the firing squad, Tom Smith carries on a conversation with his grandfather.  You can hear the fear in his voice as he says, “Gramp, I’m going to lose my life.  They’re killing us. Us Americans.”  The visual of showing George up against a wall, hands tied behind his back, with Lionel Barrymore overhead is very powerful.  Barrymore tells him he will have calm dignity if Tom believes.  I can’t do George’s delivery justice, as it is very inspirational: “I believe. And I believe we’ll come back here in a great cloud of bombers. And the sky will be filled with our wings and our bombs and we’ll burn this evil from the face of the earth!”  The close-up of George’s face bears the resignation that I can only compare to the TAOS episode, “The Big Freeze” as Superman is entering the blast furnace.  Twelve guns aim at him and fire.  He falls to the ground and the captain takes out his pistol and shoots him in the back of the head.  The once clenched fists now open to reveal the Liberty dime in the palm of his hand.   

The final scenes shift to Barrymore on his front porch and Walter Brennan delivering the mail.  Barrymore delivers an appeal to the citizenry here: “Tom died for something.  All the Tom Smiths died for something.  What are we doing to help them?  We’re going to help the living Tom Smiths.”  He tells people to support the national war fund.  Brennan glances at a letter to the mother of Harry Jones.  “Harry Jones, prisoner of war in Germany.  You gotta help him!”  Barrymore now points his finger at the camera and says, “It’s up to you.” 

NOTE: Here is a link to the video on YouTube: http://youtube.com/watch?v=ROMKBE4Xo9s

Thanks to Green Ink Girl, Thom for his eyes, and Jan for his ears!

March 2008

BEHIND THE CRIMSON CAPE:

The Cinema of George Reeves

By Jan Alan Henderson and Steve Randisi

Reviewed by Colete Morlock

#5a Installment 

We now turn to a different side of George’s career. This one is in two parts and the subject of these films is war and what it does to people.   

GONE WITH THE WIND (1939) 

George Reeves was a well-read man and like many other actors of his time appeared in several films whose themes were war in the forefront or as a backdrop. His last film of 1939 would open a door in his career as well as introduce him to one of his lifelong friends.  Appearing in a film with Clark Gable, Leslie Howard, Olivia deHavilland, Thomas Mitchell and Victory Jory (with whom he would appear in the Hoppy films), and Vivien Leigh must have been quite a thrill for the young Reeves. In Gone with the Wind we get a glimpse of what life was like in the South.  Filmed at RKO’s “Forty Acres”, attention to detail was paid with the plantations, main streets in Atlanta, and the lavish costumes worn by the ladies and gents. The opening scene is at the Georgia plantation, Tara, home to the O’Hara family.  We get our first glimpse of Scarlett outside with “two red-haired, exuberant young men who have recently been expelled from college” (p.13). Both Stuart Tarleton (George), and his brother, Brent (Fred Crane) were accustomed to the “Lifestyles of the Rich and Famous”. This included many parties, formal balls, foxhunts, horse racing and having a large, forced labor force to work the farms. The impending war is the topic of the moment until Scarlett forces it to change to the next social event on a neighboring plantation. 

In the early scenes of this movie classic, we see George and Fred catering to the whims of Scarlett O’Hara, hoping to win her favor and become her choice of beau. Both George and Fred exhibit youthful enthusiasm and charm so convincingly in these encounters with Vivien Leigh.  Their talk of the War and how they look forward to becoming gallant heroes is evidence of their naiveté. The romantic myth of going off to war certainly didn’t include the horrors they would witness. Fighting for their way of life was a desperate attempt to preserve the traditions of their culture, families, and lifestyle with slaves. Little did they suspect that they would never again return to their plantations, but end their lives at Gettysburg. While both George and Fred have brief appearances in the epic, they show how quickly war can change a young man’s life as well as end it.   

While the Tarletons are no longer in the film, Vivien Leigh’s character thought back to the carefree days that had been an intrinsic part of her life before the war.  Now, with the war over and devastation all around her, Scarlett poignantly shows the lengths that someone will go through to just maintain what little one has. Land was of paramount importance, which is why Scarlett fought so hard to keep it, live off of it, and even die for it. If the song “I Will Survive” had been around back then, Scarlett would have claimed it as her very own theme. 

Even though this was not George’s first film, it was a marvelous end to the year 1939. Gone with the Wind introduced the world to a future star whose light would shine, twinkle and fade over the next twenty years. 

FIGHTING 69^TH (1940)  

In his second film of 1940, George is paired up with some of Hollywood’s heavyweights in Fighting 69^th. Jan and Steve have nicknamed this film Private Bessolo Marches Again. With the USA on the brink of entering WW II, this film was all about sparking patriotism using WW I as the timeline. The real life military regiment, as the title suggests, has a rich history of valor from its New York Irish members. The authors of Crimson Cape aptly call this a “morality play about cowardice and redemption.” Included in the cast are George Brent (Major Donovan), Pat O’Brien (Fr. Duffy), and Frank McHugh (Terence Burke) who will team up with Reeves later that same year in ‘Til We Meet Again. James Cagney is the rebellious Jerry Plunkett. Among the supporting cast are Dennis Morgan, John Litel, and Alan Hale, who appeared with Errol Flynn in many movies, and would be with George the following year in The Strawberry Blonde.   

We see George with the other recruits in a tent during their physical. George is sporting a plaid, ivy cap and his first spoken words are “Does it hurt much, Doc?” The camera then shows us some of the drills and maneuvers the troops rehearse prior to deployment. George’s next appearance as Pvt. Jack O’Keefe is in a passing scene with Fr. Duffy (O’Brien).  When asked how his wife was, George delivers with a convincing Irish brogue, “Expecting again, Father!”  In the middle of all this another company joins the 69^th—the Alabama 4^th—the outfit who defeated them at Vicksburg during the Civil War. One of the men in the unit from the South is a familiar face from TAOS, “Human Bomb”, Trevor Bardette.  Brent’s character delivers an inspirational speech for “Those men are coming as Americans” in order to unite the two units into “the rainbow division”.   

When Cagney’s character discovers that O’Brien’s character is a priest, George is seen standing right behind Cagney. George’s expression of amazement that Plunkett didn’t know Duffy was a Father is memorable. The scene changes to include the tune of “Over There” as we see a smiling George exiting the train with the rest of the troops on European soil. One sequence takes place for Christmas showing the troops singing “The Old Gray Mare”. And who should be strumming the guitar but none other than George Reeves!  While in the trenches, Plunkett starts acting out. Actually he is panicking, but the other men don’t realize it. George, with a look of disdain states “Gee, that guy hates himself”. Overcome by fear of dying, Plunkett picks up a flare gun. Once again Reeves responds with “Hey!  What are you doing? Cut that out!”  No sooner are these words uttered than Cagney fires the gun. With the flare sacrificing their position, the enemy bombs start pounding the troops. George really does frantic well with “They’re breaking the whole line and we’ll be next!” The next bomb causes the trench to collapse right next to them. Reeves’ final line delivers the impending doom, “Sarge warned you not to mess with those flares. Now all these guys are dead and you done it!” And then comes the final bomb that will bury Reeves and the rest, leaving Plunkett alive to deal with all the guilt, remorse, and shame.    

In order to atone for his cowardice and the loss of so many of his fellow soldiers, Plunkett dives into a manhole to assist Alan Hale with fire power to create a path for the troops to advance. In the process, a bomb lands in the manhole.  Plunkett states he does this for the memory of his fallen comrades. With that, he covers the bomb with his helmet and body in one of the greatest acts of heroism for the 69^th. The end of this film honors Fr. Duffy, but on the right we see all the fallen members of the Fighting 69^th marching.  George is seen at the beginning with his face dirtied among the gallant heroes. If this doesn’t get your patriotic spirit going, nothing will!

February 2008

BEHIND THE CRIMSON CAPE:

The Cinema of George Reeves

By Jan Alan Henderson and Steve Randisi

Reviewed by Colete Morlock

#4 Installment 

BUGLES IN THE AFTERNOON (1951)

One has to wonder if George really was trying to forget that he had donned the brown and gray of Superman and the Mole Men by doing this film. While a good western of the 50s, and having a good cast, it is another example of George just collecting a paycheck. I do agree that one of the best things about this film is the breathtaking scenery, and filmed in the Kanab Canyon and Ranch, Kanab Utah where many films and TV series were on location. This site, along with the Warner ranch in Calabasas, CA provides the backdrop for the movie. Dmitri Tiomkin’s musical score sets the mood. Another point of interest is that William Cagney, brother of James produced this film. This marks his third contact with George, as he was an uncredited producer of Torrid Zone (1940) and an associate producer for The Strawberry Blonde (1941). 

The film begins with Kern Shafter (Ray Milland) being stripped of rank and dishonorably discharged for attacking a fellow officer, Edward Garnett (Hugh Marlowe). These two, once friends, are now bitter enemies because of the love for the same woman. If Mr. Marlowe looks familiar, it is because the year before this film was made, he was the jealous love interest of Patricia Neal in The Day The Earth Stood Still. Shafter cannot readjust to civilian life so he heads to another fort in the Dakota Territory where anonymity might afford him a chance to re-enlist. What he does not know is that his old rival is now a captain at the same fort.

This film brings George together with people from his future TV series and other movies he will make over the next five years. There’s Harry Lauter, who was in almost every major series of the 1950’s except TAOS. This could be because he was busy in Tales of the Texas Rangers.  Ironically, he appeared with Mr. Marlowe in The Day The Earth Stood Still. Other TAOS alums include: John Doucette as uncredited Bill at the way station tending bar. Hugh Beaumont  (“The Big Freeze”) as Lt. Cooke seen in the beginning of the film and 5 years before taking on his signature role as Beaver’s dad, Ward Cleaver. Ray Montgomery has a short appearance as Osborne. This is the same year he would begin his recurring role as Professor Ogden in Ramar of the Jungle, and four years prior to his two appearances in TAOS (“Dagger Island” and “The Jolly Roger”). Another familiar face with George is Chief John War Eagle, as Red Owl. He will later appear in Westward Ho, The Wagons as Indian chief, Wolf’s Brother. He had a presence on the screen as an Indian Chief for he was a real chieftain. Rounding out the cast are Helena Carter, love interest for both Garnett and Shafter and Forrest Tucker, who sports an Irish brogue. Seeing his antics in this movie will give you a bird’s eye view of how he will be in “F Troop”.

This is a typical cavalry vs. Indian movie, which will appeal to all who used to watch these as a kid. With Indians always portrayed as ignorant, savage warmongers, and soldiers always the “good guys”, this film takes a slightly different stance. Bugles has a social commentary delivered by the scout, who states to Garnett that the Sioux have been “pushed back just about as far as they’re going to be pushed.” He goes on to say that these are the last of the hunting lands and buffalo and the last freedom for the Indian. Events in the beginning of this film are leading up to the Battle of the Little Big Horn.

Shafter (Milland) meets a Lt. Smith (Reeves), who arrived on the stagecoach. The glimpse of George is fleeting, along with the few words he says, acknowledging his escort back to the fort.  One of George’s scenes takes place on a patrol where Indians have massacred prospectors.  The troops are split up and Reeves is left to take care of the dead. Later in the film we see George riding next to Capt. Garnett. Reeves’ next scene comes as the troops, which include Forrest Tucker and Ray Milland are standing around, awaiting further orders. George rides up to them, and with the voice of authority says to Milland, “Sergeant, take six men and report to Garnett. The rest of you men make camp.” And he rides off once more. 

Garnett abandons Shafter and the five others, leaving them defenseless against impossible odds with the Indians. Forrest Tucker suffers a fatal injury, but provides the diversion for Shafter to escape and return to safety. Shafter, having walked for miles, comes upon the troop encampment. A shocked Lt. Smith (George) sees the weary soldier and greets him. The Lieutenant tells Shafter that they were told he was dead.  George really lets the compassion and caring show forth in these brief scenes. Shafter tells him that Garnett left them to die. George wants him to rest, but Shafter decides he has to rejoin the troops. The Battle of the Little Big Horn is about to begin, and also where his rivalry with Garnett comes to a head. Shafter is injured and Garnett is killed by an Indian. Not to worry though, Shafter ends up in a military hospital and he receives word that the President has reinstated him as a Captain, and he wins his lady fair.

RANCHO NOTORIOUS (1952)

This RKO film directed by Fritz Lang was George’s only movie made in 1952 in which he appeared with a memorable cast.  It starred Marlene Dietrich, Arthur Kennedy, Mel Ferrer, William Frawley (Fred Mertz), Jack Elam, Frank Ferguson (“Lady In Black”), Dan Seymour (“The Stolen Costume”) and John Kellogg (“Night of Terror”, “Five Minutes To Doom” and “The Big Freeze”). Dietrich, at age 51 proved she still had star presence as the owner of a ranch named Chuck-A-Luck, providing sanctuary to outlaws for a percentage of what they stole. The film starts out with a theme song played during the credits, interwoven throughout the story.

The film starts out with a tender scene between Arthur Kennedy (Vern) and his fiancée, Gloria Henry (mom to Dennis the Menace). He presents her with a diamond brooch from Paris before he departs on a cattle drive. She works in the assayer’s office, which is held up. We hear woman’s screams, gunshots and then the two outlaws head out of town. When Vern hears the news and returns, he is told that his love “wasn’t spared anything”, implying that she had been raped, and then murdered. The camera focuses on her hand, which has the obvious traces of skin under her nails. Of course, this is long before CSI and forensic teams. Vern is now on a mission to find the man who committed so brutal a crime.

He comes upon Mel Ferrer, helps free him from jail, and together they head to Altar Keane’s (Dietrich) ranch. As the theme states, Vern still seeks the killer, “and deep within him burn the fires of hate, murder, and revenge.”  When Altar takes Vern to meet the rest of the inhabitants, we get our first glimpse of George. The camera focuses on Preacher (Ferguson), however, at the left of our screen, seen as a silhouette is a familiar-shaped head with a full crop of hair. George’s character is Wilson. The authors state “George has a supporting role as a lecherous desperado who has sought refuge at the hidden ranch” (p.227).  Altar adds, “He spends most of his time chasing the ladies. No girl is safe when he’s around.” When Vern makes reference to Wilson’s two deep gouges on his left cheek as the result of one girl’s fight, he is set straight.  “No, a bobcat gave me these—a REAL bobcat.” Throughout the film, George does have some memorable lines.  He refers to Altar as a “mighty handsome filly.” When Vern is breaking a bronco, Wilson states, “He can handle a horse all right.”  When Vern states the filly is “Like a lot of women—takes a lot of breakin’ before she comes along nice and even”, George is beaming and responds “You’re dead right on that!” George is seen throughout the film as an intrinsic part of the outlaws hiding out at the ranch. He tells a story to all about one of his romances. At the end, we hear one of the famous Reeves’ hearty laughs—similar to what he would have at the end of “Haunted Lighthouse”, when Peter the parrot flies in after citing “Help me! I’m drowning!”  A robbery for the gang doesn’t go as planned and we see the surviving members hiding in a back room. George has substantial dialogue, starting with “I’ve never seen anything messed up finer”. His other lines convey an air of authority, which seems to rival Ferrer’s character, which actually planned the job in the first place. Nevertheless, it’s good to see George take the lead in this segment.  Wilson (George) was supposed to bushwhack Frenchie (Ferrer) back at the ranch, however, Vern gets the drop on him and leaves him tied up outside. Our George very convincingly cuts himself free on a sharpening tool and shoots at Frenchie, but Altar takes the shot herself, saving his life. Vern brings Wilson down, ending George’s appearance, while Ferrer and Vern ride off together into the sunset.

PONY EXPRESS DAYS (1940)

Although this was one of the shorts that George did, he was given top billing in it and provides us with another memorable performance. Jan and Steve have also named this one Wild Bill George. This film references the California gold rush, which brought many adventurous folks out west to seek their fortune. The timeframe for this film would be pre-Civil War and before Lincoln’s election as president. At this time there was no AT&T linking the continent, so the western states were isolated from what was going on back east and in Washington in particular.  To solve that problem, the Pony Express was born. 

In the opening scenes, we see recruits signing up as riders. In the foreground is one recruit who has been accepted and is now taking the oath. Now we see George, who has been directed to one of the company’s heads to see if he will be accepted. Reeves had a sense of presence that is undeniable. His rugged, youthful good looks are so evident in this little film! As a special feature on the Warner TAOS DVDs, the introduction states so eloquently, this one “features the young actor in the role of William ‘Buffalo Bill’ Cody, and stands as yet another example of Reeves’ talent, energy and charisma.” His character is a man eager to help support his family since his father died, leaving his mother and siblings behind. He has all the requirements except that he is overweight for riding the horses long distances. His sincerity and willingness to work, however, result in his getting a job at the Northern Nevada station taking care of the horses.  As he walks out of the central office, one of the partners states “The kid’s got spunk!” (p.45).

The interaction between Bill Cody (Reeves) and Nevadie (J. Farrell MacDonald) is quite entertaining. I would venture to bet that George had no idea he would reunite with MacDonald eleven years later during Superman and the Mole Men.  When Johnny, one of the riders falls victim to an Indian attack and can’t go on, it is Our Man Bill who takes up the challenge of the mail must go through. This film highlights George’s riding and shooting ability, as well as his acting. Cody rides for two days straight, as all the way stations have been subject to Indian raids. With his horse lame and exhausted, he collapses just outside Fort Churchill. The news he carries is that Lincoln has been elected president, which is then wired to Sacramento. One thing you wonder is if that plaid shirt is the same one that he will be wearing in the Hoppy films later on? Only the wardrobe coordinator knows for sure! 

At the end of the film the narrator indicates that the Pony Express lasted only nineteen months and now the transcontinental telegraph system had been established. Johnny says the only thing left is for him to join the Army. Nevadie is going back to hunting buffalo and taking his young friend “Buffalo” Bill Cody with him. George’s final line says it all: “Buffalo Bill Cody! It’s got kind of a nice sound, doesn’t it, Johnny?”

Special thanks to Green Ink Girl and Ralph Schiller

February 2008

BEHIND THE CRIMSON CAPE:

The Cinema of George Reeves

By Jan Alan Henderson and Steve Randisi

Reviewed by Colete Morlock

#3 Installment 

The year 1939 was a hallmark for two actors whose paths were to cross not once, but twice over the next two years. It was the year that George Reeves was cast as Brent Tarleton in Gone with the Wind opposite Vivian Leigh.  It was also the year that the beautiful Merle Oberon was cast as Cathy Linton opposite Sir Lawrence Olivier in Wuthering Heights. Both films were to achieve Oscar success, though not for these two stars.

Merle Oberon was born in Bombay, India of mixed Welsh and Indian heritage. Born Estelle “Queenie” Thompson she changed her name in1939 to Merle Oberon at the urging of her then husband, Alexander Korda. (http://www.imdb.com).  Korda would later produce one of her movies to be discussed here.

In 1940, both Reeves and Oberon would first appear in the film ‘Til We Meet Again. This was a remake of the Warner Brothers One Way Passage. The remake starred George Brent, Merle Oberon, and Pat O’Brien. The movie begins on a cruise ship leaving Hong Kong bound for San Francisco. Merle Oberon is terminally ill with what is later revealed as angina pectoris, a lack of blood flow and oxygen to the heart. This takes place long before cardio-dilators, angioplasty, and coronary artery bypass were treatment options, thus incurable. Merle meets the handsome George Brent over what he calls the “paradise cocktail”. She is unaware that he is a convicted murderer who had been apprehended by Pat O’Brien and is being taken back to San Quentin to be put to death. The two hit it off and, finishing the cocktail, they break their glasses, leaving the stems intertwined at the bar. The camera focusing in on the stems becomes a trademark for the two lovers. Jan Alan Henderson and Steve Randisi describe this as “Broken Glasses, Broken Hearts”. (Photo courtesy of Jan Henderson)

Rounding out the supporting cast are Frank McHugh (The Fighting 69^th, Going My Way), Geraldine Fitzgerald, who is honeymooning with her husband, played by Reeves, and Eric Blore (Jamison in the “Lone Wolf” series). As for George, the authors stated it best: “While Fitzgerald’s character develops a close connection to the leads, George’s does not. His dialogue is very sparse, with the bulk of his lines occurring when his screen wife invites the couple to an island luau.” (p.28). Nevertheless, George’s facial expressions are worthwhile as he and his wife are rolling the dice at the betting table. His exuberant smiles are plentiful, even though short during this part of the film. The full head of wavy hair and lovesick moonstruck looks are all over the place! 

Every time George Brent and Merle Oberon have tender moments, there is music playing in the background that could have been from a Dorothy Lamour vehicle without the sarong! As we sail along with Brent’s character, we discover that he has two accomplices who plot to drug Pat O’Brien and enable their friend to escape his fate.  At the prospect of never seeing her lover again, Oberon suffers another attack just as Brent is supposed to be whisked from captivity.  Being so much in love though, he cannot bring himself to abandon her. Oberon is taken off for medical attention while Brent is once again in handcuffs. Neither one is aware of the hopelessness of each other’s conditions. Merle refers to the precious moments they’ve had together as “the gifts the gods bring”. Brent, on the other hand tells her “Whatever happens, we belong to each other.” With Oberon in bed resting, the ship’s doctor briefs Brent on the gravity of her condition. The two pledge to meet on the next New Year’s Eve at the Palace Bar in Mexico City for another paradise cocktail. 

The final scenes are in the Palace Bar.  We see George Reeves and Geraldine Fitzgerald to the left of the screen while people are singing “Auld Lang Zyne”. With the camera still on these two, we hear the breaking of glass. The camera now moves to the right and on the bar are the stems of two glasses—forever entwined, forever together. As the authors warn us: “This film might be a tad mushy for contemporary audiences. This is a solid Warner Brothers romantic programmer, with lots of Kleenex power.” (p. 29).

After their first movie together, George had busily appeared in eighteen films. In 1941, he and Merle were reunited for Lydia.  This MGM film was produced by her husband, Alexander Korda and directed by Julien Duvivier, revered as one of the greatest men of French cinema (http://www.imdb.com/name/nm0245213/bio). Ironically this film was based on a French film entitled Un Carnet de Bal, written by the director and L.Bush Fekete. Unlike the original seen in France, this film was a dismal box office failure. This story of unrequited love is unraveled throughout the film, and I found it to be quite charming. The period costumes are wonderful and the chandeliers wreak of opulence.

The film begins with the familiar voice of Pierre Watkin on a radio program paying tribute to one Lydia MacMillan for her involvement with an orphanage for blind and crippled children.  We see Joseph Cotten as a senior citizen while the scene then focuses on a stately, elderly woman. In truth, her voice does not even sound like the Merle Oberon we’ve seen in Wuthering Heights or ‘Til We Meet Again. Both she and Cotten agree to meet the following week. Little does Lydia realize that her old friend has assembled all of the men who were in love with her.  She takes them on a trip spanning forty years, while sharing their stories collectively.

George’s character of Bob Willard is the love of Lydia’s youth. He is the hero of the Yale football team. He is the dashing young man who sweeps her across the dance floor at her first ball.  Merle uses the line of “The Night Has a Thousand Eyes” from Francis William Bourdillon’s poem when speaking through rose-colored glasses about Bob. [Actually, I could not help but think of Bobby Vee’s song of the same title]. She sees him as the very romantic knight in shining armor and plans to elope with him. On that fateful night, however, she becomes frightened when she witnesses an inebriated Bob becoming quite aggressive and rushes back home. Lucky for her, Lydia’s grandmother, portrayed by the wonderful Edna May Oliver intercedes and tells Willard to not darken her doorway again. 

The scene now switches to Dr. Michael Fitzpatrick going off to war. Lydia sees him off at the dock, only to come upon a little blind boy. As she returns him to his home, she is touched by the abject poverty and living conditions of so many handicapped children. Merle’s character uses the MacMillan wealth to form an institution for the children. It is here that she meets the blind Frank Audrey, a pianist whose music enables the children to “see” what their eyes cannot. He falls madly in love with Lydia, just like Bob and Michael. Frank even wrote a concerto for Lydia, but her heart belongs to another.

The mystery man in Lydia’s life is Richard Mason, a sailor, much like her grandfather. The two have a romantic interlude and then, one fateful day, he tells her he must leave because of another woman who has some sort of hold on him. He keeps stringing Lydia along by sending her letters with rings inside, asking her to wait for him. Finally, he agrees to meet her at a church on New Year’s Eve so that they can be married. We see her waiting in what appears to be a candle-lit chapel; the bell rings three times. With no sign of Richard, the heartbroken Lydia returns once more to her home. Good old reliable Michael finally wears her down and she agrees to marry him. Fate decrees this is not the case as Granny dies suddenly, while celebrating the engagement of her granddaughter. Unwilling to settle for anything less than the truest of loves that she has already had, she devotes her life to the blind and crippled children. 

In the final scenes we see Captain Richard Mason arrive with Lydia rising to greet him. The fact that he doesn’t even know who she is gives Lydia a fitting end. As our authors state so well: “In one of the most poignant endings ever filmed, Lydia realizes that she wasted her love on a man who not only neglected her, but forgot that she ever existed” (p.97).

All the flashbacks done, Frank states that “Lydia loves the sound I make”. George’s character states that “I’ve been repenting for forty years treating a girl like that who loves me”. The pleasant surprise we see in this film is perhaps a preview of what George would have looked like as an older man in his 70s or 80s.  And while Michael stated that he would recognize Lydia even “a hundred years from now”, we probably would feel the same way about our George Reeves.

Lydia photos courtesy of Carl Glass

January 2008

BEHIND THE CRIMSON CAPE:

The Cinema of George Reeves

By Jan Alan Henderson and Steve Randisi

Reviewed by Colete Morlock

#2 Installment

Father Is A Prince/Calling All Husbands

As a contract player, George Reeves was in movies of diverse material; after all, if you are an aspiring actor, you just keep on working.  The goal is to show directors and producers your range, for it is only here that you attract as many of the studio “biggies” as possible. We’ve already seen that Reeves handled westerns well – including the horsemanship and shooting skills required, along with the ability to wear both the hero and villain hats.  This installment of Behind the Crimson Cape: The Cinema of George Reeves takes on a tour to the “present” time for two of George’s romantic comedies.

As I watched both of these movies, it struck me that they have some things in common.  It seems that Hollywood, while far from being the ideal place to learn lessons in life, seemed to give us a good deal of “the moral of the story is…” In each of these films we see one marital partner as extremely domineering and overbearing. Marriage in both of these is not seen as a partnership, but rather, a boss and at least one other person to whom orders are given. Both these films take us on the journey of what happens when those attitudes remain transfixed.

“Father Is A Prince” (1940) was based on a New York play from 1934 of the same name. The cast includes Grant M. Mitchell as John Bower, Nana Bryant as Susan Bower, Jan Clayton as daughter, Connie, and John Litel, as Dr. Mark Stone. Mr. Bower is dictatorial, running a close second to King Midas for all of his miserly ways. Shocking is that wife, Susan had to convince her husband for three weeks that their younger son needed a tonsillectomy!  Dr. Mark Stone is a familiar face, and the voice of reason for this family. Daughter, Connie Bower, is on a much-needed vacation after suffering a nervous breakdown. I sincerely doubt that psychological disorders were a thing to be discussed, so this film is breaking ground. Nevertheless, while Connie is on vacation, she meets the handsome man of her dreams, Gary Lee, portrayed by…you guessed it – our very own George Reeves!  Reeves is youthful, enthusiastic and sincere.  When he says how much he loves Connie, you do believe it.

Imagine the shock when your daughter comes home from a vacation with a young man and announces that she is engaged to be married!  Any mother would have concerns, and Susan is no exception.  She ponders how she is going to break the news to her husband; given the fact that he has just learned that the IRS is demanding $8,000 in back taxes from his business.  Mr. Bower owns a factory, which manufactures carpet sweepers, which is what people used to use for the area rugs, mainly heavy Orientals that covered the bare floors.  The conflict in this story is that the prospective son-in-law has two strikes against him: his father (Pierre Watkin) manufactures “Little Jiffy” vacuum cleaners, arch rival to the carpet sweeper; and Gary is a lawyer, whom Mr. Bower detests as much as the vacuum.  This film has reminders of a long-gone era: door-to-door salesmen, carpet sweepers, and doctors who make house calls!

In accordance with the rules of etiquette, Mrs. Bower stages her own version of “Guess Who’s Coming to Dinner” with Gary’s parents, her sister, Tess Haley (Lee Patrick, Henrietta Topper) and husband Ben Haley (Frank Ferguson from “The Lady In Black”).  Everything comes to a head when John Bower, home from work in the foulest of moods, states distastefully, that he doesn’t associate with high society, and causes a terrible scene in front of guests and family alike.  George attempts to confront his future father-in-law, but recants at Connie’s urging him to leave.  After the hasty departure of the Lees and Haleys, Susan verbalizes her embarrassment.  She scolds her husband for humiliating not only herself, but their daughter, Connie as well.  Susan’s retaliation of her husband’s selfish and miserly ways, states that moral support is needed from him and not just the fact that he brings home the bacon.  Then it happens…what has built up for years and the cause of Susan’s intensifying headaches.  She states that the biggest mistake of her life “might be my wedding day”.  At that point she tells her husband she is leaving him and taking the children with her.  She spoke for all abused wives when she stated, “You’re a living insult to every decent husband!”  And before he can respond, she collapses on the floor.  John suddenly realizes he has no control over her.  At the hospital the prognosis is grave and a specialist must be called in.  John states that no expense will be spared.  It is Lee Patrick’s character that calls John’s attention to the fact that only when he is close to losing her that he realizes what he has had. This does have a happy ending, as John will probably never take his wife for granted again. He transforms from being the frog back to the prince.

Also in 1940, George appeared in Calling All Husbands, also based on a New York play from 1929.  This film was a remake of Love Begins At Twenty. The husband and wife team in this one are Ernest Treux as Homer Trippe and Florence Bates as Emmie Trippe. Lucile Fairbanks (niece of Mary Pickford) is daughter Bette, and George Tobias is Oscar Armstrong. Homer is a likeable guy, the assistant manager of the second hand furniture department in the store.  George is seen early on in this one as Dan Williams, the delivery clerk at the same store, and love interest of Homer’s daughter, Bette. 

Without seeing her, George shows us a glimpse of the dominatrix, Emmie when he says, “Your family only has one mind – your wife’s!”  Indeed, Mrs. Trippe rules her husband and has forbidden her daughter to see Dan. Ironically, throughout the early parts of the film, Emmie constantly demands respect for elders, but belittles Homer to her own daughter: “I could have married Oscar Armstrong instead of your father”.  In fact, the entire family has been hearing that for over 30 years!   Daughter Bette is compelled to defend her father, reminding that he has supported wife, daughter and wife’s sister all these years. Of course, she is duly chastised.

There are some wonderful scenes with George as Dan and Bette.  Unable to openly date, they walk to the train station. Ever so persuasive as he is handsome, George tells her:  “Bette, it’s useless to wait any longer. Marry me now – tonight. Right this minute. This very second.” Now I ask you, with George’s hands on your arms, looking straight into your eyes, and hearing his voice, who could resist? And Bette is no exception! The couple decides to get married that very night and head out on their honeymoon.  Reeves is priceless like a kid, with not only the looks, but the tone of voice saying, “Boy, wait’ll you see the look on your mother’s face. Boy, oh boy, oh boy!”

Meanwhile, irony favors Homer as his nemesis; Oscar Armstrong appears at the door, looking like a bum.  Homer invites him to dinner the next day so that his wife will no longer see him with rose-colored glasses. But Oscar appears in impeccable attire, stolen from the store where Homer works. Emmie, seeing him, relates that her dream come true was that her “two childhood sweethearts meet and fight a duel over me.” Now enter the sheriff and storeowner, as Oscar is being arrested for robbing the store. Emmie still cannot believe that her Prince Charming could be capable of such a thing. Finding out that Homer has been acquainted with Oscar, Emmie turns on her husband stating, “So you committed a crime and tried to shift the blame to Oscar so as to disillusion me”.

The scene now switches to find George with Oscar’s accomplice, in a fight scene that we have seen in westerns and in TAOS. He overpowers the thug, brings him to the Trippe household, and Homer is been cleared of all wrongdoing. The sheriff carts his prisoners off to jail. After George is promoted to store hardware buyer with a raise, he and his bride depart for their honeymoon.  Homer becomes the full manager of the second hand furniture department with a raise. A very contrite Emmie, now alone with Homer states, “I realize I’ve been a fool for thirty years.”  And they live happily ever after while taking a second honeymoon.

December 2007

BEHIND THE CRIMSON CAPE:

The Cinema of George Reeves

By Jan Alan Henderson and Steve Randisi

Reviewed by Colete Morlock

#1 Installment

Have you often wondered just how many films George Reeves happened to do? We are fortunate to see some of them, even if they are repeated. It wasn’t until I actually read this book that I realized the extent to George’s film career. Truly, this book is like the Library of Congress for George Reeves cinema. The serious collector or hardcore fan should purchase this one. Jan and Steve give an excellent synopsis of each film, and also add their own commentary on the performances of George and the other cast members. They have included marvelous stills from most of the films as well. To truly do justice to this primer of Reeves movies, I’m doing this in several installments.     

The Preface, which also appears on the sleeves of the book cover, really sets the tone. “The life of show people is never secure, never stable; yet some do quite well in the real world, and others go off the rails.” (p. xi). Although George never achieved the level of a Gable, Bogart, Jimmy Stewart or Cary Grant, he seemed to have the same attitude as Dabbs Greer—you just keep on working.  George’s films run the gamut from very good, mediocre, and to wondering why he was in some at all. As the authors clearly state, “This book is about the part of George Reeves’ life that we hope he would have wanted his fans to know about, not about scandal and death” (p.xii). 

We begin with a favorite venue of mine—the western. I watched westerns more because of the horses, but even now, I watch the Saturday morning westerns on cable. One of my favorites was Hopalong Cassidy. Of the 66 films William Boyd starred in, George Reeves appeared in five.  About 50% of these films were produced in Lone Pine, California while the town scenes were from Paramount’s backlot. After Paramount dropped the Hoppy series, Harry Sherman bought the rights to them, as lower budgeted films, which include George’s appearances. And so, Pardners, saddle up while we ride off across the dusty plains! 

Of the nine films that George made in 1943, seven were westerns. In Hoppy Serves A Writ, George appears as #5 in the credits, right below Victor Jory. Andy Clyde, the comic relief as California, starts off as the driver in the classic stagecoach chase and hold up. In addition, we have chase scenes, shootouts, and the romantic diversion that has been a staple of the B westerns.  George is a “bad guy”, part of a cattle-rustling ring that eludes Hoppy by crossing the Red River border between Texas and Oklahoma. Hoppy goes undercover to catch the gang and return the stolen cattle. A young Robert Mitchum is seen in this one, as is character actor Earle Hodgins. In the end, Hoppy prevails, lassoing George, Jory, and another gang member, sending them off their horses and into the river. It is California who actually serves the writ. Hoppy, Johnny and California ride off in the final scene. I agree with the authors that the camera shows George favorably and that “He delivers his lines with an uncompromising sternness, and is totally believable as the jealous boyfriend in his scenes with Jan Christy.”  Because we normally see George as the hero, it was a bit difficult watching him beat up on California. As Jan and Steve so aptly concluded, it wasn’t “the type of work you’d expect from a future Superman, but a good performance from a highly versatile actor.” It is because George’s character is so different from what we attribute to him, that I found this one quite worthwhile. 

In Bar 20, George’s billing moves up to #3 right under Andy Clyde as Lin Bradley, one of Hoppy’s sidekicks. Ironically, Victor Jory moves down to #5 in this one. The Bar 20 is a ranch in northwestern Texas and Hoppy, Lin, and California have been sent to buy cattle from another ranch. We see another stagecoach holdup with passengers, one arriving for her wedding. Victor Jory rides alongside as the best man. During the holdup, the bride is relieved of her trousseau and precious gems, the only thing besides the ranch she and her mother were left by her father. 

Hoppy, Lin, and California witness the holdup and pursue the robbers. George really knows how to deliver compliments to the ladies! One of his memorable lines was said to Victor Jory: “I’d like to see the jewels that would stop my wedding to a girl like that.” Robert Mitchum is the prospective bridegroom. It is amusing to see how Lin (George) gives Adams the business for the fair Marie (Dustine Farnum). Hoppy acts like a stern father. “Listen, Sonny! We came here to buy cattle, not to break up a romance.” While out on the trail, Hoppy gets robbed. Luckily, the bills are marked, the money Mitchum got as a loan from Victor Jory has the same markings and serial numbers as Hoppy’s bankroll. In the end, Hoppy recovers the money, the gems, and the trousseau. The bride and groom are now happily married, and our hero rides off into the sunset.  George has some great scenes in this one. As we know, with George it’s either the look or the tone of voice that says it all. His voice has that softness and tenderness when he says, “Marie, do you mind if I ask you a question? It’s kind of personal.” It’s the sort of line that would make any girl answer his question.  You also hear his indignation with lines like “I’ve got a date with that two-faced bridegroom.” As with many of George’s works prior to doing The Adventures of Superman, I find myself looking backwards to these films on the journey that brought him to the series. 

In Colt Comrades, the opening scene shows a train pulling into a station. The station bears a resemblance to Chatsworth Station, seen in Vince Marzo’s article located on TAC at this link, http://www.jimnolt.com/locolocation.htm. Mitchum shoots and kills the stationmaster for a satchel.  We find out later on is that the satchel contained individual contracts with the cattle ranchers for the sale of beef. We also discover that Victor Jory is the brain behind the robbery and a whole lot more.  In addition to the return of Johnny Travers (Jay Kirby), George is relegated to #6 on the cast list, once again right below Victor Jory. Mitchum’s character (Dirk Mason) is killed off early and the reward money provides the basis for the rest of this film. George portrays Lin Whitlock who owns a cattle ranch with his sister Lucy (Lois Sherman). Victor Jory completes the main characters as Jebb Hardin, a powerful cattleman, who also holds the mortgages to some of the ranches.   Dreaming of hanging up their six-shooters and settling down, Hoppy and company use the reward money to buy a cattle ranch. Once again Reeves authoritative voice is heard, “Who are you?  What are you doing here?” Hoppy gets the real story of how Hardin controls all water rights, charges exorbitant fees for it and the ranchers have to sell because their cattle are dying. Earle Hodgins, as “Wildcat” Willie the oil swindler, balances out California’s comedic behavior. The discovery of water on the ranch is most welcome. Hoppy and California ride off to the next assignment, while Johnny saying good-bye to Marie, gallops off to catch up with them.  

As with all the Hoppy films, you get a good mixture of the classic western elements and slapstick.  George is a good auxiliary actor in this one. There is a scene outside Hardin’s office with Reeves in the foreground. His profile is strikingly handsome. In his fistfights, you can tell that this man knows how to land a punch. Only one thing though – George is seen wearing the exact same plaid shirt in all three of these movies! I realize it was low budget, however, you’d hope the poor man would have more than one shirt. It’s time to head to the bunkhouse now that Topper is bedded down. So long, Buckaroos! 

Reference: http://www.hopalong.com/hoppyfaq.htm 

Special thanks goes to Green Ink Girl and Sandy Jackson for their contributions of these films. A note of thanks also goes to Ralph Schiller for his Lone Pine input. 

November 2007

Behind the Crimson Cape: The Cinema of George Reeves

by Jan Alan Henderson and Steve Randisi

For ordering info, contact Michael Bifulco at mjbbooks5@comcast.net

Speeding Bullet: The Life and Bizarre Death of George Reeves, 2^nd Edition

Review by Colete Morlock 

Admittedly, I had not heeded Carl’s warning about the first edition of Speeding Bullet being around for a limited time. Sure enough, no more copies were available and I resigned myself to never being able to read the book. However, it was as though Fate determined I should not be deprived.  Mandy Owens came to my rescue and loaned me her copy of this fan’s delight from Jan Alan Henderson. He gave us more of an insider’s view of the George Reeves that I had admired, and knew only by my own meager research. The first book introduced us to some of the people who had known George personally. Through them, I became more familiar with this George Keefer Brewer Bessolo Reeves. 

With a second edition in the works, and with Christmas coming, I knew exactly what I wanted Santa to bring me. Many people have already commented on Jan Alan Henderson’s second edition of this wonderful book. As with the first edition, I found it impossible to put down. This is indeed the book from which you wish a movie had been made! This is the project that George Reeves’ fans from all over the globe had hoped to see on film—not the end result of Hollywoodland. If only Kit Parker had come sooner. If only Jan’s book, a bit of Bruce Dettman/Ralph Schiller documentary, the heart and soul of Carl Glass and Jim Nolt, along with The Face and the Voice, could have been put together, we would have been all set. 

Within the pages of the second edition, Mr. Henderson seems to delve more deeply into the various clues and opinions about whether or not George Reeves’ death was a result of suicide, murder, or possibly accidental. I read this version with a Sherlock Holmes attitude, looking for more clues or evidence to enhance my own opinion. If I have any criticism of Jan’s book, and that would be a feat in itself, it is that I am left with more questions than ever. Admittedly, with so many people citing how upbeat George had been, how he was so optimistic about future projects including another season of TAOS, I am inclined to discount the suicide theory. One of the most interesting comments in the book appears in the Epilogue 2007 Walking Into the Light: “It’s astonishing that people are still at odds over this man, quite literally since the day he died” (p.159).  Why would this be the case if, in fact, we are to believe that Mr. Reeves was a man with mediocre talent at best on the screen and TV? It is my firm belief that, George was anything but mediocre. Here was truly a man who, while not perfect by any means, was a giving man who loved life, good times, and enjoyed his friends. The impression I’m left with after reading about George Reeves was that he was well connected in Tinseltown, and loved by those on the screen and off. These are the sides of Reeves that Jan presents to us along with the popular doomsday speculations. 

The Photo Gallery is a Reeves’ fan’s delight! Keith Thibodeaux (Little Ricky) has a typical Superman stance with the hands on the hips (p.169). I can just hear Keith telling George “This is the way it’s supposed to be done!” George’s smile for him is priceless! The additional photos of the First Lady of TAOS were such a treat. Many thanks go to Jan for including them. The one of George and Lenore in a restaurant is troubling (p.195). As Mr. Henderson states, this is truly “A telling photograph.” I see a very enamored George Reeves with Lenore Lemmon. This would be expected—after all, he was engaged to her. If “Every picture tells a story”, then Lenore tells another tale in this one. This does not appear to be the face of a woman who is in love. She seems totally devoid of emotion, or disgusted over what she is being told. I’ve seen my share of couples in love. I’ve been there myself. With that in mind, I see in this photo a side of Ms. Lemmon that potentially was cruel, having a very short fuse (her temper was well documented throughout the book), and only there for a good time. I may be editorializing, but this photo gives credence to Lenore using George and his popularity so that she would be able to maintain the lifestyle she had become so accustomed to having. Who would have guessed that six weeks from the time that picture was taken that George would be dead.