The story of Louis XIV of France and his attempts to keep his identical twin brother Philippe imprisoned away from sight and knowledge of the public, and Philippe's rescue by the aging ... See full summary »
Sgt. Thorne Ryan, who once fought bravely in Korea, now serves as a hard-nosed drill instructor to new Army recruits at Fort Bliss, Texas. But is he really the man he is often described as?... See full summary »
In the flashback of Ben and Laura Mae hitchhiking along the lonely road in New Mexico miles from town, Cole Clinton drives up in his Imperial convertible and offers them a ride. The convertible has a rear view mirror clearly showing attached to the front windshield in the camera's wide shot point of view. In the next closeup scene with the point of view from the front of the car and the windshield centered in the frame, the rear view mirror is missing. In the next scene, a wide shot of the car driving into the hotel parking lot, the rear view mirror is mysteriously re-attached back onto the windshield. See more »
OK courtroom drama from Perlberg-Seaton, with MGM capitalizing on Richard Chamberlain's TV success by casting him as a rather Kildare-like defense attorney. He's recently widowed, and he's given the unenviable job of defending sleazy-but-polite Nick Adams, who's already confessed, twice, to murdering Pat Buttram, a well-liked local politico who was trying to make time with Adams' sluttish wife, Joey Heatherton. Chamberlain's OK, and so are the courtroom exploits, with a screenplay that seems to delight in pushing the envelope a bit in terms of sexual conversation circa 1963. There's discussion of impotence, sleeping nude, and prostitution, and several sequences of Joey Heatherton twitching luridly next to a jukebox. But the best reason to watch is Claude Rains, as Chamberlain's former professor and current legal adviser. He looks genuinely unsteady and hasn't many good lines, but it's a beautiful, modest, underplayed performance. Joan Blackman is on hand as his daughter, to provide the rather tepid romantic interest, and Jeanette Nolan is good (when wasn't she) as Buttram's protective widow. The flashback format is unwieldy, and Boris Sagal directs it like it's a big TV show, but it keeps your interest pretty steadily, especially as a barometer of what was and wasn't permissible on screen in1963.
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