Category Archives: Janet Leigh

1958 Films, Charlton Heston, Film noir, Janet Leigh, Joseph Cotten, Marlene Dietrich, Mercedes McCambridge, Orson Welles, Thriller, Zsa Zsa Gabor

Touch of Evil-1958

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Touch of Evil-1958

Director Orson Welles

Starring Charlton Heston, Janet Leigh

Scott’s Review #914

Reviewed July 2, 2019

Grade: A

Touch of Evil (1958) is a film noir directed by the legendary influential Hollywood director, Orson Welles.

The film contains suspense, drama, and mystery, but is to be praised largely for visual treats to enhance the cinematic experience. The dark and foreboding thriller was revolutionary for the time of release and influenced many films of similar ilk in the years to come.

Robust and fraught with tension, the experience is marvelous and worthy of study for its many nuances.

Welles directs the work and stars in and writes the screenplay, so his entire being is invested in the production and execution.

Known mostly for the legendary Citizen Kane (1940), a film that arguably changed the course of cinema with its direction and cinematography, Touch of Evil explores a different genre entirely but keeps the excellent aspects of Welles’s loftier film, including black and white, intact, resulting in a grand and dangerous crime infused classic.

The screenplay was loosely based on the novel Badge of Evil by Whit Masterson.

The tension is ample from the onset as the humidity-drenched Mexico-United States border is the focal point. A car driven by a young couple is laced with a bomb and detonates as soon as they cross into U.S. territory.

In a hint of irony, Newlyweds Miguel “Mike” Vargas (Charlton Heston), a drug enforcement official in the Mexican government, and his wife Susie (Janet Leigh) pass the car several times on foot before the explosion.

An investigation ensues with the introduction of other characters, including Police Chief Pete Gould (Harry Shannon), District Attorney Adair (Ray Collins), and police captain Hank Quinlan (Welles), with a prime suspect being Sanchez, a young Mexican secretly married to the victim’s daughter.

Typical in the film noir genre, events are not what they seem like as layers of the plot slowly unravel. The heavyset and disheveled Captain nostalgically visits a brothel run by Tanya (Marlene Dietrich), who barely recognizes him because he’s gained so much weight since their last meeting.

Vargas forsakes his bride to spearhead the investigation but soon locks horns with corpulent Quinlan and the duo begins to feud. Could Quinlan or Vargas have something to do with the car bombing, or could other supporting characters be behind or involved in the shenanigans?

This is a great part of Touch of Evil as the film leaves the viewer guessing.

Heston and Leigh smolder as the lead couple and their chemistry is apparent from the first scene in which they appear together. Sexy and mysterious, she hunkers down in a dump fraught with peril, while he attempts to solve the crime and keep his girl safe.

Outside factors play heavy roles in keeping the lovers apart although Heston playing a Mexican man is quite the stretch, the audience will nestle comfortably into the events as they reveal deeper layers.

Wells, once a handsome man, is not afraid to let it all hang out as the fat and racist Quinlan becomes one of the greatest and most complicated screen villains as his true colors emerge.

As the film’s title boldly suggests does his character contain complexities that make him evil and keep some sympathies or does he wreak havoc on all he touches with his devious nature only the tip of the iceberg?

Viewers await the final act to have several questions answered as motivations are finally revealed.

Touch of Evil (1958) gave delicious and pulsating material to filmmakers clever enough to study its intricacies, most notably Roman Polanski for Chinatown (1974).

Nuggets were also thrown the way of Alfred Hitchcock who got the idea for Leigh to appear in Psycho (1960) two years later, catapulting her character alone in a hotel peril, mixing in a weird hotel clerk.

The power the film had to hatch other great films from its ingenuity is the most fun part of watching it repeatedly.

1966 Films, Eleanor Parker, Janet Leigh, Robert Gist, Stuart Whitman, Thriller

An American Dream-1966

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An American Dream-1966

Director Robert Gist

Starring Stuart Whitman, Janet Leigh, Eleanor Parker

Scott’s Review #879

Reviewed March 19, 2019

Grade: C-

An American Dream (1966) is a film version of the Norman Mailer novel of the same name. Directed by Robert Gist, the cast includes Stuart Whitman, Janet Leigh, and Eleanor Parker, who do what they can with mediocre writing, uneven pacing, and an unsatisfying ending.

The roles suffer from miscasts and misfires. The film plays more like an episodic television detective show or a darker version of a television movie than a compelling feature.

Except for one terrific high-rise scene, the film is essentially a waste of time.

Stephen Rojack (Whitman) is a decorated war hero who returns to Los Angeles to embark on a career as a journalist. He publicly criticizes the police for failing to accost a known crime lord named Ganucci (Joe De Santis), which angers the mobster.

Simultaneously, Rojack’s alcoholic wife, Deborah (Parker), flies into a drunken rage when he asks her for a divorce, resulting in her toppling from a swanky high-rise to her death. Riddled with guilt, Rojack resumes a relationship with his former girlfriend and Ganucci’s ex, Cherry (Leigh).

The best scene is the intense confrontation between Rojack and Deborah. The sweeping, expansive balcony and the open-air locale overlooking dazzling Los Angeles should be a significant clue that something dire will transpire, especially as Deborah is drunk beyond belief and filled with fury.

Her lavish apartment is adequately decorated in the latest 1960s style, giving the scene a plush sophistication. The vicious death scene is wonderfully done as the woman not only falls to her death but is subsequently run over by a car, adding insult to injury.

The scene is also the crux of the entire film.

Harboring the thrill of the climactic scene, however, is Parker’s jarring, overacting performance, making Deborah appear crazed and animal-like. The display is understood as making the character unlikable and unbalanced- the hunky gigolo in her bed also makes her unsympathetic-but the cartoon acting seems amateurish and beneath the fabulous actress.

Remember, this is the same woman who made the sophisticated and memorable character of “the Baroness” in The Sound of Music (1965).

The premise of the film is illogical and unbalanced as, to my eyes, it appears Deborah falls to her death accidentally, but the reasoning of the film portrays Rojack as riddled with guilt for causing her death.

He even admits his guilt to her father in one scene. His claim to the police that Deborah committed suicide is, of course, untrue, but the unnecessary guilt seems implausible and too much of a stretch at creating the main plot point.

The most significant negative aspect of An American Dream is the casting of Janet Leigh as Cherry. Wearing an unappealing and silly wig, the Hollywood star seems unbelievable and just wrong as a mob girlfriend.

Her soft features and petite frame do not fit the part, and her lip-syncing of the Oscar-nominated theme song “A Time For Love” does nothing to elicit credibility from either the character or the actress.

When An American Dream bombed at the box office, desperate distributors retitled the film See You in Hell, Darling, but to little avail. Reducing it to weekday airings on television did nothing to change the image of a low-budget, made-for-television style look or the episodic detective tint.

The intended perception of a horror film is a strikeout, as the experience is more like a tepid thriller.

For fans of Janet Leigh, An American Dream is not recommended.

The preferred suggestion is to skip this one and delve into other gems like the legendary Psycho (1960) or Touch of Evil (1958).

An American Dream (1966) doesn’t utilize the legendary actresses’ talents but delivers a forgettable film best left situated in the bargain bin.

Oscar Nominations: Best Original Song-“A Time For Love”

1962 Films, Angela Lansbury, Frank Sinatra, Janet Leigh, John Frankenheimer, Laurence Harvey, Political Thriller, Thriller

The Manchurian Candidate-1962

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The Manchurian Candidate-1962

Director John Frankenheimer

Starring Frank Sinatra, Laurence Harvey

Scott’s Review #852

Reviewed January 3, 2019

Grade: A

The Manchurian Candidate (1962) is an enthralling film that perfectly captures the political landscape of the time and continues to be relevant in present-day politics. Taut, mysterious, and filled with great twists and turns, the film flows nicely and climaxes with a shocking crescendo.

With compelling performances by all and a brilliant musical score, the film fires on all cylinders and can be watched and enjoyed repeatedly.

Events began in 1952 during the bloody Korean War. A United States platoon consisting of several men is accosted by the Soviets and sent to communist China for experimentation.

Three days later the men return as if nothing happened and Sergeant Raymond Shaw (Laurence Harvey) is proclaimed a hero and awarded the Medal of Honor for saving the men’s lives. When the war ends the men return to the United States to resume normal lives.

Years later Captain Bennett Marco (Frank Sinatra) suffers from recurring nightmares in which Shaw murders two missing soldiers in front of a panel in a bizarre brainwashing demonstration. When another soldier in the platoon has the same nightmares Army Intelligence begins an investigation.

Further complicating the plot is Raymond’s ambitious mother Eleanor Iselin (Angela Lansbury) and her attempt to guide her husband Senator Iselin (James Gregory) to further power using any means necessary.

The Manchurian Candidate is a film that requires attention to appreciate and understand.

The plot is highly complex, but that is a testament to the composition of the film and hardly a complaint. The viewer must stay on course to appreciate the intricate details.

Director John Frankenheimer is fantastic at adding unique dramatic effects and imaginative film-making. A prime example is the brainwashing sequence as dialogue is interspersed between what the soldiers think is happening (a peaceful grandmotherly horticulture demonstration) and reality (a dastardly experiment involving murder and programming).

Despite Sinatra being billed as the lead in the film the most treasured props go to Lansbury as Eleanor and Harvey as Shaw. Raymond is the character most developed and we see several sides to him. Primarily a loner who appears cold and harsh, this is due to his being programmed to assassinate.

A sequence involving the love of his life, Jocelyn (Leslie Parrish), and a romantic summer they share is beautiful and innocent as it contrasts with the dismal and manufactured “new Raymond”.

Lansbury has never been cast in a more challenging role. Eleanor is determined to stop at nothing to ensure her husband will reach the presidency and connives and cheats her way to the top. Still, the part is written as such to avoid making her a complete one-note character despite her ways.

In an eerie scene close to the finale she vows payback for what has been done to Raymond and then plants an incestuous kiss on his lips. An odd and disturbing moment, the scene also justifies in her mind the lengths she has gone to get what she wants.

The musical score is lovely and contradicts the dour backstabbing and espionage throughout. Romantic and sweet melodies abound and classic hymns like The Twelve Days of Christmas and The Star-Spangled Banner are included in the film.

As a result, The Manchurian Candidate’s score feels multi-faceted, patriotic, and artistic with enchanting results.

The Manchurian Candidate (1962) is a stellar film with a perfect blend of thrills, deceit, politics, and creative filmmaking to make it a bold classic. The final sequence is jaw-dropping in its finality and brutality.

Remade in 2004 with a great cast yet a poor script, avoid that one at all costs and enjoy the power and lasting effects of the original.

Oscar Nominations: Best Supporting Actress-Angela Lansbury, Best Film Editing

1998 Films, Adam Arkin, Horror, Jamie Lee Curtis, Janet Leigh, Joseph Gordon-Levitt, Josh Hartnett, LisaGay Hamilton, LL Cool J, Michael Meyers, Michelle Williams, Nancy Stephens, Patrick Lussier, Slasher, Steve Miner

Halloween: H2O-1998

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Halloween: H2O-1998

Director Steve Miner

Starring Jamie Lee Curtis, Adam Arkin

Scott’s Review #504

16915002

Reviewed October 30, 2016

Grade: B

Halloween: H2O is the seventh installment of the Halloween franchise, though only associated story-wise with Halloween and Halloween II.

Made in 1998, the film capitalized on the twentieth anniversary of the original classic horror film.

To measure up to that masterpiece would be an impossibility, but the film is not bad on its own merits and nice odes to the past are peppered into the story making for a film franchise pleaser.

Jamie Lee Curtis returns to the role that made her famous.

Before we are even re-introduced to Curtis’s character, we are treated to a nostalgic scene involving chain-smoking Nurse Marion Chambers (Nancy Stephens) from parts I and II. Her house is vandalized by Michael Myers as he steals a file she has kept on Laurie Strode.

How nice to see this character back in the fray- though her screen time is limited. She is pivotal to the kick-off of the new story.

Laurie (Curtis) has faked her death and is now living life anew in California- running a prep school as its headmistress. Her son John (Josh Hartnett) attends the school and her boyfriend Will (Adam Arkin) teaches there.

John’s girlfriend Molly (Michelle Williams), a poetic security guard (LL Cool J), and a dizzy secretary, Mrs. Watson,(Janet Leigh) round out the cast.

For the past twenty years, Laurie has been troubled by the notion of Michael Myers returning to kill her, and her fears come to fruition. The film has an interesting slant- no longer is Laurie the victim, cowering in cars and corners. Now, she is intent on exacting her revenge on Michael- her brother.

She wants this long chapter in her life to finally close.

What nods to history this film contains!  And that is the best part of it. Otherwise, without the history, it would be a run-of-the-mill slasher film.

Besides the obvious Michael/Laurie connection, what a treat to see Jamie Lee Curtis’s real-life mother (and original scream queen herself), Janet Leigh.

Furthermore, her character’s car is the exact make and model, and the same license plate, from the 1960s Psycho, in which she starred- a brilliant treat for horror and classic film fans.

The film also uses some impressive stylistic choices- the use of mirrors and reflections are used successfully, as well as events occurring in the background- seen by the audience, but not the other characters are well used.

Halloween: H2O contains several young, up-and-coming stars, who, years later, would be big stars (Hartnett, Williams, and a very young Joseph Gordon-Levitt). Who knew these talents got their start in one of the greatest horror franchises?

Let’s be clear- Halloween: H2O (1998) is not a masterpiece- far from it. The horror clichés run rampant- the silly, supporting characters (friends of John and Molly’s) eager to drink and party and meant for comic relief, in addition to the LL Cool J character.

These characters are stock types.

Predictably, we more than once think that Michael Myers is finally dead- only to resurface- perfectly timed to the plot.

The inevitable standoff between Laurie and Michael Myers is well done and a satisfying conclusion to a fantastic franchise. Laurie gets her revenge while Myers dramatically gets his just desserts.

1960 Films, Alfred Hitchcock, Anthony Perkins, Best Film of the Year, Horror, Janet Leigh, John Gavin, Martin Balsam, Pat Hitchcock, Scott's Top 100 Films, Scott's Top 20 Horror Films, Vera Miles

Psycho-1960

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Psycho-1960

Director Alfred Hitchcock

Starring Janet Leigh, Anthony Perkins

Top 100 Films #1     Top 20 Horror Films #1

Scott’s Review #165

879522

Reviewed September 6, 2015

Grade: A

Psycho (1960) is the film to end all films and not just within the horror genre- at the time of release it transcended the art of film to a new level and has influenced generations of films since, and still holds up incredibly well today.

It is certainly one of the greatest Alfred Hitchcock films and one of the greatest films ever made, in my opinion.

Hitchcock took a huge risk and dove from the thriller to the horror genre with Psycho.

The story involves a young woman named Marion Crane, superbly played by Janet Leigh. Marion lives in Phoenix, Arizona, and sees her boyfriend (the dashing John Gavin) for frequent afternoon rendezvous at cheap motels when he is in town because they are both struggling financially.

She is presented with an opportunity, via her job, to steal $40,000 and flee the state to start a new life with her beau. She seizes the opportunity.

On the run, she stops at a run-down Bates motel where she meets owner Norman Bates, hauntingly played by Anthony Perkins.

Perkins and Leigh have amazing chemistry together and the audience picks up on it- is it romantic? Is there mysteriousness to it? Something is odd about Norman. They bond over a quiet meal of sandwiches at the motel while discussing life and his ailing mother.

The famous shower scene and the shocking twist after the film are now almost taken for granted since most people know about them already, but I can only imagine the shock when viewers were first treated to these two delights.

To this day both are still suspenseful to watch.

When I saw this film for the first time I, fortunately, did NOT know the ending and I am glad I didn’t because my breath was taken away.

To kill off the main actor at the start of the film halfway through was a novel idea and mind-blowing at the time of release (1960).

This act had the audience’s mouths hanging open in disbelief and saying, “What now”? “How can this be followed”? This act later influenced the original Scream (1996) film and surprised audiences again.

Per Hitchcock, no one could enter the film after it had started and viewers were persuaded not to reveal the ending- oh how I wish that occurred these days.

An aspect of the success and longevity of Psycho is the chemistry between Perkins and Leigh who got along famously while shooting Psycho, and more importantly, the likability of Norman Bates. There is a rooting value for him even though he is the villain.

When Marion’s car is only half-submerged in a lake containing her dead body, we root for the car to completely sink because Norman does and the concerned look on Norman’s face has a sincerity to it that affects the audience. Norman is troubled and wounded and the audience does not know why at this point in the story.

Let’s not forget Janet Leigh. The audience sympathizes with her predicament. She is hopelessly in love with her man, steals money, is conflicted, and at her core is a nice, decent, kind woman.

Halfway through the film Marion’s sister Lila, played by Vera Miles, is introduced as well as a detective and becomes more of a suspense/mystery as they search for Marion and investigate the Bates Hotel and Norman Bates himself.

Miles then takes center stage as the lead in the film, which is intriguing.

The film then returns to horror at the terrific and terrifying conclusion, which will shock first-time viewers.

The musical score (especially the shrill strings) is incredibly effective and influenced other horror films to come (Friday the 13th immediately comes to mind).

Psycho is a film that can be enjoyed and studied over again.

Oscar Nominations: Best Director-Alfred Hitchcock, Best Supporting Actress-Janet Leigh, Best Art Direction, Black-and-White, Best Cinematography, Black-and-White