Bus Riley's Back In Town

Let's dust off a "Guilty Pleasure" and have another look at the late Michael Parks (RIP label) debut in 1965 ... its deliriously entertaining and was a great suporting feature then. Here is what I wrote a few years ago:

We are in familiar territory as BUS RILEY'S BACK IN TOWN begins in 1965: a greyhound bus pulls in and a marine in white gets out and looks around his old town - its Bus Riley back after 3 years in the navy and trying to settle back into small town life and look for a suitable job.
It is familiar William Inge territory but this is William Inge-lite without all the heavy drama of PICNIC, ALL FALL DOWN, SPLENDOUR IN THE GRASS, THE STRIPPER etc - Bus (Michael Parks) is a good-natured chap who does not think too deeply about things and is soon happy back with lovable mother (Jocelyn Brando), adoring younger sister (Kim Darby), sniping older sister (Mimsy Farmer) and local girl Janet Margolin who has to move in with them and who is so obviously the girl for Bus. There is also a very William Inge spinster teacher who gets the vapours at the sight of Bus in his underwear and comes down with a migraine at the thought of a man in the house, so she soon departs.
There is also that mortician acquaintance who can fix Bus up with a job - but, as he places his hand on Bus's knee and thigh, tells Bus how lonely he is and wants Bus to move in with him and his mother (Hitchcock's BIRDS expert and BILLY LIAR's grandmother) Ethel Griffies. Bus sighs wearily and instead settles for being a door to door salesman and is soon a hit with those lonely housewives (cue Alice Pearce as a rather dotty one). Then there is Laurel - Ann-Margret of course top-billed here and the posters are all about her, as Bus's old girlfriend who has married money while he was away and drives around town in her swish car looking for him. He resists her at first but she soon has him in her pool as her husband is away a lot and she wants Bus back big time.

Its a pleasant time waster catching the mid-'60s in transition and a rather nice view of small town American life. Laurel gets her just deserts as Bus realises she would never have married him as he was not rich enough and once he is told what a great car mechanic he was by a satisfied client his destiny beckons. Nicely directed by Harvey Hart it is one of Michael Park's better outings; like Christopher Jones he was tagged with the 'new James Dean' label but the mannerisms are kept in check here - he went on to be the naked Adam in Huston's BIBLE in '66 and 67's THE HAPPENING with a young Faye Dunaway, who was obviously going places too...
Parks was later terrific and suitably scuzzy in Tarantino's KILL BILL epics. 

The Agony and The Ecstasy

Here indeed is a 20th Century Fox "prestige" production, from 1965, by Carol Reed, a sumptuous film of Irving Stone's bestseller. Somehow I had not seen it before.

Pope Julius is eager to leave behind works by which he will be remembered. To this end he cajoles Michelangelo into painting the ceiling of the Sistine Chapel. When not on the battlefield uniting Italy, the Pope nags Michelangelo to speed up his painful work on the frescoes.

This is a fascinating, colourful and very-well made film that looks like an epic and is in fact an intelligent drama, with great roles for Charlton Heston as Michelangelo and Rex Harrison as the warrior pope, who seems an extension of Harrison's Caesar in CLEOPATRA. Others here from CLEO are cameraman Leon Shamroy and a music score by Alex North. Heston seems rather subdued at first - one thinks is this the man who was Moses, Judah Ben-Hur and El Cid? - but he grows into stature as we share the hardships of painting that ceiling and dealing with the wily pope. Harry Andrews and Adolfo Celi are just right in support, and Tomas Milian is the young rival painter, Raphael. 

Diane Cilento does not have much to do apart from looking decorative as a maybe romantic interest, though Michelangelo's homosexuality is not stressed either. 

One feels one has "done" the Sistine Chapel by the end, and there is a 20 minute prologue on Michelangelo's sculptures, including that Pieta and his Moses and of course David and the tomb for Pope Julius. Heston and Harrison are well-paired and its genuinely affecting by the end. Reed went on to direct OLIVER! next, and Heston next took on Olivier in KHARTOUM, which was better than expected when I saw it a while ago - review at Heston, Olivier labels. When I met Heston at the BFI in 1971, he towered over me. He was certainly a physical presence, 

The Greatest Story Ever Told

This 1965 epic biblical is oddly fascinating now, I like it a lot, not having seen it for decades, but its getting screenings on our Sky Movies at the moment. It is of course George Stevens' retelling of the story of Jesus and it is an oddly sedate version, avoiding the flamboyance of items like KINGS OF KINGS or BARABBAS, 

The look of the film is astonishing - no biblical lands here, it was shot in the wilds of the USA, mainly in Utah and Arizona and those western landscapes look ideal. Then there is the cast - Max Von Sydow is a dignified Jesus, Charlton Heston is John The Baptist, 
the aged Claude Rains glitters with menace as Herod, Jose Ferrer is Herod Antipas, Dorothy McGuire is Mary, Sidney Poitier is Simon of Cyrene who helps Jesus with his cross, Carroll Baker is Veronica who wipes the face of Jesus. I did not even spot Shelley Winters or Angela Lansbury, while others in the vast cast, some for just seconds include Van Heflin, Sal Mineo, John Wayne as that centurion at the foot of the cross, Pat Boone as an angel, Donald Pleasance as the Satan figure. The disciples include Gary Raymond, Michael Anderson Jr, David McCallum as Judas, Roddy McDowell and Telly Savalas as Pilate. 

IMDB says that David Lean and Jean Negulesco were also uncredited directors, I wonder what input they had? In all, it is not as majestic as BEN HUR or as crowded as QUO VADIS? or as mad as Huston's THE BIBLE, it is like a dignified bible lesson, but it has great visuals and it all looks impressive, and as visually stunning as those weird sets in THE SILVER CHALICE. 

Sixties rarity: I Knew Her Well, 1965

I KNEW HER WELL, 1965. Despite my interest in Italian cinema, and the Sixties, I had never heard of this one until some recent reviews. It never played here in the UK or was mentioned in the quality film magazines of the time. (I was 19 in 1965 and seeing them all).  Looking at it now, on the Criterion dvd, it is an absolute treasure. All that mod black and white 1960s photography with a heroine, a model forever changing her looks, hairstyles and clothes as she goes through the LA DOLCE VITA Roman high society. The Criterion blurb says:

This prismatic portrait of the days and nights of a party girl in sixties Rome is a revelation. On the surface it plays like an inversion of LA DOLCE VITA with a woman at its centre, following the gorgeous,seemingly liberating Adriana (Stefania Sandrelli) as she dallies with a wide variety of men, attends parties, goes on modelling gigs, constantly changing looks and hairstyles, and circulates among the rich and famous. But despite its often light tone, the film ultimately becomes a stealth portrait of a suffocating culture that dehumanises people, especially women. A character study that never strays from its complicated central figure, I KNEW HER WELL is one of the most overlooked films of the Sixties, by turns funny, tragic and altogether jawdropping, as directed by Antonio Pietrangeli.

I go along with that, the parallels with the Fellini epic are obvious. Interesting that DARLING must also have been in production at the same time, showcasing that English party girl on the make.  It all looks as good as Visconti’s SANDRA, also 1965.

The lead here is Stefania Sandrelli, who is endlessly fascinating as simple country girl Adriana, adrift in Rome. I only knew her from DIVORCE ITALIAN STYLE and THE CONFORMIST. She is fascinating on the dvd extras, 50 years later, in her early 70s and still working now.

Adriana seems a happy-go-lucky girl unaffected by her enjoyment of the high life and dealing with all those various men who constantly exploit her: Jean-Claude Brialy, Nino Manfredi, Mario Adorf, Ugo Tognazzi. But gradually the mood darkens and one can sense what is going to happen …. With Franco Nero and Karin Dor.

Pietrangeli died aged 49 in 1968, so did not have a long career. I liked some others he did including the Capucine and Alberto Sordi episode of THE QUEENS in 1965, SOUVENIR D’ITALIE in 1957, and GHOSTS OF ROME in 1961. I KNEW HER WELL though is his masterpiece, part social satire and critique of the society he depicts as we follow his naïve heroine, It is for me an essential Italian discovery like Bolognini’s CORRUPTION in 1963, or  Vancini’s THE LONG NIGHT OF ’43, or Lattuada’s I DOLCI INGANNI in 1961 also focusing completely on a female lead (Catherine Spaak). See Italian label for more on those, 

Be My Guest, 1965

I was a teenager in 1965, seeing all the movies, but never came across this one, Perhaps it played for a week as a supporting feature at the local Odeon or ABC and then vanished for ever. Even its star David Hemmings barely mentions it in his entertaining memoirs.

A family inherits a seaside hotel and has trouble filling it up until their son's rock group begins packing 'em in. This film was one of several British films from the mid-sixties which offered the added inducement of a guest appearance by Jerry Lee Lewis.

This is one of those 'happy-young-people-making-music' movies popular then - though its the mid-60s with Beatlemania at its peak, its like A HARD DAY'S NIGHT, THE KNACK or BILLY LIAR never happened. It harks back to 1962's SOME PEOPLE and TWO LEFT FEET, both also featuring the young Hemmings,   He is the lead here, just a year before being cast by Antonioni as the face of Swinging London in  BLOW-UP in 1966, and he cheerfully goes through the motions. This one is directed by one Lance Comfort. 

Its of interest now only for him and co-star one Stephen Marriott, who went on to become Steve Marriott of The Small Faces group. We liked them a lot, he had started as an actor, and was an Artful Dodger in OLIVER on stage. 

Also interesting for me is that long opening tracking shot along the Brighton coastline showing the whole city front then. I lived there for several years. It was also the time of those old trains where one could sit in the guard's van, along with deliveries, just like they do in A HARD DAY'S NIGHT. What on earth though is Jerry Lee Lewis doing here? - perhaps he was touring the UK at the time.

Summer re-views: Lee and pals at Roddy's in 1965 ....

We have not done a Lee Remick post for a while either. Let's return to Roddy McDowell's home movies, now available to all on YouTube. I like this particular one where Lee looks marvellous in several closeups. Also enjoying the lazy Sunday at Malibu are Hayley Mills, Tuesday Weld, Suzanne Pleshette, Ricardo Montalban and more. 

Lee is in some of the other home movies as well, along with Lauren Bacall, Paul Newman, Julie Andrews (with naked toddler), Simone Signoret, James Fox (both filming in Hollywood then) and others. Can you imagine a group of actors in a situation like this today - they would all be tweeting and posting pictures of themselves with their celebrity friends - but back then it was a group of friends and co-workers enjoying a quiet sunday afternoon away from the studios, at Roddy's Malibu beach house. . See Remick label for more on these. 

Sadly, most of these are long departed now .....   Remick is with her then husband Bill Colleran who seems to be pestering her and being a nuisance, they later divorced before her re-marriage and move to London, and yes Martin, I will repeat that I had a nice meeting with her in 1970, as detailed at labels, and I also saw her on stage in London in BUS STOP in 1976.

We might now have to re-watch ANATOMY OF A MURDER, WILD RIVER, DAYS OF WINE AND ROSES or NO WAY TO TREAT A LADY ...

Jackie Trent "Where are you now my love" ....

Black and white mid-Sixties London. The song is Jackie Trent's "Where Are You Now My Love". The girl is Ann Lynn (England's Monica Vitti), with Brian Phelan - in a clip from FOUR IN THE MORNING, a downbeat 1965 British movie by Anthony Simmons, which also featured a young Judi Dench. We reviewed it before here at British/London/Dench labels. 

Jackie (1940-2015) was a great singer and song-writer with lots of hits, both singly and with husband composter Tony Hatch. 

Claudia as Sandra, 1965

SANDRA: A return to Visconti's operatic melodrama from 1965, VAGHE STELLE D'ORSA (its from a poem) or OF A THOUSAND DELIGHTS or simply SANDRA - which I have written about here before [Visconti, Cardinale, Sorel, Craig labels]. 

It is a small film in the Visconti canon, overshadowed by those big operatic productions like THE LEOPARD, THE DAMNED, DEATH IN VENICE or LUDWIG. 
I first saw it when I was 19 in 1965 and then it became unobtainable for a long time. It was great to catch up with it again last year, and it was as powerful as I remembered. The stunning black and white photography by Armando Nannuzzi show Claudia Cardinale at her zenith, along with Jean Sorel as her brother and English actor Michael Craig as her husband.

Sandra and her husband return to the family home, one of those sprawling Italian mansions, in the Etruscan city of Volterra, where family secrets are slowly uncovered, as Sandra has to confront her brother who wants to resume their once-incestous relationship (Claudia and Sorel are both stunningly attractive and powerful here), her mentally ill monther and the crumbling estate and the secret about their father and the war ... Visconti builds it to a powerful climax,and the images still resonate.

1965: Where the spies are

WHERE THE SPIES ARE. I really liked this comedy spy thriller back in 1965, nice to see it again - here is what I said about it back in 2011.
 David Niven is Dr Jason Love, an English country doctor whose passion for vintage cars gets him dragooned into helping the security services (as represented by a dry John Le Mesurier) into doing some spy work for them abroad – in Beirut, Lebanon to be exact, a 60s playground then. He is meant to be helping out local agent Nigel Davenport, but when Nigel ends up dead Dr Love realises he is out of his depth as goons with guns chase him all over the place.

One of our favourites, Francoise Dorleac is the very 60s model on a fashion shoot at the airport who turns out to be his local contact, but is she a double agent? A plane exploding after take-off is nicely suggested as the bodies and thrills pile up. Director Val Guest keeps it briskly moving and of course it turns out the Russians are behind it all. The climax is good as a Russian plane has to be tricked into making an emergency landing. Dorleac is lovely as ever and Niven is ideal here before he got too old for this kind of thing. It was meant to be the first of a series, from novels by James Leasor, but there were no more…. Jazzman Jimmy Smith did a recording of the theme tune, which teenage me bought at the time. I’ve still got it!

Its Sixties groove fits in with my current mood: there were other amusing '60s British spy capers too like 1968's OTLEY (Tom and Romy) and DUFFY (Susannah with the James': Fox, Coburn, Mason) and of course Losey's MODESTY BLAISE which topped them all - not to mention CARRY ON SPYING! 
Next: It was 50 years ago: 1966!

New Dr Zhivago trailer

A confession: I have never seen DR ZHIVAGO at the cinema, or all the way through on television - though I have the DVD for all those extras, including those interviews with Lean and Christie. I have though seen bits of it lots of times from various screenings 
The film has now been restored by the BFI (British Film Institute) and is the centrepiece of their latest big season, on Love. So perhaps its time to finally see it as Lean intended ...

Dirk and Capucine in 1960 ...

Dirk Bogarde and Capucine posed for a lot of photos circa 1960, they year they made SONG WITHOUT END that ritzy biopic about Franz Liszt, as per this catche of photos by Peter Basch, which I had not seen before. 

It probably suited them to be seen as an item at the time, good publicity for both. She did spend some time at his country home of the time, as per his books including "Snakes and Ladders". They remained friends (though he was not very kind about her in his "Cleared For Take-Off" which covered her suicide in 1990), She was involved with William Holden by 1962 and they made two films together (THE LION in 1962, and THE SEVENTH DAWN in '64), there is also a photo of her here (Showpeople label) showing her visiting Holden and Audrey Hepburn on the set of PARIS WHEN IT SIZZLES, filmed in 1962 but not released until 1964 - I saw it the other day and its terrible, not even worth commenting on. Audrey had also been close with Holden during their SABRINA a decade earlier, but he was heavily drinking during their PARIS film. Audrey and Capucine were also friends ... 

And for more glamour here's Dirk with Julie in DARLING, 1965, and with Monica as MODESTY BLAISE ..... there's also pictures of Dirk with Julie AND Monica at that DARLING premiere in 1965, again see labels. 

and I had not seen this shot of Dirk as Gabriel in MODESTY BLAISE before either - in that op art cell!

Marilyn, Monica and those 60s fashion magazines + Romy ...

60s fash mags! I came across this 1962 issue of TOWN magazine online for sale for a pricey £299.00. I had been looking for this, a key magazine of my teenage years, which I had in 1962 when I was 16 - and I still have that cover of Marilyn, from that November 1962 issue, which I have framed (below), its one of those George Barris shots from that beach shoot in 1962, as per my other Marilyn posts. So I think I can pass on this expensive purchase. 

TOWN was a '60s London fashion/style glossy, aimed at that man about town (rather like NOVA was for the emerging discerning female) - I also had this TOWN issue with Monica Vitti - right - I would love to get this again.  

Another Monica Vitti cover I had not seen before is this VOGUE from October 1965, left.. 

And it seems VOGUE also had a man's issue, as per this one here, with Edward Fox - very 1960s.

And looking at covers, I had to keep this 1982 issue of PARIS MATCH celebrating Romy Schneider, and covering her death and final interviews etc.

How now, Othello ?

Dipping into that Shakespeare backlog (6 HAMLETs, 4 MACBETHs, Olivier as Shylock, Welles as Falstaff, etc) finally, we get to see Laurence Olivier's powerhouse performance as OTHELLO, a National Theatre success in the early Sixties, when Billie Whitelaw and Maggie Smith alterated the role of Desdemona, but it is Smith in the film. All director Stuart Burge really had to do I imagine was let the cameras roll and capture this astonishing performance for posterity. Its stagebound of course, originally directed on stage by John Dexter, but is shot in widescreen so it looks good. This is my first OTHELLO and its rather ponderous as the characters spout reams of dialogue, but we watch for the performances. That National Theatre rep company shine here: Frank Finlay as Iago, Derek Jacobi as Cassio, Joyce Redman, Sheila Reid  Maggie Smith is a touching Desdemona and Olivier in his middle age - a decade after his RICHARD III (Olivier label), and almost two decades after his HAMLET - is simply amazing. The energy it must have taken to perform this on stage every night, as well as running the National Theatre, and then the film. (He also filmed BUNNY LAKE IS MISSING and KHARTOUM about that time, also blacked up as The Madhi for some very effective scenes - Olivier label). 

IMDB's summary puts it thus: Desdemona defies her father to marry the Moor of Venice, the mighty warrior, Othello. But Othello's old lieutenant, Iago, doesn't like Othello, and is determined to bring about the downfall of Othello's new favorite, Cassio, and destroy Othello in the process, by casting aspersions on Othello's new bride. 

Paul Robeson was by all accounts (it was not filmed) a brilliant Othello in the 1930s, and later actors to tackle it include Laurence Fishburne in 1995, Anthony Hopkins for the BBC, and of course Orson Welles' in 1952, another fascinating production, made on a shoestring. I shall be looking at that too before too long, I had a vhs cassette of it somewhere ... I wish I had seen more of those 1960s National Theatre productions, particularly their HAY FEVER, but I did see that astonishing ROYAL HUNT OF THE SUN at the Old Vic, up in the gods, in 1966, where Robert Stephens was that incredible Inca king in an unforgettable production, and in 1970 Smith and Stephens in Ingmar Berman's production of HEDDA and their restoration comedy THE BEAU'S STRATAGEM, both of which I went to twice. 
OTHELLO isn't an easy view, hardly a play to like (unlike HAMLET and the others) but each generation of rising actors want to give their reading of Iago's jealousy and portray the Moor.  

It seems Maggie Smith was feuding with Olivier (left, on set) during the production, and one evening she stuck her head around his dressing room door as he was either putting on or washing off the black make-up and said "How how brown cow?"! Shakespeare as far as we know never went to Italy, but set several of his plays there ...

Something camp for the weekend 3: a lesser Agatha Christie

A star-laden Agatha Christie from 1974: AND THEN THERE WERE NONE. We quite like those camp all-star Agatha Christie adaptations popular in the '70s and '80s, started by MURDER ON THE ORIENT EXPRESS and getting camper as they went along: DEATH ON THE NILE, EVIL UNDER THE SUN, THE MIRROR'S CRACKED (see Christie label). A lesser one is AND THEN THERE WERE NONE, which features a fascinating round-up of Euro-players, and is set in a luxury hotel in Isfahan, Iran - and features rare footage of the little-seen ancient city of Persepolis, where Alexander the Great hung out. Despite all this, there is something cheap about it though, its very much a minor Christie, but none the less camp for all that. 

A group of ten people, strangers to each other, have all travelled to a hotel located deep in the deserts of Iran. Upon arrival they discover that their host is mysteriously absent. Though some find this odd they decide to make the best of the situation and settle into the isolated but luxurious hotel. But soon they are accused by a tape recording of having committed various crimes in the past which went unpunished by the law. Then one victim dies of poisoning. Then another is strangled .... and the remaining guests deduce that their unseen host is determined to kill them one by one .... and as there is no-one else at the hotel, the killer has to be one of them ..... finally, there are just two left - one of them has to be the killer - or is there a twist ? 

This hoary old Christie chestnut has been done several times. I have not seen the 1940s one, but this 1974 version follows the amusing 1965 British TEN LITTLE INDIANS almost line by line, scene by scene - they are almost comedies. That black and white one was set in an Alpine fortress and had a fascinating 1960s cast with Bond girl Shirley Eaton and Hugh O'Brien, exotic Daliah Lavi, and Fabian, with British stalwarts Dennis Price, Wilfrid Hyde-White, Stanley Holloway and Leo Genn.  

Here in '74 we have Oliver Reed and Elke Sommer as the rather bland leads, with French Stephane Audran and Charles Aznavour, and two Bond villains Gert Frobe and Adolfo Celi, plus Brits Richard Attenborough and Herbert Lom. If you know the twist its reasonably amusing. This one is a Harry Alan Towers polyglot co-production, directed by Peter Collinson. At least it reminds us how much we like the very slinky Stephane Audran, who is marvellous here. Aznavour sings one of his popular hits "Dance in the old fashioned way" before he croaks .... and thats when the fun starts ! Oh, and the voice on the tape machine is Orson Welles ! 

Forgotten '60s films: Rapture

RAPTURE, 1965. This long forgotten ‘60s drama – we never got much of a chance to see it at the time -  has re-surfaced to some great reviews, on its Eureka dual-format dvd+blu-ray release, along with  20 page booklet, but I wouldn’t quite rate it a missing masterpiece. It seems it had a brief run here in London in 1967, which must have passed me by, though I remember "Films & Filming" magazine had a location report and photographs on it, back in 1965.

One of those marvellous 20^th Century Fox Cinemascope productions this one has stunning black and white photography, and is directed by John Guillermin, scripted by Stanley Mann with an atmospheric score by Georges Delerue. It feels almost like a French film in English, set as it is on that wild Brittany coast. Cue lots of waves crashing on rocks and desolate landscapes as we get to know Agnes (Patricia Gozzi) who lives in that rambling farmhouse with her remote, strict father Melvyn Douglas, a retired judge, and their housekeeper Karen – Swedish actress Gunnel Lindblom. Is Agnes just a lonely child, with a fantasy world of her own, or perhaps retarded? She does not seem to go to school or have friends. We first see them at the wedding of her older sister. It’s a coming of age story, as we share the Gothic world of this troubled teenage girl.  She is finally allowed to create a scarecrow for the garden, with one of her father’s old suits, and this becomes another fantasy figure for her.

Enter man on the run Dean Stockwell as Joseph who escapes from police custody, who takes the scarecrow’s clothes and he becomes her new fantasy figure, she feels she created him …. He and Karen though get intimate to Agnes’ fury, causing Karen to leave after Agnes almost kills her, and finally he and Agnes also leave and end up in a noisy and busy Paris, which she cannot cope with ….

The earlier moment where the impatient father throws her doll over the cliff and it lies broken on the rocks is repeated at the end as the police close in on Joseph.  The moments of rapture are mainly at the start, particularly those overhead shots looking down on Agnes on the beach, from the perspective of those seagulls. Guillermin had done nothing like this before, he of course went on to THE TOWERING INFERNO and DEATH ON THE NILE among others, I like his 1959 sweaty, sadistic TARZAN’S GREATEST ADVENTURE. Its fascinating seeing the attractive Lindblom in an English-speaking role, she is surely the most earthy and sensual of the Ingmar Bergman actresses (THE SILENCE, THE SEVENTH SEAL) though Ullmann and Thulin got all the kudos …

1930s leading man Melvyn Douglas returned to movies in his old age with roles in BLLY BUDD, HUD, and more, he is equally used here, while child actor Dean Stockwell after roles in COMPULSION, SONS AND LOVERS, LONG DAYS JOURNEY INTO NIGHT essays another complex young man, he often seems an odd mix of James Dean and Monty Clift. We later got used to the older Stockwell in TWIN PEAKS and the like as the busy actor keeps working. The astonishing performance here is from Patricia Gozzi, (the equal of the young Jean-Pierre Leaud in THE 400 BLOWS). 

I have not seen her first acclaimed role, for Serge Bourguinon in 1962’s SUNDAYS AND CYBELLE (one I missed from that great year), she is certainly compelling here and would surely have been one of the main actresses of her time, had she not retired from acting. So in all, it is a fascinating discovery now, even if the plot melodramatics get rather tedious before the end. There are echoes of WHISTLE DOWN THE WIND another lyrical film of children aiding a man on the run, and even HUD where Douglas was also that strict father with an attractive housekeeper who also ups and leaves. With Sylvia Kay, Peter Sallis, Christopher Sandford, Leslie Sands.