Della

This was produced after Crawford's camp Whatever Happened to Baby Jane comeback. 1965? It appears it was on the shelf for at least a year and a half.

As a Crawford vehicle, this is pretty dull. For the most part, Joan Crawford films after 1950 were pure camp. This one is not so unintentionally funny unless you count all these scenes with Vaseline on the lens, her overly dramatic poses or her 1963 Oscars hair. I kept waiting for a Pepsi bottle to appear.

The bright spot is Diane Baker. This was made during her studio contract years where she was properly groomed and given parts commensurate with her looks and talent. Well, except this part. She would go on to one more good film, Mirage, before being kicked to the TV movie curb.

Not terribly involving drama but worth catching for some of the cast. It might be a minor film but it's a major star vehicle for Joan.

Unlike the low grade horror films she finished her career in where everything including her wardrobe was on the cheap every effort is made to make her look as glamorous as possible. In every instance the walls and surrounding decor compliment Crawford's hair, make up and clothing making sure she dominates the scene. As befits a grande dame of a certain age there are scenes where the soft focus on her is so strong she actually appears hazy! With gravity defying hair and a total command of the screen she is never less than compelling treating the script's absurdities as if they were masterworks.

The inverse of Joan's powerful star presence is provided by the real sore spot of the picture, the male lead Paul Burke. An attractive but mechanical and stiff blank slate Crawford steamrolls right over him any time they occupy the same scene. It does almost irreparable damage to the film but Joan's professionalism saves it. As far as the rest of the cast goes the only member who even approaches Joan's charisma level is Charles Bickford but his part is small. Diane Baker is likewise handed little to work with though she does get a scene or two of anguish.

Even though it did get a European release the film betrays its TV movie origins in its choppy editing style. However the production design is a kaleidescope of 60's fashions and for any vintage car aficionado this will be heaven, all the characters drive fantastic automobiles in vibrant colors.

It may be a standard drama but for any fan of latter day Joan Crawford this little known item is a must see.

Joan Crawford plays a reclusive millionaire named Della Chappell. She lives with her grown daughter (Diane Baker) in their mansion. They never leave the house and stay up at night. No, this is not a vampire movie but that would have been cool. It actually starts out as a fairly interesting story. Ambitious lawyer Barney Stafford (Paul Burke) tries to broker a land deal between Della and a big company, only to be met with resistance from her. Then Barney decides Della must be keeping her daughter against her will so he has to help her. There's a great deal of tension here and everybody keeps telling Barney he doesn't want to challenge Della. All of this sounds like it could have been a good thriller.

Unfortunately, the movie backs off of this and begins to portray Della in a sympathetic light. It loses all of the tension and intrigue it had built up. What we wind up with then is a rather boring soaper with a disjointed plot. I wondered when watching the opening titles if this was made for TV and, sure enough, it originally was a pilot for a TV series. A car chase towards the end reminded me of the old "Toonces the driving cat" sketches from Saturday Night Live. Not a bad way to spend 70 minutes but no great shakes, either.

The scenic coastal city of "Royal Bay" invites a potentially lucrative deal from land developers. Unfortunately, bachelor attorney Paul Burke (as Bernard "Barney" Stafford) and his city councilman father Charles Bickford (as Hugh Stafford) are unable to proceed. Much of the city is owned by attractively graying Joan Crawford (as Della), who refuses to sell the land in question. The wealthy and reclusive Ms. Crawford has been secluded in her mansion for 15 years, due to an unfortunate incident we will learn about nearer the story's end. Receiving an invitation to visit Crawford, Mr. Burke meets her beautiful daughter Diane Baker (as Jenny Chappell) and the two are mutually attracted. Working out a land development deal grows secondary as Burke becomes more concerned with why Ms. Baker feels imprisoned, on the sprawling estate, by her mysterious mother...

This project began as a "Peyton Place" swipe entitled "Royal Bay" – but it was not picked up by the TV networks. This is not a surprise. The expense of producing a nighttime 1964 serial, in color, with possible appearances by Joan Crawford must have had executives scratching their heads. If she wasn't contacted to regularly appear, the series provides little else of interest. It would have starred Burke and Mr. Bickford, a Hollywood veteran who does get a notable scene with Crawford. Independent of Crawford, they are uninteresting. Other regulars Richard Carlson (as David Stafford) and Robert Sampson (as Joel Stafford) look promising and obviously had story lines, but nothing is revealed about them. In the end, this does not work as a proposed TV series. However, it does work as a Joan Crawford showcase; she would have excelled as a nighttime soap opera matriarch.

***** Royal Bay/ Della (8/8/64) Robert Gist ~ Joan Crawford, Paul Burke, Diane Baker, Charles Bickford

This is essentially a soap opera in so many ways, and the money spent (or lack of it) on location settings or interiors appears to be minimal. Crawford plays Della, a grand, nervous, demanding, slightly off-kilter grande dame who hides in isolation with her strange daughter high above the city's noise and hustle. A hot-shot lawyer operating for an outside corporation wants to purchase a huge chunk of Crawford's property--but she's not budging! Nobody pushes Joan around!

What plot follows is not half as mesmerizing as the period automobiles in glittering pastels or the various fashion statements that Crawford parades as if she had been born to them (one may notice, however, that almost all of her close-ups shift to a very soft focus--no need to adjust your television). Della has lived in this lavishly furnished mansion for decades, but if one looks closely at the garish flower arrangements, the truly tatty color combinations in the carpets and curtains and the weird accent colors chosen by some set decorator in a very big hurry with a very small choice, the corners cut are clear. The same goes for the tacky statues plopped down around the pool, particularly the one dubbed "The Sun God," looking like something from an old Tarzan movie that keeps ending up with flowers stuffed in its mouth for no apparent reason.

But reason isn't what this frenetic melodrama is all about--as you can tell from this review, half the fun of it is enjoying the trappings of a late period Tinseltown Product, a sprinkling of several fine character actors--Charles Bickford and Richard Carlson (looking utterly exhausted!) and the always commanding Joan , rising above the situation just as she did in Mildred Pierce, Flamingo Road or the almost perfect Humoresque . By this time, however, the studios were largely finished, had sold of most of their lavish inventory, and only cared about what money might be made from television. This is primarily a curiosity, and one must bring a good deal of suspended disbelief to the party to enjoy it.