Lola, der blonde Teufel

It's been a while since I've seen this film but I believe that you have to judge it for what it is (or was). First, it is very 1950's. Low budget 'B' movie probably shot and filmed in a matter of days and on a shoe sting budget, in an era when the big studios cranked these things off the assembly line. But what I remember most about the movie is how seductive was Mari Blanchard. You have to see the opening scene of her dancing and flirting around a little diner to music on a juke box. Albeit her character was cheap and bawdy, something comes across on the celluloid that moved me, and I think that had it not been for her untimely death, her career may have really opened up. The movie itself is a love triangle trapped in a stupid little plot, but amidst the backdrop and supposed romance of the crop dusters of the day, which were common in the 1950's, when America was a little more rural and agricultural, and with all the fly-boys returning from WWII and pursuing said nomadic lifestyle. Also, possibly one of the first films to deal with a female stalking a male, maybe not quite in the vain of Fatal Attraction but at least helping blaze the trail a bit. The movie could be described as terrible, but it's so bad that it almost compels you to watch it, like some Ed Wood films were famous for.

This film originally titled NO PLACE TO LAND opened on a double bill with an Ed Wood film. I cannot decide which was more ridiculous. This Republic "B" stars John Ireland, Gail Russell, Mari Blanchard and Jackie Coogan. I am sure none of the above would want it on his or her resume. Ireland walks through the film knowing what he got himself mixed up in. Mari Blanchard is totally ludicrous as the femme fatale wiggling her rear end for 77 minutes. The only person in the film who tries to say the lines with a straight face is the lovely Gail Russell. This was her next to last film before she died tragically from alcohol abuse. Sad to see her go out this way but she at least doesn't embarrass herself like the others do. Her beauty lives on in our memories from films like THE UNINVITED, ANGEL AND THE BADMAN and MOONRISE.

Other than the wiggly presence of sexy Mari Blanchard in one her typical bad girl roles, this Republic programmer is distinguished by the inventive camera work of Jack Nickholas, Jr, who began his career as a camera operator on some of the best MGM musicals. For a low budgeter this film has any number of unusual crane shots and interesting camera compositions, the sort usually not found in such grind them out factory made fare. Some talented actors are totally wasted here, among them Gail Russell in one of her last roles. The great stuntman Whitey Hughes can be seen opening a door, and may have staged the flight action. An absurd plot, of course, but no worse that many.

Art work for cast cards was usually prepared and set before editing had been completed. This often resulted in the scenes for cast-credit players (as seen on the film) ending up on the cutting-room floor.

This film ( if anything with the name of Albert C. Gannaway attached to it can be called a film)is a prime example of missing faces/characters. Whitey Hughes, Bill Blatty, John Carpenter and Bill Coontz are all-credited on the film credits, but do not show up in the finished film. Or, at least, do not show up in the film as the characters credited. Hughes, Coontz and Carpenter are visible in the film, but only as uncredited stunt men, and not as the characters billed on the cast list.

The film itself is just a swipe from Paramount's "Wild Harvest" with crop-dusters and airplanes subbed for men-and-machine wheat harvesters.

Gannaway often made directors Robert Horner, Denver Dixon (Victor Adamson) and Ed Wood look like masters of the directing craft.

In 1958, Republic Studios announced that it was closing up shop after more than two decades. "No Place to Land" was among the final films released by Republic...and with films like this you can understand their decision to close. It's not exactly a terrible film...but certainly not the type to put the studio into the black.

Iris (Mari Blanchard) is a screwy mess of a woman (today she'd likely be seen as having a Borderline Personality). When she and Jonas (John Ireland) split up, she quickly marries Buck (Robert Middleton) on the rebound and yet immediately begins flirting with Jonas! Not surprisingly, this makes her short-tempered and occasionally psychotic husband fly off in a rage...and Iris seems to enjoy doing this, as she enjoys being a tramp. Clearly the lady loves excitement and living on the edge and she seems to be sleeping with everyone except Jonas and Buck! As for Jonas, he's no idiot and does his best to avoid Iris...but you get a strong impression that Iris isn't done trying to manipulate him and getting him to play her game.

In the meantime, Jonas and his partner, Swede (Jackie Coogan), try to find work. The problem is that Buck controls most of the nearby dusting and Iris' actions have seen to it that Buck keeps Jonas from working. The pair find work when they find a very drunk pilot and the drunk man's wife, Lynn (Gail Russell) convinces them to help them. What's next? See the film...or not.

This is a silly, lurid movie. It's not terrible, exactly, but doesn't have a lot of depth nor does it seem like the sort of must- see film that Republic really needed at the time. An interesting ending...but otherwise...meh.

By the way, at the beginning of the credits it says that this film is brought to you in 'Naturama'. I looked this up and apparently that was the name Republic gave to its widescreen process--much like Paramount's Vistavision.