lazyaceuk

I read that Michael Winner saw his chance to direct The Wicked Lady was his chance to get onto the list of respected Directors, it was only the addition of the sex and nudity by the producers that ruined that chance for him.

Really?

I remember renting this film from the local video store and wondering whether it was supposed to be a comedy or a drama. Was Winner trying to make his own version of Tom Jones? I am not sure even he knew. The pace is uneven and the acting is best suited to the bodice ripper made for television nonsense that was common in the eighties.

The cast is very good on paper. I read that the producers offered large back ends to some of the names to encourage them to sign on. Geilgud supposedly harrumphed at the nudity but a few years before he had also been part of the equally titillating Caligula. He had form it seems. One of the more interesting aspects is the listing of Jack Cardiff as DoP. This is a far cry from his heady days in the same role on Black Narcissus and I am not actually sure whether his talent is overly obvious on screen. In fact, the Glynis Barber's love scenes are clearly acted by a double. The framing and camerawork are not good.

Faye Dunaway's performance would have been better suited to a Christmas Pantomime in a UK theatre. Whether it was Winner's direction or her own decision, but her standard approach to being reactionary was to widen her eyes. Dreadful. She also appears to old for the role. Margaret Loxckwood was ten years younger when she played the same role in the 1945 original.

The highlight of the film is Alan Bates as Jerry Jackson the highwayman who becomes Dunaway's lover. The role was originally played by James Mason and Bates gives a Mason type gusto to his performance. He is clearly enjoying the swashbuckling nature of his role and his performance cuts through the other, as well known, performers who seem to be happier hamming through their parts. For Bates this is a dramedy, and the film is better for his contribution.

For fans of sci-fi there is a curiously early role for Marina Sirtis as Jackson's doxy. It is now an overly developed role but Sirtis does take part in the notorious whipping fight scene with Dunaway. Whereas the established female actors keep their clothes on in every scene, those less established are required to expose as much flesh as possible. So, whilst the merest touch of Dunaway's whip on Sirtis's outfit means that it disintegrates Dunaway still never seems to lose even a sequin in return. It is a very mad scene. The censors hated the scene at the time and for those that have encountered the TV friendly version of this film - and this is one - the edited version is no more enlightening.

The film is a mess, but whenever you saw the Canon (Golan-Globus) logo did you, as a viewer, expect high art. Canon made Reeve's fourth Superman film and the origins of that franchise, come to mind here through use of off camera comments, so beloved of Richard Lester (Superman 2 & 3). These moments in Lester films often proved as amusing as the main script and there are moments of off camera work here. I have never been able to determine whether Winner intended these inserts, or they were inserted post production. I would suggest the latter as there is nothing original in the direction.

Turgid.

Cry Of The City is a genuine film noir directed by Robert Siodmak who a few years before had made one of my noir favourites The Dark Mirror.

The film opens with a man lying in a hospital bed clearly the worse for wear. That man is Martin Rome (Richard Conte) who after initially being visited by his family is visited by a mysterious woman who proves to be key to Rome's future. We soon realise that Rome is a bad 'un. On his case is Lt Candella (Victor Mature) of similar European stock to Rome. Rome and Candella clearly have previous and not only is Rome wanted for shooting two people including a police officer he is linked to a jewel heist.

Who to trust?

Apparently, Conte and Mature switched roles before production as Mature had played crooks in several of his previous films and the producers felt that he should play the cop in this film. That was a good decision. Mature was never the greatest of actors and the edgy performance that Conte delivers fits better than I can imagine would have been possible with Mature in the role.

The film is full of the noir traits with shady lawyers, knowing blondes and a gun totting moll. The latter, played by Hope Emerson is a stand out performance by an actress given an uncharacteristic role at this stage in Hollywood. Credit to the casting director and director himself for giving Emerson a real opportunity, and it pays off. There is also an opportunity to catch a glimpse of a very young Shelley Winters for those who only ever think of her fighting to survive beneath a capsized cruise liner.

The viewer can almost smell the sweat, grime and perfume that exudes from each of the well-drawn characters in this story which concludes satisfactorily in that true sense of 'crime never pays'.

There is also a recognisable score from Alfred Newman that was reprised time and time again in numerous movies during this period. All very knowing as the opening credits kick in.

Old and gold.

I never studied Shakespeare at school, but I am lucky to have been able to attend many RSC performances at Stratford over the years, including Romeo and Juliet. But I will be honest, I was not aware of the character Rosaline until I did some research after this film. That research led me to see the gripes that the 'true fans' have in the way that Rosaline and Romeo's love affair is positioned chronologically in this film.

The fact that I was not troubled until after the credits had rolled says to me that the version of a story about two people who never existed should be judged on that basis not on a reworking of a story which is the definition of the word adaptation.

Kaitlyn Dever plays Rosaline who begins a romance with Romeo (Kyle Allen) and all seems good until Rosaline ends up caught at sea in a storm with Dario (Sean Teale) who Rosaline's father (Bradley Whitford playing Bradley Whitford, which is just what this film needs) has attempted to match with his daughter. When Rosaline finally gets back onto dry land, she finds that she has arrived back to late for her date with Romeo and he has moved on into the arms of Juliet (Isabela Merced), Rosaline's cousin.

Rosaline has no real interest in the uppity Dario and prefers dream boy Romeo. Oh please!

Shakesperean and Renaissance stories have been modernised for language if not the costumes on many occasions. Rosaline is another of those modernisations. A Shakespearean Knight's Tale with pop music soundtrack and mentions of pizza. It all works in this concept and the mix produces ninety minutes of sound family entertainment. Although I noted that the rating is young adult rather than juniors. Not that any of the content appeared overly jarring.

Made for streaming the film still looks good and not budget constrained. Dever, who I have generally seen in dramas, has good comedy smarts and leads the film well. Stand out performance was Minnie Driver regularly frustrated that those around her do not seem to understand that her character Nurse is a profession and not a name. Only a British accent could have delivered the acid sarcasm the script requires.

Recommended.