PeterWarnes

And has anyone noticed the way the Sidney and Richards figures in this film anticipate Fonda and Redgrave in "Julia"?

The film itself is very handsome, in a less-than-dynamic sort of way. (How could any film with Robert Young and Ann Richards as 2/3rds of its central trio be described as "dynamic"?) The screenplay is good, though, and Sidney is first-rate.

The theatrical version of Hellman's story was notable for a flashy early appearance by Montgomery Clift (as the ambassador's son). Not a huge success, but acclaimed nonetheless. Frankly, the writing's better for the screenplay.

There's a lot, too, to be said for the sort of noir-flavored, female-centered drama that Hal Wallis and (frequently) William Dieterle produced in this era. "Love Letters," for instance, "The Accused" ... That plus the Hellman style make an intriguing (as well as intrigue-filled) combination.

The star of the 1966 stage musical "It's a Bird ...It's a Plane...It's Superman!" wasn't Jack Cassidy, it was Bob Holiday (in the double role of Superman/Clark Kent). Cassidy was the featured comic villain.The situation was that Cassidy was so right for his role, he stole most of the attention from Holiday.

Let me say, too, that it's wrong to approach this material expecting the Superman of the Salkind movies. It's closer, in attitude, to pre-Tim Burton "Batman" or the '60s "Thoroughly Modern Millie." In other words, jokey and silly and not a little racist. Only the problem, in this case, was a central uncertainty whether to parody its source material or to revere it.

Can't speak to this particular TV adaptation. I do, however, love several of the songs in the stage version -- notably "You've Got Possibilities" and "Oo-oo, Do You Love You!"

And here, all I remembered of "Angel Baby" was Mercedes McCambridge as a lady evangelist offering her wisdom to poor misguided George Hamilton. That plus, of course, a *quite* young Burt Reynolds playing a thuggish local lad.

Believe me, watching this crew was a spiritual experience...