No Vale das Grandes Batalhas

I recall a review of this one in which the cinematographer, Harry Stradling, Sr., was given high marks for his very classy showcasing of the young Diane McBain's ravishingly blonde beauty. She gave a riveting performance in this one, amidst some rather high-powered competition from the likes of Karl Malden, Dean Jagger, Claudette Colbert, and Connie Stevens getting some well-earned sympathy as a poor young thing besotted with her yearning for pretty-boy Troy Donahue. Miss McBain's filmography is a sorry testament to how Hollywood could take an extraordinarily attractive young actress, possessed of some genuine talent, and misuse and disuse her until everyone within the industry eventually believed that she had nothing worthwhile to offer.

The story was quite a mish-mash and I remember being quite upset that the lovely Miss Colbert had come out of retirement to play a role that reinforced the old cliche that "It's a man's world and you women better kowtow or else!" I wanted her to give that greedy old brute, mercilessly enacted by Karl Malden, and his bullying sons some kind of a comeuppance, which certainly shouldn't have been beyond the screenwriters, whose contrivances were about as convoluted as one could get away with before the revolutions in social mores, just a few years away when this was filmed, overwhelmed us.

But it's a guilty pleasure nevertheless. Delmer Daves really knew how to maneuver the elements to give audiences back then a good measure of mindless satisfaction. It's worth a not-too-demanding look-see.

Director Delmer Daves also adapted Mildred Savage's sprawling novel about four adjoining tobacco farms in New England, and the love, lust and sabotage which occurs there. Troy Donahue is the stilted, inert title-named lothario who arrives in town with his mother, a dignified Claudette Colbert (in her theatrical bow); Connie Stevens, Diane McBain, and Sharon Hugueny are Donahue's love interests; Karl Malden is the tyrannical stepfather and boss from hell. Beautifully filmed by Harry Stradling, but the heated melodrama is engineered to be overwrought (Daves probably wouldn't have it any other way!). It's actually more involving than it has any right to be, though the narrative (spanning several years) is ridiculously rushed along in the third act, and the romantic clinches are so florid they generate some unintended laughs. **1/2 from ****

The first time I saw the movie 'Parrish' was when it was released in theaters back in the early sixties. I have never forgotten it. The score by Max Steiner is wonderful. Seeing screen legend Claudette Colbert on screen again after coming out of retirement was a sight for sore eyes. Parrish's three girl-friends: Diane McBain, Connie Stevens and Sharon Hugueny are all stunning. America's finest character actor, Karl Malden, is his usual marvelous self. Once again director/writer Delmer Daves gives his audience two hours of fine entertainment. Finally, the supporting cast is filled with familiar faces who have become famous and it's fun identifying them.

While the novel by Mildred Savage contains plot lines the film simply could not cover due to time constraints,the beautifully photographed "Parrish" is very enjoyable if you have read and loved the book.Some of the deletions from the novel tightened the storyline though at least one section (where Judd swindles Parrish on a boat deal) should have been added to the film to provide better character motivation and audience understanding.However,at 138 minutes (most prints) already this was not practical.To appreciate the novel and film, the time and place the story takes place (late 1950's rural America) must be taken into consideration.This was a much more innocent time.The actors/actresses used by Producer/Director Delmer Daves are a near perfect fit to reflect the authors intention;a mixture of attractive,unsure,inquisitive,opinionated and passionate teens/early 20's making their place in an adult world.Troy Donahue,not an actor of great expressiveness and polish,had the part of a lifetime as his limitations were the same as the title character.He became Parrish. Karl Malden as Judd Raike was brilliant. I wish there had been a sequel!

This is a semi-guilty pleasure. In some ways it retains the sheen and talents at the waning days of the big studio machine, and that's a plus. It's soapy, melodramatic and over-the-top, which is certainly entertaining if you don't look for Art with a capital A. And there is a visual lushness in the cinematography not to mention the emphasis on physical lushness, eg Troy Donahue and Diane McBain, and some of the other characters, all dressed to the nines in suits, ties, contrasting sharp vests, crinolined party dresses, preppy red v-neck sweaters backdropped against a blue sky on an impossibly handsome blond Adonis. I can't even say anymore if Troy Donahue is a good actor. I just like watching and listening to him, and I think he does have a certain conviction- his earnestness - which lends authenticity to his performances. Others call him wooden. I think he's more than good, and under-rated. (And my eyes can't get enough of his physical beauty.) Then there's Diane McBain, who I scantly know but is right up there with Donahue - breathtakingly beautiful. Claudette is okay, but the part itself is anachronistic and annoying - a bit long-suffering and stoic, as her parts often are - in a role that demands she ignore a cruel, brutish, crass man she marries. And rounding out the pluses, I love Max Steiner's lush, anachronistic score. The negatives do abound: the script is a bit shrill and melodramatic, which you expect of soap operas of that period. I can't decide if Karl Malden is dynamic or excessive, though he's always effective. Connie Steven was never my perky cup of tea. Dean Jagger caught my attention as a gentle father-figure, and touched me deeply. Ultimately, my feelings are colored by the bias of nostalgia. I very young when it was released, and have some residual nostalgia for what I remember and miss from that era. Someone twenty years old would find it mostly silly, I think.