A Loucura de Mimi

This is a reasonably faithful adaptation of the 1949 novel by Fredric Brown. Reasonably, that is, by 1950s Hollywood standards -- all of the essential story elements are there, although most of the subtleties of the novel are missing. For instance, Sweeney the reporter (Philip Carey) spends most of the novel in a constant hangover, having just come off a drunken binge; and the true relationship between Yolanda (Anita Eckberg) and Greene (Harry Townes), made explicit in the film's opening scenes, isn't revealed until the end of the novel. This is largely because the film presents the story in a straightforward, linear fashion, whereas in the novel, such vital information comes out gradually, via Sweeney's investigations. The film also, understandably, tones down the more lewd elements of the novel: Yolanda's strip-tease becomes merely an exotic dance.

I can't help wondering what Alfred Hitchcock would have done with this story. Hitchcock was certainly familiar with Brown's work -- four of his stories were adapted for the TV series ALFRED HITCHCOCK PRESENTS ("The Cream of the Jest", "The Night the World Ended", "The Dangerous People", and "Human Interest Story"). If Hitchcock had directed THE SCREAMING MIMI, it would surely have become a classic on a par with PSYCHO.

As others have commented here, I strongly recommend reading Fredric Brown's original novel. (I re-read it recently, just before seeing the film for the first time.) Brown was a very prolific writer of mystery and science fiction from the 40s through the 60s. (He died in 1972.) He was a master of the short-short story, and of the surprise twist ending. Though most of his works are currently out of print, they can easily be found on eBay or abe.com.

A footnote: The book NIGHTMARE IN DARKNESS, a limited edition of previously uncollected Fredric Brown stories, includes the original, unpublished ending of the novel, in which Sweeney is actually killed by the Ripper.

Bodacious, gloriously-maned Ekberg and her magnificent dog Devil (dubbed a great dame and a Great Dane)are the goodies in this fifties pop-psych piece with its is-she/isn't-she-crazy scenario. Looking like a gorgeous amazonian goddess (purportedly only 5'7" without heels), the mighty Ekberg makes all the human males in her orbit look mousy and malleable as she sashays from loony bin to gin den, her emotions and motivations as mysterious as the titular statuette around which it all revolves. The movie has an offbeat tone and texture and a tendency to unbalance the viewer with the unexpected:

asylum-escapee Ekberg doing her shackled-slave dance routine in El Madhouse nightclub; Gypsy Rose Lee putting the blame on Mame in an awkward, abortive fringe-dress shimmy; the famed stripster's shacked-up status with a cute little hipster. Fans of such censor-bound lesbian depictions should love this cinematic morsel, as will devotees of no-budget noir!

Swedish sex symbol of late 50's and 60's Anita Ekberg sadly died on 11th January 2015,so to honour her jaw-dropping physical beauty I decided to watch "Screaming Mimi".Frederic Brown 1949 novel has been adapted into a movie twice:Gerd Oswald's "Screaming Mimi" in 1958 and more loosely Dario Argento's first giallo "The Bird with the Crystal Plumage" in 1970.I must say that dancing scenes of Anita Ekberg in "Screaming Mimi" are very sensual.The beginning of the film probably inspired infamous shower scene in "Psycho"(1960).The film is well-shot and genuinely entertaining with some gleefully perverse overtones.If you like low-budget noir cinema,Italian gialli or krimi movies it's a must-see.8 Screaming Mimis out of 10.

When I first read Fredric Brown's 1948 novel, I was mesmerized. I have read it a few times since and have no intention of stopping-- it's really one of those forgotten classics of the hardboiled genre. Also being a Fellini fan, I have long been curious to see the film, Anita Ekberg's first starring role, (La Dolce Vita was two years later.) I know that Fellini was a pretty big fan of Brown-- at one point he planned to adapt his sci-fi novel What Mad Universe-- so I'm pretty sure he discovered Ekberg in this film.

Though I think the above reviewer was kind of harsh on Oswald and the cast-- especially Harry Townes, who understates the creepy obsessiveness of Doc Greene very well-- the fact is the movie falls short of the book by a considerable margin. I would put most of the blame on screenwriter Robert Blees, who had previously scripted the giant monster movie The Black Scorpion. But for all its faults (unfortunately, the ending is one of the things they botched) the film has its charms. Not only the cinematography but the music performed by Red Norvo captures the mood of the novel very well. And there are scenes that they actually get right. So I guess it's a love/hate thing for me.

Before I go, one last sidelight. Gypsy Rose Lee, who's featured in Mimi, was an exotic dancer in the forties and wrote one novel, The G-String Murders-- also about a killer who stalks strippers-- which was adapted as Lady of Burlesque, with Barbara Stanwyck.

How did I miss this drive-in special back in 1958 when I hit those passion pits weekly. Yeah, it's lurid to the max, but it's also got some kinky touches carefully hidden during the Age of Ike when sex was summed up by Debbie and Eddie. Note the not-so-subtle innuendo that Lee's character has more interest in the cigarette girl than in handsome stud Carey. And what is that s&m chain doing on Ekberg's wrists as she writhes around during her so-called stage act, which we get to see not once but twice as though we may not have believed it the first time around. Then too, what's with Towne's kinky doctor who can't seem to decide just which of Ekberg's startling features he's most interested in. And finally, how did this bit of bizzaro escape the confines of a respectable studio, Columbia, and the co-producing team of Brown and Fellows. Say what you will, despite the sleaze, this low-budget piece of 50's movie-making has more inherent interest than 90% of its bigger contemporaries.

I expect cult director Gerd Oswald is responsible for taking up the challenge and turning what could have been a routine crime drama into a genuine curiosity piece. Just watch his direction of the movie's centerpiece, and I don't mean Ekberg's Amazonian proportions-- in fact, her best scenes are those standing around looking comatose. No, this is familiar character actor Harry Towne's masterpiece. He was always good at slightly off-center characters, but here he out-does himself, delivering a masterfully kinky performance that really defies description. I've seen nothing quite like it in years of movie watching. Just what is going on inside those many tormented expressions. Watch the scene where he stands outside the colloquy between Carey and Ekberg when she must decide where her allegiance lies. Note the subtle array of emotions that react to what is being said. He could have just stood there and picked up his paycheck, but he didn't. Instead he created one of the more interesting obsessions to appear on the big screen in some time. I hope there's a special place in Hollywood heaven for unsung actors like Towne who deliver so much and get back so little. Anyhow the movie remains an interesting piece of esoterica, even if the title likely drove away more people than it brought in.