Tom Lisanti

Parrish opened starring everybody ‘s wet dream Troy Donahue with not 1 but 3 leading ladies – Connie Stevens as a gold digging slut, Diane McBain as booze-swilling rich bitch, and Sharon Hugueny as the (yawn) good girl. All set in the tobacco fields of Connecticut!?!

After their success with [amazon_textlink asin=’B01E560QPI’ text=’A Summer Place’ template=’ProductLink’ store=’sixtiescinema-20′ marketplace=’US’ link_id=’b19b8903-bead-11e8-a25c-99ff0cda91b5′] (1959), star [amazon_textlink asin=’B001HSNTKW’ text=’Troy Donahue’ template=’ProductLink’ store=’sixtiescinema-20′ marketplace=’US’ link_id=’5c099974-beae-11e8-b82f-d3655f9a7745′] reunited with director Delmer Daves for Parrish. The Golden Boy (who stepped in after reportedly Warren Beatty turned the part down) plays Parrish who reunites with his mother Claudette Colbert working as a governess for rich tobacco grower Dean Jagger in Connecticut’s Tobacco Valley. For me, Parrish is the most entertaining of Warner Bros.’ early Sixties romances (Susan Slade, Claudelle Inglish, [amazon_textlink asin=’B075YKRW7J’ text=’Rome Adventure’ template=’ProductLink’ store=’sixtiescinema-20′ marketplace=’US’ link_id=’e642d826-bead-11e8-a569-ab36763c0edd’], etc.) that they released featuring their contract players. Donahue was one handsome man and never looked better though he seems so out of place in a tobacco field. He is paired with Warner Bros.’ top two starlets both going over-the-top with their melodramatic roles though under stated as compared to the hammy Karl Malden as the meanest richest tobacco grower in the valley making Parrish a camp tour-de-force.

Connie Stevens beat out Tuesday Weld to play a slutty farm girl who wears false eyelashes and makeup while toiling in the steaming tobacco fields of Connecticut in the dog days of August. While new boy in town Troy Donahue is attracted to her, she spends her nights with rich married Hampton Fancher. After she gets knocked up, her popularity plummets as Fancher deserts her and Troy only wants to be friends leaving poor Connie to raise her baby alone.

In contrast, Diane McBain played tobacco farmer Dean Jagger’s spoiled, willful daughter who dumps teen dream Troy Donahue when he refuses an offer to work for wealthy tycoon Karl Malden. McBain marries the rich man’s younger weak-willed son and their dysfunctional unhappy marriage causes her to drink and sleep around. Realizing money can buy lots of Jack Daniels but can’t buy you happiness, she makes a desperate pathetic attempt to reunite with Troy who rejects her and chooses Malden’s much nicer rebellious daughter Sharon Hugueny.

Commenting on making Parrish in my book Fantasy Femmes of Sixties Cinema, Diane McBain said:

“I like Parrish.  It was fun to do. I played my first movie bad girl in this film and it typed me almost forever. Troy Donahue was a star at that time and that’s what they wanted. Troy and I got along very well. He’s a good guy. Perhaps Connie Stevens and I should have been rivals but we were friendly.

This was Claudette Colbert’s swan song in the film business. I’m sure she wanted to make a good impression. I was a novice actress. Even though I had done some things in television, I still was quite green. I didn’t sleep a wink the night before the first day of shooting. When it came time for me to say my lines I just froze. I couldn’t remember any of the lines I learned. In all honesty, I ruined the scene. It was pure terror for me. Colbert and the director got very upset with me. I think she looked upon me with some sort of disdain. I was very aware that she was not happy and she had every right to be unhappy. I swore that I would never let that happen again. And I haven’t.  It was the only time.”

the violent biker film The Cycle Savages opened starring Bruce Dern and Melody Patterson of F Troop fame. Most fans don’t know that after playing Wrangler Jane, Melody had a brief drive-in movie career also appearing in druggie/hippie/biker flick The Angry Breed and the horror film Blood and Lace.

In The Cycle Savages, Patterson gives a convincing performance as Lea a troubled young woman trying to go straight while keeping her distance from her former biker gang. An artist and neighbor named Romko (Chris Robinson) gets on the bad side of crazed gang leader Keeg (an intense Dern) for sketching him and his outlaw bikers as they terrorized the patrons of a hamburger drive-in. Keeg is determined to retrieve Romko’s sketches because they could incriminate him and his renegade roughnecks in a white slavery operation they run. They slash Romko’s midsection and Lea is forced to keep him away from his apartment. To stall Romko, Lea allows the artist to draw her nude while the gang ransacks his pad looking for his drawings. Lea falls for Romko and they make love but when the police come to investigate his attack they reveal that Lea was a decoy for the gang and was pressured to distract him. The bikers capture Romko and torture him by squeezing his hand in a vise. A pistol-packing Lea arrives to save him but she lacks the courage to shoot anyone. As the police close in, the gun is grabbed by biker chick Sandy (Maray Ayres), who chases a fleeing Keeg and shoots him dead.

Recalling the movie in my book Drive-In Dream Girls, the late Melody Patterson remarked,

“Bruce Dern was wonderful and an absolutely an exciting actor. Chris Robinson and I had the same manager so we knew each other pretty well. I loved the director [Bill Brame] because he was an editor and knew what he was doing.

I had a better experience working on The Cycle Savages than The Angry Breed though I can’t say it was a better movie. I was in the midst of my Method acting period and it seemed like everybody was taking long pauses before saying their lines. I didn’t like doing nudity but I agreed to do a back shot and a love scene. That is when I found out that I had a curvature of the spine. My mother was on the set to make sure everything was on the up and up. It was done with the utmost care and on a closed set. What I found amusing the most was that the sketch of me drawn by Chris’ character was a lot bustier than I was.”

the late-in-the cycle beach movie Catalina Caper opened. Scuba diving college students led by Tommy Kirk on summer break get involved with art forgers (Sue Casey and Del Moore), Greek mobsters (Lyle Waggoner), and a stolen priceless Chinese artifact. Sticking to formula there are the bikini-clad beauties (Venita Wolf), barechested beach boys (Michael Blodgett and Brian Cutler), musical guest stars (Little Richard, Cascades, and Carol Connors), and inane comedy bits. Plus Ulla Stromstedt from the Flipper TV series hidden under an unflattering dark wig definitively lives up to the nickname “Creepy Girl” bestowed upon her by the gang at Mystery Science Theater. Catalina Caper gets credit for trying to infuse the beach-party formula with more of a plot but the execution of it coupled with adult actors who are not funny in the least makes this one of the genre’s biggest stinkers.

Cinematographer Ted V. Mikels commented in my book Hollywood Surf and Beach Movies:

“The actors were wonderful.  I had known Tommy Kirk because I shot a movie at his parent’s place for my dear friend Rafael Campos. Del Moore was a really nice man—very congenial and easy to work with. I don’t remember very much about Sue Casey but I do recall that Venita Wolf was a pretty little girl. At the end of the day, when the sun was gone and we had to retire to the hotel we’d all have dinner together. It was a very enjoyable experience for me.  I came back to Catalina a few years later to shoot The Doll Squad [starring Francine York and Anthony Eisley]”

Sue Casey did not recall much about her co-stars in Catalina Caper and jokingly remarked in my book Drive-In Dream Girls:

“Lyle Waggoner was so nice to work with and my children really liked him. But I don’t remember a thing about the young kids in this.”

https://www.youtube.com/watch?v=dkPx6lNBhtI

If It’s Tuesday, It Must Be Belgium opened. One of a very few movies starring Suzanne Pleshette that I like (others being Rome Adventure and The Birds). Heard that she thought herself a bigger and more importnat movie star than she actually was. Inspired by a New Yorker cartoon and a television documentary, the amusing film directed by Mel Stuart starred Ian McShane as a charming womanizing tour guide who shuffles a group of wacky American tourists (Pleshette, Mildred Natwick, Michael Constantine, Sandy Baron, Norman, Fell, Reva Rose, etc.) around Europe.  Drive-In Dream Girl Hilarie Thompson was cast as the perky Shelly Ferguson (described by Thompson as being “a silly little girl trying to be hip”). Her parents played by Murray Hamilton and Peggy Cass bring Shelly along on their vacation to keep her from having sex with her boyfriend back home. But to their chagrin, Shelly falls for a young hippie named Bo (Luke Halpin) in Amsterdam.

Recalling making the movie, Hilarie Thompson said in Drive-In Dream Girls:

“This was complete magic but Mel Stuart was a tough director. He was very hard on poor Luke Halpin. I felt badly for Luke who was a sweet guy. I never had any trouble with tyrants so Mel and I got along fine. To be fair to Mel, he must have been going crazy traveling across Europe with a troupe of actors. Stan Margulies was the producer and he was a wonderful man.

Making If It’s Tuesday, This Must Be Belgium was incredible because we filmed throughout Europe for three months. I was nineteen at the time and had not moved out of my parents’ home yet. They flew me to England all by myself. We started there and went to Amsterdam, Brussels, Luxembourg, Venice, and Rome. It was first class all the way and an unbelievable experience. Everybody was delightful to work with. I hung out mostly with the younger cast members but I did enjoy the older actors as well. I was particularly friendly with Sandy Baron. He was very serious and intense about his work. Marty Ingels was just having a good old time and Michael Constantine was a darling man—I loved him.”