It doesn't happen too often, but sometimes a star in an earlier version will have another key role in the remake. When 20th Century Fox remade 1942's gangster comedy TALL DARK AND HANDSOME eight years later, the studio rehired Cesar Romero. He had played the likable lead character the first time around, and now this time, he was cast in a supporting role as the villain.
Actually the villain was supposed to be played by Richard Basehart who was too busy doing other projects at Fox, so producer Darryl Zanuck decided to utilize Romero's talents again...probably because the actor knew the material from the original production and because he had the necessary charisma to go up against Paul Douglas, who was now playing the main part.
Romero and Douglas play rival hoods who battle each other for control of urban territory in 1928. Prohibition is in full swing, but these men know how to make money through various rackets, not all of them involving the illegal sale of alcohol. The twist is that Romero, the picture's true bad guy, is a homicidal killer, but Douglas is not. However, the police mistakenly think that a lot of the city's recent murders have been committed by Douglas and his men, though most of those killings were Romero's handiwork and Douglas is getting the 'credit' for it!
As if this weren't enough, Douglas bemoans the fact that he has no girl or family. He's about 40 and experiencing a midlife crisis. When he meets a governess (the always appealing Jean Peters), he decides she's the girl for him because she's pretty and has a kind way with children. Only she's heard of his reputation as a brute killer and she is afraid to have anything to do with him. Eventually, she is convinced to take a job working for Douglas at his mansion.
Added into the mix we have assorted oddball characters, like a loyal butler (Arthur Treacher); a loyal maid (Joan Davis, in a role played by Charlotte Greenwood in the original); a loyal pal (Keenan Wynn, on loan from MGM); and a very disloyal spoiled brat (Peter Price). The kid steals all the scenes he's in, and he's a perfect foil for Douglas who is trying to 'adopt' the little delinquent, to show Peters he is decent and can be husband and father material.
One slight issue I had with the film is that the editing seemed a bit disjointed in a few sequences. It was almost as if a few scenes from the 1941 version were left out and they didn't know how to smooth over the gaps. But I could overlook some of that, because the story, as nonsensical as it is at times, works largely thanks to Douglas and the rapport he has with the rest of the cast. All in all, it's a pleasant diversion, nothing too exciting or offensive...with a predictable but still satisfying ending.
Actually the villain was supposed to be played by Richard Basehart who was too busy doing other projects at Fox, so producer Darryl Zanuck decided to utilize Romero's talents again...probably because the actor knew the material from the original production and because he had the necessary charisma to go up against Paul Douglas, who was now playing the main part.
Romero and Douglas play rival hoods who battle each other for control of urban territory in 1928. Prohibition is in full swing, but these men know how to make money through various rackets, not all of them involving the illegal sale of alcohol. The twist is that Romero, the picture's true bad guy, is a homicidal killer, but Douglas is not. However, the police mistakenly think that a lot of the city's recent murders have been committed by Douglas and his men, though most of those killings were Romero's handiwork and Douglas is getting the 'credit' for it!
As if this weren't enough, Douglas bemoans the fact that he has no girl or family. He's about 40 and experiencing a midlife crisis. When he meets a governess (the always appealing Jean Peters), he decides she's the girl for him because she's pretty and has a kind way with children. Only she's heard of his reputation as a brute killer and she is afraid to have anything to do with him. Eventually, she is convinced to take a job working for Douglas at his mansion.
Added into the mix we have assorted oddball characters, like a loyal butler (Arthur Treacher); a loyal maid (Joan Davis, in a role played by Charlotte Greenwood in the original); a loyal pal (Keenan Wynn, on loan from MGM); and a very disloyal spoiled brat (Peter Price). The kid steals all the scenes he's in, and he's a perfect foil for Douglas who is trying to 'adopt' the little delinquent, to show Peters he is decent and can be husband and father material.
One slight issue I had with the film is that the editing seemed a bit disjointed in a few sequences. It was almost as if a few scenes from the 1941 version were left out and they didn't know how to smooth over the gaps. But I could overlook some of that, because the story, as nonsensical as it is at times, works largely thanks to Douglas and the rapport he has with the rest of the cast. All in all, it's a pleasant diversion, nothing too exciting or offensive...with a predictable but still satisfying ending.