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Reviews
Pal Joey (1957)
Lightning Strikes Twice with Hayworth & Sinatra
Pal Joey was a noted hit of the decade and fitting parting between Columbia pictures and it's 2-decade-reigning biggest icon Rita Hayworth. It matters very little that her co-star Novak was seen as the 'replacement' here, which does no justice to either, simply because their is too strong a keen commitment from all 3 leads. Taking gentlemanly 2nd billing for the crimson 'love Goddess' Sinatra holds this film together as the central character - not that you'd notice as his female co-stars balance the billing exquisitely, and this - performance-wise - is first-rate in all senses.
Repeated viewing is most definitely rewarded - shades of Hayworth's delightful performance reveal what a marvellously subtle actress she truly was. In particular, her 'Zip' number unveils her knack for comedy without resorting to blatantly brazen clichés, instead those awe-struck eyes of the youthful-conqueror are now knowing yet no less alluring. Hiding her disdain for Sinatra's 'louse' (an obvious over-dubbing), her show-stopping number glides between her attention to the audience yet clear distraction of Joey. It also helps that the tune itself is quite catchy.
Novak's figure is surpassed only by her full-bodied performance - while satisfying the cosy role of 'just standing there and looking pretty' she evokes admirable strength, sympathy and vulnerability. She had certainly became a big name by this point, a box-office sensation if ever there was one. Novak would make better films, star in titles that would be genuinely revered as 'classics' but this is not her film to be remembered. Instead, 'veterens' Hayworth and Sinatra truly burn too fast for her to keep up and run away with this one - both arguably were not to welcome Novak's catalogue of classics in quite the same somewhat fleeting succession, therefore one can argue these actors knew how to execute tremendous deliveries in order not only to project their star images but turn in accomplished performances in order to maintain the relevance enjoyed by them for the size-able career spans they already had. My point is, where Hayowrth played the 'older woman' and was herself younger than Frank, both actors called upon experience that showcased their work here immeasurably. Novak's supposed doe-eyed role takes the pressure off such earned responsibilities anyways and she should take no criticism for not matching the stamina of her co-stars' conviction, but it is worth noting regardless. Overall, all 3 offer a colourful and enjoyable musical 'romp' that while it has no outrageous innuendo like it should, entertains through sheer force of character resonance and finely-tuned finesse.
Affair in Trinidad (1952)
Rekindled and ignited
To address some issues: there is a familiarity with 'Gilda' which is just that and cannot possibly take anything away from what a triumph this film actually is.
Firstly, I love how it is such a classic, straight-to-the-point Hayworth vehicle. Business: Harry Cohn had to 'give away' Born Yesterday, which was intended for his number 1 star, to Judy Haliday; now she was "back!" just like the posters said; she had star power and wasn't given From Here To Eternity as her comeback simply because she had too much box-office to be in an ensemble picture; and what better way than to give fans a sure-fire treat - Hayworth and Glenn Ford in another simmering film noir? Except, this is no 'Gilda' - this is 'Affair In Trinidad'. Hayworth reinvents herself, her talent bristling with abandon in her opening number The Trinidad Lady. The swirling intro to this film is over in seconds and there she is - still the star and definitely not off the pedestal. We can see the transformation is what films can get away with just that little bit more - when Hayworth 'slides' to show off her amazing legs it's like a revelation, a force that cannot be held back. This is Rita dancing with her trademark unearthly grace, yet now she has experience that she can convey like never before.
This is certainly true with her acting too. She had always been able to give spirited performances that she isn't always - superficially at least - given much credit for. But here she handles her scenes with great texture, assurance and (key to most starlets of the era's guaranteed appeal) vulnerability. My favourite scene is when she is 'stealing time' to peek through documents for the police - she gets a rare kind of drama not normally given to her before. It's just en interesting, daft moment that is perhaps just typical 1950's melodrama, but glamorous and crucial at the same time.
We also see the impressive actress Valerie Bettis, who is very much a character that was emerging in this period - a very vamp-like, sardonic lady with a smouldering alcohol-sustained sexuality, in the vein of Gloria Swanson, Bette Davis, etc. She eats the scenery, which is an acquired taste, but well worth it. The actress in question is Valerie Bettis who it would appear was a successful TV actress in the same decade. Her character Veronica Huebling certainly tried to use her sex appeal to entrap and exploit men, the way she believes Chris Emery (Hayworth) is able to, which possibly explains her heavy drinking.
Juanita Moore conveys a powerful presence also, managing some interesting lines. Some of which are dated, or perhaps just twee, but to be enjoyed nonetheless.
When Hayworth famously tosses her hair again, we don't need to hear any 'Gilda' comparisons. She had moved on, she had made straight-forward vehicles all through her ascent to super-stardom and fans will definitely appreciate the familiar elements resonating their own special glory, but shaken together as it is, we get something new that is definitely worth investigation.