| Vintage Pulp | Jul 13 2021 |
Bogart shows the way for the makers of Congo Crossing.
This poster for Congo Crossing has all the elements—firearms, some romantic nuzzling, and a huge crocodile. The trifecta. So we watched it, and what you get here is a Technicolor adventure set in the fictive West African land of Kongotanga, which sits geographically on the border of Belgian Congo, and is a stand-in thematically for Casablanca. Which is to say Congo Crossing uses the basic set-up of Casablanca—transitory expats and shady types in an ass-end outpost riven by local political tensions and power struggles. Virginia Mayo plays a wanted woman fleeing a murder charge she picked up on the French Riviera, George Nader plays the rakish stud who you aren't sure whether to like at first, and in the supporting cast are corrupt local kingpin Tonio Selwart, killer for hire Michael Pate, and Peter Lorre as the local chief of police. Here are some Casablanca similarities:
Expats desperate to catch the next day's plane to anywhere.
A climactic airport shootout.
A woman greatly desired by two men.
Lots of gun toting guys in tropical suits.
A comedic police official whose loyalties shift where the wind blows.
A moment when one man tells a rival it looks like the beginning of a friendship.
Peter Lorre.
Peter Lorre.
We mention Casablanca as shorthand to give you an idea of the set-up, and now we'll mention The African Queen—another Humphrey Bogart classic—as shorthand to tell you what the middle of the movie becomes. Mayo, Nader, and a few others embark on a boat trip upriver to a jungle hospital. There Mayo realizes she's the target of a killer, and flees farther along the river with Nader, dealing with an ambush, a sexual predator, a swarm of terrible tse-tse flies, a sneaky croc, and a deadly illness. You've seen The African Queen, right? A couple of strong similarities there. The group faces these problems and, unlike their African helpers, come away more or less intact, then the movie disembarks from the river—and The African Queen—to shift back to Kongoblanca, er, we mean Kongotanga, where everything began.
So does a movie that starts and ends kind of like Casablanca and has something kind of like The African Queen stitched into the middle work? Not with this script and budget it doesn't. And though the cast is game and experienced, the material doesn't give them much of a chance to sparkle. We can't call the movie bad, but we certainly can't describe it as recommendable either. And going back to the jungle segment for a moment, why is it that in such films the people born and raised in Africa always get eaten while white folks like Mayo and Nader can snog in the bush and be just fine? That's a rhetorical question of course. Congo Crossing premiered today in 1956.
Belgian CongoUniversal PicturesCongo CrossingGeorge NaderVirginia MayoPeter LorreTonio SelwartMichael PateRex Ingramposter artcinemamovie review
| Hollywoodland | Oct 26 2015 |
Screenland was one of the earliest and biggest cinema magazines.
Actress Claire Windsor appears on the front of this October 1923 issue of Screenland magazine, one of the U.S.’s most venerable celeb publications, launched in Los Angeles in 1920 and surviving, under the control of several owners, until finally folding in 1971. The beautiful cover was painted by Rolf Armstrong, and within the magazine’s sprawling 108 pages are Gloria Swanson, Rodolph (aka Rudolph) Valentino, Phyllis Havers, and many other personalities, plus art from John Held, Jr. and writing from Delight Evans and Robert E. Sherwood. You can download your own copy of this here.
Los AngelesScreenlandClaire WindsorAlma RubensNita NaldiPhyllis HaverJohn Held Jr.Robert E. SherwoodGloria SwansonRudolph ValentinoNatacha ValentinoWinifred ShaughnessyMae MurrayRex IngramAlice TerryMartha MansfieldRolf ArmstrongDelight Evansmagazine art
