Cal McCord Movies

This satirical fantasy is based upon an Elmer Rice play from 1923. A hard-working office employee is rewarded for his years of slavish devotion to the company by getting fired just prior to retirement and being replaced with an adding machine. Now, with only his nagging wife waiting at home to add more misery to his dreary life, the man has nothing left and goes over the edge. He murders his boss and then goes on trial. He is convicted and put to death. He dies a happy and free man, thinking that he will surely go to Hell. Strangely enough, he ends up in a heavenly waiting area with other killers who are all there to be reassigned to new lives back on Earth. While waiting, he meets his new guardian angel. ~ Sandra Brennan, All Movie Guide

Terrence Rattigan, the playwright who brought us the multicharactered, multistoried Separate Tables, again offers us an episodic cross-section of humanity in The V.I.P.'s. When a heavy London fog paralyzes all air traffic, the lives of several people are profoundly affected. As indicated by the title, most of the characters in this portmanteau film are of the social and/or financial elite. Elizabeth Taylor wishes to leave her enormously wealthy husband Richard Burton in favor of playboy Louis Jourdan. Peripatetic European film producer Orson Welles is hoping to escape London with his newest protegee Elsa Martinelli in order to avoid paying his income tax. Australian businessman Rod Taylor, accompanied by his devoted (and adoring) secretary Maggie Smith, is anxious to head to New York to stave off a hostile takeover of his firm. And impoverished aristocrat Margaret Rutherford (who won an Oscar for her performance) would rather not go to Florida to accept a job as a social arbiter, but the wolf must be kept from the door. Before the fog disperses, you can be sure that at least one of the many plotlines will intersect with another. David Frost, in a tiny part as a reporter, was fond of recalling in later years that, while the major stars of The VIPS were introduced in the opening titles with animated limousines, he was consigned a tiny Volkswagen; alas, no such cartoon joke appears in the film, though on occasion the actors-particularly Mr. Welles-behave as though they were cartoons. Mercilessly skewered by the critics, The VIPS was a winner at the box-office, due in great part to the Cleopatra-inspired publicity concerning the top-billed Liz Taylor and Dick Burton. ~ Hal Erickson, All Movie Guide

Based on the stageplay Pick-up Girl, this film adaptation by director Muriel Box retains enough of the verbose theatrical styling and single-set focus to wobble as a cinematic effort. The story centers around an unfortunate period in the life of Elizabeth (Pauline Hahn), a fifteen-year-old girl who lives with her mother in New York while her father is away working in California. Because her mother works late into the night, there is not enough guidance or supervision in Elizabeth's life to keep her from making bad choices. And so she ends up with some dubious-looking friends, and after a brief fling with a sailor she goes through the trauma of an abortion. By that time any split with her parents has widened into a major chasm. Eventually she gets into even more trouble and ends up in juvenile court. It is in that setting under the understanding eye of a worldly wise judge (Thomas Mitchell) that her story unfolds in flashbacks as her fate hangs in the balance. ~ Eleanor Mannikka, All Movie Guide