C. Denier Warren Movies

"How did they make a movie out of Lolita?" teased the print ads of this Stanley Kubrick production. The answer: by adding three years to the title character's age. The original Vladimir Nabokov novel caused no end of scandal by detailing the romance between a middle-aged intellectual and a 12-year-old nymphet. The affair is "cleansed" ever so slightly in the film by making Lolita a 15-year-old (portrayed by 16-year-old Sue Lyon). In adapting his novel to film, Nabokov downplayed the wicked satire and sensuality of the material, concentrating instead on the story's farcical aspects. James Mason plays professor Humbert Humbert, who while waiting to begin a teaching post in the United States rents a room from blowzy Shelley Winters. Winters immediately falls for the worldly Humbert, but he only has eyes for his landlady's nubile daughter Lolita. The professor goes so far as to marry Winters so that he can remain near to the object of his ardor. Turning up like a bad penny at every opportunity is smarmy TV writer Quilty (Peter Sellers), who seems inordinately interested in Humbert's behavior. When Winters happens to read Humbert's diary, she is so revolted by his lustful thoughts that she runs blindly into the street, where she is struck and killed by a car. Without telling Lolita that her mother is dead, Humbert packs her into the car and goes on a cross-country trip, dogged every inch of the way by a mysterious pursuer. Once she gets over the shock of her mother's death, Lolita is agreeable to inaugurating an affair with her stepfather (this is handled very, very discreetly, despite the slavering critical assessments of 1962). But when the girl begins discovering boys her own age, she drifts away from Humbert. One day, she leaves without warning. This is humiliation enough for Humbert; but when he discovers who her secret lover really is, the results are fatal. We are prepared for the ending because the film has been framed as a flashback; what we are not prepared for is Stanley Kubrick's adroit manipulation of our sympathies and expectations. An incredibly long film considering its subject matter, Lolita is never dull, nor does it ever stoop to the sensationalism prevalent in the film's ad campaign. ~ Hal Erickson, All Movie Guide

In this romantic adventure set in Italy around 1815, a courageous soldier endeavors to find a hidden treasure on the island of Monte Cristo. He then escorts the daughter of a murdered explorer on a quest to find the map they need to locate the loot. The daughter doesn't trust the soldier, but after he kills a few of their foes, she changes her mind. Finally, after many adventures, they find the valuable chest, but upon opening it, they find it to be filled with nothing but chains and ropes as the real treasure was aboard a different ship. Somehow the two seekers are not too disappointed as along the way, they have fallen in love. The film is also titled Treasure of Monte Cristo. ~ Sandra Brennan, All Movie Guide

In this comedy, an aged cashier decides to rob the insurance company where she works. ~ Sandra Brennan, All Movie Guide

In this crime drama, a man finds a rare stamp, takes it to an expert for appraisal, and finds that it is a forgery. This discovery leads the man to look for the counterfeiter. After grilling three suspects, he finally learns that the art expert was behind it all the time. ~ Sandra Brennan, All Movie Guide

Is Your Honeymoon Really Necessary? never really answers its own question, but has no difficulty delivering laughs in full measure. U.S. officer Laurie Vining (Bonar Colleano) hopes to spend a romantic honeymoon in London with new bride Gillian (Diana Decker). Unfortunately, Vining's former wife Candy (Diana Dors) flounces into view, claiming that their divorce is invalid. Legal advisor Frank Bettertorn (David Tomlinson) is brought in to straighten things out--only to find himself in a compromising position of his own. Based on a play by E. V. Tidmarsh, Is Your Husband Really Necessary was shot in two different versions: the British print permitted audiences a view of Diana Dors in a skimpy bikini, while the American version covered up her ample frame with a nightie. ~ Hal Erickson, All Movie Guide

Once again comedian Arthur Lucan dons an old woman's togs to become the tart-tongued Irish washerwoman. This time Mother Riley somehow is appointed the headmistress of a girl's school. ~ Sandra Brennan, All Movie Guide

Music-hall comedian Arthur Lucan first brought his "drag" character Old Mother Riley to the screen in 1937. Lucan went on to star in 14 films as the rambunctious Irish washerwoman, while Lucan's wife Kitty McShane co-starred as Old Mother Riley's daughter, who had a habit of bursting into song whether the audience liked it or not. The first series entry, aptly titled Old Mother Riley, found the title character put in charge of managing a huge luxury hotel. A jewel theft seriously compromises Mother Riley's new position, but everything is resolved in a climactic slapstick-fest, replete with pie-throwing. Perhaps because the character was too regional in her (his?) appeal, Old Mother Riley wasn't released in the U.S. until 1952, 15 years after it was made. ~ Hal Erickson, All Movie Guide

In this drama, an amnesiac gardener, who lost his memory after he was buried alive during WW I, works for a wealthy man whose son is about to marry an actress. When he is accused of stealing, the honest gardener becomes so upset that his memory returns. He then remembers that he is a wealthy military officer. He also realizes that the actress is none other than his own daughter. ~ Sandra Brennan, All Movie Guide

The Shipbuilders is a rare film of true merit from prolific British "quota quickie" director John Baxter. Clive Brook heads the cast as the owner of a shipbuilding firm, presently dedicated to the War effort. Though naturally concerned that his business will flag once the war is over, it is shown that Brook has nothing to worry about, so long as diligent, patriotic men like riveter Morland Graham are on his payroll. The film's message is clear: While it's important to think of one's service to the present National Crisis, it is equally important to take the Future into consideration. Actual footage shipbuilders at work give this hastily assembled patriotic exercise a veneer of reality. ~ Hal Erickson, All Movie Guide

Comic actors Bud Flanagan and Chesney Allen, members in good standing of Britain's "The Crazy Gang", head the cast of the wartime mirthspinner We'll Smile Again. The film is set at a movie studio, where production of an Arabian Nights epic is constantly interrupted by the fumbling and bumbling of Bob Parker (Flanagan) and Gordon Maxwell (Allen). The two screw-ups redeem themselves by capturing a Nazi spy ring, headed by film star Gina Cavendish (Phyllis Stanley) and Teutonic director Steiner (Meinhardt Maur). Bumptuous radio comedian Horace Kenny contributes to the zaniness as a self-important studio makeup man. The producers engagingly make fun of the film's ultra-low budget with the opening disclaimer "The Anglo-American Film Corporation announces proudly that no expense has been spared to save money on this production." ~ Hal Erickson, All Movie Guide

The original British title of this wartime musical farce was George Takes The Air. George is George Formby, the toothy little chappy with the ukulele whose films made oodles of money in the 1930s and 1940s. This time, Formby is an 'umble Army private mistaken for a dashing RAF pilot. Had their not been a slapstick airborne finale, audiences might have grown violent. Manning the cameras in It's in the Air was future director Ronald Neame. ~ Hal Erickson, All Movie Guide

In this comedy, two van drivers are tricked by a fellow who tells them that they are working with the law when in fact, they are helping him cheat an insurance company. Trouble ensues, but justice prevails. ~ Sandra Brennan, All Movie Guide