Joseph Buloff Movies

Few filmmakers other than Warren Beatty would have had the courage and vision to fashion an epic film from the life of famed American Communist John Reed (who is the only US citizen buried in the Kremlin). The film is an effort to humanize a political movement that has previously been depicted on screen in a series of unsubtle and prejudicial broad strokes. The film begins in 1915, when Reed (Beatty) makes the acquaintance of married Portland journalist Louise Bryant (Diane Keaton). So persuasive is Reed's point of view--and so charismatic is Reed himself-- that Bryant kicks over the traces and joins Reed and his fellow radicals. Among the famous personages depicted herein are Emma Goldman (Maureen Stapleton), Eugene O'Neill (Jack Nicholson) and Max Eastman (Richard Herrmann). The second half of this nearly-200-minute film skims through the years when Reed, now a Russian resident, becomes disillusioned by the harsh realities of Bolshevism. Despite the celebrity line-up of real-life "witnesses" to the events depicted in the film (ranging from novelist Henry Miller to comedian George Jessel!), historians took Reds to task for its oversimplification of events and its laundering of the notoriously promiscuous Louise Bryant. ~ Hal Erickson, All Movie Guide

Silk Stockings, a musical version of the 1939 Greta Garbo film Ninotchka, was adapted for the stage by George S. Kaufman, Leueen McGrath (the then-Mrs. Kaufman) and Abe Burrows, with music and lyrics by Cole Porter. The Broadway production, starring Hildegarde Neff and Don Ameche, ran 478 performances. The 1957 film version cast Fred Astaire as a movie producer and Cyd Charisse as dedicated communist functionary Ninotchka. In the original 1939 film, Ninotchka was sent from Mother Russia to Paris to check up on three commissars, who in turn had been ordered to retrieve a fortune in Czarist jewels. This time the commissar trio, played by Peter Lorre, Jules Munshin and Joseph Buloff, have been dispatched to Paris to reclaim defecting Soviet composer Wim Sonneveld. Since Astaire wants the composer to write the songs for his newest musical, he plies the commissars with wine, women and song, dissuading them from their mission. When Ninotchka shows up to retrieve the errant Russians, Astaire turns on the old charm with her as well. She gradually succumbs to the combined lures of romance and capitalism, but returns to Russia when she believes that Astaire has thrown her over for film-star Janis Paige (delivering a hilarious take-off of swimming star Esther Williams). But Astaire convinces her that he truly loves her, and all is well. Most of the Cold-War comedy in the Broadway production of Silk Stockings remains intact in the movie version (Soviet official George Tobias, seeking information on his predecessor, looks up the man's record in "Who's Still Who"). Also surviving virtually untouched is the Cole Porter score, including "All Of You," "A Chemical Reaction," "Without Love," "Satin and Silk," "The Red Blues," "Stereophonic Sound," and the rollicking "Siberia" (which offers the spectacle of a singing, dancing Peter Lorre!) Watch for Fred Astaire's future TV-special partner Barrie Chase as one of the dancers. ~ Hal Erickson, All Movie Guide

This long-forgotten situation comedy ran for around ten months (January through October of 1951) on ABC, though not in prime time - it aired on Saturdays at noon. Starlet Peggy Ann Garner (A Tree Grows in Brooklyn) headlined the program as Babs Smith, a young woman who moved from Omaha to New York City, while nurturing aspirations of establishing herself as a successful fashion model. She decided to share an apartment with her cousin Fran Smith (Peggy French), who dreamed of becoming an artist-cum-fashion designer. As episodes rolled on, series creators gave Babs a boyfriend, played by Garner's then-newlywed husband, singer Richard Hayes. Joseph Buloff co-starred as Mr. Basmany, a deeply philosophical poet and the girls' neighbor. Episodes depicted the girls' day-to-day adventures in the big city. Two Girls succeeded at connecting with an audience, but in the fall of 1951, Garner opted to leave the show, and producers replaced her with Marcia Henderson. A month after that casting change, ABC cancelled the series. ~ Nathan Southern, All Movie Guide

A Kiss in the Dark opens with a shot of Jane Wyman in a two-piece bathing suit. Alas, the dictates of cinematic construction demand that some sort of plot must follow this promising beginning. Wyman plays model Polly Haines, one of several mildly eccentric tenants in an apartment building owned by neurotic concert pianist Eric Phillips (David Niven). Requiring absolute peace and quiet, Eric intends to evict his tenants and thereby have the building all to himself. Soon, however, he is won over by the apartment dwellers, who in their own various ways are as high-strung as the musician. He also falls in love with Polly, just as expected. The supporting cast of Kiss in the Dark is peopled by such expert farceurs as Victor Moore, Broderick Crawford, Wayne Morris, Joseph Buloff, and Curt Bois. Making her final screen appearance is Maria Ouspenskaya as the building's resident "earth mother." ~ Hal Erickson, All Movie Guide

Perhaps it's just as well that Columbia elected to film Prosper Merimee's Carmen without Georges Bizet's music: after all, Rita Hayworth and Glenn Ford weren't exactly Leontyne Price and Robert Merrill. The Loves of Carmen is a reasonably faithful rehash of Merimee's story of the tempestuous gypsy cigarette-factory worker Carmen (Hayworth) and the devastating effect she has on the men in her life. Assigned to arrest Carmen after a street brawl, handsome military officer Don Jose (Ford) falls in love with her instead, renouncing his virginal sweetheart and falling in with Carmen's smuggler cronies. So smitten is Don Jose that he doesn't realize until it's too late that the amoral Carmen is foredoomed to destroy herself and her lovers. Highlights include a knife duel between Don Jose and Carmen's common-law husband Garcia (Victor Jory) and the fatal final confrontation stemming from Carmen's flirtation with bullfighter Lucas (John Baragrey). Dazzling Technicolor photography is the principal asset of this entertaining but uneven star vehicle. ~ Hal Erickson, All Movie Guide

One of the less laudable results of the United States' wartime "good neighbor" policy with South America was the relentlessly unfunny comedy They Met in Argentina. Looking about as Latin as corned beef and cabbage, Maureen O'Hara stars as spoiled Argentine heiress Lolita, who meets her match in the form of stubborn Texan Tim Kelly (James Ellison). He has been instructed to purchase a champion race horse from Lolita's wealthy father at any price; she is determined not to allow the sale to go through. All sorts of "hilarious" hijinks take place before shrewish Lolita is tamed by the persistent Kelly. No one emerged from They Met in Argentina covered with glory, certainly not tunesmiths Rodgers and Hart, who contributed one of their least memorable scores ever. Losing twice as much money as it cost, the film was an ill-fated comeback effort by former RKO Radio production executive Lou Brock, who ended his days as a hotel night clerk. ~ Hal Erickson, All Movie Guide