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The Prodigal
(1955) .... Elissa, the heroine's slave (MGM)
Taina Elg featured 8th in the cast list of her first Hollywood movie,
playing a high priestess' slave in this biblical drama..
All Movie Guide: One critic has noted that The Prodigal
was aptly titled, inasmuch as it was all too prodigal with the funds
of the then-flagging MGM studios. In its retelling of the 22-verse Biblical
story of the Prodigal Son, the film helpfully fills in the story details
inconsiderately left out of the Old Testament. Edmond Purdom
plays Micah, the wastrel son of Eli (Walter Hampden) who takes
his share of his father's fortune and blows it all in wicked old Damascus.
Micah's one redeeming feature is his unserving faithful in the Lord
God Jehovah. Pagan princess Samarra (Lana Turner at her most
giddily exotic) intends to seduce Micah into renouncing his faith, only
to get stoned to death for her troubles. Nearly two hours pass before
Micah returns home and the fatted calf is killed in his honor. If for
nothing else, The Prodigal would be memorable for Lana Turner's pagan-ritual
costume, which is little more than a glorified bikini. ~ Hal Erickson
The MGM Story: Students wondering what the prodigal son did in
the bits the bible left out were advised by The Prodigal that he was
rubbing elbows and things with the High Priestess of the Temple of Love,
née Lana Turner. Those usually adept film-makers Charles Schnee
and Richard Thorpe produced and directed this excruciating load of kitch,
spending on sets and costumes a fortune that never came back from the
theatres. Lana sized up Edmund Purdom for temple duty while swapping
Maurice Zimm's awful dialogue. She could blame jewel fatigue for her
performance. Others seeking excuses were Louis Calhern, James Mitchell,
Taina Elg, Cecil Kellaway, Robert Coote, Herny Darnell, Francis L. Sullivan,
Audrey Dalton, Neville Brand, Paul Cavanagh, Joh Dehner. ~ John Douglas
Eames
Radio Times rating:: ** “Two years in the making!” shrieked
the gaudily coloured posters for this very studio-bound MGM epic based
on the New Testament tale of the prodigal son, but clearly less than
two minutes was spent on the script. Director Richard Thorpe was obviously
smitten by having hordes of extras, and, regrettably, lets himself linger,
tableau-style. For the second time (the first was in The Egyptian),
British matinée idol Edmund Purdom replaced Marlon Brando in a role
rejected by the King of Method, but who today would argue with Brando?
Top-billed Lana Turner, though perfectly typecast, is a shade too old
for her predatory role, but is mesmerisingly watchable. They just don't
make 'em like this any more, and with good reason. TS
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Diane
(1956).... Alys/Alice (MGM)
Taina Elg climbed up to #7 in the cast list of this historical romance,
yet another Lana Turner extravaganza.
All Movie Guide: Lana Turner stars as Diane in this opulent costume
drama. Set in 16th century France, the film finds the gorgeous Diane
de Pottiers rising to a position of absolute power through her manipulation
of the men in her life. Those men include King Francis I (Pedro Armendariz),
Prince Henri (Roger Moore) and Diane's husband, the Count de
Breze (Torin Thatcher). Diane's principal foe is the scheming
Catherine de Medici (Marisa Pavan), who for the first time in
her life has met her match in Our Heroine. Christopher Isherwood's
screenplay is literate to a fault, though the film could have used a
few more action highlights. The tepid box-office receipts of Diane hastened
the end of Lana Turner's long association with MGM. ~ Hal Erickson
The MGM Story: Lana Turner's long MGM career ended with one of
her better pictures, Edwin Knopf's handsome production of Diane,
directed by David Miller. In Christopher Isherwood's literate
script from John Erskeine's romance of 16th century France, she
was Diane de Poitiers, beloved of Henry II - played by Roger Moore.
Sean McClory, Pedro Armendariz, Cedric Hardwicke, Marisa
Pavan (Pier Angeli's sister), Taina Elg, Torin Thatcher, Herny Daniell,
John Lupton, Geoffrey Toona, Paul Cavanagh, Melvilel Cooper, Ian Wolfe
and Gene Reynolds alse performed ably, which is more than can
be said for the box-office. This was the best of the few parts MGM gave
Roger Moore after bringing him from England under contract; it was left
to television to make him a star. ~ John Douglas Eames
Radio Times rating: ** “Sweater girl” Lana Turner is in period
costume as Diane de Poitier, the love consultant to French king Pedro
Armendáriz who nevertheless falls for the king's son, Roger Moore. Stuffed
to the frills with Hollywood detail, this lavish production does benefit
from its majestic score by the great Miklos Rozsa. The dialogue, however,
betrays none of the usual wit and grace of its writer, Christopher Isherwood,
whose work inspired Cabaret and who was one of that famous group of
English writers in the 1930s that included WH Auden and Stephen Spender.
TH
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