Now With More Than 3800 Reviews and (near) Daily Updates!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Saturday, June 10, 2017


Late Susan Hayward vehicle, Made-in-the-U.K., is moldy as Stilton cheese, and none the worse for it. Taken from a novel Daphne Du Maurier might have disowned, it feels comforting, like a second-rate play you inexplicably enjoyed, ‘opened up’ for filming. Hayward, out of jail after 18 months on a euthanasia charge, is turned down for job after job before suddenly getting a position as companion/nurse to Peter Finch’s mentally unbalanced wife . . . and he’s the prosecutor who sent her to jail! Why has he searched for her, of all people? And just what’s wrong with wife Diane Cilento? Hayward’s late style tended toward over-determination, but here she’s relaxed & sensible, playing nicely against the conventions of Modern Gothic in the story. And just as surprising is Robert Stevens’ smooth megging, a tv director with a natural feel for the size & pace of a CinemaScope production. The twisty wrap-up is silly & barely motivated, but at least it’s speedy. Comforting in a proudly ridiculous, guilty-pleasure sort of way. Fun.

SCREWY THOUGHT OF THE DAY: After winning a belated Oscar® for I WANT TO LIVE/’58 (hardly her best), Hayward films always seemed to be sending her off to court. Here, twice.

DOUBLE-BILL: Hayward's at her youthful best in the under-seen beauty DEADLINE AT DAWN/’46 (see below), playing a ‘dance hostess’ who helps a sailor on a murder charge.

No comments: