Guilty PleasuresSailor Beware, 1951, Hal Walker, U.S.
The 50s top tandem in movies, TV and night clubs (and Dino had some hit records too), Martin and Lewis aren’t ranked up there with the Marx Brothers—for some, not with the Ritz Brothers. To me, though, they had the best mixture of foolery and character of all movie comedy teams: Dean, the happy-go-hunky paisan, and Jer, the goony kid (“Mel-vin!”) with a vast repertoire of gags, working in fabulous synch. Watch them in this service comedy, which has a couple of spiffy song-and-dance routines and lots of artful badinage—like the bit where Jer has been badgered into boxing a much bigger guy. Dean, the kid’s trainer, dispenses pre-fight advice (with many sly slaps to the gut and face) while Jer does such an acute impersonation of a punch-drunk veteran that the tough guy and his team (including James Dean in his first film role) are scared away. Here or on their TV shows, the team was slick, rowdy and funny funny funny.
Next: Diabolique (Les Diaboliques), 1955, Henri-Georges Clouzot, France
Guilty PleasuresDiabolique (Les Diaboliques), 1955, Henri-Georges Clouzot, France

At a seedy French boarding school, the unsatisfied wife (Vera Clouzot) and restless mistress (Simone Signoret) of the slimy headmaster (Paul Meurisse) drown the creep in the bathtub and dispose of his body. Brutal, efficient and final—until evidence starts to mount that the dead man is haunting the school. As a kid, I was avid to see Diabolique after reading a Newsweek review that gave the movie’s moral as “You can lead a corpse to water but you can’t make it sink.” I think I found the school’s fetid atmosphere, the long, underlighted hallways, the main characters’ sourness and cynicism nearly as scary as the film’s famous climax, in the bathtub where it all began. The movie asked its audience, “Can you be scared to death?” For one impressionable child, this, one, the answer was almost literally yes. To beg my parents to take me to a French film, and then, coming home, to beg them to leave my bedroom door open and the hall light on, just shows you how pretentious and naive an 11-year-old could be.
Next: School Girl, 1971, David Reberg, U.S