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Pretty Good

A Masterpiece!

While it doesn't offer any answers, it both thrills and makes you think.

The best films of this genre always show a path and provide a takeaway for being a better person.

The best part of this Technicolor exercise is the light it shines on high-power business dealings and how these were treated in the Production Code 1950's-- and is worth a quick few words.In that Cold War decade, Hollywood discovered the drama of corporation boardrooms and big business in such films as the ruthless Patterns (1956), the intrigues of Executive Suite (1954), and the comedic Solid Gold Cadillac (1956). All in all, these movies hold up well despite the passage of years. The trick for films of this type was to be realistic enough with the big money scheming to hold audience interest without at the same time indicting the upper tiers of capitalism. For to do the latter would, among other reasons, serve the interests of the Soviet side of the Cold War then at its peak. As a result, in such movies conscience or a force for good usually prevails at the last minute over ruthless business connivings no matter how unconvincing the abrupt triumph. And that's very much the case in the otherwise routine Cash McCall.At first, McCall is characterized as a corporate vulture—a wheeler-dealer who buys up struggling companies, disassembles them for profit, and then walks away from whatever communities he may have destroyed in the process. But, of course, it's hard to make a sympathetic lead out of such a ruthless character, even for such a likable personality as James Garner. So the screenplay begins to fudge. He's next characterized as a dis-assembler whose aim is to build up anew from the pieces, though the human consequences are not made clear. And finally, after a thorough conversion, he becomes a full-fledged business humanitarian putting communities first for reasons that also remain rather unclear, but does, of course, produce a happy ending. Thus, the ends of the Production Code, the Cold War, and audience expectations are duly served.The movie itself is pretty unmemorable. To me the pairing of the mature Garner and the rather callow Wood seems a brittle one, no matter how much the winsome Wood is glamorized. Then too, Garner suppresses his charming Maverick side in the interests of getting into McCall's character, but in the process gives up his special appeal as an actor. On the other hand, it's a fine array of supporting players, especially Henry Jones whose Bassett- hound face registers an unusual array of subtle emotions. His is a very different appearance for that glamour-obsessed time period. Anyway, the movie's a decent enough entertainment, but outside of its wheeler-dealer instruction manual, remains pretty forgettable.

Stock market tycoon James Garner (as Cash McCall) pursues pretty children's book illustrator Natalie Wood (as Lory). Previously, they had something of a summer romance, when Ms. Wood's character fell hopelessly and head over heels for Mr. Garner (as you will surely notice in the character's demeanor). Older divorcée Nina Foch (as Maude Kennard) is also hot for the "Maverick" TV star. Complicating matters, Wood is the daughter of businessman Dean Jagger (as Grant Austen), who owns the "Austen Plastics" company Garner hopes to acquire. The cast, color, and sets are attractive - but, the story is amazingly obvious, and dully performed by the co-starring couple. Listen up for Garner to tell the General he's "up the well-known creek…without a paddle." **** Cash McCall (1/20/60) Joseph Pevney ~ James Garner, Natalie Wood, Nina Foch, Dean Jagger

This is a great, fun film with the feel of similar films of the era such as 1962's "That Touch of Mink," whose plot bears more than a passing resemblance to this film's.James Garner is great as usual, as is the radiant Natalie Wood. Dean Jagger's performance as the plastic company patriarch strikes just the right note and Henry Jones does his usual excellent job as the somewhat smarmy assistant.But one of the real stars of the film is its 1960 decor. It really sets the period but also has a very distinctive look that is now considered retro-"atomic chic" with more than a little "Googie" thrown in.I've no idea why this film hasn't been released on DVD (it's perfect for anamorphic DVD at a 1.85:1 aspect ratio). If you don't want to rent or purchase the VHS tape, your only recourse is to await its very infrequent showings on cable (most recently on Encore's "Love" channel some six or so years ago.)

One of my favorite movies as a child. Look at her face in the close-ups, when the movie flashes back to their meeting in the rain at his mountain cabin! Such a romantic movie, and Ms. Woods' clothes are fabulous examples of 50s high fashion. And Cash Mc Call's penthouse is a perfect high-tech palace for the times.Natalie has the doting parents we all wished we had back then and a mother who is worried this beautiful creature will be an old maid at 23. Ah, life was simple then.The business oriented plot is engaging, the dialogue springy and believable for the times. Though marraige and family are still the only acceptable goals for good girls in this story, you don't care as you root for true love to conquor all and the cold business man to see the light and let the good guys win.Rent it, if you have never seen it. An underappreciated gem. I wish I had told Ms. Wood how much I liked the film, the one time I met her in the late sixties, but she was rather pregnant at the time and not terribly concerned with her career.