Payment on Demand is a 1951 American drama film starring Bette Davis and Barry Sullivan. The screenplay chronicles a marriage from its idealistic early days to its dissolution.
Writers: Ken Penders & "Kent Taylor" (Scott Fulop)
(Potential uncredited Layouts: Ken Penders)
Pencils: Manny Galan
Inks: Andrew Pepoy
Colors: Karl Bollers
Letters: Jeff Powell
Editor: Justin Gabrie
Managing Editor: Victor Gorelick
THE PHANTOM FROM 10,000 LEAGUES (1955) Reviews and free to watch online
‘From the depths of the sea… horrifying terrifying!’
The Phantom from 10,000 Leagues is a 1955 sci-fi horror film about a seaside community being terrorised by a hideous sea monster. Experiments in atomic radiation created the creature.
The movie was directed by Dan Milner (From Hell It Came), co-produced with editor Jack Milner, from a screenplay written by Lou Rusoff (Cat Girl; The…
THE SCREEN: “Mae West Reveals Herself as a Circus Queen in “I’m No Angel” at the Paramount—Saturday's Millions”
I'M NO ANGEL, based on a story by Mae West and supported by Lowell Brentano; music and lyrics by Harvey Brooks, Gladys Du Bois and Ben Ellison; directed by Wesley Ruggles; a Paramount production. At the Times Square and Brooklyn Paramounts.
Tira .... Mae West
Jack Clayton .... Cary Grant
Bill Barton .... Edward Arnold
Slick .... Ralf Harolde
Alicia Hatton .... Gertrude Michael
Kirk .... Kent Taylor
Thelma .... Dorothy Peterson
Benny Pinkowitz .... Russell Hopton
Beulah .... Gertrud Michael
The Chump .... William Davidson
Rajah .... Nigel de Bruller
Bob .... Irving Pichel
Omnes.... George Bruggeman
Harry .... Nat Pendleton
Chauffeur .... Morrie Cohen
Judge .... Walter Walker
by MORDAUNT HALL.
Arrayed in a variety of costumes which set off her sinuous form, Mae West is appearing at the Paramount in her latest screen vehicle, "I'm No Angel," a title which, as might be surmised, fits the leading character. Here Miss West, who wrote the story herself from “suggestions contributed" by Lowell Brentano, is beheld as a circus beauty named Tira, who wins applause and admiration by risking her blond head in a lion's mouth twice daily.
It is a rapid-fire entertainment, with shameless but thoroughly contagious humor, and one in which Tira is always the mistress of the situation, whether it be in the cage with wild beasts, in her boudoir with admirers or in a court of law.
Tira is ever ready with & flip double entendre and' she permits no skeleton to be found behind her cupboard doors. She has an emphatic personality, which proves a magnet for even social lights with millions. She receives costly presents, Including diamond necklaces, but she is hardly a gold-digger. She refrains from posing, preferring to keep to her natural slangy speech in her journey through the story from a tent to a penthouse.
She admits that she has thrown discretion to the winds, and she sometimes finds herself in an awkward predicament, but through a wily lawyer she succeeds in proving that she is guiltless. The feeble parts of this picture are those in which a criminal known as Slick is introduced. The less one sees of him the better one feels, for the production is interesting only as long as it proceeds on its merry route.
The glimpses of Tira making her impressive entry to the circus arena and then proceeding to the big cage with the roaring lions are depicted shrewdly. Tira does not actually stick her whole head in the lion's mouth, but contents herself by putting her face between the beast's jaws, which is quite enough.
Even this is set forth with a certain degree of fun, and one feels that Tira probably has a pistol ready for an emergency and that other circus employees are ready to shoot in the event that the beast starts to close its mouth. But one is apt to wonder whether they could possibly be quick enough. Society among the spectators is thrilled, all except one snobbish girl, who is furious because her fiancé is very enthusiastic over the performer's courage-and her beauty.
Later there comes the time when Tira puts her fair head into a court of law as the plaintiff in a breach-of-promise case. She sues Jack Clayton, whom she really loves, for $1,000,000, and it is not Tira's artful counsel who wins the case, but the circus queen herself. She cross-examines the defendant's witnesses and turns their testimony in her own favor, the unusual proceeding being countenanced by a judge whose sympathy Tira wins with the utmost ease.
Miss West plays her part with the same brightness and naturalness that attended her second film role. There is no lack of spontaneity in her actions or in the utterance of her lines. She is a remarkable wit, after her fashion. Cary Grant is pleasing as Clayton and Walter Walker is excellent as the considerate old judge. Gregory Ratoff does well as Tara’s lawyer. Wesley Ruggles has directed the film with his usual intelligence.
Man, I just wasn't in the mood for this. I think I might need to start smoking pot again. I honestly didn't think this was Mystery Science Theater worthy. Sure, the titular hand is comical and some of the overacting by protagonist Paul (Peter Breck) is funny, but there's not a whole lot of meat on the bone. Maybe under different circumstances (marijuana) this would have been better but a big ole meh and a shrug from me for now.