I wish it was a little longer, something is missing. Anyway, the beautiful Diane Baker is excellent embodying a mentally unbalanced young woman. Joan Crawford, a top expert on the characters of very strong women, here she manages to make you shiver only with the force of her steel eyes. Paul Burke and Charles Bickford, as son and father, are good. Worth seeing!
19 Reviews
An Evening with Joan Crawford
wes-connors1 February 2014
The scenic coastal city of "Royal Bay" invites a potentially lucrative deal from land developers. Unfortunately, bachelor attorney Paul Burke (as Bernard "Barney" Stafford) and his city councilman father Charles Bickford (as Hugh Stafford) are unable to proceed. Much of the city is owned by attractively graying Joan Crawford (as Della), who refuses to sell the land in question. The wealthy and reclusive Ms. Crawford has been secluded in her mansion for 15 years, due to an unfortunate incident we will learn about nearer the story's end. Receiving an invitation to visit Crawford, Mr. Burke meets her beautiful daughter Diane Baker (as Jenny Chappell) and the two are mutually attracted. Working out a land development deal grows secondary as Burke becomes more concerned with why Ms. Baker feels imprisoned, on the sprawling estate, by her mysterious mother...
This project began as a "Peyton Place" swipe entitled "Royal Bay" – but it was not picked up by the TV networks. This is not a surprise. The expense of producing a nighttime 1964 serial, in color, with possible appearances by Joan Crawford must have had executives scratching their heads. If she wasn't contacted to regularly appear, the series provides little else of interest. It would have starred Burke and Mr. Bickford, a Hollywood veteran who does get a notable scene with Crawford. Independent of Crawford, they are uninteresting. Other regulars Richard Carlson (as David Stafford) and Robert Sampson (as Joel Stafford) look promising and obviously had story lines, but nothing is revealed about them. In the end, this does not work as a proposed TV series. However, it does work as a Joan Crawford showcase; she would have excelled as a nighttime soap opera matriarch.
***** Royal Bay/ Della (8/8/64) Robert Gist ~ Joan Crawford, Paul Burke, Diane Baker, Charles Bickford
This project began as a "Peyton Place" swipe entitled "Royal Bay" – but it was not picked up by the TV networks. This is not a surprise. The expense of producing a nighttime 1964 serial, in color, with possible appearances by Joan Crawford must have had executives scratching their heads. If she wasn't contacted to regularly appear, the series provides little else of interest. It would have starred Burke and Mr. Bickford, a Hollywood veteran who does get a notable scene with Crawford. Independent of Crawford, they are uninteresting. Other regulars Richard Carlson (as David Stafford) and Robert Sampson (as Joel Stafford) look promising and obviously had story lines, but nothing is revealed about them. In the end, this does not work as a proposed TV series. However, it does work as a Joan Crawford showcase; she would have excelled as a nighttime soap opera matriarch.
***** Royal Bay/ Della (8/8/64) Robert Gist ~ Joan Crawford, Paul Burke, Diane Baker, Charles Bickford
Paper Tiger
utgard1431 January 2014
Joan Crawford plays a reclusive millionaire named Della Chappell. She lives with her grown daughter (Diane Baker) in their mansion. They never leave the house and stay up at night. No, this is not a vampire movie but that would have been cool. It actually starts out as a fairly interesting story. Ambitious lawyer Barney Stafford (Paul Burke) tries to broker a land deal between Della and a big company, only to be met with resistance from her. Then Barney decides Della must be keeping her daughter against her will so he has to help her. There's a great deal of tension here and everybody keeps telling Barney he doesn't want to challenge Della. All of this sounds like it could have been a good thriller.
Unfortunately, the movie backs off of this and begins to portray Della in a sympathetic light. It loses all of the tension and intrigue it had built up. What we wind up with then is a rather boring soaper with a disjointed plot. I wondered when watching the opening titles if this was made for TV and, sure enough, it originally was a pilot for a TV series. A car chase towards the end reminded me of the old "Toonces the driving cat" sketches from Saturday Night Live. Not a bad way to spend 70 minutes but no great shakes, either.
Unfortunately, the movie backs off of this and begins to portray Della in a sympathetic light. It loses all of the tension and intrigue it had built up. What we wind up with then is a rather boring soaper with a disjointed plot. I wondered when watching the opening titles if this was made for TV and, sure enough, it originally was a pilot for a TV series. A car chase towards the end reminded me of the old "Toonces the driving cat" sketches from Saturday Night Live. Not a bad way to spend 70 minutes but no great shakes, either.
It's Not a Masterpiece but I Enjoyed It and the Cast
Michael_Elliott2 February 2014
Della (1964)
*** (out of 4)
Lawyer Barney Stafford (Paul Burke) is trying to close a major land deal but the wealthy Della Chappell (Joan Crawford) refuses to sell some of her property. Della is known as a recluse who has stayed locked up inside her mansion for fifteen-years but when the lawyer goes to see her he meets her daughter Jenny (Diane Baker) and the two quickly fall in love but there's a family secret that's going to come up. DELLA is a film that has pretty much been forgotten for one reason or another. I think the main reason is that Crawford was making all sorts of campy horror films around this period so when fans watch the actress in a movie from this era they just aren't searching out this melodrama. I'm not going to sit here and say this is some sort of masterpiece or anything like that but I actually really enjoyed the film. At an incredibly short 70-minutes, there's no question that the film moves at a very good pace and we're given a terrific cast. Not only is Crawford, Burke and Baker on hand but we also get Charles Bickford, Richard Carlson and Otto Kruger. The performances are good for the most part with Crawford playing the type of eccentric character that she was normally doing during this period of her career. Since this doesn't go into the exploitation field, she's able to stay more laid back without being forced to go over-the-top. I thought both Burke and Baker were good in their parts and it was fun seeing Bickford in his next to last film. Bickford and Crawford get to share one scene together and it was great seeing the two vets working together. The screenplay certainly isn't anything great but it at least keeps you entertained up through the big secret. DELLA is mainly going to appeal to fans of Crawford who want to see what the actress was doing in this period outside the horror films.
*** (out of 4)
Lawyer Barney Stafford (Paul Burke) is trying to close a major land deal but the wealthy Della Chappell (Joan Crawford) refuses to sell some of her property. Della is known as a recluse who has stayed locked up inside her mansion for fifteen-years but when the lawyer goes to see her he meets her daughter Jenny (Diane Baker) and the two quickly fall in love but there's a family secret that's going to come up. DELLA is a film that has pretty much been forgotten for one reason or another. I think the main reason is that Crawford was making all sorts of campy horror films around this period so when fans watch the actress in a movie from this era they just aren't searching out this melodrama. I'm not going to sit here and say this is some sort of masterpiece or anything like that but I actually really enjoyed the film. At an incredibly short 70-minutes, there's no question that the film moves at a very good pace and we're given a terrific cast. Not only is Crawford, Burke and Baker on hand but we also get Charles Bickford, Richard Carlson and Otto Kruger. The performances are good for the most part with Crawford playing the type of eccentric character that she was normally doing during this period of her career. Since this doesn't go into the exploitation field, she's able to stay more laid back without being forced to go over-the-top. I thought both Burke and Baker were good in their parts and it was fun seeing Bickford in his next to last film. Bickford and Crawford get to share one scene together and it was great seeing the two vets working together. The screenplay certainly isn't anything great but it at least keeps you entertained up through the big secret. DELLA is mainly going to appeal to fans of Crawford who want to see what the actress was doing in this period outside the horror films.
Beyond bad.
MOscarbradley31 October 2017
Terrible. Made as a pilot for a television series that never materialized "Della" cast an over-the-hill and obviously down on her luck Joan Crawford as a rich widow holding out against some property developers who want to buy her land, (her close-ups all seem to be photographed through gauze). Although she's playing the title role she's billed as a 'Special Guest Star', the actual 'stars' being Paul Burke as a hotshot attorney and a hardly seen Charles Bickford as his father. Others involved in this rubbish are Diane Baker as Crawford's daughter who has the hots for Burke and Richard Carlson as Burke's older brother, (blink and you might miss him). The director was the hugely untalented Robert Gist. Actually, it's almost too weird to be a total right-off; at times it feels closer to 'The Twilight Zone' than it does to 'Peyton Place'.
MISS Crawford powers her way through and over everyone in sight
jjnxn-131 January 2014
Not terribly involving drama but worth catching for some of the cast. It might be a minor film but it's a major star vehicle for Joan.
Unlike the low grade horror films she finished her career in where everything including her wardrobe was on the cheap every effort is made to make her look as glamorous as possible. In every instance the walls and surrounding decor compliment Crawford's hair, make up and clothing making sure she dominates the scene. As befits a grande dame of a certain age there are scenes where the soft focus on her is so strong she actually appears hazy! With gravity defying hair and a total command of the screen she is never less than compelling treating the script's absurdities as if they were masterworks.
The inverse of Joan's powerful star presence is provided by the real sore spot of the picture, the male lead Paul Burke. An attractive but mechanical and stiff blank slate Crawford steamrolls right over him any time they occupy the same scene. It does almost irreparable damage to the film but Joan's professionalism saves it. As far as the rest of the cast goes the only member who even approaches Joan's charisma level is Charles Bickford but his part is small. Diane Baker is likewise handed little to work with though she does get a scene or two of anguish.
Even though it did get a European release the film betrays its TV movie origins in its choppy editing style. However the production design is a kaleidescope of 60's fashions and for any vintage car aficionado this will be heaven, all the characters drive fantastic automobiles in vibrant colors.
It may be a standard drama but for any fan of latter day Joan Crawford this little known item is a must see.
Unlike the low grade horror films she finished her career in where everything including her wardrobe was on the cheap every effort is made to make her look as glamorous as possible. In every instance the walls and surrounding decor compliment Crawford's hair, make up and clothing making sure she dominates the scene. As befits a grande dame of a certain age there are scenes where the soft focus on her is so strong she actually appears hazy! With gravity defying hair and a total command of the screen she is never less than compelling treating the script's absurdities as if they were masterworks.
The inverse of Joan's powerful star presence is provided by the real sore spot of the picture, the male lead Paul Burke. An attractive but mechanical and stiff blank slate Crawford steamrolls right over him any time they occupy the same scene. It does almost irreparable damage to the film but Joan's professionalism saves it. As far as the rest of the cast goes the only member who even approaches Joan's charisma level is Charles Bickford but his part is small. Diane Baker is likewise handed little to work with though she does get a scene or two of anguish.
Even though it did get a European release the film betrays its TV movie origins in its choppy editing style. However the production design is a kaleidescope of 60's fashions and for any vintage car aficionado this will be heaven, all the characters drive fantastic automobiles in vibrant colors.
It may be a standard drama but for any fan of latter day Joan Crawford this little known item is a must see.
Royal Bay
richardchatten30 September 2019
Robert Gist is probably best known to film buffs as an actor as one of the detectives assigned to tail Farley Granger in 'Strangers on a Train' and as a director the name that appears at the end of the 1967 'Star Trek' episode 'The Galileo Seven'. On the strength of his version of Norman Mailer's 'An American Dream' he made it into Andrew Sarris's chapter devoted to 'Oddities, One-Shots and Newcomers' in his book 'American Cinema', in which he opined that "His stylistic conviction deserves another chance with less intransigent material."
Seemingly unknown to Sarris, Gist already had 'Della' under his belt. Intended as the pilot for a 'Peyton Place' inspired TV series, but with a melodramatic plot that resembles William Dieterle's 'Love Letters', plus fifties trapping like glossy colour, and complete with a thundering music score which every now and then wells up and signals whenever an add break was originally coming. It reunites Joan Crawford (dressed up to the nines and loving it) & Diane Baker, who had just starred for William Castle in 'Strait-Jacket', as yet another mother and daughter with an extremely fraught relationship. Since both Crawford & Baker receive 'guest star' billing, it's hard to see how the series would have managed without them.
Seemingly unknown to Sarris, Gist already had 'Della' under his belt. Intended as the pilot for a 'Peyton Place' inspired TV series, but with a melodramatic plot that resembles William Dieterle's 'Love Letters', plus fifties trapping like glossy colour, and complete with a thundering music score which every now and then wells up and signals whenever an add break was originally coming. It reunites Joan Crawford (dressed up to the nines and loving it) & Diane Baker, who had just starred for William Castle in 'Strait-Jacket', as yet another mother and daughter with an extremely fraught relationship. Since both Crawford & Baker receive 'guest star' billing, it's hard to see how the series would have managed without them.
Vintage Crawford, perfectly served.
trimmerb123422 October 2015
This had originally been made for the small screen and had a cast to match - with the exception of Joan Crawford. But if the movies had got smaller, Joan Crawford hadn't - this is certainly no less than a full wattage star performance, even perhaps her best. It was a vehicle for a reprise of her earlier roles and a powerful demonstration of her ability to command the best for herself - best role, best dialogue, best costume, best sets, and, just possibly, no hint of competition from the rest of the cast. While she interacted with credibly, her performance utterly dominated. Even the story which was somewhat ramshackle nevertheless became coherent around the Joan Crawford character. Her bit of the ship at least would be ship-shape - or she'd damned well see that it was. It perhaps suggests that a troublesome, demanding star can be right and the audience the lasting gainer from the targeted exercise of star-power.
Saw this yesterday on Talking Pictures TV a new UK free to air terrestial TV station on Freeview ch81, dedicated to old, mainly British, movies.
Saw this yesterday on Talking Pictures TV a new UK free to air terrestial TV station on Freeview ch81, dedicated to old, mainly British, movies.
What a pile of poo
MrDeWinter5 October 2021
Crawford walks around as if she has a stick up her derriere. The thick layers of Vaseline on the camera lens doesn't have an rejuvenating effect either. Even for hard core Crawford fans this is rather unsatisfactory. Noone can save this atrocious story.
A Crawford Classic It Ain't...
museumofdave9 February 2014
This is essentially a soap opera in so many ways, and the money spent (or lack of it) on location settings or interiors appears to be minimal. Crawford plays Della, a grand, nervous, demanding, slightly off-kilter grande dame who hides in isolation with her strange daughter high above the city's noise and hustle. A hot-shot lawyer operating for an outside corporation wants to purchase a huge chunk of Crawford's property--but she's not budging! Nobody pushes Joan around!
What plot follows is not half as mesmerizing as the period automobiles in glittering pastels or the various fashion statements that Crawford parades as if she had been born to them (one may notice, however, that almost all of her close-ups shift to a very soft focus--no need to adjust your television). Della has lived in this lavishly furnished mansion for decades, but if one looks closely at the garish flower arrangements, the truly tatty color combinations in the carpets and curtains and the weird accent colors chosen by some set decorator in a very big hurry with a very small choice, the corners cut are clear. The same goes for the tacky statues plopped down around the pool, particularly the one dubbed "The Sun God," looking like something from an old Tarzan movie that keeps ending up with flowers stuffed in its mouth for no apparent reason.
But reason isn't what this frenetic melodrama is all about--as you can tell from this review, half the fun of it is enjoying the trappings of a late period Tinseltown Product, a sprinkling of several fine character actors--Charles Bickford and Richard Carlson (looking utterly exhausted!) and the always commanding Joan , rising above the situation just as she did in Mildred Pierce, Flamingo Road or the almost perfect Humoresque . By this time, however, the studios were largely finished, had sold of most of their lavish inventory, and only cared about what money might be made from television. This is primarily a curiosity, and one must bring a good deal of suspended disbelief to the party to enjoy it.
What plot follows is not half as mesmerizing as the period automobiles in glittering pastels or the various fashion statements that Crawford parades as if she had been born to them (one may notice, however, that almost all of her close-ups shift to a very soft focus--no need to adjust your television). Della has lived in this lavishly furnished mansion for decades, but if one looks closely at the garish flower arrangements, the truly tatty color combinations in the carpets and curtains and the weird accent colors chosen by some set decorator in a very big hurry with a very small choice, the corners cut are clear. The same goes for the tacky statues plopped down around the pool, particularly the one dubbed "The Sun God," looking like something from an old Tarzan movie that keeps ending up with flowers stuffed in its mouth for no apparent reason.
But reason isn't what this frenetic melodrama is all about--as you can tell from this review, half the fun of it is enjoying the trappings of a late period Tinseltown Product, a sprinkling of several fine character actors--Charles Bickford and Richard Carlson (looking utterly exhausted!) and the always commanding Joan , rising above the situation just as she did in Mildred Pierce, Flamingo Road or the almost perfect Humoresque . By this time, however, the studios were largely finished, had sold of most of their lavish inventory, and only cared about what money might be made from television. This is primarily a curiosity, and one must bring a good deal of suspended disbelief to the party to enjoy it.
Once she proceeds down that stairway, all bets are off.
mashmann15 October 2017
I remember watching "Della" on late-night TV when I was a teenager. I did not realize it, in fact, WAS made for the small screen. Perhaps I found this film fascinating because my Mom's name was Della (and not such a common name).
There's just something about Joan Crawford that has always intrigued me. In this movie she carries herself regally throughout. She is simply beautiful, and her presence is impeccable. She plays a rather long-suffering, yet tough-as-nails mother to Diane Baker (who lives with a dark secret in a dark house).
Paul Burke does his best to challenge Miss Crawford, but her portrayal of Della is a superb, late entry for her talent. I wish more women would grow into their looks graciously the way Joan Crawford did. She's about 60 in this role, but she doesn't try to look 35...kudos to her choice wardrobe. I rather wish this 70-minute film would have indeed been made into a TV series as originally intended.
Even though later years would cast a pall on Joan's mothering skills (which to this day I doubt), in "Della" she is brazen at times and no-nonsense with her daughter Jenny, yet she conveys an extremely emotional, believable side to her love for her only child. I wonder if her tears in this movie are a mirror of her real life at that time.
It was only 11 years after the release of this film that I wrote to Joan and received an autographed book of hers (from her home in New York City). Even though Crawford had, to put it mildly, many more important and well-known movies, "Della" sticks with me as almost a final glimpse into the star quality and Hollywood glamour that in 1964 was nearly on the way out. I don't believe Joan Crawford fans would regret watching this and seeing a trooper of the studios put a professional spin on a mysterious, almost-surreal story.
There's just something about Joan Crawford that has always intrigued me. In this movie she carries herself regally throughout. She is simply beautiful, and her presence is impeccable. She plays a rather long-suffering, yet tough-as-nails mother to Diane Baker (who lives with a dark secret in a dark house).
Paul Burke does his best to challenge Miss Crawford, but her portrayal of Della is a superb, late entry for her talent. I wish more women would grow into their looks graciously the way Joan Crawford did. She's about 60 in this role, but she doesn't try to look 35...kudos to her choice wardrobe. I rather wish this 70-minute film would have indeed been made into a TV series as originally intended.
Even though later years would cast a pall on Joan's mothering skills (which to this day I doubt), in "Della" she is brazen at times and no-nonsense with her daughter Jenny, yet she conveys an extremely emotional, believable side to her love for her only child. I wonder if her tears in this movie are a mirror of her real life at that time.
It was only 11 years after the release of this film that I wrote to Joan and received an autographed book of hers (from her home in New York City). Even though Crawford had, to put it mildly, many more important and well-known movies, "Della" sticks with me as almost a final glimpse into the star quality and Hollywood glamour that in 1964 was nearly on the way out. I don't believe Joan Crawford fans would regret watching this and seeing a trooper of the studios put a professional spin on a mysterious, almost-surreal story.
Clytemnestra Lives
writers_reign24 February 2017
Warning: Spoilers
The clue is in the credits: Special Guest Appearance By Joan Crawford signals that this relatively late (1964) entry on her CV was a television rather than a motion picture drama; it was, in fact, a pilot for a series that never got taken up but at least we get to see Crawford in one of the larger-than-life monstre sacres she made her own. That same year, in fact, she would again play the mother to Diane Baker this time for the big screen and though she is supported here by Charles Bickford he had more chance of upstaging her than Donald Trump seducing Hilary Clinton. Crawford plays a mega-rich widow who more or less 'owns' her home town including a large parcel of land coveted by a large multinational willing to pay serious money to acquire it for a new plant. The drama comes from Crawford's disinclination to sell versus the persuasiveness of Paul Burke's lawyer. All the writing, directing, acting values are out of the right bottle making it a pleasant enough entry.
hack job with some interesting touches
mukava9911 February 2014
If you're expecting a movie from the late period of Joan Crawford's career, you will soon realize "Della" is made for TV. In fact, it was a pilot for what seems to have been intended as a series about a lawyer and his clients, a sort of "Burke's Law" with a legal theme. In fact, by superficial coincidence, the star is James Burke.
Partly artistic (some of the blocking is obviously designed with geometric patterns in mind), partly hack (high lit, artificial environments, antiseptic props) part fashion show (every time we see Crawford she's wearing another exquisitely tailored ensemble), part generically boring (dull narration over dull opening montage, albeit with a fine, lush underscoring by Fred Steiner of "Perry Mason" theme-tune fame; dull men saying dull things in dull environments – featureless boardroom, picnic spot in nondescript city park with bland participants in spotless boring clothes, except for craggy, wild-haired, slightly rumpled Charles Bickford), part intriguing (references to pagan gods, stars and planets woven into a strong mother-daughter conflict with deep, mysterious roots). It's kind of like a rough sketch for a Eugene O'Neill play that never went beyond an outline and instead became a vehicle for Joan Crawford, who makes her usual post-"Baby Jane" style of star entrance, this time descending a staircase. Regal, defiant, tough; upswept silver-streaked hair, shoulders thrown back, menacing eyebrows. Trim and graceful in long shots, soft-focus in close-ups, she plays the title character, a wealthy recluse who, with her daughter (the attractive but undistinguished Diane Baker), has confined herself to her Downton Abbey-like property for several years except for occasional nighttime drives. What is she hiding? Vampirism? (If only.) Adjacent to her palatial domicile is a private garden festooned with statues of pagan gods that look like backyard kitsch from Walmart. The "moon goddess" wobbles when Baker leans against it; the sun god" ("mother and I made it out of clay when I was little") looks like a replica of a gape-mouthed Aztec temple carving and she feeds it flowers for reasons that are never explained. Baker spends a great deal of time gazing at the heavens in her private mini-planetarium which resembles a "Star Trek" set piece.
Into this weird world steps James Burke (a run-of-the-mill actor like Richard Basehart or Dana Andrews: not bad to look at, histrionically competent, but lacking electricity or charisma—in other words, the perfect complement to Diane Baker). Of course Crawford, with the help of the script and the direction, blows them off the screen, and not subtly either. But back to Burke. He plays a lawyer whose father, Bickford, is on the city council and both would like to convince Crawford to sell her property so that a large aerospace company can relocate its headquarters there and do wonders for the local economy. She agrees by phone to meet Burke to discuss the matter – at her place at 2am. Hmmm. While trying to persuade her to sell, he meets and becomes attracted to Baker (also awake and dressed to the nines in the middle of the night) and begins to wonder what is behind this reclusive nocturnal lifestyle. Pop (Bickford) happens to know the answer but he ain't talking'. Otherwise the movie would end at the 30-minute point.
In its time "Della" was probably dismissed as a hopeless clunker, the kind of thing that would have gone straight to video decades later. But through the prism of half a century, certain aspects of it become fascinating if you look at it clinically the way a car mechanic might look under the hood of an Edsel. But if you're expecting a well-conceived and emotionally involving dramatic experience, skip it.
Partly artistic (some of the blocking is obviously designed with geometric patterns in mind), partly hack (high lit, artificial environments, antiseptic props) part fashion show (every time we see Crawford she's wearing another exquisitely tailored ensemble), part generically boring (dull narration over dull opening montage, albeit with a fine, lush underscoring by Fred Steiner of "Perry Mason" theme-tune fame; dull men saying dull things in dull environments – featureless boardroom, picnic spot in nondescript city park with bland participants in spotless boring clothes, except for craggy, wild-haired, slightly rumpled Charles Bickford), part intriguing (references to pagan gods, stars and planets woven into a strong mother-daughter conflict with deep, mysterious roots). It's kind of like a rough sketch for a Eugene O'Neill play that never went beyond an outline and instead became a vehicle for Joan Crawford, who makes her usual post-"Baby Jane" style of star entrance, this time descending a staircase. Regal, defiant, tough; upswept silver-streaked hair, shoulders thrown back, menacing eyebrows. Trim and graceful in long shots, soft-focus in close-ups, she plays the title character, a wealthy recluse who, with her daughter (the attractive but undistinguished Diane Baker), has confined herself to her Downton Abbey-like property for several years except for occasional nighttime drives. What is she hiding? Vampirism? (If only.) Adjacent to her palatial domicile is a private garden festooned with statues of pagan gods that look like backyard kitsch from Walmart. The "moon goddess" wobbles when Baker leans against it; the sun god" ("mother and I made it out of clay when I was little") looks like a replica of a gape-mouthed Aztec temple carving and she feeds it flowers for reasons that are never explained. Baker spends a great deal of time gazing at the heavens in her private mini-planetarium which resembles a "Star Trek" set piece.
Into this weird world steps James Burke (a run-of-the-mill actor like Richard Basehart or Dana Andrews: not bad to look at, histrionically competent, but lacking electricity or charisma—in other words, the perfect complement to Diane Baker). Of course Crawford, with the help of the script and the direction, blows them off the screen, and not subtly either. But back to Burke. He plays a lawyer whose father, Bickford, is on the city council and both would like to convince Crawford to sell her property so that a large aerospace company can relocate its headquarters there and do wonders for the local economy. She agrees by phone to meet Burke to discuss the matter – at her place at 2am. Hmmm. While trying to persuade her to sell, he meets and becomes attracted to Baker (also awake and dressed to the nines in the middle of the night) and begins to wonder what is behind this reclusive nocturnal lifestyle. Pop (Bickford) happens to know the answer but he ain't talking'. Otherwise the movie would end at the 30-minute point.
In its time "Della" was probably dismissed as a hopeless clunker, the kind of thing that would have gone straight to video decades later. But through the prism of half a century, certain aspects of it become fascinating if you look at it clinically the way a car mechanic might look under the hood of an Edsel. But if you're expecting a well-conceived and emotionally involving dramatic experience, skip it.
Camper than fat Elvis! I love it!
Weirdling_Wolf26 July 2022
Musty old TV melodramas have long been wholly irresistible to me, and Robert Gist's surprisingly engaging, deliciously overwrought 60s potboiler 'Della' is made that much more of a divine divertissement by the indomitable, steely-haired presence of her imperious acting majesty Joan Crawford, on bravura form as the powerful, domineering, monstrously manipulative multimillionaire matriarch Della Chappel. Deliberately isolated from society along with her desperately lonely, strikingly beautiful, singularly afflicted daughter Jenny (Diane Baker), both lavishly imprisoned within their oppressively vast abode. To say that 'Della' is a trifle camp in its execution is no less of a garish understatement as to claim that fleet-fingered pianist Liberace only occasionally favoured colourful outfits! Apparently 'Della' was a TV pilot that failed to ignite, but I earnestly feel that this rickety property should promptly be given to John Waters to boisterously recamp, as in these increasingly moribund times, a hyperbolically lurid reboot of 'Della' might be just what Dr. Feelgood ordered! Ah! Yes, and it would be grievously remiss of me to omit deservedly high praises for hunky actor Paul Burke's fine performance as granite tough, upwardly mobile moneymaker Paul Stafford.
Remote at the ready!
whitemidget-6621929 July 2022
Brilliant late Crawford
toml-711 January 2001
Warning: Spoilers
An amazing film, which was a pilot for a series that did not sell, "Royal Bay". A combination of mystery and melodrama with a sad yet beautiful ending, Crawford's characterization is flawless in a role which calls for her to be tough yet compassionate, and Paul Burke, Charles Bickford and Diane Baker turn in fine performances as well.
A terrific performance by Joan Crawford
climbingivy12 December 2009
Warning: Spoilers
I watched this relatively unknown 1964 made for television pilot show last night for the first time.I can see why it did not become a series.I do not know where the original pilot script would have gone in order to be a television series.I think that this could have been a good series if they had used the talent of actresses like Joan Crawford and actors with the caliber of Charles Bickford and each week would have been a different story entirely.That said,I thoroughly enjoyed the show.The storyline was fairly good,a bit far fetched,but interesting.The best part of this movie is the settings and the wonderful cast.Joan Crawford,Charles Bickford,Diane Baker,and Paul Burke are excellent actors from an earlier time.This is a lovely little gem from the early era of excellent television.I have this show.
Do not expose this review to light.
sadie_thompson7 July 2000
Warning: Spoilers
(I don't think anyone else has detailed the plot with any emphasis, so for the benefit of people who haven't been able to see this movie I'm going to tell just about everything. This is considered a rare film, apparently. This isn't a review--it's a step-by-step description of what happens in the movie. Brace yourself, or stop reading if you like surprises.) This strange little movie was originally conceived as a pilot for a weekly show called "Royal Bay"--Joan Crawford would have made occasional guest appearances. It didn't work out that way, and the pilot was expanded into a movie. (It still runs rather short--about seventy minutes.) Joan plays Della Chappell, a disgustingly rich woman who lives in a disgustingly huge house with her daughter Jenny. Neither Della nor Jenny go out in the daytime. As one would assume Della has earned a reputation as a nut, and Jenny is pitied as a mother-dominated loser. Barney Stafford, a lawyer in town, has been selected to try to convince Della to sell part of her land holdings to a large corporation. He relishes the job, as he thinks Della is holding Royal Bay a little too tight, and he believes that he can wrest part of it from her. (Not Joan Crawford, Barney dear. Nobody wrests anything from her unless she wants 'em to.) She asks him to come to her house at around two in the morning to discuss the land deal. Right off the bat she says no to the proposal, but she invites him to change her mind. She has tons of paperwork that her grandfather had written up, and he might find something interesting in there. However, there's a catch--he can't take any of the papers from the house, so he must remain there until he has sorted through all of them. Not surprisingly, he runs into Jenny, who is immediately smitten with him. She doesn't explain why she she and her mother hide in the house, but she gives every indication that she doesn't like it. She also implies that her mother is the cause of it.
The land sale deal doesn't go through as planned due to Della's reluctance, but Barney Stafford continues to visit Jenny. He reveals to his father, a former friend of Della's, that he is intent on "rescuing" Jenny from her mother and taking her away. Barney's father tells him not to meddle in things he doesn't understand, thus implying that maybe there are reasons for Jenny and Della's idiosyncrasies. Barney is hotheaded and impulsive, so he disregards his father. He has other reasons to distrust Della--namely, she has made an unprecedented visit into town to his office. She openly attempts to purchase him under the guise of paying a retainer, even to the point of taking out her checkbook and asking his price. Barney is angered by this, and even more determined to rescue Jenny.
Barney arrives at the Chappell residence on his white horse, so to speak, to whisk Jenny away to friendship and happiness. Della is enraged by this, but Jenny is determined to go. Once she reaches the door and opens it, she is racked with pain and unable to leave the house. Barney believes it to the work of Della, and his hatred of her grows even more. In the meantime, Della reveals her other reason for going to town. Sensing Jenny's unhappiness, her mother attempts to placate her with a gift--a pearl necklace. It doesn't work. Finally, Della realizes she must tell Barney the truth about their reclusiveness. Jenny has a rare skin condition which makes her incredibly vulnerable to sunlight (like Nicole Kidman's kids in "The Others")--any prolonged exposure could kill her. Because Della wanted her daughter to feel normal, she hid herself from sunlight as well. Knowing that Jenny would have difficulty finding a friend, Della tried to buy Barney, only he proved to be too stubborn. Seeing that money doesn't work, Della tries another route--she asks him, as opposed to ordering him. "I am asking you to be her friend," she says. She has a lengthy talk with him (actually more "at" him) in which she actually says please, something she isn't accustomed to doing. Barney reveals his selfish side and refuses. Now there is more than a little animosity between Della and Jenny. Jenny sees Barney's leaving as orchestrated by her mother, and she decides that she won't stand for it any longer.
Jenny wants to leave, and she sets her mind on it. After a disagreement with her mother, Jenny races outside to her car and recklessly races away. Della chases her, but Jenny's illness and her anger hamper her driving considerably, and she is killed in an accident. Della witnesses everything. Later, Barney visits Della to apologize for everything, and is surprised to hear that Della has changed her mind regarding the land deal. Her only stipulation--she wants the corporation buying the property to build something for children. After Barney departs Della realizes the depths of her loneliness and runs from window to window, tearing open the curtains to let the sunlight in. All in all, an interesting but short viewing.
The land sale deal doesn't go through as planned due to Della's reluctance, but Barney Stafford continues to visit Jenny. He reveals to his father, a former friend of Della's, that he is intent on "rescuing" Jenny from her mother and taking her away. Barney's father tells him not to meddle in things he doesn't understand, thus implying that maybe there are reasons for Jenny and Della's idiosyncrasies. Barney is hotheaded and impulsive, so he disregards his father. He has other reasons to distrust Della--namely, she has made an unprecedented visit into town to his office. She openly attempts to purchase him under the guise of paying a retainer, even to the point of taking out her checkbook and asking his price. Barney is angered by this, and even more determined to rescue Jenny.
Barney arrives at the Chappell residence on his white horse, so to speak, to whisk Jenny away to friendship and happiness. Della is enraged by this, but Jenny is determined to go. Once she reaches the door and opens it, she is racked with pain and unable to leave the house. Barney believes it to the work of Della, and his hatred of her grows even more. In the meantime, Della reveals her other reason for going to town. Sensing Jenny's unhappiness, her mother attempts to placate her with a gift--a pearl necklace. It doesn't work. Finally, Della realizes she must tell Barney the truth about their reclusiveness. Jenny has a rare skin condition which makes her incredibly vulnerable to sunlight (like Nicole Kidman's kids in "The Others")--any prolonged exposure could kill her. Because Della wanted her daughter to feel normal, she hid herself from sunlight as well. Knowing that Jenny would have difficulty finding a friend, Della tried to buy Barney, only he proved to be too stubborn. Seeing that money doesn't work, Della tries another route--she asks him, as opposed to ordering him. "I am asking you to be her friend," she says. She has a lengthy talk with him (actually more "at" him) in which she actually says please, something she isn't accustomed to doing. Barney reveals his selfish side and refuses. Now there is more than a little animosity between Della and Jenny. Jenny sees Barney's leaving as orchestrated by her mother, and she decides that she won't stand for it any longer.
Jenny wants to leave, and she sets her mind on it. After a disagreement with her mother, Jenny races outside to her car and recklessly races away. Della chases her, but Jenny's illness and her anger hamper her driving considerably, and she is killed in an accident. Della witnesses everything. Later, Barney visits Della to apologize for everything, and is surprised to hear that Della has changed her mind regarding the land deal. Her only stipulation--she wants the corporation buying the property to build something for children. After Barney departs Della realizes the depths of her loneliness and runs from window to window, tearing open the curtains to let the sunlight in. All in all, an interesting but short viewing.
Crawford didn't know when to quit
mls41825 April 2023
This was produced after Crawford's camp Whatever Happened to Baby Jane comeback. 1965? It appears it was on the shelf for at least a year and a half.
As a Crawford vehicle, this is pretty dull. For the most part, Joan Crawford films after 1950 were pure camp. This one is not so unintentionally funny unless you count all these scenes with Vaseline on the lens, her overly dramatic poses or her 1963 Oscars hair. I kept waiting for a Pepsi bottle to appear.
The bright spot is Diane Baker. This was made during her studio contract years where she was properly groomed and given parts commensurate with her looks and talent. Well, except this part. She would go on to one more good film, Mirage, before being kicked to the TV movie curb.
As a Crawford vehicle, this is pretty dull. For the most part, Joan Crawford films after 1950 were pure camp. This one is not so unintentionally funny unless you count all these scenes with Vaseline on the lens, her overly dramatic poses or her 1963 Oscars hair. I kept waiting for a Pepsi bottle to appear.
The bright spot is Diane Baker. This was made during her studio contract years where she was properly groomed and given parts commensurate with her looks and talent. Well, except this part. She would go on to one more good film, Mirage, before being kicked to the TV movie curb.
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