William Cabanne Movies

Though billed fourth in This Gun For Hire, Alan Ladd was catapulted to stardom in the role of Phillip Raven, a ruthless professional killer with a long-suppressed streak of decency. After successfully pulling off his latest murder, Raven reports to his boss, effeminate fifth columnist Willard Gates (Laird Cregar). He collects his $1000 fee, only to discover later that Gates has double-crossed him with marked bills. This was done at the behest of Gates' boss, crooked business executive Alvin Bewster (Tully Marshall), who wants no loose ends left around to connect him with a plot to sell poison gas to the Axis. As Raven ducks and dodges the police, detective Michael Crane (Robert Preston) is hot on the trail of Bewster and Gates. Crane talks his girlfriend, nightclub singer-musician Ellen Graham (Veronica Lake), into taking a job at Gates' nightclub. While on the train to the club, Ellen makes the acquaintance of the escaping Raven. Gates boards the train, spots Ellen innocently sitting next to Raven, and assumes that the two are in cahoots. Later, Gates kidnaps Ellen and spirits her away to his mansion, intending to do away with her the first chance he gets. Instead, Raven, still seeking revenge for being set up, bursts into the mansion in search of Gates. Having previously been impressed by Ellen's kindness, he rescues her, though he intends using her as hostage should the police catch up with him. As they hide out together in the rail yards, Ellen and Raven get to know each other. Learning of Raven's miserable, abusive childhood, Ellen tries to chip away his murderous veneer, hoping to reform him. But when the cops arrive, Raven reverts to his instincts, shooting his way out of his hiding place. As Crane escorts Ellen out of harm's way, Raven rushes towards a bloody showdown with Bewster and Gates. Based on Graham Greene's A Gun For Sale, This Gun For Hire was remade in 1958 as Short Cut to Hell, then again under the original title as a 1990 made-for-TV film. ~ Hal Erickson, Rovi

To say that Behind the Eight Ball is the best of the Ritz Brothers' quartet of Universal vehicles is faint praise indeed, but it's fact that the Ritzes pack an awful lot of laughs in the film's 60-minute running time. The story takes place at a summer theater in the Berkshire Mountains, where heroine Joan Barry (Carol Bruce) is staging a Broadway-bound musical comedy. Only one problem: two guest stars are shot and killed on two successive evenings, right in front of the audience. Hoping to solve the mystery, detective William Demarest demands that everyone -- actors and theatergoers alike -- return the following weekend to restage the show. But with no major performer willing to assume the fatal guest-star slot, Joan is forced to hire the Three Jolly Jesters (Al, Harry and Jimmy Ritz), Manhattan washroom attendants with showbiz aspirations. Though they're not keen on being set up as targets for the murderer, our three heroes gamely do as they're told -- and miracle of miracles, ultimately reveal that the killings are tied in with a nest of Axis spies! Highlights of this lightning-paced programmer include the Don Raye-Gene Paul hit song "Mister Five by Five" and the Ritz boys' specialty number "Charles Atlas Did It for Me". ~ Hal Erickson, Rovi

Each of Bob Hope's "My Favorite" films (My Favorite Blonde, My Favorite Brunette, My Favorite Spy) was, by accident or design, a parody of a dead-serious movie genre. 1942's My Favorite Blonde, for example, was a takeoff of Alfred Hitchcock in general and Hitchcock's 39 Steps in particular. Two-bit vaudeville entertainer Hope gets mixed up with gorgeous blonde British-spy Madeline Carroll. The "maguffin" (Hitchcock's nickname for "gimmick") which ties the two stars together is a ring which contains the microfilmed plans for a revolutionary new bomber. Hope and Carroll are forced to take it on the lam when Hope is framed for murder by Nazi-agents Gale Sondergaard, George Zucco et. al. Highlights include Hope eluding capture by impersonating a famed psychologist (watch for Carl "Alfalfa" Switzer as Hope's most contentious "patient"). Madeline Carroll also got several opportunities to shine comedically, especially when she lapsed into cloying baby talk while posing as Hope's wife. Bob Hope was hesitant to work with My Favorite Blonde director Sidney Lanfield, having heard of Lanfield's reputation as an on-set dictator. However, the two got along so swimmingly that they would collaborate on such future top-notch Hope farces as Let's Face It (1943) and The Lemon Drop Kid (1951). ~ Hal Erickson, Rovi

Bearing little resemblance to reality, this musical biography of 19th century Russian composer Nikolai Rimsky-Korsakov takes liberal poetic license with the truth. Jeanne-Pierre Aumont stars as Nicky, a Naval Academy cadet assigned to a vessel undergoing a world cruise. On shore leave in Morocco, Nicky goes in search of a piano intending to pursue his true passion, music. Accompanied by the ship's singing doctor, Klin (Charles Kullmann), Nicky makes the acquaintance of a cabaret dancer named Cara de Talavera (Yvonne De Carlo). The daughter of a Spanish colonial family that was once prominent but has fallen upon difficult times, Cara now dances in secret as Scheherazade in a revue at the nightclub. Inspired by her, Nicky sets about composing his most famous song for inclusion in a ballet. Although fate conspires to keep Cara and Nicky apart for a time, his piece is a success and is scheduled for a performance at the St. Petersburg Opera House, where none other than Cara turns up as the lead dancer. ~ Karl Williams, Rovi

Philip Yordan's stage hit Anna Lucasta posed two problems to Hollywood in 1949. For one thing, the story concerned a prostitute who is exploited by her greedy family. For another, the characters were black, thereby cutting the box-office potential in half in those racially divisive times. In adapting Anna Lucasta to the screen, Yordan and co-scripter Arthur Laurents "laundered" the property for popular consumption. Anna's sexual hijinks are only hinted at, and in fact an impressionable viewer might even get the idea that she's still a virgin when the film comes to an end. And the racial angle was tackled by transforming the characters into Polish-Americans, which enabled Paulette Goddard to assume the leading role. Otherwise, the film differs but little from the play: Thrown out of her house by her drunken father (Oscar Homolka), Anna is welcomed back into the fold only as bait to trap an unmarried, wealthy farmer. Anna squelches her family's avaricious plans by genuinely falling in love with the poor sucker who's been targeted as her husband. Broderick Crawford fares best as Anna's doltish brother-in-law, a characterization deftly combining boorish selfishness and lovable humor. Anna Lucasta was remade with most of its Broadway bite intact in 1958 -- this time with an all-black cast. ~ Hal Erickson, Rovi

Second-billed Marilyn Monroe is the blonde in question in this second film version of Gentlemen Prefer Blondes: Miss Lorelei Lee, whose philosophy is "diamonds are a girl's best friend." Together with her best human friend Dorothy (top-billed Jane Russell), showgirl Lorelei embarks upon a boat trip to Paris, where she intends to marry millionaire Gus Esmond (Tommy Noonan). En route, the girls are bedeviled by private detective Malone (Elliot Reid), hired by Esmond's father (Taylor Holmes) to make certain that Lorelei isn't just another gold-digger. When Dorothy falls in love with the poverty-stricken Malone, Lorelei decides to find her pal a wealthier potential husband, and that's how she gets mixed up with flirtatious diamond merchant Sir Francis Beekman (Charles Coburn) and precocious youngster Henry Spofford III (George "Foghorn" Winslow). Most of the Leo Robin-Jule Styne songs from the Broadway show remain intact, including Marilyn Monroe's rendition of "Diamonds are a Girl's Best Friend," a production number later imitated by pop icon Madonna. ~ Hal Erickson, Rovi