June Havoc Movies

This classic episode adroitly utilizes footage from the 1949 theatrical film Strange Bargain--with three of that film's stars, Jeffrey Lynn, Martha Scott and Harry Morgan, reprising their roles in the "new" scenes. Released from prison after serving 30 years for the murder of his boss, Sam Wilson (Lynn) returns to his wife Georgia (Scott) and his son Rod (Art Hindle), who is now a police officer. Georgia and Rod prevail upon Jessica (Angela Lansbury) to help clear Sam's name, and to prove that someone else committed the murder. With the assistance of the original investigating detective, a man named Webb (Morgan), Jessica reconstructs the events leading up to Sam's arrest, with black-and-white "flashbacks" lifted from Strange Bargain illustrating how, three decades earlier, Sam had been offered $10,000 to make his boss' suicide look like murder for insurance purposes. One of the supporting roles is played by Debbie Zipp, who would later become a Murder, She Wrote semi-regular as Donna Mayberry, the fiancee of Jessica's nephew Grady Fletcher. ~ Hal Erickson, Rovi

Glitz producer Allan Carr tries to cash in on the late-'70s disco boom with Can't Stop the Music -- a film of such Brobdingnagian banality that it almost in itself stopped the disco movement cold. Comedienne Nancy Walker directed this musical chronicle, purporting to relate the legend of the formation of the disco group The Village People. Valerie Perrine is Samantha Simpson, a helpful ex-model who attempts to get her roommate, Jack Morrell's (Steve Guttenberg), songwriting career off the ground by assembling a motley group of her Greenwich Village friends (The Village People) together to cut a demo tape of Jack's ditties. All Samantha has to do is charm the square lawyer Ron White (Bruce Jenner) in order to get him to listen to The Village People's scintillating disco strains. ~ Paul Brenner, Rovi

In Volume 38 of a collection culled from the 1963-1965 science fiction anthology television series, a couple finds themselves the target of alien stalkers. ~ Jason Ankeny, Rovi

Racketeer Larry Fay (Sam Levene) gains control of New York's dairy industry, forcing the price of milk to an astronomical (for 1933) price of 13 cents a quart. Hoping to put Fay out of business, Elliot Ness (Robert Stack) appeals to the better nature of singer Sally Kansas (Claire Trevor), star attraction of Fay's popular nightclub (Sally is a thinly disguised caricature of real-life entertainment Texas Guinan, of "Hello, suckers!" fame ). Though she has managed to steer clear of her boss' criminal activities, Sally isn't about to bite the hand that feeds her--until Larry goes one step too far and orders the murder of Sally's kid brother Tommy (Tommy Cook). ~ Hal Erickson, Rovi

In this off-beat, tuneful psychological thriller, an ailing pregnant woman is in the hospital when she inadvertently eavesdrops on a conversation between a pianist and his wife. Later, after losing her baby, the woman's husband convinces her to convalesce in a nice country house he has rented. Later she learns that the house is owned by the pianist whose wife died. The poor confused girl then begins believing that she has been possessed by the spirit of the musician's late wife. ~ Sandra Brennan, Rovi

What mother didn't tell Dorothy McGuire was that it's hard to be a doctor's wife. Marrying physician William Lundigan, Dorothy finds herself home alone most of the time, and also fumes silently as she watches her husband's parade of beautiful female patients. Further problems arise due to Dorothy's snooty mother-in-law (Jessie Royce Landis), who feels the girl isn't good enough for her precious son. When a pretty nurse (Joyce MacKenzie) sets her sights on the doc, Dorothy nearly packs and leaves, but relents when she realizes that her husband is faithful after all. Mother Didn't Tell Me was based on The Doctor Wears Three Faces a novel by Mary Baird. ~ Hal Erickson, Rovi

Taken (as far as possible) from the Cole Porter musical comedy of the same name, Red, Hot and Blue stars Betty Hutton as an ambitious chorus girl. Hutton gets a job with a musical comedy bankrolled by gangsters, and is the wrong girl at the wrong place when one of the show's backers (William Talman) is bumped off. She is arrested for suspicion of murder, then is kidnapped by the villains to keep her from spilling the beans. The plot requires that she be rescued by hero Victor Mature, though many disgruntled audience members may have been rooting for the boisterous Hutton to be dumped in the East River. The stage version of Red Hot and Blue starred Ethel Merman, Jimmy Durante, and Bob Hope. Hutton is no Merman, but she gives her all to the brassy production numbers and the self-absorbed ballads--written not by Cole Porter, whose score was dispensed with, but by Paramount's in-house tunesmith Frank Loesser, who also plays a small role as one of the gangsters. ~ Hal Erickson, Rovi

Crane Wilbur, whose film career stretched all the way back to The Perils of Pauline, brings the benefit of his accumulated directorial expertise to The Story of Molly X. The title character, played with verve by June Havoc, is a hard-bitten gun moll who takes over management of a criminal gang when her husband is bumped off. One of her first official acts as leader is to track down and personally kill the man responsible for her husband's death. The rest of the story deals with Molly X's efforts to evade detection by the law, and her ultimate hoisting on her own petard. Though the supporting-cast performances are wildly variable, June Havoc carries the dramatic and emotional weight of the film with sure-handed professionalism. ~ Hal Erickson, Rovi

Betty Grable and Dan Dailey play a couple of small-time vaudevillians, at least until Dailey gets a big Broadway break. Success swells his head to cataclysmic dimensions; he becomes an alcoholic, loses his stardom and winds up in the drunk ward. Grable divorces Dailey to marry rancher Richard Arlen, but Dailey's old pal Jack Oakie tries to rehabilitate the fallen star. Oakie's mission seems hopeless until Grable rejoins the act, and everything is patched up...at least professionally. If the plot of When My Baby Smiles at Me seems familiar, perhaps you've seen the previous two versions of the George Manker Watters/Arthur Hopkins play Burlesque: The Dance of Life (1929) and Swing High, Swing Low. ~ Hal Erickson, Rovi

Adapted by Moss Hart from the novel by Laura Z. Hobson, this film stars Gregory Peck as recently widowed journalist Phil Green. With a growing son (Dean Stockwell) to support, Green is receptive to the invitation of magazine publisher John Minify (Albert Dekker) to write a series of hard-hitting articles on the scourge of anti-Semitism. In order to glean his information first hand, Green decides to pose as a Jew. As the weeks go by, Green experiences all manner of prejudice, the most insidious being the subtle, "gentleman's agreement" form of bigotry wherein anti-Jewish sentiments are merely taken for granted. Green's pose takes a toll on his budding romance with Minify's niece Kathy (Dorothy McGuire), who comes to realize by her own example that even those who insist that they harbor no anti-Semitic feelings are also capable of prejudice. Watching from the sidelines is Green's lifelong Jewish friend Dave (John Garfield, in what may be his best performance), who despite his inherent rage over the iniquities of racism has learned to be philosophical about the failings of his fellow man-but not to the extent that he's willing to give up the fight against blind hatred. Though warned by several Jewish film moguls that to produce the film would merely "make trouble," 20th Century-Fox chieftan Daryl F. Zanuck (who was not himself Jewish) saw the project through to its conclusion. The wisdom of Zanuck's decision was proven when Gentleman's Agreement not only made a fortune for Fox, but also won three Academy Awards, including Best Picture, Best Director (Elia Kazan) and Best Supporting Actress (Celeste Holm). ~ Hal Erickson, Rovi

Timber Queen is another of Pine-Thomas' rugged low-budget adventure films of the 1940s, most of which (like this one) starred Richard Arlen. It all begins when Russ (Arlen), a former Army pilot, comes home after a physical discharge. He befriends Elaine (Mary Beth Hughes), the widow of an Army buddy, who has inherited a financially-strapped timber camp. Elaine's financial future hinges on a huge timber shipment, which must arrive at its destination On Time-and that's where Russ and his little airplane come in. Sheldon Leonard is his usual surly self as Smacksie, a reformed racketeer who helps Russ complete his mission. ~ Hal Erickson, Rovi

Though a lesser 20th Century-Fox musical, Hello, Frisco, Hello was one of the studio's most successful wartime efforts. John Payne plays Johnny Cornell, a sharp wheeler-dealer operating on the Barbary Coast at the turn of the century. With the help of his songstress girlfriend Trudy Evans (Alice Faye), Johnny gains a reputation as a first-class showman. Soon, however, success goes to Johnny's head, and he deserts Trudy in favor of Nob Hill socialite Bernice Croft (Lynn Bari). The disheartened Trudy heads to England, where she becomes the toast of London's theatrical set. Meanwhile, Johnny marries Bernice, who talks him into a series of money-losing "artistic" theatrical ventures. Learning of the reversal in Johnny's fortunes, Trudy secretly finances his comeback, leading to a happy ending for everyone except the pretentious Bernice. A loose reworking of 1936's King of Burlesque, Hello, Frisco Hello benefits from the comedy relief of Jack Oakie and from a string of enjoyable tunes, including the Oscar-winning "You'll Never Know." ~ Hal Erickson, Rovi