Juano Hernandez Movies

John Frankenheimer directed this tepid World War II comedy set in the Philippines. When four American soldiers -- Lieutenant Morton Krim (Alan Alda), Cook 3rd Class W.J. Oglethorpe (Mickey Rooney), Gunner's Mate Orville Toole (Jack Carter), and Seaman 1st Class Lightfoot Star (Manu Tupou) -- are detached from their ship, they find themselves stranded on an uncharted island. Looking up from the surf, they see the vision of Lieutenant Commander Finchhaven (David Niven), immaculately dressed, standing atop an old gunboat and sipping some whiskey. The Americans set about repairing the gunboat, the H.M.S. Curmudgeon. After it is repaired, they set sail -- with the additions of Finchhaven and Jennifer Winslow (Faye Dunaway), a woman also stranded on the island. Almost immediately, the ship is attacked by the Japanese, but luckily the ship survives. All the while, Finchhaven simply stands on deck and sips his whiskey. It is then revealed that Finchhaven is a ghost, condemned to stay upon this ship for all eternity to redeem the family honor that was lost in 1914 when Finchhaven got drunk before his first battle and disgraced the family name. ~ Paul Brenner, Rovi

Critically acclaimed Rod Steiger plays Sol Nazerman, a Jewish pawnbroker who survived imprisonment in a Nazi concentration camp, even though his wife and family did not. The devastating experience and unrelenting memories inhibit Sol from emotional involvement with life. He has no faith in religion and less in mankind. Though he carries on an affair with a woman who was also a victim of the Nazi camps, it is without emotion and Sol grows increasingly bitter and callous, withdrawing still further from the world around him. As his small shop in Harlem is run with little care or attention, it becomes a convenient cover for a local racketeer. Finally, a caring social worker tries to appeal to his humanity, but Sol's emotional wounds may prove to be too great to overcome. Based on a book by Edward Lewis Wallant, The Pawnbroker features the skilled camera work of Boris Kaufman, who had previously worked with director Sidney Lumet on films such as 12 Angry Men (1957) and Long Day's Journey Into Night (1962). The score is composed by Quincy Jones, who would contribute to Lumet's 1978 musical, The Wiz. ~ Kristie Hassen, Rovi

Released in Great Britain as The Spinster, this romantic drama is based on a novel by Sylvia Ashton-Warner. Shirley MacLaine plays Anna Vorontosov, a Pennsylvania-born schoolteacher who has taken a job in rural New Zealand. The permissive habits of the Maori families whose children she teaches continually shock her. Though she is emotionally repressed, Anna is a remarkable teacher who brings innovative classroom methods to her job. Her racially mixed classes are thriving. W.W.J. Abercrombie (Jack Hawkins) is a school administrator who is won over by her methods. Paul Lathrope (Laurence Harvey) is a teacher who longs to be a singer but is lonely and irresponsible. The icy Anna, frightened of men, rebuffs their advances. Her chief aide, Whareparita (Nobu McCarthy), a 15-year-old Maori, becomes pregnant. The Maoris accept this as a natural development. But her baby dies during childbirth. Soon after, Paul crashes his motorcycle and dies. When Anna learns that Paul was the baby's father, she wonders whether the crash was an accident or a suicide, and she blames her rejection of Paul for the pregnancy. ~ Michael Betzold, Rovi

Rachel Cade (Angie Dickinson), a dedicated American nurse working in the Belgian Congo, meets administrator Henri Derode (Peter Finch) during a native fertility dance. Guess what he tries to do? He doesn't, though, because Rachel falls in love with handsome downed RAF pilot Paul Wilton (Roger Moore). As Paul's wounds heal in the jungle hospital, he and Rachel manage to find quality time together. After he leaves, a pregnant Rachel turns to the previously rejected Henri for aid and comfort. After an hour or so of further melodramatic complications (including a native uprising), Rachel realizes that it was Henri she loved all along. A standard-issue soap opera from the Warner Bros. factory, The Sins of Rachel Cade was unobtrusively directed by the ubiquitous Gordon M. Douglas. Edward Anhalt adapted the screenplay from a novel by Charles E. Mercer. ~ Hal Erickson, Rovi

The life of legendary bluesman W.C. Handy is highly dramatized in this tuneful biopic. The story opens as his father, a minister chastises his son for playing "the devil's music." Despite his father's admonitions, Handy is drawn to the blues. He is encouraged by two disparate women, one an earthy singer from New Orleans and the other a good-hearted girl from his hometown whose main concern is Handy's happiness. Stress causes Handy to go blind for a while, but eventually he regains his sight, becomes famous for his music, and wins the respect of his father. The highlight of the film involves the performance of Handy's music by some of the great blues and jazz singers of the 1950s including Cole, Calloway, Jackson, and Fitzgerald. Songs include "Hesitating Blues," "Chantez Les Bas," "Beale Street Blues," (W.C. Handy), "Careless Love" (based on folk music by Handy; lyrics by Spencer Williams, Martha Koenig), "Morning Star," "Way Down South Where the Blues Began," "Mr. Bayle," "Aunt Hagar's Blues" (Handy; lyrics by Tim Brymn), "They that Sow" (hymn), and "Going to See My Sarah" (spiritual). ~ Sandra Brennan, Rovi

Filmed on location in Africa, Mark of the Hawk stars Sidney Poitier as a London-educated African who returns to his homeland to take a political post. Poitier's brother Clinton Macklin is in charge of a rebel organization, determine to topple the white-dominated government. Poitier must choose between seeking out racial equality through peaceful means, or casting his lot with Macklin: it is (at least in this film) a struggle of Right against Right. Eartha Kitt is top-billed, but her role is decidedly secondary to Poitier's. Released in Britain as Accused, Mark of the Hawk has been retitled Shaka Zulu on video, though it should not be confused with the 1985 TV miniseries of the same name. ~ Hal Erickson, Rovi

Viewers familiar with the 1996 Mel Gibson blockbuster Ransom may be disappointed that there are no smirking villains, car chases, or bloody fistfights in the original 1956 version of the same story. Even so, the earlier Ransom! has much to offer on a purely dramatic level. Based on the Richard Maibaum-Cyril Hume TV play Fearful Decision, the film stars Glenn Ford as self-made industrialist David Stannard. When his son is kidnapped and held for 500,000 dollars ransom, Stannard at first sets about to cooperate with the abductors and to raise the necessary funds. Somewhere along the line, however, Stannard's outrage erupts and boils over. Buying air time on a local TV station, he pulls out the half-million dollars, then informs the kidnappers that they'll never get their hands on a single penny. He further threatens to use the money as a reward for the kidnappers' capture, dead or alive, should any harm befall his son. Despite the protests of his wife, Edith (Donna Reed), and the admonishments of his friends, family, business associates and even the police, Stannard sticks fast to his decision...but will he live to regret it? The boy's abductors are never seen in Ransom!; instead, the film concentrates on the multitude of ramifications (including a few political ones) stemming from David Stannard's bold stance. As such, the 1956 Ransom! is in its own way as tense and exciting as the more elaborate 1996 remake. ~ Hal Erickson, Rovi

Regarded by many critics as the ultimate film noir, and by many more as the finest movie adaptation of a book by Mickey Spillane, Kiss Me Deadly stars Ralph Meeker as Spillane's anti-social private eye Mike Hammer. While driving down a lonely road late one evening, Hammer picks up a beautiful blonde hitchhiker (Cloris Leachman), dressed in nothing but a raincoat. At first, Hammer assumes that the incoherent girl is an escaped lunatic; his mind is changed for him when he and the girl are abducted by two thugs. The men torture the girl to death as the semiconscious Hammer watches helplessly. He himself escapes extermination when the murderers' car topples off a cliff and he is thrown clear. Seeking vengeance, Hammer tries to discover the secret behind the girl's murder. Among those who cross his path in the film's tense, tingling 105 minutes are a slimy gangster (Paul Stewart), a turncoat scientist (Albert Dekker), and the dead woman's sexy roommate (Gaby Rodgers). All clues lead to a mysterious box -- the "Great Whatsit," as Hammer's secretary Velda (Maxine Cooper) describes it. Both the box and Velda are stolen by the villains, at which point Hammer discovers that the "Whatsit" contains radioactive material of awesome powers. The apocalyptic climax is doubly devastating because we're never quite certain if Hammer survives (he doesn't narrate the story, as was the case in most Mike Hammer films and TV shows). Director Robert Aldrich and scriptwriter Jack Moffit transcend Kiss Me Deadly's basic genre trappings to produce a one-of-a-kind melodrama for the nuclear age. ~ Hal Erickson, Rovi

The life of tragic jazz great Bix Beiderbecke is given the "a clef" treatment in Warner Bros. Young Man With a Horn. Kirk Douglas plays the Beiderbecke character, here named Rick Martin. An ace trumpter player, Martin is one of the few white musicians to flourish in the black-dominated jazz scene of the 1920s. Chafing against the dullness of the "respectable" orchestras for whom he works, Martin finds at least two kindred spirits in the forms of torch singer Jo Jordan (Doris Day) and piano player Smoke Willoughby (Hoagy Carmichael). He rises to popularity with his own group, and along the way falls under the spell of wealthy jazz patroness Lauren Bacall. After marrying Bacall, Martin begins neglecting his music and turns more and more to alcohol. When he skips one of her fancy parties to attend the funeral of his mentor Juano Hernandez, Bacall angrily smashes all his jazz records, effectively ending what was never a very solid relationship. Crawling into a bottle, Martin loses his touch with the trumpet-a heartbreaking sequence, in which he goes to pieces in the middle of the pop standard "With a Song in My Heart". Unlike the real Beiderbecke, who died of alcoholism at the age of 28, Rick Martin is rescued by his faithful friends Day and Carmichael. Kirk Douglas' trumpeteering in Young Man with a Horn was effectively dubbed by Harry James, while jazz pianists Buddy Cole and Jimmy Zito make uncredited soundtrack contributions. The film was adapted by Carl Foreman and Edmund H. North from a novel by Dorothy Baker. ~ Hal Erickson, Rovi

Intruder in the Dust is one of the best of Hollywood's postwar "racial tolerance" cycle--a cycle that would come to an abrupt end in the politically paranoid 1950s. Based on a novel by William Faulkner, the film takes place in a small Mississippi town (it was filmed on location in and around Oxford, MS). Juano Hernandez plays an African-American landowner who is arrested on a murder charge. Resentful of Hernandez' industriousness, the white townsfolk are eager to see him hang. David Brian, the attorney uncle of a young white boy (Claude Jarman Jr.) who has befriended Hernandez, agrees to take the accused man's case. His job is complicated by the lynch-mob mentality fomented by the dead man's brother (Charles Kemper) and Hernandez' refusal to reveal the name of the man he suspects as the killer. The hostile atmosphere reaches a fever pitch, but justice is ultimately served. Intruder in the Dust stands out among other films of its period with its refusal to stoop to any form of condescension towards its black characters or to rationalize the behavior of the bigots. Though produced by MGM, the film wisely displays none of that studio's patented glossiness, opting instead for a dusty, sun-scorched, fleabitten veneer that enhances the film's basic realism. ~ Hal Erickson, Rovi