Joan Leslie Movies

One of the most oft-revived of the pre-Technicolor Nicholas Ray efforts, Born to Be Bad offers us the spectacle of Joan Fontaine portraying a character described as "a cross between Lucrezia Borgia and Peg O' My Heart". For the benefit of her wealthy husband Zachary Scott and his family, Fontaine adopts a facade of wide-eyed sweetness. Bored with her hubby, she inaugurates a romance with novelist Robert Ryan. All her carefully crafted calculations come acropper when both men discover that she's a bitch among bitches. She might have gotten away with all her machinations, but the censors said uh-uh. Originally slated for filming in 1946, with Henry Fonda scheduled to play the Robert Ryan part, Born to Bad was cancelled, then resurfaced as Bed as Roses in 1948, this time with Barbara Bel Geddes in the Fontaine role. RKO head Howard Hughes' decision to replace Bel Geddes with the more bankable Fontaine was one of the reasons that producer Dore Schary left RKO in favor of MGM. Based on Anne Parrish's novel All Kneeling, Born to be Bad is so overheated at times that it threatens to lapse into self-parody; though this never happens, the film was the basis for one of TV star Carol Burnett's funniest and most devastating movie takeoffs, Raised to be Rotten. ~ Hal Erickson, Rovi

Greta Garbo enjoyed one of her greatest triumphs in this glossy adaptation of Alexandre Dumas' oft-filmed romantic tragedy. Here, Garbo stars as Marguerite Gauthier, who is born into humble circumstances but in time becomes Dame aux Camille, one of the most glamorous courtesans in Paris. Camille is kept by the wealthy and powerful Baron de Varville (Henry Daniell), but after many years of earning a good living from her beauty without finding true love, Camille's heart is stolen by Armand (Robert Taylor), a handsome but slightly naive young man who doesn't know how she came by her fortune. Armand is just as attracted to Camille as she is to him, and she's prepared to give up the Baron and his stipend to be with Armand. However, Armand's father (Lionel Barrymore) begs Camille to turn away from his son, knowing her scandalous past could ruin his future. Realizing the painful wisdom of this, Camille rejects Armand, who continues to pursue her even as Camille contracts a potentially fatal case of tuberculosis. Remarkably, even though this was one of Garbo's greatest commercial and critical successes, she would make only three more films before her retirement in 1941; Camille, however, would be filmed several more times following this version (most memorably by elegant sexploitation auteur Radley Metzger in 1969's Camille 2000). ~ Mark Deming, Rovi

Busby Berkeley directed this lightweight musical comedy in which Judy Jones (Joan Leslie) is informed that she's due to receive a $10 million inheritance, but with one very large string attached: she has to marry an unusually intelligent man. With the call of her checking account ringing loudly in her ears, Judy gives her boyfriend Tommy Coles (Robert Alda), the leader of a dance band, his walking papers. She next enrolls in a (previously) all-male Institute of Technology, where she figures that bright boys will be easy pickings. However, snaring her dream man proves more difficult than she imagined, and she finds out that Tommy is a lot brighter than she originally thought. Sammy Cahn and Jule Styne wrote the songs for this film, which include "You Never Know Where You're Goin' Till You Get There" and "When the One You Love Simply Won't Love Back." ~ Mark Deming, Rovi

In this war drama, set during the Korean War, an Air Force nurse gets involved in a love triangle on the front lines. ~ Sandra Brennan, Rovi

This "modern" western stars Rod Cameron as opportunistic Korean war veteran Tully Gibbs. Posing as a friend of the late son of mine owner Kevin Russel (Chill Wills), Tully intends to work the mine for all it's worth and then pull out. By and by, Tully slowly turns honest, but the same cannot be said of rival miner Ben Hodes (John Russell). Coming clean with Russell, Tully takes it upon himself to protect the mine from Hodes' evil schemes. The feminine angle is provided by Joan Leslie as Sarah Moffit, the sweetheart of Russel's deceased son, who eventually finds happiness in Tully's arms. Of interest are two supporting players, Jim Davis and Kristine Miller; both were concurrently starring on the weekly TV series Stories of the Century. ~ Hal Erickson, Rovi

In a manner of speaking, Humphrey Bogart had George Raft to thank for his ascendancy to stardom: after all, if Raft hadn't turned down both High Sierra and The Maltese Falcon, Bogart might have continued playing second-billed gangsters to the end of his days. Adapted from W. R. Burnett's novel by Burnett and John Huston, High Sierra opens with gangster Roy Earle (Bogart) being paroled after a lengthy prison term. Though he enjoys the fresh air and sunshine of the outside world, Earle has no intention of giving up his criminal ways. In fact, his parole has been arranged by Big Mac (Donald MacBride), so that Earle can mastermind a big-time heist at a fancy California resort hotel. After a few unkind words with a crooked cop, Kranmer (Barton MacLane), in Big Mac's employ, Earle heads toward a fishing resort, where he is to commiserate with his inexperienced, hot-headed cohorts Babe (Alan Curtis) and Red (Arthur Kennedy). En route, he befriends a farm family, heading to LA in search of work. He falls in love with the family's club-footed daughter Velma (Joan Leslie)--though she never really gives him any encouragement--and makes a silent promise to finance an operation on her foot once he's gotten his share of the loot. At the mountain cabin rendezvous, Earle meets Marie (Ida Lupino), Babe's tough-but-vulnerable girlfriend. He angrily orders her to scram, but she stubbornly remains. Earle also finds himself the owner of a "jinxed" dog, whose previous masters have all met with early demises (a none-too-subtle foretaste of things to come). Marie is strongly attracted to Earle, but he refuses to have anything to do with her, reserving his affections for Velma. He arranges an operation for the girl with mob doctor Banton (Henry Hull), never suspecting that the self-serving Velma is planning all along to marry someone else. The robbery goes off without a hitch, save for the fact that "inside man" Mendoza (Cornel Wilde) panics and nearly gives the game away. While escaping, Babe and Red are killed in a car accident, but Earle and Marie escape. Having been disillusioned by Velma's indifference and by the fact that the untrustworthy Kranmer has taken over the late Big Mac's operation, Earle at last realizes that the only person he can truly depend upon is the faithful Marie. With the police hot on his trail, Earle tells Marie to look after herself, then heads alone into the High Sierras--where, in Greek Tragedy fashion, he "busts out" of life. As in Petrified Forest, Humphrey Bogart plays a burnt-out anachronism from an earlier era in crime in High Sierra; in the latter film, however, Bogart has an innate nobility that allows the audience to empathize with him throughout. It is nothing short of amazing that, despite his superb performance in this 1940 film, he still had to wait until The Maltese Falcon for top billing in an "A picture." High Sierra was remade in 1949 as Colorado Territory and in 1955 as I Died a Thousand Times. ~ Hal Erickson, Rovi

The West Coast's answer to Broadway's Stage Door Canteen, the Hollywood Canteen was created as a GI morale-booster by film stars Bette Davis and John Garfield. The Canteen was established so that Our Boys on leave in Tinseltown could have a good time with good food and good dancing -- and, as a bonus, rub shoulders with their favorite movie personalities, who functioned as waiters, chefs, busboys and dancing partners. Since the 1944 all-star flick Hollywood Canteen was produced by Warner Bros., it was only to be expected that the celebrities seen herein would consist mostly of Warner Bros. contract players. The frail plot concerns a soldier on medical leave (played by Robert Hutton) who falls in love with lovely leading lady Joan Leslie (played by Joan Leslie) while visiting the Canteen. Bette Davis and John Garfield are on hand to emcee the Canteen's variety acts, and to act as cupids for the Hutton/Leslie romance. The "supporting cast" includes the likes of The Andrews Sisters, Jack Benny, Joe E. Brown, Eddie Cantor, Sidney Greenstreet, Paul Henreid, Peter Lorre, Ida Lupino, Dennis Morgan, Roy Rogers, S.Z. Sakall, Barbara Stanwyck, and the Jimmy Dorsey and Carmen Cavallaro musical aggregations. Virtually everyone involved donated their salaries to the Canteen fund--even Jack Benny. As with most of these patriotic wartime star rallies, the results are a mixed bag: the best sequences include Benny's violin "duel" with Joseph Szigeti and Roy Rogers and the Sons of the Pioneers introducing Cole Porter's Don't Fence Me In. Hollywood Canteen won three Oscar nominations, more for its good intentions than its inherent excellence. Still, don't pass up the opportunity when this "movie star salad" shows up on cable TV. ~ Hal Erickson, Rovi

Based on a novel by Gwen Bristow, Jubilee Trail is a sprawling, all-star western from the Republic Studio mills. Despite is vaunted budget, the plot is strictly B-picture material. Ambitious California landowner Charles Hale (Ray Middleton) hopes to add to his riches by marrying off his brother Oliver (John Russell) to a wealthy Spanish family. But when Oliver weds a gal named Garnet (Joan Leslie) instead, Charles vows revenge against the new bride. Later, Oliver is killed, leaving Garnet to raise their baby alone. Charles intends to claim the baby for himself, but Garnet, who has subsequently fallen in love with John Ives (Forrest Tucker), isn't about to let that happen. Top-billed Vera Ralston plays saloon-hall chirp Florinda, a Woman With a Past who is peripherally involved in the plot proper, while Richard Webb, TV's "Captain Midnight", fills the obligatory "disgruntled suitor" role. The film is stolen hands down by Pat O'Brien as a drunken doctor who serves as last-minute problem-solver. ~ Hal Erickson, Rovi

Leo McCarey's classic tale of romance stars Irene Dunne and Charles Boyer as two strangers who fall in love on an ocean voyage. Charles Boyer is Michel Marnet, engaged to be married to Lois Clarke (Astrid Allwyn). Irene Dunne is Terry McKay, also engaged to be married, in this case to Kenneth Bradley (Lee Bowman). But when Michel and Terry meet aboard a ship, they fall instantly in love. In order to prove to themselves their love affair is not just a shipboard romance, they agree to meet six months hence on the top of the Empire State Building. If they still feel the same way about each other, they will bid adieu to their fiancees and start their affair anew. Six months later, they are still thinking about each other and proceed to their meeting at the Empire State Building. Michel awaits Terry's arrival, but Terry, on the way to their meeting, is involved in a terrible car accident, leaving her a cripple. Later, by a twist of fate, they are reunited and Michel vows to stay with Terry to help her walk again. ~ Paul Brenner, Rovi

Brash and vigorous director William Wellman always had a place in his filmography for movies glorifying the early years of aviation -- from the start of his career (Wings), until the end (Lafayette Escadrille). But, perhaps, never has his devotion to aviation been made more vivid than in his 1938 drama Men With Wings. Wellman, in this film, attempts to dramatize the history of aviation from the early days of the Wright Brothers until the 1930s, when airline transportation first became viable. The story centers upon two contrasting aviation types: the barnstormer, Pat Falconer (Fred MacMurray), and the methodical scientist of flight, Scott Barnes (Ray Milland). Through these two archetypes, Wellman follows Pat and Scott from childhood to adulthood. Pat marries childhood sweetheart Peggy Ransom (Louise Campbell) and they have a child. Scott, who had always loved Peggy, remains in the background, not wanting to break up his solid friendship with Pat. But Pat is clearly doomed by his recklessness and breakneck individuality. After fighting in the skies during World War I, he refuses to sit back and do the methodical work of flight research like Scott. Always searching for another war to fight, Falconer leaves Scott and Peggy behind, taking off for China to help the Chinese fight Japanese invaders. ~ Paul Brenner, Rovi

In this droll derivation of "Arsenic and Old Lace", former 1940s film ingénues Teresa Wright and Joan Leslie are cast as the spinsterish Appletree sisters, Cabot Cove's resident eccentrics. With the annual flower show coming up, it looks as though dear old Helen and Lillian Appletree are going to win first prize with their chrysanthemums, which have bloomed beautifully and beyond all expectations. What no one else in town knows is that the ladies have come upon a wonderful new "fertiziler"--namely, the body of one Morris Penroy (Henry Jones), whom they have buried beneath their flower bed. When a second corpse pops up at the Appletree house, Cabot Cove's new sheriff Mort Metzger (Ron Masak, making his first appearance in this recurring role) cannot help but suspect that the old biddies have committed murder--but as usual, Jessica (Angela Lansbury) has concluded that someone else is responsible. ~ Hal Erickson, Rovi

In this romantic western, the real stars are a mustang and a police dog. The human aspect of the story centers on a rodeo rider whose late father bequeathed him a ranch in Calgary, Canada. The rider really tries to settle down to ranching, but finds himself pining for the rodeo. His forewoman, also a former rodeo performer, thinks her employer is shirking his duties and needs to forget about broncos, and bull-riding and settle down. Meanwhile, the fellow also longs to catch the white stallion running wild. The dog helps out. ~ Sandra Brennan, Rovi

There's slightly more fancy than fact in this lavish film biography of legendary American composer George Gershwin, but oh! That music! Director Irving Rapper had wanted Tyrone Power to play Gershwin, but Power was still serving in the Marines, so Rapper had to settle for Robert Alda--who isn't bad at all, just a trifle over-enthusiastic. The film traces Gershwin's rise from a "song plugger" for a Manhattan music publishing company to the heights of international fame and fortune. Gershwin's first big hit is "Swanee," introduced on Broadway by Al Jolson (who plays himself, making his first film appearance in six years). In collaboration with his lyricist brother Ira (well played by Herbert Rudley), George pens hit after hit in show after show. Impresario Charles Coburn is happy with this, but George's kindly old music teacher Albert Basserman wants his prize pupil to aspire to something more artistic. Gershwin responds with "Rhapsody in Blue", which debuts at Aeolian Hall in 1924 under the baton of bandleader Paul Whiteman (also playing himself). As his fame and workload grows, George finds he has no time at all for romance; the two (fictional) ladies in his life, both of whom eventually realize that they'll always have to play second fiddle to Gershwin's muse, are musical comedy star Joan Leslie and socialite Alexis Smith. Gershwin continues to compose such masterpieces as "An American in Paris", "Cuban Overture", "Concerto in F" and the 1935 folk opera Porgy and Bess. He will not allow himself to rest on his laurels, ruthlessly pushing himself to top all his previous accomplishments. Finally, the strain proves too great: George Gershwin dies of a cerebral hemorrhage in 1937, at the age of 39. Featured in the cast as themselves (in addition to those already mentioned) are Gershwin's lifelong friend Oscar Levant, producer George White, and Broadway performers Tom Patricola and Hazel Scott. Morris Carnovsky and Rosemary DeCamp play George's parents, while Julie Bishop is cast as Ira's wife Lee, who is saddled with the film's silliest line: "Ira, promise me that you'll never become a genius." Alternately hokey and inspired, Rhapsody in Blue has weathered the years as one of Hollywood's most solid biopics. And, as a bonus, we are treated to a virtually complete performance (running a full reel) of the title composition. ~ Hal Erickson, Rovi