Nan Leslie Movies

A veteran cast gives the 1968 cheapie The Bamboo Saucer what little credibility it has. In his last role, Dan Duryea plays the head man of an expeditionary force in search of a missing UFO. Since the craft was last sighted in the mountains of Red China, the search takes on political significance. Duryea's American team is eventually forced to align itself with a similarly-purposed group of Soviet researchers (this being a 1968 film, the real bad guys are the Red Chinese). Lois Nettelton has some wonderfully campy moments as a Russian scientist. Bamboo Saucer was produced by Jerry Fairbanks, of "Speaking of Animals" and "Crusader Rabbit" fame. ~ Hal Erickson, Rovi

A navy jet piloted by Captain Dale Heath (Efrem Zimbalist Jr.) and carrying an enlisted man (Troy Donahue) has already taken off when Heath realizes that both his radio and his navigation equipment have malfunctioned. They might be on the right course, but he can't tell if they're at the right altitude -- 500 feet too high or too low would put him in the path of a plane headed in the opposite direction -- and he can't get through to ground control to get a fix. Heath is quietly terrified at the prospect of what may happen, not just for the obvious reason but also because he's experienced this situation once before and saved himself at the cost of the other plane and its crew. Meanwhile, flying in the opposite direction on the same course is a DC-7 commercial airliner flown by Dick Barnett (Dana Andrews), a veteran pilot, and carrying a full load of passengers, each with their own worries. Much of the first 85 minutes of this thriller is devoted to the passengers and crew of the airliner struggling with their personal problems, told in extensive flashbacks. Both Barnett and Heath have their personal trials, the latter including an unhappy marriage to a faithless wife (Rhonda Fleming); Barnett's troubles are more complicated, and concern long-time problems with his co-pilot, Mike Rule (John Kerr), whose own personal conflicts involve his artist father, his own conflicting love of flying and art, and his relationship with head stewardess Anne Francis (who never looked better than she does in this movie). The extensive flashbacks will push the patience of modern audiences almost to the breaking point, but they do pay off -- and except for the archaic late 1950s slang (which, ironically, was intended to make the movie seem up-to-date) that litters the dialogue, and a silly subplot involving a Broadway method actor on his way to Hollywood, the material is worth watching, despite the soap-opera-ish elements, as the suspense gets ratcheted up gradually. The movie piles on hints and clues (some of them false) about the impending danger that turn the last 20 minutes or so into a neat cinematic thrill-ride for its time. ~ Bruce Eder, Rovi

The business partnership of Harry Bright (R.G. Armstrong) and Chuck Clark (William H. Wright)--and their lifelong friendship--comes to an abrupt end when Chuck marries the much-younger Margaret Roper (Nan Leslie). Harry regards Margaret as nothing but a cheap gold-digger, and is not too careful about telling everyone what he thinks of her. As a result, Harry is arrested when Margaret turns up murdered. Taking Harry's case, Perry (Raymond Burr) soon finds that there are quite a few people who like to have seen Margaret dead. Stafford Repp, aka "Chief O'Hara" on the 1960s version of Batman, appears in a small role. ~ Hal Erickson, Rovi

Legendary German director E. A. DuPont didn't have much luck lining up worthwhile projects in Hollywood. DuPont's 1953 potboiler Problem Girls is set in a seedy private school for emotionally disturbed young women. The school's operator (Helen Walker), working in concert with the athletic instructor (James Seay), schemes to pass off a drug-addicted girl (Susan Morrow) as the heiress to an oil fortune. Luckily, school psychologist John Page (Ross Elliot) gets wind of the scheme; unluckily, this puts Page next in line on the villains' ever-mounting "hit list." Essentially an excuse to parade a group of buxom young starlets across the screen, Problem Girls was a far cry from such earlier DuPont films as Variety and Atlantic. ~ Hal Erickson, Rovi

Monte Hale stars in the Republic oater Pioneer Marshal. This time, Hale is cast as Ted Post, a Texas marshal who's on the trail of embezzler Larry Forester (Myron Healey). His search takes him to a remote frontier town that serves as an outlaw hideaway. All previous lawmen have been disposed of by town boss Bruce Burnett (Damian O'Flynn), who demands a hefty price for his services. By travelling incognito, Post manages to escape detection by Burnett -- at least for five reels. Pioneer Marshal is capped by one of the most fascinating variations on the traditional hero-villain shootout ever conceived for a "B" western. ~ Hal Erickson, Rovi

Filmed at majestic Lone Pine, CA, this fine B-Western features Tim Holt and sidekick Richard Martin helping an elderly miner, Jason Robards Sr., with an obstinate wagon-wheel. But the two friends become instant suspects when the miner is found murdered for the map to his claim. Although she is attracted to Tim, even the dead man's pretty niece (Nan Leslie) believes in his guilt. But by using a bit of subterfuge, Holt and Martin break out of jail and are soon able to unmask the real culprits. It should come as no surprise that Holt and leading lady Nan Leslie look comfortable together; Guns of Hate was the third of six Westerns they would make together. ~ Hans J. Wollstein, Rovi

In the early 1930s, Tom Keene was RKO's resident western star. By 1948, Keene had changed his name to Richard Powers, and had slipped unobtrusively into supporting roles. Back at RKO for Indian Agent, Keene/Powers plays a crooked government man who has been rerouting the Indian's food supplies to fatten his own bank account. Racing to the rescue is Tim Holt, who forestalls an Indian uprising in order to bring the duplicitous agent to justice. Indian Agent also features a character performance by Noah Beery Jr. (usually cast as the bucolic best friend of the hero) as a proud Native American chief. ~ Hal Erickson, Rovi

RKO Radio's "Zane Grey" western series came to an end with the eighth entry, Wild Horse Mesa. Tim Holtstars as a cowboy who earns his keep by rounding up wild mustangs. When his boss is murdered after selling the horses, our hero and his Irish-Mexican sidekick Chito Rafferty (Richard Martin) try to find out who's responsible. It would spoil the viewer's fun to reveal the identity of the killer, but it can be noted that the film's leading lady is the lissome Nan Leslie. Wild Horse Mesa had been previously filmed in 1925 (with Tim Holt's father Jack), then again in 1933. ~ Hal Erickson, Rovi

Not by any means a great film, The Devil Thumbs a Ride nonetheless has an indefinable audience allure that sucks the viewer into its labyrinthine storyline and doesn't let go until the fade-out. Lawrence Tierney plays Steve Morgan, a charming but utterly sociopathic criminal who has just robbed and killed a movie theater cashier. Morgan hitches a ride with inebriated conventioneer Jimmy Furguson (Ted North). Later on, Furguson picks up two more hitchhikers: virginal Beulah Zorn (Nan Leslie) and good-time girl Agnes Smith (Betty Lawford). When circumstances lead Jimmy to believe that Steve is the fugitive whom the cops are looking for, Morgan sweet-talks his way into everyone's confidence. Before he knows what's happening, Jimmy is holed up in a beach house while Steve parties with Beulah and Agnes. Not even the most fervent of film noir fans will be able to predict the outcome of this one. Long ignored by movie buffs, The Devil Thumbs a Ride gained a large following through repeated TV showings in the 1960s and '70s. It is now considered so representative of its genre that one film historian used the film's title for a collection of his essays on B-melodramas. ~ Hal Erickson, Rovi

A WWII Coast Guard veteran, Lt. Scott Burnett (Robert Ryan), is plagued by nightmares of his combat days. One day, he meets a woman, Peggy Butler (Joan Bennett), walking on a beach, picking up pieces of wood. Butler is married to a grumpy, blind painter, Ted Butler (Charles Bickford). Despite his affections for his fiancée Eve (Nan Leslie), whose father is a boat builder, Scott falls in love with Peggy and soon breaks off the engagement. Peggy reveals that she blinded her husband years earlier by throwing a glass at him during an ugly spat, ruining his career and her own ambitions to be an upper-class socialite. Scott fears that Ted is suspicious that he is having an affair with Peggy and becomes so paranoid that he begins to believe that Ted is faking his blindness -- and sets out to prove it. This was the fifth and final American film by the great French writer-director Jean Renoir. ~ Michael Betzold, Rovi

We prefer Rosalind Russell when she's making us laugh; judging by such films as Mourning Becomes Electra and The Velvet Touch, Russell preferred herself in heavy dramatics. In Sister Kenny, Rosalind Russell is all grim determination and pursed lips as Elizabeth Kenny, tireless battler of infantile paralysis. It is in the Australian outback that nurse Kenny first confronts the debilitating illness. Forsaking her private life (as well as any romantic entanglements), Kenny battles with the medical establishment in order to bring her radical theories towards conquering the disease to the public. Her ultimate triumph is solidified upon the formation of Minneapolis' Kenny Institute. Based on Elizabeth Kenny's autobiography, A solid piece of film craftsmanship, Sister Kenny was the sort of glossy prestige picture that always made Hollywood look good in the eyes of its staunchest critics; it was also the sort of picture that almost invariably lost a fortune at the box office (Sister Kenny took a bath to the tune of $660,000). ~ Hal Erickson, Rovi

With Tim Holt still in military service and Robert Mitchum promoted to "A" pictures, RKO Radio attempted to create a new B-western star in the form of James Warren, who starred in three sagebrushers over a three-year period. Warren's second RKO effort was Sunset Pass, a remake of an oft-filmed Zane Grey story. The star is cast as Rocky, a railway express officer assigned to break up a train-robbery gang operating on the Arizona border. John Laurenz plays Rocky's Spanish-Irish sidekick Chito Rafferty, a role later assigned to Richard Martin in the Tim Holt series. One of the film's two heroines is played by Jane Greer, who unlike James Warren was destined for bigger things at RKO. ~ Hal Erickson, Rovi

Like the same-named 1934 and 1935 films, RKO Radio's 1945 musical George White's Scandals uses the eponymous Broadway revue as a framework for a fabricated plotline. The main story concerns the romance between stage comedienne Joan Mason (Joan Davis) and back-bay Bostonite Jack Williams (Jack Haley), which is staunchly opposed by Jack's spinsterish sister Clarabelle (Margaret Hamilton, who of course had previously costarred with Haley in The Wizard of Oz) A secondary romance involves the hot-and-cold relationship between British socialite Jill Martin (Martha Holliday) and Tony McGrath (Philip Terry), the assistant to Broadway impresario George White (played not by the real White but by Glenn Tryon). Musical specialties are provided by Gene Krupa and his band, organ virtuoso Ethel Smith and pianist Rose Murphy. The film's highlight is "Who Killed Vaudeville?", a tour-de-force for Joan Davis and Jack Haley which was later excerpted in the RKO musical pastiche Make Mine Laughs (prompting a lawsuit from Haley!) ~ Hal Erickson, Rovi