Gil Stratton Movies

Emulating a classroom instructional film about the moodswings connected to puberty, Cory (Ben Savage) gets mighty jealous when his pal Shawn (Rider Strong) goes out on his first date. To keep apace with Shawn, Cory decides to begin dating too, and asks Topanga (Danielle Fishel) out--only to have second thoughts when he wakes up and realizes that he's only doing this out of anger, not out of true affection. Who at this point could have guessed how the Cory-Topanga relationship would work out by the time Boy Meets World ended its seven-year run? ~ Hal Erickson, Rovi

Zunar J5/90 Doric 4-7, also known as Jake, is an alien cat who crash-lands on earth. He heads off to the nearest scientist to find gold ($120,000 worth!) in order to repair his spaceship. Jake reveals that he can predict the winners in sporting events and soon the military is trying to track him down. The plot becomes more complicated when a wacky veterinarian inadvertently puts Jake into a deep sleep; now he must hide the alien cat from government authorities. The Cat from Outer Space was written by cartoonist Ted Key, who also wrote other Disney family fare, including Gus and The $1,000,000 Duck. ~ Paul Brenner, Rovi

This musicalized remake of the 1939 comedy Bachelor Mother stars Debbie Reynolds and Eddie Fisher (then Mr. and Mrs.) in the roles originated by Ginger Rogers and David Niven. Reynolds plays a department store salesgirl whose life is turned topsy-turvy when she finds an abandoned baby. Despite her protestations, everyone assumes that she's the mother of the child, including Fisher, the son of store owner Adolphe Menjou. Meanwhile, Menjou convinced that his son is the baby's father, is determined that his boy will "do right" by the innocent Reynolds. Much of the comic zest of the original film is diluted by the lackluster performance of Eddie Fisher, though Debbie Reynolds and the rest of the cast are in fine form. ~ Hal Erickson, Rovi

The scene is a German POW camp, sometime during the mid-1940s. Stalag 17, exclusively populated by American sergeants, is overseen by sadistic commandant Oberst Von Schernbach (Otto Preminger) and the deceptively avuncular sergeant Schultz (Sig Ruman). The inmates spend their waking hours circumventing the boredom of prison life; at night, they attempt to arrange escapes. When two of the escapees, Johnson and Manfredi, are shot down like dogs by the Nazi guards, Stalag 17's resident wiseguy Sefton (William Holden) callously collects the bets he'd placed concerning the fugitives' success. No doubt about it: there's a security leak in the barracks, and everybody suspects the enterprising Sefton -- who manages to obtain all the creature comforts he wants -- of being a Nazi infiltrator. Things get particularly dicey when Lt. Dunbar (Don Taylor), temporarily billetted in Stalag 17 before being transferred to an officer's camp, tells his new bunkmates that he was responsible for the destruction of a German ammunition train. Sure enough, this information is leaked to the Commandant, and Dunbar is subjected to a brutal interrogation. Certain by now that Sefton is the "mole", the other inmates beat him to a pulp. But Sefton soon learns who the real spy is, and reveals that information on the night of Dunbar's planned escape. Despite the seriousness of the situation, Stalag 17 is as much comedy as wartime melodrama, with most of the laughs provided by Robert Strauss as the Betty Grable-obsessed "Animal" and Harvey Lembeck as Stosh's best buddy Harry. Other standouts in the all-male cast include Richard Erdman as prisoner spokesman Hoffy, Neville Brand as the scruffy Duke, Peter Graves as blonde-haired, blue-eyed "all American boy" Price, Gil Stratton as Sefton's sidekick Cookie (who also narrates the film) and Robinson Stone as the catatonic, shell-shocked Joey. Writer/producer/director Billy Wilder and coscenarist Edmund Blum remained faithful to the plot and mood the Donald Bevan/Edmund Trzcinski stage play Stalag 17, while changing virtually every line of dialogue-all to the better, as it turned out (Trzcinski, who like Bevan based the play on his own experiences as a POW, appears in the film as the ingenuous prisoner who "really believes" his wife's story about the baby abandoned on her doorstep). William Holden won an Academy Award for his hard-bitten portrayal of Sefton, which despite a hokey "I'm really a swell guy after all" gesture near the end of the film still retains its bite today. ~ Hal Erickson, Rovi

Friday (Jack Webb) and Smith (Ben Alexander) investigate when Rose Baker, a no-good, slovenly "party girl", disappears. The last person to see Rose was her sister Bernice (Irene Tedrow), who has been taking care of Rose's four children. Several other people come forth with contradictory stories, indicating that Rose was either going to return to her kids, move to another apartment, or leave the city on vacation. There is no question, however, of how Rose Baker ends up--and that's dead. This episode is based on the Dragnet radio broadcast of March 27, 1952. ~ Hal Erickson, Rovi

Howard Hawks hoped to capture the screwball comic fervor of his 1938 film Bringing Up Baby with his 1952 comedy Monkey Business. As in the earlier film, Cary Grant stars as an absent-minded professor involved in a research project. This time he's a chemist seeking a "fountain of youth" formula that will revitalize middle-agers both mentally and physically. Though Grant's own laboratory experiments yield little fruit, a lab monkey, let loose from its cage, mixes a few random chemicals and comes up with just the formula Grant is looking for. This mixture is inadvertently dumped in the lab's water supply; the fun begins when staid, uptight Grant drinks some of the "bitter" water, then begins cutting up like a teenager. A harmless afternoon on the town with luscious secretary Marilyn Monroe rouses the ire of Grant's wife Ginger Rogers, but her behavior is even more infantile when she falls under the spell of the youth formula. Everyone remembers the best line in Monkey Business: foxy-grandpa research supervisor Charles Coburn hands the curvacious Monroe a letter and says "Get someone to type this". Even better is his next line: after Monroe sashays out of the room, Coburn turns to Grant and, with eyes atwinkle, murmurs "Anyone can type." Likewise amusing is Monkey Business's pre-credits gag, wherein Cary Grant opens a door and is about to step forward when director Hawks, off-camera, admonishes "Not yet, Cary." Among the co-conspirators on Monkey Business's carefree script are Ben Hecht, Charles Lederer and I.A.L. Diamond, with an original story by Harry Segall (Here Comes Mr. Jordan) as their source. ~ Hal Erickson, Rovi

Bantam-weight Stanley Clements is Army Bound in this breezy Monogram programmer. Clements plays midget-car driver Frank Cermak, who upon being drafted discovers that his C.O., Lt. Peters (John Fontaine), is a rival racer, and not a particularly friendly one at that. Complicating matters is the fact that Cermak has just fallen in love with Jane Harris (Karen Sharpe), and of course romance is "off limits" to trainees. The climax finds Cermak overcoming his dislike of Peters during a life-or-death situation. At the time Army Bound was put into release, Monogram was in the process of matriculating into Allied Artists, and as such the studio was making noises about dropping its "B"-picture manifest and concentrating only on "A"s: as the subsequent Allied Artists "Bowery Boys" entries proved, this isn't quite what happened. ~ Hal Erickson, Rovi

Believe it or not, those boobish Bowery Boys Slip Mahoney (Leo Gorcey) and Sach Jones (Huntz Hall) are drafted into the Marine Corps (drafted into the Marine Corps?) Because of his father's sterling war record, simple-minded Sach is promoted to sergeant, and has a high old time lording it over his former "chiefie" Slip. Seemingly born under a lucky star, the more Sach screws up during boot camp, the higher he's promoted. Just when this running gag threatens to wear out its welcome, the scriptwriters bring in a gang of crooked gamblers who've been victimizing the Marine trainees, leading to a maelstrom of fisticuffs between the Bowery Boys and the bad boys in the final reel. Extra laughs are supplied in Here Come the Marines by Donald MacBride as Slip and Sach's dough-faced drill sergeant. ~ Hal Erickson, Rovi

Clifton Webb recreates his Sitting Pretty role as Mr. Lynn Belvedere, the World's Greatest Genius. Belvedere discovers that he is ineligible for an honorary award because he never attended college. So he enrolls as a freshman in a major university, becoming the target for "hazing" from obnoxious upper classman Alan Young. The middle-aged Belvedere rapidly builds himself into Big Man on Campus, which complicates his intention of remaining incognito while attending college. Journalism major Shirley Temple likewise threatens to blow Belvedere's cover by writing an article about him for a major magazine. Before earning his college degree (four years' worth of study in six months!), Belvedere plays Cupid for Temple and her estranged boyfriend Tom Drake. Mr. Belvedere Goes to College proved successful enough for a follow-up film, 1951's Mr. Belvedere Rings the Bell. ~ Hal Erickson, Rovi

In this mystery, a detective encounters a woman in a nightclub. He finds that she is being blackmailed by a dancer who is murdered that very night. Of course, the woman becomes the main suspect. She and the gumshoe team up and begin searching for the real killer. The police are in hot pursuit. It does not take them long to find the culprit. ~ Sandra Brennan, Rovi

This second film version of the George and Ira Gershwin's Broadway hit Girl Crazy stars reigning MGM musical prince and princess Mickey Rooney and Judy Garland. The 1932 version of Girl Crazy de-emphasized the main plot, building up the comic subplot involving a timorous temporary sheriff and a city slicker con man -- the better to accommodate that film's stars, Bert Wheeler and Robert Woolsey. The 1943 remake does without the comic relief, concentrating on Rooney, a teenaged playboy who is sent to a Western mining school by his father (Henry O'Neill), in the hopes that the Rooney will forsake his wastrel ways. Judy Garland is cast in the role originated on stage by Ginger Rogers: the feisty, lovelorn frontier postmistress Ginger Gray, who falls in love with the hero -- the difference being that Garland has been promoted from postmistress to the daughter of mining-school dean Phineas Armour (Guy Kibbee). The new plot involves a contest for rodeo queen, pitting Ginger against Marjorie Tait (Frances Rafferty), who is also her rival for Rooney's affections. The contest serves a double purpose: Rooney is hoping that the publicity engendered by the rivalry will attract students to the failing school, proof positive that for all of his bravado, he's a swell, altruistic guy underneath. These plot complications are merely prologue for a gargantuan musical finale built upon the Gershwin standard "I Got Rhythm," staged by the film's original director, Busby Berkeley. Other musical carryovers from the stage play include "Embraceable You," "Bidin' My Time," and "But Not for Me." Featured in the cast are June Allyson, Rags Ragland, and the Tommy Dorsey Band. ~ Hal Erickson, Rovi