James Burke Movies

In the saga of Hollywood's slow, slow maturation in the depiction of Native Americans, Geronimo highlights an early '60s turning point -- his character is drawn with sympathy -- but no more than that. Chuck Connors, an obviously Caucasian actor, plays the great chief, and there is not a single Native American actor in the cast. The story centers on Geronimo's escape from oppressive conditions on his reservation, and his garnering of forces in Mexico to wage war against the U.S. Several misconceptions are still scattered throughout the tale, especially the indication at the end that Geronimo was successful in obtaining fair treatment for all Native Americans at the hands of the U.S. government. ~ Eleanor Mannikka, All Movie Guide

In this crime thriller a young woman marries a wealthy vintner. Soon afterward, she falls in love with a handsome rodeo rider whom she sees every time her husband is away. One night, her mother-in-law spots a burglar outside the house and reports it to the police. The conniving wife sees a window of opportunity and plots the death of her husband, hoping to blame it on the burglar. Unfortunately, she accidentally murders her husband's friend. Fortunately, she is able to con her husband into taking the rap with the promise that he will be acquitted. During the trial, she lies and he is put away. Later she gets hers when her mother-in-law is poisoned and she is convicted of the crime. The irony of it all is that the wife is innocent of that crime. ~ Sandra Brennan, All Movie Guide

You're Never Too Young is a slapstick-with-songs remake of the 1944 Ray Milland/Ginger Rogers vehicle The Major and the Minor. Dean Martin plays the Milland part, while Ginger's shoes are filled by...Jerry Lewis? Lewis plays an apprentice barber who inadvertently crosses a homicidal jewel thief (Raymond Burr), and equally inadvertently hightails it out of town with the crook's jewels in his possession. Desperate to escape the crook's clutches, and lacking the necessary funds for a train ticket, Lewis disguises himself as a 12-year-old boy so he can travel half fare. He latches onto Dean, a music teacher heading for an all-girls school. After innumerable routines sparked by Lewis's adolescent disguise, the jewel thief catches up with him, leading to a rollicking climactic speedboat chase. Dean Martin has plenty of opportunities to serenade leading lady Diana Lynn (who'd played a supporting role in The Major and the Minor), while Jerry Lewis is in peak form doing his usual "waah-waah-waah" schtick. The original Billy Wilder/Charles Brackett script for The Major and the Minor was reshaped into You're Never Too Young by future bestselling novelist Sidney Sheldon. ~ Hal Erickson, All Movie Guide

Lucky Me is a mixed-bag musical from Warner Bros., adhering to a tried-and-true formula that was wearing just a bit thin in 1954. Candy (Doris Day), Hap (Phil Silvers), Duke (Eddie Foy Jr.) and Flo (Nancy Walker) are four small-time performers who find themselves stranded in Miami. Forced to take domestic jobs in a fancy hotel, the foursomes's spirits are lifted when songwriter Dick (Bob Cummings) checks in. On the verge of writing a big-time Broadway show, Dick invites the four entertainers to participate. The hitch: In order to bankroll the show, Dick must woo and win the daughter (Martha Hyer) of a Texas oil magnate. . .and Candy has fallen in love with Dick. Sharp-eyed viewers will spot Angie Dickinson making her uncredited feature-film debut. ~ Hal Erickson, All Movie Guide

Having supped full of success with the multi-storied O. Henry's Full House, 20th Century-Fox assembled another all-star "omnibus" film, We're Not Married. The unifying factor of this enjoyable seriocomedy is provided by justice-of-the-peace Melvin Bush (Victor Moore), who learns to his horror that his license is invalid. Bush and his wife (Jane Darwell) feverishly track down the five couples whom he has married "illegally" to inform them of the fact and invite them to renew their vows. Couple #1 is Fred Allen and Ginger Rogers, a husband-and-wife radio team whose huggy-kissy behavior on the air conceals the fact that they'd dearly love to cut each other's throats. Couple #2 consists of David Wayne and his contest-happy spouse Marilyn Monroe, who's just won the "Mrs. Mississippi" pageant. Couple #3, Paul Douglas and Eve Arden, ran out of things to say to each other long ago. Couple #4 is millionaire Louis Calhern and his avaricious young bride Eva Gabor, who intends to jilt the old coot and make off with his millions. And Couple #5 is young GI Eddie Bracken and his pregnant wife Mitzi Gaynor. When Bush delivers the news that these unions aren't legal in the eyes of the state, the results range from poignant to hilarious: particularly satisfying is Calhern's puckish revenge on his gold-digging wife. And yes, that is Lee Marvin as Eddie Bracken's army buddy. ~ Hal Erickson, All Movie Guide

Here Comes the Groom was the second collaboration between director Frank Capra and star Bing Crosby. Though not as "socially relevant" as previous Capra productions, the film is a thoroughly likeable yarn about a happy-go-lucky newspaperman named Pete (Bing Crosby). In order to legally adopt a brace of war orphans, Pete must marry within a week. His plans to wed his longtime sweetheart Emmadel (Jane Wyman) come acropper when she, tired of waiting for him to pop the question, becomes engaged to wealthy Wilbur Stanley (Franchot Tone). Conspiring with Wilbur's cousin Winifred (Alexis Smith), Pete spends the balance of the film trying to win Emmadel back. From all accounts, the set of Here Comes the Groom was a happy one, the conviviality extending to Alexis Smith's willingness to be on the receiving end of several jokes concerning her height (she seems nearly a head taller than Crosby!). The film's best scene is the Bing Crosby-Jane Wyman duet "In the Cool, Cool, Cool of the Evening," reportedly filmed in one take without post-dubbing. As a bonus, Here Comes the Groom introduces a bright new singing talent, Anna Maria Alberghetti, and is festooned with uncredited guest stars, ranging from Dorothy Lamour to Louis Armstrong. ~ Hal Erickson, All Movie Guide

Audiences got their money's worth and then some from Byron Haskin's The Denver and Rio Grande. Edmond O'Brien plays Jim Vesser, a former U.S. Cavalry officer and hero, now the man in charge of getting the D&RG's tracks across the Rockies first to secure a right-of-way -- he revels in the job, chosen for it by General Palmer (Dean Jagger), his former commanding officer, who is chairman of the D&RG. But he suddenly finds himself in competition with the somewhat less scrupulous Canyon City and San Juan line, whose right of way is being secured by the much less honest and more ruthless McCabe (Sterling Hayden). At their first meeting, McCabe provokes a fight in which he shoots his own chief engineer, Bob Nelson -- another ex-Cavalry officer -- and manages to pin it on the unconscious Vesser. Although he avoids jail, Vesser is so torn up with guilt over what he thinks he has done that he leaves the railroad. Months go past, and in that time the Denver and Rio Grande steadily loses its lead over the rival company, as "accidents" and unrest among the men seem to plague their every move. Vesser finally decides to step back into the fight when one of these seeming accidents nearly wrecks the train on which he's hitched a ride. Coming to the aid of the general, he takes a two-fisted approach to the problem of McCabe that puts the two on a collision course in more ways than one. He also wouldn't mind getting to know the general's secretary, Linda Prescott (Laura Elliott), a little better, but for reasons that no one around her can explain, she is standoffish and even openly hostile to him. The conflict between Vesser and McCabe turns into what amounts to guerilla warfare between the two outfits, but somehow McCabe and his chief gunman, Johnny Buff (Lyle Bettger), always seem to be a half-step or more ahead of Vesser. ~ Bruce Eder, All Movie Guide

In this western, a cowboy rides out to avenge the death of his fiancee. Three outlaws are responsible for the murder. He finds the first and kills him. The second he finds has become a sergeant in the Seventh Cavalry. The third has become a storekeeper. Unfortunately, before he can kill them, they are all captured by the angry Indians. In captivity, the sergeant sacrifices his life to save the other two. The storekeeper rides off to warn Custer of an impending ambush. He is killed and the cowboy begins romancing the late storekeeper's daughter. The battle scenes in this western are exceptionally well done. ~ Sandra Brennan, All Movie Guide

His Kind of Woman directed by veteran John Farrow, is a convoluted mystery thriller which tries unsuccessfully to combine slapstick comedy with excessive violence, resulting in a film that depends more on stereotypes than on plot development. Nick (Raymond Burr), is a deported gang boss who needs to get back to the United States to run his operation. Dan Miller (Robert Mitchum) is a hard-up guy, who is persuaded, both by a series of beatings and a substantial sum of money, to sell his identity to Nick. Lenore (Jane Russell) a singer, poses as a heiress, trying to marry a millionaire. They all meet up in a resort in Mexico where Nick intends to have plastic surgery to alter his looks. There, a number of double-crosses, shootings, and chases all culminate in an exciting confrontation aboard ship. His Kind of Woman, a Howard Hughes production designed to be a showcase for Jane Russell, is entertaining when viewed as a comedy. As a serious film-noir thriller, it lacks suspense and depth. However, the film has its moments, and Robert Mitchum is in his element as the loner anti-hero. ~ Linda Rasmussen, All Movie Guide

In their never-ending efforts to create a movie series to match the success of "The Thin Man," MGM came up with the fast-paced programmer Mrs. O'Malley and Mr. Malone. Based on characters created by Craig Rice, the film stars James Whitmore as lawyer and part-time sleuth John J. Malone (this character had previously appeared in several other films, as well as the radio series The Amazing Mr. Malone). In his efforts to track down an embezzler, Mr. Malone boards a train heading for New York. Meanwhile, Mrs. Hattie O'Malley (Marjorie Main), a raucous widow from Montana, is also travelling to New York to claim her prize money from a radio contest. During the journey eastward, the man whom Malone is seeking ends up dead. Thanks to Mrs. O'Malley's well-intentioned interference, Malone ends up being accused of murder. How this mismatched pair manages to solve the mystery and save their own hides is good for several laughs. Mrs. O'Malley and Mr. Malone didn't result in a series, though James Whitmore and Marjorie Main make a surprisingly copacetic screen team. ~ Hal Erickson, All Movie Guide

So baseball pictures never make money, eh? Try telling that to MGM, which raked in a box office gross of $4 million on their 1949 baseball musical Take Me Out to the Ball Game. Set in 1906, the film concerns the adventures and misadventures of The Wolves, a champion ball club. The team's success is contingent upon the double-play combination of "O'Brien to Ryan to Goldberg." But while Goldberg (Jules Munshin) lives to play baseball, O'Brien (Gene Kelly) and Ryan (Frank Sinatra) would rather pursue their off-season vaudeville career. Both erstwhile song-and-dance men decide to stick around on the baseball diamond when they mutually fall in love with the Wolves' new owner, the lovely K.C. Higgins (Esther Williams). Though O'Brien wins K.C. for himself, Ryan is compensated with the aggressively affectionate Shirley Delwyn (Betty Garrett). Gambler Joe Lorgan (Edward Arnold), who has bet heavily against the Wolves in an upcoming Big Game, woos O'Brien away from the team with promises of a big role in an upcoming musical comedy. Having let down K.C. and the rest of the team, O'Brien vows to redeem himself by playing in the crucial game. Lorgan gets wind of this, and orders his henchmen to do away with O'Brien. Hoping to shield his buddy from harm, Ryan beans O'Brien with a pitched ball, thereby incapacitating the prodigal player. The crooks are vanquished, and K.C. forgives O'Brien. But upon learning that Ryan had knocked him out, O'Brien charges onto the diamond, thirsting for revenge. Believe it or not, this action results in no fewer than two winning home runs! We offer you this detailed synopsis because it's likely that you'll be too entertained by the film's musical numbers to pay any attention to the story. Outside of the title number and Gene Kelly's solo "The Hat My Father Wore on St. Patrick's Day," the picture's best songs are contributed by Betty Comden, Adolf Green and Roger Edens. Take Me Out to the Ball Game is so delightful as it stands that one can only wonder what the film would have looked like had MGM's first choice Kathryn Grayson--or the studio's second choice, Judy Garland--played the Esther Williams role (In a similar vein, the Frank Sinatra character was originally to have been played by real-life Brooklyn Dodgers manager Leo Durocher!) ~ Hal Erickson, All Movie Guide

John Farrow's movie adaptation of Kenneth Fearing's The Big Clock, based on a screenplay by Jonathan Latimer (and produced by future James Bond screenwriter Richard Maibaum), is a near-perfect match for the book, telling in generally superb visual style a tale set against the backdrop of upscale 1940s New York and offering an early (but accurate) depiction of the modern media industry. Told in the back-to-front fashion typical of film noir, it opens with George Stroud (Ray Milland) trapped, his life in danger, his survival measured in the minute-by-minute movements of the huge central clock of the office building where he's hiding. In flashback we learn that Stroud works for media baron Earl Janoth (Charles Laughton), loosely based on Henry Luce, as the editor of Crimeways magazine. Janoth is a manipulative, self-centered megalomaniac with various obsessions, including clocks; among other manifestations of the latter fixation, the skyscraper housing his empire's headquarters has as one of its central features a huge clock that reads out the time around the world down to the second.

Twenty-four hours earlier, on the eve of a combined honeymoon/vacation with his wife, Georgia (Maureen O'Sullivan), that has been put off for seven years, Stroud was ordered by Janoth to cancel the trip in order to work on a special project, and he resigned. As the narrative picks up speed, in his depression, Stroud misses the train his wife is on and crosses paths with Pauline York (Rita Johnson), a former model for Janoth's Styleways magazine, who is also Janoth's very unhappy mistress, and the two commiserate by getting drunk together in a night on the town. While hurriedly leaving Pauline's apartment, he glimpses Janoth entering. Janoth and York quarrel, and the publisher kills her in a jealous rage, using a sundial that she and Stroud picked up the night before while wandering around in their revels. Janoth and his general manager, Steve Hagen (George Macready), contrive to pin the murder on the man that Janoth glimpsed leaving York's apartment, whom he thinks was named Jefferson Randolph -- the name Stroud was drunkenly bandying about the night before. He gets Stroud back to Crimeways to lead the magazine's investigators in hunting down "Jefferson Randolph," never realizing that this was Stroud. And Stroud has no choice but to return, desperately trying to gather evidence against Janoth and, in turn, prevent the clues gathered by the Crimeways staff from leading back to him. The two play this clever, disjointed game of cat-and-mouse, Janoth and Hagen planting evidence that will hang "Randolph" (and justify his being shot while trying to escape), while Stroud, knowing what they don't about how close the man they seek to destroy is, arranges to obscure those clues and, in a comical twist, sends the least capable reporters and investigators to follow up on the most substantial clues.

Janoth sometimes seems to be unraveling at the frustrating pace and lack of conclusion to the hunt, but Stroud can't escape the inevitable, or the moments of weakness caused by fear and his own guilt over his near-unfaithfulness to his wife or the inscrutable gaze of Janoth's mute bodyguard Bill Womack (Harry Morgan), a stone-cold killer dedicated to protecting his employer. The trail of proof and guilt winds ever tighter around both men, taking some odd twists courtesy of the eccentric artist (Elsa Lanchester) who has seen the suspect. Milland is perfect in the role of the hapless Stroud, and Laughton is brilliant as the vain, self-centered Janoth, but George Macready is equally good as Hagen, his smooth, upper-crust Waspy smarminess making one's skin crawl. Also worth noting is Harry Morgan's sinister, silent performance as Womack, and sharp-eyed viewers will also recognize such performers as Douglas Spencer, Noel Neill (especially memorable as a tart-tongued elevator operator), Margaret Field (Sally's mother), Ruth Roman, and Lane Chandler in small roles. Additionally, the Janoth Publications building where most of the action takes place is almost a cast member in itself, an art deco wonder, especially the room housing the clock mechanism and the lobby and vestibules, all loosely inspired by such structures as the Empire State Building and the real-life Daily News headquarters on East 42nd Street. This film was later remade as No Way Out. ~ Bruce Eder, All Movie Guide