Brian Donlevy Movies

Sharpshooters was the initial entry in what was to have been a series of six "Camera Daredevils" adventures. Brian Donlevy and Wally Vernon star as Steve and Waldo, intrepid newsreel cameraman on assignment in the mythical kingdom of Mitovania. It isn't long before our heroes discover that Michael (Martin Joseph Spellman Jr.), the young Mitovanian prince, has been targeted for assassination by usurping Count Maxim (Douglass Dumbrille). Literally punching their way into the palace, Steve and Waldo do their best to rescue Michael and his pretty tutor Diana Woodward (Lynn Bari) from Maxim's evil minions. It's all strictly formula stuff, and darned if it doesn't work beautifully. For reasons unknown, 20th Century-Fox discontinued its "Camera Daredevils" series after the second entry, Chasing Danger (1939). ~ Hal Erickson, All Movie Guide

Bearing little resemblance to reality, this musical biography of 19th century Russian composer Nikolai Rimsky-Korsakov takes liberal poetic license with the truth. Jeanne-Pierre Aumont stars as Nicky, a Naval Academy cadet assigned to a vessel undergoing a world cruise. On shore leave in Morocco, Nicky goes in search of a piano intending to pursue his true passion, music. Accompanied by the ship's singing doctor, Klin (Charles Kullmann), Nicky makes the acquaintance of a cabaret dancer named Cara de Talavera (Yvonne De Carlo). The daughter of a Spanish colonial family that was once prominent but has fallen upon difficult times, Cara now dances in secret as Scheherazade in a revue at the nightclub. Inspired by her, Nicky sets about composing his most famous song for inclusion in a ballet. Although fate conspires to keep Cara and Nicky apart for a time, his piece is a success and is scheduled for a performance at the St. Petersburg Opera House, where none other than Cara turns up as the lead dancer. ~ Karl Williams, All Movie Guide

Rear Admiral Stephen Thomas' (Charles Laughton) spoken tribute to "the finest Naval officer I knew" provides the framework for the wartime flag-waver Stand By For Action. Robert Taylor stars as Gregg Masterman, a flippant socialite who comes to realize his obligation to his country when he is called to active duty during WW II. Determined to get sea duty, Lt. Masterman is passed over by Admiral Thomas in favor of Lt. Cmdr. M. J. Roberts (Brian Donlevy), who, unlike our academy-trained hero, rose from the ranks to his present position of authority. Any differences between Masterman and Roberts are forgotten in the climactic attack against a formidable Japanese "super-battleship." Though there's precious little room for romance in this essentially all-male entertainment, Stand by for Action offers Robert Taylor a brief dalliance with up-and-coming MGM starlet Marilyn Maxwell. ~ Hal Erickson, All Movie Guide

It's the wild and woolly waterfront world of San Francisco in the late 1800s in this rambling tale of an outrageous nightclub owner (Edward G. Robinson) and his efforts at wooing lovely Mary Rutledge (Miriam Hopkins), a lovely Eastern lass left to her own devices in the rowdy port city. The innocent babe loses that innocence when she becomes a kept lady, running the roulette wheel in Robinson's nightclub. The plot matures when Mary falls in love with an honest and upright gold miner. When the lovers are discovered during a fateful tryst, they flee the evil Robinson, hoping to escape as stowaways aboard a departing ship. Robinson is magnificent in this ruffian role. This action-filled adventure is suitable for the whole family. ~ All Movie Guide

Police Lt. Leonard Diamond (Cornel Wilde) is criticized by his superior Capt. Peterson (Robert Middleton) for his obsessive but fruitless investigation of organized crime boss Mr. Brown (Richard Conte). Peterson calls it a waste of the taxpayers' money motivated by Diamond's love for Brown's girlfriend Susan Lowell (Jean Wallace). Watched at all times by henchmen Mingo (Earl Holliman) and Fante (Lee Van Cleef), and masochistically drawn to Brown, Susan is unable to walk away from him. She overdoses on pills in a suicide attempt and, in her delirium, utters the name "Alicia." Diamond follows up on that new lead, and as he gets closer to defeating his adversary, the arrogant and sadistic Brown retaliates by capturing and torturing Diamond. Meanwhile Brown's former boss but now humiliated underling, Joe McClure (Brian Donlevy), believing that Brown has gone too far in his personal vendetta against Diamond, tries to enlist Mingo and Fante in overthrowing him. However, they remain loyal, and, in a chillingly silent scene visually punctuated by flashes of gunfire, they shoot the deaf McClure after Brown removes his hearing aid. Though superficially a story of good vs. evil, Joseph H. Lewis's film noir presents a complex world, visually captured by John Alton's stark photography, in which the lines between good/evil and love/hate are not always clear. ~ Steve Press, All Movie Guide

Test pilot Brian Donlevy works for a major aircraft plant where a hush-hush project is in progress. Peter Lorre is a deceptively shy plant technician who is actually the head of a foreign spy ring. Eager to get his hands on the plans of a new, secret aircraft, Lorre bribes Donlevy to help him steal the blueprints. Donlevy agrees, and the theft is carried out. But while the conspirators are making their escape by airplane, the plane develops motor trouble and crashes--exactly the intention of Donlevy, who isn't as dishonest as he seems. Crack-Up isn't very deep, but Peter Lorre plays his limited role with a refreshing sense of sardonic humor. ~ Hal Erickson, All Movie Guide

The second of Jerry Lewis' directorial endeavors, The Errand Boy, like its predecessor The Bellboy, is essentially a series of "spot gags," some hilarious, others only moderately amusing. The gossamer-thin plot finds Morty Tashman (Lewis) being hired by the CEO of "Paramutuel Pictures" (Brian Donlevy) to spy on studio employees and report any incidents of wastefulness and sloth. This gives Morty a chance to wander all over the Paramutuel Pictures lot, inadvertently interfering with work in progress, encountering strange characters and inexplicable events, and overall making as much of a nuisance of himself as possible. Some of the better gags include Morty's chaotic behavior at the "wrap party" for a vainglorious movie queen (Iris Adrian); his attempts to eat lunch while a noisy battle scene from a war picture rages all around him; his misguided effort to dub in the singing voice of a tone-deaf actress; the "Mr. Baebrosenthal" bit; and Morty's tete-a-tete in the studio swimming pool with a scuba diver. The weakest scenes involve Morty's sugary encounters with the Ritts Puppets, and a smug curtain speech about the importance of laughmakers in this troubled world. The huge supporting cast includes such reliable chucklemeisters as Howard McNear, Sig Ruman, Milton Frome, Benny Rubin, Fritz Feld, Doodles Weaver, Joey Forman, Dick Wesson and Joe Besser; also making fleeting appearances are actress/writer/director Renee Taylor, veteran movie tough guy Mike Mazurki (in drag!), silent film comic Snub Pollard, and the four stars from TV's Bonanza. Even non-Jerry Lewis fans will come down with a case of loose chuckles while watching The Errand Boy. ~ Hal Erickson, All Movie Guide

Dashiel Hammett's The Glass Key, a tale of big-city political corruption, was first filmed in 1935, with Edward Arnold as a duplicitous political boss and George Raft as his loyal lieutenant. This 1942 remake improves on the original, especially in replacing the stolid Raft with the charismatic Alan Ladd. Brian Donlevy essays the role of the boss, who is determined to back reform candidate Moroni Olsen, despite Ladd's gut feeling that this move is a mistake. Ladd knows that Donlevy is doing a political about-face merely to get in solid with Olsen's pretty daughter Veronica Lake. It is Ladd who is left to clean up the mess when crime lord Joseph Calleila murders Olsen's wastrel son Richard Denning and pins the rap on Donlevy. As Ladd struggles to clear Donlevy's name, he falls in love with Lake--when he's not being pummeled about by Calleila's psychopathic henchman William Bendix. Far less complex than the Dashiel Hammett original (and far less damning of the American political system), The Glass Key further increased the box-office pull of Paramount's new team of Alan Ladd and Veronica Lake. ~ Hal Erickson, All Movie Guide

The moral of Preston Sturges' first directorial effort The Great McGinty seems to be: If you're a crook, stay a crook, because honesty will get ya every time. Brian Donlevy plays Dan McGinty, a Chicago hobo who is hired by local political bosses as a "professional voter", casting ballots under a variety of assumed names in various districts. McGinty chalks up $74 worth of votes, and when local ward heeler William Demarest can't pony up, McGinty takes direct action by trying to beat up The Boss (Akim Tamiroff). Though the two men can't get through an entire day without trying to kill each other, McGinty and the Boss are impressed by each other's raw abilities and become political partners. Through the Boss' patronage, McGinty works his way up to the mayor's office, with his politically expedient bride (Muriel Angelus) at his side. Though he never goes so far as to fall in love with his "arranged" wife, Donlevy is fond of both her and her children by a previous marriage, and for their sake he begins to reform--much to the dismay of the Boss. With the Governor's mansion within his grasp, McGinty makes the fatal error of fessing up to a graft-ridden bridge contract. It is this impulsive moment of honesty, rather than any of his past crimes, that gets McGinty thrown in the slammer, sharing a cell with the blood-in-his-eye Boss. Demarest separates the two combative men long enough to arrange an escape to South America, but not before McGinty has assured the financial security of his wife and family. The story is told in flashback form in a seedy South American dive, where McGinty works as a bartender and the Boss is the manager. The film ends with the two friendly enemies duking it out over a minor infraction, while bouncer Demarest looks on in disgust. Sick to death of watching other directors mangle his screenplays, Preston Sturges sold this rollicking political satire to Paramount only on the condition that he be allowed to direct (for the princely sum of $10). Paramount hedged its bets by giving Sturges a slim budget and inexpensive stars; as a result, the film made back its cost several times over, and Preston Sturges' directorial career was off and running. ~ Hal Erickson, All Movie Guide

"Some are born great, some achieve greatness, some have greatness thrust upon 'em." Firmly in the latter category is Norval Jones (Eddie Bracken), a feckless wartime 4-F who must stand by helplessly as his sweetheart Trudy Kockenlocker (Betty Hutton) entertains every visiting GI in town. One morning after a particularly wild night, Trudy labors under the apprehension that last eve, she'd married a soldier named Ratzkywatzky or something. Evidently something had happened that night, for soon Trudy discovers that she's pregnant. Hiding this information from her bombastic policeman father (William Demarest), Trudy begs Norval to tell the world that he's the father. He agrees, but only after secretly wedding Trudy under an assumed name. Complications and disasters pile up thick and fast, and before long Norval is facing arrest on a variety of charges. Providentially, Trudy gives birth to sextuplets-and suddenly Norval is a national hero! This vintage Preston Sturges farce plays so fast and loose with the censorial restrictions of mid-1940s Hollywood that critic James Agee was moved to comment that, "the Hays office must have been raped in its sleep." As usual, Sturges populates his cast with steadfast members of his stock company-- including, in guest roles, Brian Donlevy and Akim Tamiroff, the stars of his previous film, The Great McGinty. Originally filmed in 1942, Miracle was held from release from two years, not because of censor problems but because its parent studio, Paramount, was overloaded with product. Miracle of Morgan's Creek was remade (and considerably laundered) as the 1958 Jerry Lewis vehicle Rock-a-bye Baby. ~ Hal Erickson, All Movie Guide

A rocket crash-lands in England after a flight of more than 57 hours into deep space. The design of Professor Bernard Quatermass (Brian Donlevy), a forceful, misanthropic American scientist, the Q-1 had three astronauts aboard when it left Earth, but only one of them, engineer Victor Caroon (Richard Wordsworth), is on board upon landing, and he is in a near-comatose state. Even more baffling, the spacesuits of the other two men are still aboard the wrecked ship and are still interlocked, as though they were in them when whatever transpired. Quatermass's investigation is complicated by the presence of Inspector Lomax (Jack Warner) of Scotland Yard, who is treating the disappearance of the two men as a potential murder case, and by Caroon's wife Judith (Margia Dean), who blames the scientist for what has happened to her husband. An on-board camera, although damaged, shows an encounter with some form of energy that invaded the ship and attacked the crew, seemingly killing the other two astronauts and rendering Caroon unconscious. Caroon's condition keeps worsening -- Quatermass's medical expert, Dr. Gordon Briscoe (David King-Wood), is alarmed by the man's impossible heart- and pulse-rate, his degenerating skin and apparent changes in his bone and facial structure. Judith Caroon tries to spirit her husband out of the hospital where he's being cared for, not knowing that something horrific is happening to him. Quatermass and Briscoe soon realize that Caroon is little more than the shell of a man, masking an invading alien life form that can literally draw the life out of any living thing that it touches. The manhunt turns into a fight for survival as the creature continues to kill and mutate, threatening to release spores into the air and spread itself by the millions throughout the Earth. ~ Bruce Eder, All Movie Guide

In this comedy, a scatter-brained professor nearly starts a riot when he writes a book claiming that women like to be treated roughly. A paper publishes snippets from the book and later the professor, feeling he was misquoted, begins suing for libel. The paper then sends out a female reporter to dredge up some dirt on the sexist academic. Not only does she do her job and prevent the suit, she and the professor end up falling in love. ~ Sandra Brennan, All Movie Guide

All suspense in The Woman They Almost Lynched would seem to be dissipated by title, but director Allan Dwan holds the viewers spellbound throughout. Part of the tension arises from fact that there are two leading female characters: Kate Quantrill (Audrey Totter), wife of infamous Confederate raider Quantrill (Brian Donlevy), and Sally Maris (Joan Leslie), virginal sister of Kate's ex-lover, saloonkeeper Bitteroot Bill (Reed Hadley). Sally herself falls in love with Lance Horton (John Lund), ostensibly a mine foreman but actually a Southern spy. Rest assured that one of the two ladies is going to wind up with a noose around her neck for keeping "bad" company -- and that the other will somehow come to the rescue. ~ Hal Erickson, All Movie Guide