John Kerr Movies

Both Van Johnson and Gregory Peck were considered for the role of baseball star Monty Stratton in the 1949 biopic The Stratton Story before settling upon the real Stratton's own first choice, James Stewart. The film covers several years in the 1930s, as Texas farm boy Stratton rises from the minors to the Chicago White Sox. Along the way, Monty marries an Omaha gal named Ethel (June Allyson), who gives him a son. In November 1938, Monty accidentally shoots himself in the leg while on a hunting excursion. When the leg has to be amputated, it looks as though Stratton's pitching career is over. He broods over his bad luck for months before snapping out of his self-pity and learning to walk with his new prosthesis. To prove to himself that he's overcome his handicap, Monty takes a job pitching with the Southern All-Stars. His return to baseball is rough sledding (the other team persistently bunts balls out of his reach), but Monty Stratton is finally able to make a successful comeback. Only occasionally playing fast and loose with the facts (the time-frame of Stratton's real-life return to baseball is telescoped by several years), The Stratton Story was one of the best and most profitable baseball pictures ever turned out by Hollywood. Fans of the game will get an extra kick from the presence in the cast of big-leaguers Bill Dickey and Jimmy Dykes. ~ Hal Erickson, All Movie Guide

The third film version of Robert E. Sherwood's play Waterloo Bridge, Gaby is also the most antiseptic of the three. In the original 1931 film, Mae Clarke is cast as a British streetwalker who falls despearately and tragically in love with aristocratic military officer Douglass Montgomery. In the cleaned-up 1940 version, Vivien Leigh plays a ballerina who becomes a prostitute only after being informed that her lover, British "landed gentry" officer Robert Taylor, was killed in battle. In the 1956 edition, Leslie Caron is once again a ballerina at the outset, who once again turns to the World's Oldest Profession when she believes that her sweetheart, American GI John Kerr, has been killed during the D-Day invasion. The source material has been dry-cleaned to the extent that the heroine is permitted a happy ending, something she was flatly denied in the first two versions. ~ Hal Erickson, All Movie Guide

This low-budget swashbuckling film is not in the same league with the Douglas Fairbanks and Errol Flynn portrayals, but still fun if the viewer doesn't do comparisons. Standard Robin Hood plot. ~ Tana Hobart, All Movie Guide

Producer/director Joshua Logan's long-awaited filmization of Rodgers & Hammerstein's Pulitzer Prize winning musical South Pacific was not the classic that everyone hoped it would be, principally because of some curious creative choices made by the production personnel. Adapted from James A. Michener's best-selling novel Tales of the South Pacific, the film stars Mitzi Gaynor as WAVE officer Nellie Forbush, who while stationed overseas during World War II falls in love with wealthy French planter Emile De Becque (Rosanno Brazzi). The Navy would like DeBecque to help them in a reconnaissance mission against the Japanese, but he refuses; having run away from the outside world after killing a man in his home town, De Becque sees no reason to become involved in a war which he did not start and in which he has no interest. But when Nellie, her inbred bigotry aroused when she discovers that Emile has two mixed-race children, refuses his proposal of marriage, DeBecque, having nothing to lose, agrees to go on the mission. His partner in this venture is Lt. Joseph Cable (John Kerr), who like Nellie is a victim of prejudicial feelings; Cable has previously thrown away a chance at lasting happiness by refusing to marry Liat (France Nuyen), the dark-skinned daughter of Tokinese trader Bloody Mary (Juanita Hall). When Cable is killed and DeBecque is seemingly lost in battle, Nellie, realizing the stupidity of her racism, prays for Emile's safe return. The dramatic elements of South Pacific are offset by the low-comedy antics of "Big Dealer" seabee Luther Billis (Ray Walston). Outside of Walston and Hall, both repeating their stage characterizations, South Pacific suffers from a largely noncharismatic cast. Mitzi Gaynor never rises above cuteness in the difficult role of Nellie Forbush, while Rosanno Brazzi (whose singing is dubbed by Giorgio Tozzi) seems to be striking poses rather than acting as Emile DeBecque. These casting deficiencies might have been ignored had not South Pacific been laboring under an additional handicap: director Joshua Logan's decision to use colored filters in several key scenes, representing the emotions experienced by the actors. The constant color shift is more unsettling than attractive, drawing attention to Logan's technique and thereby taking the audience "out" of the picture. With all this going against it, however, South Pacific has much to be treasured. For one thing, all of Rodgers & Hammerstein's immortal songs--"Some Enchanted Evening," "Bali H'ai," "There is Nothing Like a Dame," "I'm in Love With a Wonderful Guy," "Younger Than Springtime" etc.--are retained, and, as a bonus, a song cut from the original stage production, "My Girl Back Home," is revived herein. In addition, the film is a bonanza for movie buffs who enjoy playing "spot the bit player:" among the supporting-cast ranks are Tom McLaughlin, Ron Ely, Doug McClure, John Gabriel and James Stacy (rumors persist that Joan Fontaine shows up unbilled as a nurse, but we've yet to spot her). Though artistically disappointing, South Pacific ended up one of the biggest box-office gold mines of the 1950s. ~ Hal Erickson, All Movie Guide

Anne Francis stars as a young prostitute in search of a way out. She seeks out the help of a discreet psychiatrist (Lloyd Nolan), to find out why she has doomed herself to her sordid profession and why she can't seem to shake loose. At this point the film becomes a virtual monologue for Anne Francis, who is magnificent. Girl of the Night never quite rises above its exploitation trappings, but Ms. Francis' performance is worth the admission price alone. The film was advertised as a "case study", based on the book The Call Girl by Dr. Harold Greenwald. ~ Hal Erickson, All Movie Guide

American-International's standing "haunted castle" set is exhibited to peak advantage in Roger Corman's Pit & the Pendulum. Save for the climax, Richard Matheson's script bears but little resemblance to the Edgar Allen Poe original, though there are pronounced echoes throughout of Poe's The Premature Burial. Vincent Price stars as Nicholas Medina, the son of a notorious Spanish Inquisition torturer. Nicholas' wife Elizabeth (Barbara Steele) has died under mysterious circumstances, prompting Elizabeth's brother Francis (John Kerr) to arrive at the Medina castle to investigate. The tormented Medina believes that Elizabeth was buried alive, and is convinced that he can hear his wife's voice calling out to him. In truth, Elizabeth has faked her death, part of a plan concocted with her lover Dr. Leon (Anthony Carbone) to drive Medina mad. She succeeds in this goal (albeit to her own grief, as the film's very last shot reveals), pushing Medina over the brink. Convinced that he's his own father, Medina dons Inquisition robes, straps Francis to a table, and arranges for a huge steel-bladed pendulum to slowly, slooooowwly descend on his helpless victim. You'd never know that Pit & The Pendulum was shot on the budget and schedule of a B western; the film is consistently good to look at, with eerily evocative color camerawork (Floyd Crosby) and sumptuous art direction. Stock footage of the climactic torture sequence would later find its way into the 1966 spy spoof Dr. Goldfoot and the Bikini Machine, which also starred Vincent Price. ~ Hal Erickson, All Movie Guide

After the seemingly random murder of a civil servant, Inspector Erskine (Efrem Zimbalist Jr.) follows the trail of clues to a Communist-funded news service based in Mexico City. What follows is a maelstrom of intrigue involving a possible defector, an eccentric collector of antiques, and a "mole" planted in the American Embassy in Vienna. The acting honors in this episode are won hands-down by the magnificent Viveca Lindfors. ~ Hal Erickson, All Movie Guide

15 years after defecting to the Communists, disillusioned American atomic scientist John Streyer (Richard Kiley) secretly returns to the United States. Not surprisingly, Streyer's homecoming is greeted with outright hostility by former friends and loved ones--and worse, a Red assassin has surfaced with orders to kill him. Arthur Ward (Philip Abbott), the boss of FBI inspector Lew Erskine (Efrem Zimbalist Jr.), makes it his personal mission to locate Streyer before the killer does. ~ Hal Erickson, All Movie Guide

The focus in this episode is on Robert Donner) as police informer TeeJay, a familiar if not always welcome figure at the Rampart division. Officers Reed (Kent McCord) and Malloy (Martin Milner) are somewhat surprised when TeeJay is hauled into jail, suspected of assault and robbery. Though the two cops do what they can to help him, TeeJay's past history as a drug addict works against him. John Kerr, best known for his sensitive potrayals in such films as Tea and Sympathy and South Pacific, is here cast as a neighborhood priest. ~ Hal Erickson, All Movie Guide

Gambling house operator Scott Rogers (Fred Beir) may have reason to regret his eagerness to buy his way into the Cosa Nostra. After his new Mob cohorts bump off an awkward witness to his criminal activities, Roberts finds himself at the center of an FBI investigation headed by Inspector Erskine (Efrem Zimbalist Jr.). As a result, the Mob has written off Rogers as "expendable"--placing Erskine in the position of having to keep the man alive long enough to testify in court. ~ Hal Erickson, All Movie Guide

The Longest Night is a harrowing made-for-TV movie based on a real-life kidnapping. Sallie Shockley is abducted from the home of her parents and held for ransom. Her captors entomb her in a box buried several feet underground, with an air hose as her only conduit to the outside world. As the police close in on the kidnappers and search for the girl, she desperately tries to stave off hysteria and to prevent the cutting off of her air supply. She is rescued comparatively early in the storyline, which then switches to the trackdown of the culprits. The Longest Night effectively conveys the claustrophobic atmosphere of the story, even though it runs out of gas before the end. ~ Hal Erickson, All Movie Guide