Wayne Taylor Movies

With all those flaming arrows being aimed directly at the audience, it is fairly obvious that Charge of Feather River was originally released in 3D. Fresh from his TV success as Wild Bill Hickok, Guy Madison stars as frontiersman Miles Archer (his character name will be amusing to fans of The Maltese Falcon). In the company of cavalry sergeant Baker (Frank Lovejoy) and a column of troops, Archer heads into Indian country to rescue a pair of white female captives. One of the two girls, Ann McKeever (Helen Westcott), is reluctant to return because she's been despoiled by her Indian captors; the other girl, Ann's sister Jennie (Vera Miles), is in love with the tribal chief and intends to betray her rescuers at the first opportunity. The rescue has been staged to divert the Indians' attention away from the railroad that is being constructed across their territory. The trick now is for Archer, the soldiers and the women to return to Cavalry headquarters in one piece. The film ends with the eponymous charge, excitingly staged by director Gordon Douglas. ~ Hal Erickson, All Movie Guide

Like so many other films that were once considered "lewd" and "scandalous", The French Line seems as harmless as Pollyanna when seen today. Essentially a remake of The Richest Girl in the World, the film stars Jane Russell as Mary Carson, an incredibly wealthy Texas oil heiress. Lucky in investments but unlucky in love, poor Mary can never keep a fiance: either they're fortune-hunters or they don't want to marry anyone so rich and powerful. Thus, while on an ocean voyage to France, Mary poses as the model of dress designer Annie Farrell (Mary McCarthy), hoping to attract a man who is interested in her for herself, and not her millions. That man turns out to be dashing stage star Pierre (Gilbert Roland), but there's many comic complications and misunderstandings before the happy ending. What shocked the censors in 1954 was Jane Russell's sizzling musical number "Lookin' for Trouble", in which she performed an uninhibited bump-and-grind while wearing nothing more than a seven-ounce glorified bikini. While Ms. Russell herself was offended by her skimpy costume, she saw nothing wrong with the dance itself, pointing out that she intended it as a parody of a "burleycue" number. The professional blue-noses disagreed, however: the film was condemned by the Catholic Legion of Decency and denied a Production Code Seal. Eventually, producer Howard Hughes got the Seal--along with a million dollars' worth of free publicity, which is what he intended all along. Filmed in 3D, The French Line is the film that was ballyhooed with the classically tasteless ad campaign "J.R. in 3D--It'll knock both your eyes out!" ~ Hal Erickson, All Movie Guide

The D-Day invasion of 1944 provides a backdrop for the Allied Artists actioner Screaming Eagles. Tom Tryon plays Private Mason, an ill-tempered member of the 101st Airborne Infantry division. Mason makes plenty of enemies with his negative attitude until good-guy lieutenant Pauling (Jan Merlin) straightens him out. The 101st' s main objective (once all personal travails are swept away, that is) is to capture and hold a vital bridge in Normandy. Jacqueline Beer, later one of the costars of TV's 77 Sunset Strip, provides the feminine interest as an attractive resistance fighter (were there ever any unattractive resistance fighters?) Featured in the cast are TV favorites Martin Milner and Alvy Moore and second-generation thespian Edward G. Robinson Jr. ~ Hal Erickson, All Movie Guide

The inherent trashiness of Reform School Girl is redeemed by the sincere performance of Gloria Castillo and the matter-of-fact direction of Edward Bernds. Castillo plays mixed-up teenager Donna Price, who is shipped off to a girl's reformatory when she is involved in a fatal car crash. Actually, Donna is innocent, but she refuses to reveal who was driving. Only when the culprit (a pre-77 Sunset Strip Edward Byrnes) reveals himself to be a total piece of excrement is Donna able to extricate herself from her dilemma. The film served as the movie debut of Sally Kellerman, cast as a butchy inmate. Reform School Girl was remade for television in 1994 as part of Showtime cable's "Rebel Highway" series. ~ Hal Erickson, All Movie Guide

This baroque nightmare of a south-of-the-border mystery is considered to be one of the great movies of Orson Welles, who both directed and starred in it. On honeymoon with his new bride, Susan (Janet Leigh), Mexican-born policeman Mike Vargas (Charlton Heston) agrees to investigate a bomb explosion. In so doing, he incurs the wrath of local police chief Hank Quinlan (Welles), a corrupt, bullying behemoth with a perfect arrest record. Vargas suspects that Quinlan has planted evidence to win his past convictions, and he isn't about to let the suspect in the current case be railroaded. Quinlan, whose obsession with his own brand of justice is motivated by the long-ago murder of his wife, is equally determined to get Vargas out of his hair, and he makes a deal with local crime boss Uncle Joe Grandi (Akim Tamiroff) to frame Susan on a drug rap, leading to one of the movie's many truly harrowing sequences. Touch of Evil dissects the nature of good and evil in a hallucinatory, nightmarish ambience, helped by the shadow-laden cinematography of Russell Metty and by the cast, which, along with Tamiroff and Welles includes Charlton Heston as a Mexican; Marlene Dietrich, in a brunette wig, as a brittle madam who delivers the movie's unforgettable closing words; Mercedes McCambridge as a junkie; and Dennis Weaver as a tremulous motel clerk. Touch of Evil has been released with four different running times -- 95 minutes for the 1958 original, which was taken away from Welles and brutally cut by the studio; 108 minutes and 114 minutes in later versions; and 111 minutes in the 1998 restoration. Based on a 58-page memo written by Welles after he was barred from the editing room during the film's original post-production, this restoration, among numerous other changes, removed the opening titles and Henry Mancini's music from the opening crane shot, which in either version ranks as one of the most remarkably extended long takes in movie history. ~ Hal Erickson, All Movie Guide