Ruth Roman Movies

After a five-year absence, the Marx Brothers returned to the screen in the independently-produced effort A Night in Casablanca. Originally conceived as a parody of Casablanca (with character names like "Humphrey Bogus" and "Lowen Behold"), the film emerged as a spoof of wartime melodramas in general. Someone has been methodically murdering the managers of the Hotel Casablanca, and that someone is escaped Nazi war criminal Heinrich Stubel (Sig Ruman). Disguised as a Count Pfefferman, Stubel intends to reclaim the stolen art treasures that he's hidden in a secret room somewhere in the hotel, and the only way he can do this undetected is by bumping off the managers and taking over the hotel himself. The newest manager of Hotel Casablanca is former motel proprietor Ronald Kornblow (Groucho Marx), who, blissfully unaware that he's been hired only because no one else will take the job, immediately takes charge in his own inimitably inept fashion. Corbacchio (Chico Marx), owner of the Yellow Camel company, appoints himself as Kornblow's bodyguard, aided and abetted by Stubel's mute valet Rusty (Harpo Marx). In his efforts to kill Kornblow, Stubel dispatches femme fatale Beatrice Reiner (Lisette Verea) to romance the lecherous manager, leading to a hilarious recreation of a key comedy sequence in the Marxes' earlier A Day at the Races. Arrested on a trumped-up charge, Kornblow, Corbacchio and Rusty escape in time to foil Stubel and his stooges. As in most Marx Brothers epics, A Night in Casablanca includes a tiresome romantic subplot, this time involving disgraced French flyer (Pierre) and his faithful sweetheart Annette (Lois Collier). Though hampered by listless direction and witless one-liners, A Night in Casablanca contains enough hilarity to compensate for its many flaws; some of the best visual gags were conceived by an uncredited Frank Tashlin, including Harpo's legendary "holding up the building" bit. ~ Hal Erickson, All Movie Guide

Gold-mine operator "Boss" Kruger (Raymond Massey) has certainly earned his nickname. A frontier dictator, Kruger runs his mine like a prison colony; indeed, most of the workers are fugitives from justice, given dubious "protection" by Kruger. Two of the laborers are Judith Burns (Ruth Roman) and Bob Peters (Dane Clark), both on the lam from the law. Judith and Bob befriend lawyer Milburn (Robert Douglas), who seeks to prove that Kruger is a murderer. A bit too talky for the tastes of most western fans, Barricade redeems itself with a spectacularly violent conclusion. ~ Hal Erickson, All Movie Guide

"What a dump!" That's the classic line delivered by Bette Davis at the halfway point of Beyond the Forest, her final Warner Bros. effort of the 1940s. Some Davis devotees feel as though this vituperative utterance is the high point of an otherwise turgid melodrama; others consider the line a succinct assessment of the entire film. Based on a best-selling novel by Stuart Engstrand, the film stars Davis as Rosa Moline, a small-town girl with big-city ambitions. Trapped in a dull marriage to just-getting-by lawyer Lewis Moline (Joseph Cotten), Rosa plots and plans to sexually entrap millionaire industrialist Neil Latimer (David Brian). That Rosa's scheme is doomed from the start is telegraphed at every juncture by Max Steiner's sledgehammer musical score (few will ever want to hear the song "Chicago" again after this). Hampered by the censorship standards of the era, the film is prevented from being as frank as the novel; in one scene, for example, Rosa is obviously visiting an abortionist, but the sign on the door reads "Psychiatrist." A standard entry in most film historians' "Worst Movies" lists (even Davis herself hated it), Beyond the Forest is rather entertaining in its own schlocky fashion. ~ Hal Erickson, All Movie Guide

With Gary Cooper and Barbara Stanwyck in the cast, Blowing Wild was a guaranteed hit even before the cameras began turning. Cooper plays oil wildcatter Jeff Dawson, who does his best to bring in a gusher in Mexico despite continual bandit raids. Dawson asks for help from his ex-employer Ward Conway (Anthony Quinn), but Conway, now married to Dawson's ex-lover Marina (Barbara Stanwyck) refuses, fearing that his wife will want to renew her romance with the other man. The predatory Marina, still in love with Dawson, murders her husband, admits her crime to Jeff, and pleads to be taken back to America with him. A timely bandit attack solves everyone's problems in ultra-violent fashion. Blowing Wild was filmed through the facilities of Mexico City's Churubusco Studios. ~ Hal Erickson, All Movie Guide

While far from the only good film on boxing, Champion is perhaps the best drama ever based on the fight game. It is remarkable for a number of things: the unrelenting, grinding logic that leads to the hero's tragic fate; the beautiful cinematography and editing that make it a masterpiece of light and shadow; near-perfect performances by everyone, from Kirk Douglas as Midge Kelly, down to the actor who plays a sleazy small-time ring manager; and the boost it gave to the budding careers of Douglas and others. The basic story has been told many times, but never so powerfully: a poor, ambitious boy accidentally learns that he is a "natural" boxer, and that he might "go all the way." He wins his early fights with ease and, at last, in the big one, he becomes champion of the world. Then rot sets in. He lives it up, deserts his loved ones and best friends, and loses his physical and moral advantages. Near the end -- out of condition, demoralized -- the champion loses (or almost loses) his boxing crown. Finally, he grits his teeth, returns to rigorous training and to people he really likes, and he regains (or holds onto) the championship.

Part of Champion's dramatic superiority is in its brilliant revealing of the boxer through the eyes of other people in his life. There are good guys: Midge's brother Connie (Arthur Kennedy); his tough but honest trainer (Paul Stewart); his wife, Emma (Ruth Roman); and Johnny Dunne, the up-and-coming contender he eventually beats. There are bad guys: the manager who cheats him in his first, amateurish fight; two successive "owners," of the diner where Midge and Connie try to be entrepreneurs and end up as dishwashers; the blonde siren (Marilyn Maxwell) who abandons Johnny Dunne and helps corrupt Midge; and the mob-connected promoter Harris, who gets Midge his championship bout. There are ambiguous in-betweens, like Palmer (Lola Albright) who is Harris' wife, but who loves Midge and is, perhaps, loved in return. Then there is Midge himself. Unlike Charlie in Body and Soul (John Garfield, 1947) or the hero of the Rocky quintuplets (Sylvester Stallone, 1976-1990), Midge is not a basically nice guy who's been led astray. His ambition, arrogance, and stubbornness make him at once villain and hero. These "fatal flaws" contain, as surely as in Macbeth or Othello, the seeds of the champ's ultimate dissolution. Midge is dealt his share of life's unfairness and bad luck. Yet it is not the events themselves, but his bitter, violent responses to each blow that seal his doom. The final irony comes when he makes his comeback. In the last round of the last fight, his most manly virtues -- bull-like strength and stubborn stamina -- bring about both victory and defeat.

Too bad that this wonderful film -- nominated for six Oscars including Best Actor -- won only an Academy Award for Film Editing (Harry Gerstad) and a Golden Globe Award for Best Cinematography (Franz Planer). All the acting performances are superb: Champion was the breakthrough role for Douglas; his Oscar nomination led to many later starring vehicles. Champion also launched the careers of actresses Roman and Albright, and has what is probably Marilyn Maxwell's finest performance as the unforgettable gold digger Grace Diamond. And all that terrific acting certainly implies some credit for director Mark Robson, who went on to do award winners like Bright Victory and The Inn of the Sixth Happiness. Regardless of what Oscars it won or didn't win, Champion is a landmark film that should be on everyone's must-see list. ~ Michael P. Rogers, All Movie Guide

With Dallas, Gary Cooper revived his long-dormant association with westerns. Cooper plays ex-Confederate officer Blayde Hollister, who rides into Dallas in search of the men who killed his family and stole his land. Because he is considered to be an outlaw by the authorities, Hollister is compelled to switch identities with U.S. marshal Martin Wetherby (Leif Erickson). This ruse requires Hollister to explain his plan to Wetherby's lady friend, Tonia Robles (Ruth Roman). One by one, Hollister gets rid of the men responsible for the murders of his loved ones. The most formidable of his enemies, Will Marlow (Raymond Massey), proves to be a bit too clever to fall into Hollister's trap...at least until Marlow shows his hand in the final scene. There's more talk than action in Dallas, but Gary Cooper's laconic performance holds the audience's interest throughout. ~ Hal Erickson, All Movie Guide

An interesting low-budget entry in the post-Jaws animals-run-amok genre (which also owes more than a little to Hitchcock's The Birds), this noisy, violent thriller features the prophetic premise of a widening gap in the ozone layer (thanks to human indulgences in hairspray and other aerosol products) which unleashes brain-frying radiation and causes assorted woodland creatures to go for the throats of unsuspecting Sierra backpackers. As if that weren't horrific enough, the poor kids are also placed in the position of defending themselves against a rampaging Leslie Nielsen -- whose hammy performance will probably have fans of the Naked Gun series and their ilk waiting for a punch line that never arrives. Perennial B-movie couple Christopher George and Lynda Day George round out the cast. Day of the Animals is also known as Something Is out There. ~ Cavett Binion, All Movie Guide

Coadapted by The Gordons from their novel Case File FBI, Down Three Dark Streets stars Broderick Crawford as a no-nonsense FBI agent. Hoping to avenge the death of his partner Kenneth Tobey, Crawford almost single-handedly takes on the three investigations which Tobey had been pursuing. One involves a gang of car thieves; the second concerns a fugitive gangster; and the third deals with an extortion racket. Of the three leading ladies--Martha Hyer, Ruth Roman, Marisa Pavan--Ms. Pavan turns the most fascinating performance as the blind witness to a murder. The climax is staged around the fabled "Hollywood" sign that dominates the hills bordering the film capital. Most of the production personnel involved with Down Three Dark Streets would later set up shop at Dick Powell's Four Star Productions. ~ Hal Erickson, All Movie Guide

When wealthy Ballin Mundson (George Macready) rescues down at his heels gambler Johnny Farrell (Glenn Ford) and invites him to the Buenos Aires casino he owns, both men get more than they wagered on. Farrell convinces Mundson to hire him as casino manager, but is shocked when Mundson introduces his new bride, and Farrell's old flame, Gilda (Rita Hayworth).Though Farrell is unwavering in his loyalty to his employer, and he and Gilda treat each other with contempt, Mundson realizes that the torch never died for either of the former lovers. Ordered to guard Gilda, Farrell tries to convince himself that he's protecting Mundson's interests, but Gilda sees through his self-deception. Meanwhile, Mundson reveals to Farrell that his primary business is control of an international tungsten cartel that he plans to use to further his fascist ends. With the police closing in on the cartel, Mundson fakes his death, apparently leaving Gilda and Farrell free to marry. They do so: Gilda for love, but Farrell to punish her for being unfaithful to Mundson. When Mundson returns to kill them, it is he who dies, thereby freeing the lovers to apologize to each other and return to the U.S. Charles Vidor's Gilda is a voyeuristic film noir treat that engages the viewer in a complex web of sado-masochistic triangles. When, for example, Gilda performs her signature number, "Put the Blame on Mame," she is not simply enraging both Mundson and Farrell with her open sexuality, she is also crying out in pain for the love she is being denied. ~ Steve Press, All Movie Guide

Small-town department store manager Sam Clayton (Gary Cooper) is a born "Good Samaritan", which in his case translates as "sucker." Much to the dismay of his wife Lu (Anne Sheridan), who'd like to save up enough cash for a new house, Sam habitually gives his money away to one "deserving" soul or other. But when Sam himself is in dire financial difficulty, none of the people to whom he's extended his generosity come to his aid. Disillusioned, he goes on a bender and disappears into the night. Thanks to Lu's not-so-gentle remonstrations, however, Sam's debtors finally own up to their obligations, and a happy ending is had by all. Producer/director Leo McCarey has a good thing going in the first few reels of Good Sam, but eventually loses control of the film, resulting in a great deal of illogical plot twists and character transformations in the final footage. Still, it's interesting to watch Gary Cooper doing what amounts to an imitation of Jimmy Stewart. Originally released a 128 minutes, Good Sam was pared down to 114 minutes for reissue. ~ Hal Erickson, All Movie Guide

Impulse, is a tawdry, low-budget exploitation film about a maniacal murderer possessed by evil demons. Matt Stone (William Shatner) is a paranoid, con-man and gigolo who seduces lonely women and then bilks them of their savings using an investment scam. Then he kills them. When he begins seeing an attractive widow, her daughter Tina (Kim Nicholas) becomes suspicious of his motives. Then Tina herself is in danger. Impulse, directed by William Grefe, is the absolute nadir of Shatner's acting career and consequently has become a camp, cult classic and a must see for fans of Shatner. All others beware. ~ Linda Rasmussen, All Movie Guide

Bronislau Kaper's haunting musical score for A Life of Her Own (1951) was recycled in the romantic melodrama Invitation. Dorothy McGuire stars as Ellen Bowker, a wealthy young woman with a rare heart condition. Knowing that his daughter may have only a year or so to live, Ellen's father Simon Bowker (Louis Calhern) wants to make certain that her last months on earth will be happy ones. To that end, he arranges for Dan Pierce (Van Johnson) to marry the girl. More interested in Ellen's millions than in Ellen herself, Dan agrees. Eventually, of course, he genuinely falls in love with the girl. But trouble looms on the horizon when Ellen discovers the real reason behind Dan's whirlwind courtship. How can a happy ending possibly result from all this? It's best to reveal no more at this point. ~ Hal Erickson, All Movie Guide