Leo G. Carroll Movies

Treasure of the Golden Condor is a Technicolor remake of 1942's Son of Fury; both films were based on the same novel by Edison Marshall. Cornel Wilde stars in the old Tyrone Power role as Jean-Paul, a Frenchman cheated of his birthright by his duplicitous uncle (George Macready). Retreating to South America with lovable reprobate MacDougal (Finlay Currie), Jean-Paul searches for buried treasure in the jungles of Guatemala. He also romances MacDougal's comely daughter Clara (Constance Smith). Eventually, Jean-Paul must bid Clara goodbye and return to France, there to settle accounts with his uncle. Clara prays for the day that Jean-Paul will come back for her and as the closing music swells . . . . ~ Hal Erickson, All Movie Guide

Kirk Douglas plays the corrupt and amoral head of a major film studio in this Hollywood drama, often regarded as one of the film's industry's most interesting glimpses at itself. Actress Gloria Lorrison (Lana Turner), director Fred Amiel (Barry Sullivan), and screenwriter James Lee Bartlow (Dick Powell) are invited to a meeting at a Hollywood sound stage at the request of producer Harry Pebbel (Walter Pidgeon). Pebbel is working with studio chief Jonathan Shields (Kirk Douglas), whose studio is in financial trouble and needs a blockbuster hit. If these three names will sign to a new project, he's convinced that there's no way he can lose. But there's a rub -- all three of these Hollywood heavyweights hate Shields's guts. He dumped Gloria for another woman, he double-crossed Fred out of a plum directing assignment, and he was responsible for the death of James Lee's wife. All three are ready to tell Pebbel to forget it, until they hear the voice of Shields, calling from Europe to discuss the project by phone. The Bad and the Beautiful won five Academy Awards, including Best Screenplay and Best Supporting Actress for Gloria Grahame. ~ Mark Deming, All Movie Guide

Ernest Hemingway could never come to terms with Hollywood's preoccupation with The Happy Ending: he accepted the money for the screen rights to his short story The Snows of Kilimanjaro, but he could never bring himself to watch it. Gregory Peck plays a character based, in decidedly unflattering fashion, on Hemingway crony F. Scott Fitzgerald. While hunting in the African mountains in the company of his faithful lady friend Susan Hayward, Peck is seriously wounded; in fact, it doesn't look as though he'll survive the night. In the few hours he has left, Peck reflects upon what he considers a wasted life. Having aspired to be the Great American Novelist, Peck has only turned out money-making drivel. The only time that he truly felt as though he'd made a contribution to the world was when he fought on the Loyalist side in Spain (this element isn't in the short story, but is drawn from Hemingway's own experiences). As for his lost romance with his late wife Ava Gardner, Peck still cannot figure out what went wrong. The Hemingway original ended with the Peck character dying from his wounds; producer Darryl F. Zanuck wouldn't hear of this, preferring that Peck survive with the resolve to write something of lasting value. The Technicolor location photography of Leon Shamroy and the rumbling musical score of Bernard Herrmann are the main attractions of The Snows of Kilimanjaro. ~ Hal Erickson, All Movie Guide

Since its lapse into public domain in 1978, First Legion has joined Love Affair and Algiers as the most readily available of Charles Boyer's films. Boyer plays Fr. Marc Arnoux, the head of St. Gregory's seminary, who can never quite shake the feeling that he shouldn't have given up his career as an attorney. His fellow Jesuit priests likewise occasionally question their calling, especially crotchety Msgr. Michael Carey (William Demarest). One by one, however, the priests are won over by various "miracles" visited upon them. Barbara Rush co-stars as a crippled girl who indirectly benefits from the priests' renewed faith. The First Legion was produced and directed with surprising restraint by Douglas Sirk. ~ Hal Erickson, All Movie Guide

Owen Johnson's novel The Lawrenceville School Stories (compiled from short stories originally published in The Saturday Evening Post) was the basis for The Happy Years. The film is set at an early 20th-century boy's prep school; Dean Stockwell plays an habitual troublemaker sent to this school as a means of straightening him out and making a man of him. At first bullied by the older kids, the pugnacious Stockwell stands his ground until he earns his fellow students' respect. The film adheres strictly to MGM's factory-tested Boys Town formula by having Stockwell cleaning up his act and becoming a worthwhile Lawrenceville student. Watch The Happy Years carefully and you'll spot an unbilled Robert Wagner, in his film debut. ~ Hal Erickson, All Movie Guide

Taking advantage of Paramount's "frozen funds" in Britain, producer Hal Wallis was able to film much of So Evil My Love in London. Based on a novel by Joseph Shearing, whose previous Gothic romances included Moss Rose and Blanche Fury, the film stars Ray Milland in his first (but hardly his last) all-out villainous characterization. Milland is cast as charming scoundrel Mark Bellis, or at least that's what he's calling himself at the moment. Escaping his latest criminal escapade by boat, Bellis falls victim to a malaria epidemic. Nursed back to health by young widow Olivia Harwood (Ann Todd), Bellis repays the favor by pretending to fall in love with her, all the while intending to deplete her of her estate and bank account. Eventually Bellis' evil nature corrupts Olivia as well, prompting her to indulge in blackmail, with her old school friend Susan Courtney (Geraldine Fitzgerald) as the victim. Eventually, Olivia is driven to commit murder, carefully arranging the evidence to convict poor Susan. But when Bellis double-crosses her one time too many, Olivia belatedly does the "right thing," clearing her conscience if not her good name. ~ Hal Erickson, All Movie Guide

Song of Love is the MGM-ified version of the lives and loves of 19th century musicians Clara Wieck Schumann (Katharine Hepburn), Robert Schumann (Paul Henreid) and Johannes Brahms (Robert Walker, who the previous year had played another composer, Jerome Kern, in Til the Clouds Roll By). Clara gives up her thriving career as a concert pianist to devote herself to her struggling composer husband Robert. Unable to cope with disappointment and failure, Robert dies in an asylum, leaving poor Clara to cope with seven children and mounting debts. At this point, the eminently successful Brahms, who has loved Clara all along, proposes to her, but Clara insists upon going it alone, perpetuating her husband's memory on the concert stage. Also represented in this musical "through the years" pageant is Franz Liszt, played with remarkable understatement by Henry Daniell. Clearly designed to capitalize on the popularity of Columbia's Chopin biopic A Song to Remember, Song of Love is slow and poky at times, though it's fascinating to see Katharine Hepburn at the piano (reportedly, she learned to play enough classical music to get by in the close-up scenes, though her music is dubbed in medium and long shots). ~ Hal Erickson, All Movie Guide

They said it couldn't be done, but they did it: Kathleen Winsor's "notorious", bestselling bodice-ripper Forever Amber actually made it to the screen in 1947 with full censorial approval. Of course, it was necessary to tone down the more erotic passages of Winsor's novel, but the end result pleased fans of the book and bluenosed nonfans alike. A last-minute replacement for British import Peggy Cummins, Linda Darnell steps into the role of 17th century blonde bed-hopper Amber as though she'd been born to play it. Feeling suppressed by her Puritan upbringing, Amber heads to London, finding considerable success as a courtesan (that's the polite word for it). The first real love of her life is dashing soldier Bruce Carlton, who leaves her pregnant and penniless when he marches off to war. Subsequent amours include the sadistic Earl of Radcliffe (a superbly loathsome performance by comic actor Richard Haydn), handsome highwayman Black Jack Mallard (John Russell) and privateer Captain Rex Morgan (Glenn Langan). Surviving the Plague and the Great London Fire with nary a hair out of place, Amber ends up in the arms of no less than King Charles II (wittily portrayed by George Sanders), but true love, as personified by Bruce Carlton, will always elude her. Taking no chances, 20th Century-Fox sent out Forever Amber with a spoken prologue, heard over the opening credits, which explained that the film in no way endorsed its heroine's libertine behavior, and that she would be amply punished for her sins before fadeout time (that prologue has thankfully been removed from current prints). A model of restraint by today's standards, Forever Amber was sufficiently titillating in 1947 to post an enormous profit, far in excess of its $4 million budget. ~ Hal Erickson, All Movie Guide

As Alfred Hitchcock's classic psychothriller opens, the staff of a posh mental asylum eagerly awaits the arrival of the new director. When the man in question shows up, it turns out to be handsome psychiatrist John Ballantine (Gregory Peck). But something's wrong, here: Ballantine seems much too young for so important a position; his answers to the staff's questions are vague and detached; and he seems unusually distressed by the parallel marks, left by a fork, on a white tablecloth. Dr. Constance Peterson (Ingrid Bergman) comes to the conclusion that Ballantine is not the new director, but a profoundly disturbed amnesiac--and, possibly, the murderer of the real director. But is she correct in her inferences? Scriptwriters Angus MacPhail and Ben Hecht soon add to this the complication that Constance begins to fall in love with John. Director Hitchcock tapped surrealist artist Salvador Dali to design the visually arresting dream sequences in the film. ~ Hal Erickson, All Movie Guide

In this remake of the 1930 film of the same name, a bank robber suffers a war wound and undergoes plastic surgery. Upon his recovery, he discovers that he is the exact double of a banker (who is trapped in a German POW camp). Being an opportunist, the fellow then assumes the banker's identity and his wife while he plans another caper. Fortunately, an observant Yard inspector sees through the robber's masquerade. Later the robber goes straight after revealing the plans of a German spy ring to steal every penny from the bank. ~ Sandra Brennan, All Movie Guide

Bahama Passage is a leisurely bit of Technicolor exotica starring Madeleine Carroll and her future husband Sterling Hayden. Based on Nolson Hayes' novel Dildo Cay, the story takes place on a remote Bahaman island where the principal commodity-in fact, the only--is salt. The owner of the island is young Adrian (Sterling Hayden), who inherited Dildo Cay from his family. The stultifying dullness of life on the island has caused all the wives of Adrian's forebears to eventually descend into insanity, and it looks as though the same thing might happen to Adrian's sweetheart Carol (Madeleine Carroll), despite her uncanny ability to look after herself. While Carol does not go crazy, her presence on the island proves to be something of a jinx, resulting in dissension amongst the native population. The most striking aspect of Bahama Passage is the extremely casual clothing worn by the stars: Why, one would think that Paramount was trying to get the audience's mind off the film's slower passages by showing off as much cheesecake and beefcake as possible. ~ Hal Erickson, All Movie Guide

Given the omnipresence of the Motion Picture Production Code in 1940, the second film version of Robert E. Sherwood's Waterloo Bridge would have to be laundered and softened to pass muster. In the original, made in 1931, the heroine is nothing more or less than a streetwalker, patrolling London's Waterloo Bridge during World War I in hopes of picking up the occasional soldier. She falls in love with one of her clients, a young officer from an aristocratic family. Gently informed by the young man's mother that any marriage would be absolutely impossible, the streetwalker tearfully agrees, letting her beau down gently before ending her own life by walking directly into the path of an enemy bomb. In the remake, told in flashback as a means of "distancing" the audience from what few unsavory story elements were left, the heroine, Vivien Leigh, starts out as a virginal ballerina. Robert Taylor, a British officer from a wealthy family, falls in love with Vivien and brings her home to his folks. This time around, Taylor's uncle (C. Aubrey Smith), impressed by Vivien's sincerity, reluctantly agrees to the upcoming marriage. When Taylor marches off to war, Vivien abandons an important dance recital to bid her fiance goodbye, losing her job as a result. Later, she is led to believe that Taylor has been killed in battle. Thus impoverished and aggrieved, she is given a motivation for turning to prostitution, a plot element deemed unecessary in the original-which indeed it was. Now the stage is set for her final sacrifice, though the suicidal elements are carefully weeded out. Waterloo Bridge was remade for a second time in 1956 as Gaby, with Leslie Caron and John Kerr. ~ Hal Erickson, All Movie Guide