Robert Warwick Movies

No sooner has he arrived at Fort Casper than Beau (Roger Moore) is framed for the murder of Indian brave Swift Rider (Miguel Landa). The actual killers were Marsh (John Zaccaro) and Lawson (Richard Coogan), a pair of crooked shopkeepers who have been systematically cheating Swift Rider's tribe, and are hoping to stir up a war between the Indians and the Army to cover their tracks. Locked up in the stockade, Beau is rescued by Chief Standing Bull (Robert Warwick)--but only so he can be married to Swift Rider's sister Pale Moon (Andra Martin, a marriage slated to end as quickly as it begins with Beau's swift and ignominious demise. ~ Hal Erickson, Rovi

Scripted in another era, the premise for this interesting though conventional drama defending a partially mixed marriage would not be as convincing a few decades later. Chuck Nelson (John Drew Barrymore) is a wealthy young man who travels South of the border and meets and then marries Ginny (Julie London). His new bride is a wonderful woman until Chuck's socialite mother (Agnes Moorehead) discovers that one of Ginny's grandparents was of African ancestry. The imperious mother-in-law lands the new couple in an embittered court battle as she makes every attempt to annul their marriage. Nat "King" Cole plays Ginny's uncle, and Anna Kashfi is Maria, her cousin. ~ Eleanor Mannikka, Rovi

Originally intended as a 4-reel followup to the 1957 "docudrama" short subject The Amazon Trader, Manhunt in the Jungle was extended to feature length in hopes of better bookings. The story is based on the 1928 search for explorer Col. P. H. Fawcett, who disappeared somewhere in the Amazon. Robin Hughes stars as Cmdr. George M. Dyott, the man who organized the searching party for the missing Fawcett (James Wilson). The Warnercolor exterior shots of Peru and the Amazon regions are the highlights of the film. Less successful are the dramatic passages, which look like something out of a junior-high production of Stanley and Livingstone. ~ Hal Erickson, Rovi

A bizarre western that at times veers dangerously close to outright burlesque, Shoot-Out at Medicine Bend concluded Randolph Scott's long-term contract with Warner Bros. and sat on the shelf for nearly two years before being dumped on the double-bill market in 1957. Scott and two fellow cavalry officers (Gordon Jones and a very young James Garner) have their clothes stolen while skinny-dipping. Offered new apparel by a group of Quakers (or are they Mormons? It is never made quite clear), the threesome go on to prevent James Craig from supplying the territory with faulty guns and ammo. Dani Crayne (the wife of actor David Janssen at the time) seductively warbles "Kiss Me Quick" and a young Angie Dickinson lends further femininity to the proceedings. Much of this is strangely watchable, but as a western Shoot-Out at Medicine Bend can never make up its mind whether to play it straight or for comedy. Not too surprisingly, director Richard L. Bare had gotten his start helming the studio's "Joe McDoakes" comedy shorts in the 1940s. A final paradox: There is nary a shoot-out in the entire film. ~ Hans J. Wollstein, Rovi

When media mogul Amos Kyne (Robert Warwick) dies, his business, which includes a major newspaper, a television station, and a wire news service, is turned over to his sole heir, his foppish, ne'er do well son (Vincent Price). The younger Kyne has no knowledge of how to run the company his father built, preferring to spend his time spending the money that it generates, and he decides to let the heads of the three divisions -- newspaper editor John Day Griffith (Thomas Mitchell), wire service chief Mark Loving (George Sanders), and photo chief Harry Kritzer (James Craig) -- fight it out among themselves, winner-take-all. Each one has a key alley: Griffith, in Edward Mobley (Dana Andrews), a top reporter who is lately appearing on television as well; Loving, in resourceful but sluttish columnist Mildred Donner (Ida Lupino), who has her own way of digging up secrets; and Kritzer, who doesn't think he needs to dig up secrets because he's sitting on the biggest one of all, his "friendship" with Kyne's ex-model wife, Dorothy (Rhonda Fleming). Mobley becomes a focal point because the story-of-the-moment concerns the "Lipstick Killer," a serial murderer, burglar, and sex fiend who has been terrorizing the city -- break that case first and the job is won, and Mobley's specialty is crime reporting. The Lipstick Killer, a disturbed teenager named Robert Manners (John Drew Barrymore), continues to elude the police, and Loving's stumbling attempts to get information out first don't aid in the manhunt. Meanwhile, Mobley, using his own deductive powers and some basic psychology, manages to get under the killer's skin from afar on television and in print; however, unbeknownst to the reporter, the murderer is feeling more pressure to commit his crimes, and taking a very personal interest in targeting Mobley and his fiancée, Nancy Liggett (Sally Forrest). The two interwoven stories all get pulled together in a chase through the streets and into the city's subway tunnels, with Mobley, Nancy, Police Lieutenant Kaufman (Howard Duff), and the killer all crossing paths. ~ Bruce Eder, Rovi

Reviled in his lifetime as a lunatic insurrectionist, Chief Crazy Horse has in recent years emerged as a Native American hero. In this off-beat western, unusual for its time in that it sympathetically presented the Native American viewpoint, Victor Mature plays the misunderstood Sioux leader while the treaty-breaking villain General Crook is played by James Millican (who had earlier portrayed an equally unsympathetic General Custer in Warpath). The battle of the Little Big Horn is staged with less bravura but more authenticity than in 1941's They Died With Their Boots On (a wildly inaccurate pro-Custer opus). Chief Crazy Horse falters only in its verbose dialogue sequences, wherein the native tongue of the Sioux seems to be Fluent Cliche. ~ Hal Erickson, Rovi

Forced to leave New York in a hurry, impoverished gambler Charlie Raymond (Peter Lawford) answers a newspaper ad from a fellow Londoner named Walter Hendricks (John Williams), who wants someone to drive with him to San Francisco and share expenses. En route to the West Coast, Raymond discovers that Hendricks is on his way to collect a huge inheritance. Seizing the opportunity, Raymond murders Hendricks and assumes his identity, certain that the Frisco authorities will fall for the ruse and that he will fall heir to 200,000 dollars. Want to bet that things don't quite work out as planned for our "hero"? ~ Hal Erickson, Rovi

The winning combination of producer Benedict Bogeaus and director Allan Dwan once more struck box-office gold with Passion. Set in 19th century California, the film stars Cornel Wilde as a young rancher seeking vengeance for the murders of his wife Yvonne de Carlo and his parents. The guilty parties are a group of terrorists, headed by Rodolpho Acosta, whom Wilde, now a fugitive from justice himself, intends to knock off one by one. Loyally standing by her man is the sister of Wilde's slain wife, also played by Yvonne de Carlo (one character is demure, the other fiery). Featured in the cast is Raymond Burr as a police chief determined to follow the letter of the law--at least, until things get too personal. Passion was effectively color-photographed on location in the mountain ranges between California and Nevada. ~ Hal Erickson, Rovi

"Her Salome Will Steal Your Breath Away" was the classic advertising slogan attached to this opulent Rita Hayworth epic -- a slogan which became laughable whenever a radio announcer would mispronounce Salome as "salami." Using the very sketchy Biblical story of the death of John the Baptist as its springboard, Salome depicts its title character, the stepdaughter of King Herod, as a victim of circumstance rather than a wanton temptress. Banished from Rome because of an unfortunate romance with the nephew of Caesar, Salome (Rita Hayworth) declares that all men are her enemies, but her resolve weakens when she falls in love with Claudius (Stewart Granger), the military commander of Galilee. Meanwhile, Salome's wicked mother, Herodias (Judith Anderson), plots the demise of John the Baptist (Alan Badel), who currently enjoys the protection of the superstitious Herod (Charles Laughton). At this point, the story departs radically from Scripture. Salome is no longer coerced by Herodias to demand the head of John the Baptist; instead, Herodias, on her own, promises Herod that Salome will perform the "Dance of the Seven Veils" for him -- but only if he beheads John first (Salome has been misinformed that the dance will save John from the headsman's sword). Somehow, scriptwriter Jesse Lasky Jr. even manages to concoct a happy ending for poor Salome, which is a lot more than Oscar Wilde or Richard Strauss were able to do. Considered an artistic flop in 1953, Salome seems somewhat better today, if only because of that powerhouse cast. ~ Hal Erickson, Rovi

After James Stewart's financial windfall attending his "percentage of profits" deal on Winchester 73, Errol Flynn decided to cash in by making his own deal with Universal Pictures, accepting a moderate fee up front and a huge chunk of the gross for Against All Flags. Set in the 16th century, the film casts Flynn as a British naval officer unjustly condemned for desertion. He escapes punishment and joins Anthony Quinn's pirate band, wherein he and Quinn vie for the attentions of glamorous female buccaneer Maureen O'Hara. Flynn incurs O'Hara's wrath when he rescues a lovely middle-eastern princess (Alice Kelley) from slave traders, but O'Hara still comes to Flynn's aid when he is left to die by Quinn. Flynn and O'Hara team up to thwart Quinn's evil schemes, whereupon it is revealed that Flynn's "disgrace" was a ruse, concocted by the British government to stem pirate activities in Madagascar. Though suffering several injuries during shooting, Errol Flynn was back in his old fighting form in Against All Flags, requiring a double only in a few scattered longshots. The film was poorly remade in 1967 as The King's Pirate, with Doug McClure inadequately filling Errol Flynn's seven-league boots. ~ Hal Erickson, Rovi

Randolph Scott stars as a former Confederate Army officer known only as "Sugarfoot." Hoping to start life anew in Arizona, Sugarfoot manages to incur the wrath of territorial bigwigs Jacob Stint (Raymond Massey) and Asa Goodhue (Hugh Sanders), who've carried a grudge against him since the Civil War. Fortunately he also gets on the good side of saloon-hall singer Reva Cairn (Adele Jergens), which if nothing else affords him comfort during the plot's darker moments. Somewhere along the way, Sugarfoot loses Reva's affections, and nearly loses his life to Stint and Goodhue's hired guns. The aggressively mittel-European S.Z. Sakall is featured in the cast as a local merchant named Don Miguel. Based on a novel by Clarence Buddington Kelland, Sugarfoot was renamed Swirl of Glory when released to television, to avoid confusion with the TV series Sugarfoot--which, in turn, was based on the 1954 feature Boy From Oklahoma. ~ Hal Erickson, Rovi

Vendetta began as a pet project of producer/director/writer Preston Sturges. Producer Howard R. Hughes was at first enthusiastic about the project, but lost interest after a bitter argument with Sturges. Director Max Ophuls was originally slated to direct, but Hughes lost interest in him and hired Mel Ferrer instead. Eventually, Hughes decided to make the film anyway, primarily to introduce his latest protégé, Faith Domergue. The film sat on the shelf for four years before Hughes finally released it through RKO. The story begins in old New Orleans, where hot-blooded Corsican maiden Colomba (Faith Domergue) coerces her brother Orso (George Dolenz) into avenging their father's murder. There follows a series of labyrinthine plot twists, leading to a corpse-strewn denouement. Hillary Brooke co-stars as British gentlewoman Lydia Nevil, with whom Orso has a brief romance before sacrificing love for honor. The screenplay, which was credited to W.R. Burnett after several other writers had a crack at it, was based on Colomba, a novel by Prosper Merimee. ~ Hal Erickson, Rovi