Paul Francis Webster Movies

Except for Me and Thee is the syndicated title of Friendly Persuasion, the pilot film for an unsold TV series based on the novel by Jessamyn West. Richard Kiley and Shirley Knight star as Quaker farmers Jess and Eliza Birdwell, whose pacificism is put to the test when the Civil War breaks out. In keeping with the humanitarian edicts of their religion, the Birdwells aid several slaves in their escape from the South. Brothers Michael and Kevin O'Keefe play the Birdwells' eldest sons (Michael continued acting into the 1990s).Friendly Persuasion was previously adapted into a popular film in 1956, starring Gary Cooper and Dorothy McGuire; Dmitri Tiomkin's theme music from that film was redeployed for Except for Me and Thee. ~ Hal Erickson, Rovi

A meek and mild mailman decides that the only way to escape the constant nagging of his battle-ax of a wife is to turn himself into the title tree in this off-beat fantasy. ~ Sandra Brennan, Rovi

In this lightweight comedy, David McCallum stars as Stanley Thrumm, a retiring British tour guide who strikes it rich one night in a casino on the Riviera. He's not sure that he wants to take the cash back to England, because he'll have to pay taxes on it, so he decides to put it in a Swiss bank account. But Carla Moretti (Sylva Koscina), an apparently helpful woman whom he has met, has designs on the loot, and she enlists her ex-husband in an effort to get it. Thrumm takes his winnings on a roundabout trek to Switzerland while Carla and her husband pursue, and the result is a long car chase with many comic diversions and a lot of Alpine scenery. ~ Michael Betzold, Rovi

In this romantic drama based on a novel by Betty Smith, Carl Brown (Richard Chamberlain) is a student in law school who wants to marry his sweetheart, Annie McGairy (Yvette Mimieux). However, Carl and Annie's parents knew each other when they grew up in Ireland before emigrating to America, and Carl's father Patrick (Arthur Kennedy) vehemently objects to their engagement. The young couple decide to tie the knot anyway, and Patrick retaliates by cutting off financial support to his son. The young couple deal with the usual tribulations of newlyweds while they struggle to keep their heads above water -- Carl takes a job as a night watchman, while Annie makes a few dollars babysitting for Beverly Karter (Joan Tetzel), a married woman who is cheating on her husband with Stan Pulaski (Oscar Homolka), a married man. Living in a tiny apartment on the shabby side of town, Carl and Annie get to know other people too poor or too different to fit in elsewhere in an upscale college town. When Annie becomes pregnant, she leaves Carl, not wanting to burden him so that he can continue with his education. This sends Carl into an emotional tailspin, and Patrick tries to patch up the marriage he once opposed for the sake of his son's happiness. Joy in the Morning marked the first and only feature film role for TV and stage actor Donald Davis, who played Anthony, a gay florist who befriends the young couple. ~ Mark Deming, Rovi

Elizabeth Taylor and Richard Burton -- then Hollywood's most bankable couple -- appeared onscreen together for the third time in this romantic drama shot on beautiful locations along the Big Sur region of the California coastline. Laura Edwards (Elizabeth Taylor) is a free-thinking artist and Bohemian who is raising a her teenage son, Danny (Morgan Mason), conceived out of wedlock, on her own. Laura has issues with conventional teaching methods, and prefers to educate Danny about both intellectual and ethical matters on her own. However, Danny has become something of a problem, and child welfare authorities demand that Danny either be sent to school or become a ward of the state. Rather than send Danny to public school, Laura arranges for him to attend a private academy run by Dr. Edward Hewitt (Richard Burton), an Episcopalian minister. Edward is at first shocked by Laura's embrace of free love and rejection of conventional moral codes, but as he gets to know her better, he finds himself increasingly attracted to her, despite the fact he has a wife, Claire (Eva Marie Saint), and two children. Before long, Edward's desire overpowers his scruples and he begins an affair with Laura. Wracked with guilt over his infidelity, Edward confesses his indiscretion to Claire, which proves to have severe and unexpected consequences. While saddled with poor reviews upon its initial release, The Sandpiper did win an Academy Award for Johnny Mandel's theme song, "The Shadow of Your Smile." ~ Mark Deming, Rovi

The guns of Navarone are huge Nazi cannons, installed on an Aegean island behind enemy lines. Anthony Quayle is the officer assigned by the British to lead a task force to put the guns out of commission. When Quayle is injured, the mission winds up in the relatively inexperienced hands of Gregory Peck. There's little love lost between Peck, explosives expert David Niven and Greek patriot Anthony Quinn, especially when it becomes known that there's a traitor in their midst. Resistance leader Irene Papas weeds out the traitor, but there's still those guns to take care of. Filmed on location in Rhodes and distinguished by Oscar-winning special effects, Guns of Navarone (based on Alistair MacLean's best-seller was a major box-office hit of 1961; less successful was the pared-down 1977 sequel, Force Ten From Navarone. ~ Hal Erickson, Rovi

If anything, this star-studded sequel is even sillier than the original, adding to its problems by completely recasting all the roles, combining several of them into existing characters. Carol Lynley is the heroine this time, and she leaves Peyton Place for New York to write a book about the hypocrisy of her hometown. The book causes lots of trouble back home, getting Mike (Robert Sterling) fired as principal, angering Lynley's mother (Eleanor Parker), and stirring such horrible memories in Selena (Tuesday Weld) that she brains her new boyfriend with a fireplace poker, thinking he is her dead rapist stepfather. The film really belongs to Mary Astor, in a hilarious turn as a smotheringly possessive mother. She tries to come between her son and his new bride (Luciana Paluzzi) in some unintentionally hilarious scenes, causing Paluzzi to fling herself down a ski slope in an attempt at a self-induced miscarriage. Overwrought and overblown, the film is still a treat for fans of campy "suburban sin" melodramas. Look for Bob Crane as an unctuous talk show sidekick. ~ Robert Firsching, Rovi

John Wayne's directorial debut The Alamo is set in 1836: Wayne plays Col. Davy Crockett, who, together with Colonels Jim Bowie (Richard Widmark) and William Travis (Laurence Harvey) and 184 hardy Americans and Texicans, defends the Alamo mission against the troops of Mexican general Santa Ana. There's a lot of macho byplay before the actual attack, including the famous "letter" scene in which Wayne craftily rouses the patriotic ire of his subordinates. Also appearing are Richard Boone as Sam Houston, and Chill Wills (whose somewhat tasteless Oscar campaign has since become legendary in the annals of shameless self-promotion) as Beekeeper. Wayne's production crew was compelled to reconstruct the Alamo in Bracketville, Texas, about a hundred miles from the actual site. Dimitri Tiomkin's score, including The Green Leaves of Summer, received generous airplay on the Top-40 radio outlets of America. Rumors persist that Wayne's old pal John Ford directed most of The Alamo; cut to 161 minutes for its general release, the film was restored to its original, 192-minute length in 1992. ~ Hal Erickson, Rovi

Set in Texas during the late 1860s, Rio Bravo is a story of men (and women) and a town under siege. Presidio County Sheriff John T. Chance (John Wayne) is holding Joe Burdette (Claude Akins), a worthless, drunken thug, for the murder of an unarmed man in a fight in a saloon -- the problem is that Joe is the brother of wealthy land baron Nathan Burdette (John Russell), who owns a big chunk of the county and can buy all the hired guns he doesn't already have working for him. Burdette's men cut the town off to prevent Chance from getting Joe into more secure surroundings, and then the hired guns come in, waiting around for their chance to break him out of jail. Chance has to wait for the United States marshal to show up, in six days, his only help from Stumpy (Walter Brennan), a toothless, cantankerous old deputy with a bad leg who guards the jail, and Dude (Dean Martin), his former deputy, who's spent the last two years stumbling around in a drunken stupor over a woman that left him. Chance's friend, trail boss Pat Wheeler (Ward Bond), arrives at the outset of the siege and tries to help, offering the services of himself and his drovers as deputies, which Chance turns down, saying they're not professionals and would be too worried about their families to be good at anything except being targets for Burdette's men; but Chance does try to enlist the services of Wheeler's newest employee, a callow-looking young gunman named Colorado Ryan (Ricky Nelson), who politely turns him down, saying he prefers to mind his own business. In the midst of all of this tension, Feathers (Angie Dickinson), a dance hall entertainer, arrives in town and nearly gets locked up by Chance for cheating at cards, until he finds out that he was wrong and that she's not guilty -- this starts a verbal duel between the two of them that grows more sexually intense as the movie progresses and she finds herself in the middle of Chance's fight. Wheeler is murdered by one of Burgette's hired guns who is, in turn, killed by Dude in an intense confrontation in a saloon. Colorado throws in with Chance after his boss is killed and picks up some of the slack left by Dude, who isn't quite over his need for a drink or the shakes that come with trying to stop. Chance and Burdette keep raising the ante on each other, Chance, Dude, and Colorado killing enough of the rancher's men that he's got to double what he's paying to make it worth the risk, and the undertaker (Joseph Shimada) gets plenty of business from Burdette before the two sides arrive at a stalemate -- Burdette is holding Dude and will release him in exchange for Joe. This leads to the final, bloody confrontation between Chance and Burdette, where the wagons brought to town by the murdered Wheeler play an unexpected and essential role in tipping the balance. ~ Bruce Eder, Rovi

This episode of the TV anthology Walt Disney Presents is an expansion upon the classic Academy Award-winning animated short Toot, Whistle, Plunk and Boom (originally released in Cinemascope in 1954). When his students ask him, "Where does the music come from?" Professor Owl is only to eager to demonstrate the music is merely an organized series of sounds -- consisting primarily of the "toot" of the brass instrument, the "whistle" of the woodwind, the "plunk" of the string and the "boom" of percussion. Among the segments used to augment the original running time of Toot, Whistle, Plunk and Boom is an extended "cradle to grave" sequence from 1953's Melody, one of several successful Disney attempts to match and surpass the style popularized by the UPA studios. ~ Hal Erickson, Rovi

The Gift of Love is a remake of 1946's Sentimental Journey, with Lauren Bacall in the role originated by Maureen O'Hara. Upon learning that she hasn't long to live, Bacall, the devoted wife of Robert Stack, adopts young Evelyn Rudie so that her husband will never be lonely. After his wife's death, however, the pragmatic Stack grows weary of little Evelyn, who prefers a "fantasy world" to real life. Stack returns the girl to the orphanage, whereupon Bacall's spirit intervenes to set things right. The material was maudlin back in 1946, and even more so in 1958; still, it's nice to see that Lauren Bacall could play a sweet, benign role when given the opportunity. ~ Hal Erickson, Rovi

April Love is a musicalized remake of 1944's Home in Indiana. Pat Boone stars as a potential juvenile delinquent who is sent to work on a Kentucky farm. When he meets apple-cheeked local girl Shirley Jones, Boone decides that mending his ways might be an option. Before long, he is devoting himself to the task of training a horse to become a winning trotter. Nominated for an Academy Award, the film's title song proved to be one of Pat Boone's most durable hits. April Love benefits from its actual Lexington, Kentucky locations, lovingly photographed in CinemaScope and Deluxe Color by Wilfred Cline. ~ Hal Erickson, Rovi