David Alpert Movies

What can a blackmailer do when his victim can no longer afford to pay up? In this case, he apparently has no option other than to beat up the victim (a cocktail lounge proprietor) and then rob and shoot the poor fellow. Luckily, Friday (Jack Webb) and Smith (Ben Alexander) are on hand to see that the guilty party is punished to the full extent of the law. ~ Hal Erickson, All Movie Guide

Our Miss Brooks had been a radio and TV sitcom hit thanks to the considerable input of star Eve Arden. The film version of Our Miss Brooks was not quite as successful (why pay for something that you can get at home every week for free?), but it admirably captures the spirit of the original audio and video versions. As ever, high school teacher Connie Brooks (Arden) carries a torch for handsome but clueless biology professor Phillip Boynton (Robert Rockwell, taking over a role created for radio by Jeff Chandler). Connie is finally able to arouse Boynton's attention when she is courted by the father (Don Porter) of a student (Nick Adams) she is tutoring. A subplot involving petty crime can easily be ignored, but there's no avoiding the hilarious fingernails-on-the-blackboard rendition of It's Magic sung by the adenoidal Walter Denton (Richard Crenna). And of course, there's principal Osgood Conklin (Gale Gordon), blowing his top at the slightest provocation. Our Miss Brooks was directed by Al Lewis, who was the chief writer for the radio and TV editions of the property. ~ Hal Erickson, All Movie Guide

When two scientists at a top-secret government installation devoted to space research are killed -- in their own test chamber, seemingly by an experiment gone awry -- Dr. David Sheppard (Richard Egan) is sent out from Washington to investigate. Sheppard mixes easily enough with the somewhat eccentric team of scientists, though he always seems in danger of being distracted by the presence of Joanne Merritt (Constance Dowling), who serves as the aide to the project director Dr. Van Ness (Herbert Marshall) but is, in reality, another security agent. Sheppard is as puzzled as anyone else by the seemingly inexplicable series of events overtaking the installation -- properly operating equipment suddenly undergoing lethal malfunctions, and the radar tracking aircraft that aren't there -- until he puts it together with the operations of NOVAC (Nuclear Operated Variable Automatic Computer), the central brain of the complex. But the mystery deepens when he discovers that NOVAC was shut down during one of the "accidents" -- and even the computer's operators can't account fully for the whereabouts of GOG and MAGOG, the two robots under the computer's control. ~ Bruce Eder, All Movie Guide

The title character of this western can only be one of two actresses: Maureen O'Hara or Rhonda Fleming. But Fleming apparently had something else to do, so O'Hara won the coin-toss. She plays a dance-hall gal who protects the identity of a cattle rustler--mainly because she's the same crooked business herself. Complications ensue when O'Hara falls in love with the very sheriff (Alex Nicol) who intends to bring the rustler to justice. Redhead from Wyoming was filmed in Technicolor; the producers would have been insane not to do so. ~ Hal Erickson, All Movie Guide

Disreputable wanderer Wes Anderson (Fred MacMurray) has been thrown in a frontier town calaboose, accused of being a "moonlighter" -- a cowpuncher who herds cattle by day and steals them by night. When Anderson escapes from jail, another man is falsely accused of Wes' crimes and is promptly lynched. Driven by guilt and revenge, Wes is determined to punish those responsible for the hanging, and to pay for a decent funeral for the innocent victim. In doing this, however, Wes turns from moonlighting to bank robbing, and it is up to his erstwhile sweetheart, Rela (Barbara Stanwyck) to bring him to justice. Along the way, Wes' criminal tendencies have tragic consequences for his hero-worshipping brother, Tom (William Ching). Originally released in 3-D, The Moonlighter is currently available only in 2-D, its only novelty value being the re-teaming of Double Indemnity stars Fred MacMurray and Barbara Stanwyck (who would again work together three years later in the low-key domestic drama There's Always Tomorrow). ~ Hal Erickson, All Movie Guide

It was considered a serious coup at Columbia Pictures when producer Stanley Kramer landed the rights to Arthur Miller's Pulitzer Prize-winning play, and got most of the key members of the Broadway cast for the movie, plus Kevin McCarthy from the original London cast. The one exception was Lee J. Cobb, who'd done the part of Willy Loman on Broadway but, because of his alleged past left-wing political associations, couldn't do the movie -- so Kramer and Columbia went with a proven box office star, Fredric March. He plays Willy Loman, who has spent a lifetime pursuing success, only to find himself a failure at age 60, a victim of poor choices, lost opportunities, and unreasonable expectations, especially for his two sons, and in particular the older one, Biff (Kevin McCarthy). Despite the support of his loving, patient wife Linda (Mildred Dunnock, in the performance of a lifetime), Willy's life comes apart along with his hold on reality, as he increasingly slips between the present and the past, reliving incidents in a desperate search for what went wrong. March brings a good deal of dignity to the role, and McCarthy and Cameron Mitchell are superb as his two sons, but the movie was a failure at the time of its release, partly owing to its difficult subject matter -- the failure of the American dream was not the first item on every moviegoer's list in 1951, no matter how successful the play had been on Broadway or how many awards it won -- and also to March's performance, which was just as likely the fault of director Laslo Benedek; he's sympathetic but too externalized, without Cobb's seething energy (represented in the 1960's television portrayal), and in the second half is too over-the-top in his madness. ~ Bruce Eder, All Movie Guide