Howard Negley Movies

While having lunch at the Plaza Hotel in New York, advertising executive Roger O. Thornhill (Cary Grant) has the bad luck to call for a messenger just as a page goes out for a "George Kaplan." From that moment, Thornhill finds that he has stepped into a nightmare -- he is quietly abducted by a pair of armed men out of the hotel's famous Oak Room and transported to a Long Island estate; there, he is interrogated by a mysterious man (James Mason) who, believing that Roger is George Kaplan, demands to know what he knows about his business and how he has come to acquire this knowledge. Roger, who knows nothing about who any of these people are, can do nothing but deny that he is Kaplan or that he knows what they're talking about. Finally, his captors force a bottle of bourbon into Roger and put him behind the wheel of a car on a dangerous downhill stretch. Through sheer luck and the intervention of a police patrol car and its driver (John Beradino), Roger survives the ride and evades his captors, and is booked for drunk driving. He's unable to persuade the court, the county detectives, or even his own mother (Jesse Royce Landis) of the truth of his story, however -- Thornhill returns with them to the mansion where he was held, only to find any incriminating evidence cleaned up and to learn that the owner of the house is a diplomat, Lester Townsend (Philip Ober), assigned to the United Nations. He backtracks to the hotel to find the room of the real George Kaplan, only to discover that no one at the hotel has ever actually seen the man. With his kidnappers once again pursuing him, Thornhill decides to confront Townsend at the United Nations, only to discover that he knows nothing of the events on Long Island, or his house being occupied -- but before he can learn more, Townsend gets a knife in his back in full view of 50 witnesses who believe that Roger did it. Now on the run from a murder charge, complete with a photograph of him holding the weapon plastered on the front page of every newspaper in the country, Thornhill tries to escape via train -- there he meets the cooly beautiful Eve Kendall (Eva Marie Saint), who twice hides him from the police, once spontaneously and a second time in a more calculated rendezvous in her compartment that gets the two of them together romantically, at least for the night. By the next day, he's off following a clue to a remote rural highway, where he is attacked by an armed crop-dusting plane, one of the most famous scenes in Hitchcock's entire film output. Thornhill barely survives, but he does manage to learn that his mysterious tormentor/interrogator is named Phillip Vandamm, and that he goes under the cover of being an art dealer and importer/exporter, and that Eve is in bed with him in every sense of the phrase -- or is she? ~ Bruce Eder, All Movie Guide

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, All Movie Guide

This very lightweight comedy focuses on young orphan Willie Taylor (Tim Hovey). Upset with the prevarications of the adult world, Willie launches a truth-telling campaign at school, with the blessings of his pretty teacher Joan Madison (Maureen O'Hara). Things begin to get dicey when Willie publicly reveals a slightly dishonest real-estate deal mastermined by his Uncle Arthur (Barry Atwater). Crusading reporter Ernie Miller (John Forsythe) transforms little Willie into a big celebrity, and in so doing wins the love of Joan. A good supporting cast helps smooth over the lumpier passages of Everything but the Truth. ~ Hal Erickson, All Movie Guide

An unusually matronly Jane Wyman plays the title character in Lucy Gallant. Adapted from a novel by Margaret Cousins, the story concerns the efforts by Lucy Gallant to make the wide-open spaces of Texas a mecca for High Fashion. Jilted at the altar, Lucy retreats to a booming oil town, where she courageously opens up a gown shop. Rancher Casey Cole (Charlton Heston) is disdainful of "working women", but he never hides the fact that he's madly in love with Lucy. As the film progresses, Lucy nearly loses her business due to financial reverses, but Casey secretly pumps money into her operation, all the while declaring publicly that she's doomed to failure. Lucy's gowns were actually designed by Edith Head, who makes an appearance towards the end of the film, as does the then-governor of Texas, Allan Shivers. Lucy Gallant was the last of the incredibly successful Pine-Thomas productions for Paramount Pictures; there might have been more had not William H. Pine died shortly after completing the film. ~ Hal Erickson, All Movie Guide

This tuneful remake of 1937's The Awful Truth centers on the rocky marriage of a philandering composer and the wife who has her fill and decides to get even by having an "affair" of her own. Actually, hers is quite innocent. Unfortunately, her husband doesn't known this and the couple get a divorce. But somehow, beneath all their anger, the two are still in love and show it by trying to make the other jealous at every opportunity. The wife allows a handsome Alaskan tycoon to court her while the composer uses a pretty young woman. Of course, it doesn't take the pair too long to realize the awful truth and reunite. ~ Sandra Brennan, All Movie Guide

In this comedy, a housewife schemes to make her dreams of feeling the soft touch of mink on her hardworking shoulders a reality. Unfortunately her husband does not have enough money for such a luxury. Being a resourceful lass, the wife decides the only viable alternative is to raise her own mink. Unfortunately, her project doesn't set well with the landlord and the family ends up having to move into the country. More trouble follows when the husband loses his job. ~ Sandra Brennan, All Movie Guide

The Paramount publicity department had a field day heralding the news that Charlton Heston portrays a Native American named "Warbonnet" in The Savage. Actually the ad campaign was a bit of a cheat, since Heston turns out to be a white man raised by the Sioux. The crisis comes when hostilities break out between the whites and the Indians, forcing Heston to question his loyalties. The script tries to be equitable, but the Indians lose out again. Ironically, one year after starring in The Savage, Charlton Heston played an Indian-hating government agent in Arrowhead. ~ Hal Erickson, All Movie Guide

The Farmer Takes a Wife is a musicalized remake of the 1935 film of the same name. Betty Grable and Dale Robertson star in the roles originally essayed by Janet Gaynor and Henry Fonda. Set in the early 19th century, the plot details the trials and tribulations of those hardy souls who settled along the Erie Canal. Grable plays Molly Larkin, the girlfriend of rough-and-tumble canal-boat captain Jotham Klore (John Carroll). Much to Klore's dismay, she hires mild-mannered farmer Daniel Harrow (Robertson) to work on the boat. Molly and Daniel fall in love and marry, but there's many a heartbreak and letdown before a happy ending can be reached. Though not in any way a "typical" Betty Grable musical, Farmer Takes a Wife was misleadingly advertised as such: one promotional still showed a grinning Grable anachronistically garbed in tight jeans and a bare-midriff blouse! Both versions of The Farmer Takes a Wife were adapted from the stage play by Frank B. Elser and Marc Connelly. ~ Hal Erickson, All Movie Guide

An abundance of subplots are expertly woven together by screenwriter/director Richard Brooks in Deadline - USA. Humphrey Bogart stars as crusading editor Ed Hutcheson, whose newspaper is on the verge of closing thanks to the machinations of the mercenary daughter (Audrey Christie) of Mrs. Garrison (Ethel Barrymore), the paper's owner. Though he and his staff will all be out of work within a few days, Hutcheson intends to go out with a bang, exposing the criminal activities of "untouchable" gang boss Rienzi (Martin Gabel). Despite numerous disappointments and setbacks, Hutcheson achieves a pyrrhic victory as the film draws to a close. Throughout the story, the many pressures brought to bear upon a big-city newspaper--political, commercial, etc.--are realistically detailed, as is the relationship between Hutcheson and his ex-wife Nora (Kim Hunter). The cast of Deadline USA is uniformly excellent, from featured players Warren Stevens, Jim Backus, Paul Stewart Fay Baker and Ed Begley to such unbilled performers as Tom Browne Henry, Raymond Greenleaf, Tom Powers, and Kasia Orzazewski (essentially reprising her unforgettable characterization in Call Northside 777). ~ Hal Erickson, All Movie Guide

Kansas City Confidential, Phil Karlson's low (low) budget, B-grade film noir, opens on a Kansas City armored-car robbery perpetrated by cynical, corrupt ex-policeman Timothy Foster (Preston S. Foster). Foster devises an outrageous scheme: he will recruit three of the most vicious and unrelenting criminals he can find (screen heavies Lee Van Cleef, Jack Elam and Neville Brand) to undertake a robbery, blackmailing them into the heist with incriminating evidence from other "jobs." As an eccentric and clever conceit, Foster forces each of the perpetrators to wear masks, thus concealing their identities from one another and preventing the old pitfall of the men squealing and backstabbing. The heist comes off without a scratch, but a complication arises when the ignorant cops pick up an unrelated fellow, Joe Rolfe (John Payne) for his ownership of a van similar to the one used in the caper. In time, Rolfe is cleared, but he grows irate over the accusations and sets off to find Foster and co. and teach them a lesson. He finally happens upon one of the perpetrators in Mexico, beats him nearly to death, and assumes the victim's identity - and that's when things really get complicated. Though produced under the Hays Code censorship regulations, Kansas City Confidential constituted one of the most brutal and violent crime pictures made up through that time; as such, it retains historical significance. It also claims a strong cult following. ~ Nathan Southern, All Movie Guide

An insurance investigator, a dame with a yen for the finer things in life and a mail robbery gone horribly wrong are the ingredients in this low-budget but highly engrossing film noir. Charles McGraw and Louis Jean Heydt are tough insurance agents but their partnership comes in for some rough sailing when he former falls head over heels for Joan Dixon, a lady apparently not averse to letting herself be wined and dined by an obvious gang leader (Lowell Gilmore). In an attempt to win the lady's favors, McGraw concocts a plan to rob a mail train insured by his own company. Too late does he discover that the girl is perfectly willing to accept him as he is. ~ Hans J. Wollstein, All Movie Guide

Rawhide is a westernized remake of the 1936 crime melodrama Show Them No Mercy. Tyrone Power stars as Tom Owens, the assistant manager of a remote stagecoach way station. A coach arrives, bearing Vinnie Holt (Susan Hayward), who carries her baby niece in her arms. Having learned that an outlaw gang is in the vicinity, Owens advises Vinnie to hold up at the station until the next day. Shortly thereafter, the gang arrives and kills stationmaster Sam Todd (Edgar Buchanan). Outlaw leader Zimmerman (Hugh Marlowe), assuming that Owens and Vinnie are the baby's parents, decides not to kill them as well but to hold them prisoner while he and his men await the arrival of a gold shipment. Tension mounts as the relatively civilized Zimmerman argues with his psychotic henchman Tevis (Jack Elam) over the fate of the "married couple." Meanwhile, Owens tries to think up an escape plan for himself, Vinnie and the child. The film closes with a nail-biting shootout, with the baby in the thick of the fray. So as to avoid confusion with the TV series of the same name, Rawhide was retitled Desperate Siege for its first television showing in 1962. ~ Hal Erickson, All Movie Guide