Spencer Chan Movies

For reasons that defy logic, the excellent This Island Earth was held up for ridicule as an allegedly bad movie in the film version of TV's Mystery Science Theater. If not the best science-fiction film of the 1950s, Earth is certainly one of the most intelligent and elaborate. The story begins when the image of Exeter (Jeff Morrow), a huge-domed scientific genius from the planet Metaluna, appears on an experimental 3D television screen. Exeter invites several noted scientists from around the world to work on a top-secret project at Exeter's earthly mansion. Among those accepting the invitation are Cal Meacham (Rex Reason) and his ex-fiancee Ruth Adams (Faith Domergue). Soon, Cal and Ruth learn Exeter's true motives; to use the Earth's atomic knowhow in building a defense shield to protect Metaluna against the enemy planet Zahgon. Eventually, Exeter boards his high-tech flying saucer and whisks Cal and Ruth off to his dying planet, where, among other perils, they are menaced by a hideous mutant. Based on a novel by Raymond F. Jones, This Island Earth is one of those rare 1950s speculative films that holds up as well today as it did when first released, despite the comparative quaintness of the special effects and high-tech paraphernalia. Incidentally, the climactic Metalunan scenes were directed by Universal's resident sci-fi specialist, Jack Arnold. ~ Hal Erickson, Rovi

The tendency is to scoff at Macao as just another example of Josef von Sternberg's late-career exercises in exoticism; true, it has its problems, including a weak plot and a slightly hasty pace, but it is still an extraordinary film for its time and its personnel. The real sparkplug for the movie is Jane Russell as out-of-work singer Julie Benson, who inadvertently gets the plot rolling when she ends up in a cabin with a lout who won't take no for an answer. Her plight, and a flying shoe, brings in laconic, slightly mysterious traveler Nick Cochran (Robert Mitchum), who seems to have something to hide and manages to get his wallet (including passport) lifted by the opportunistic Julie. Crossing paths with them is Lawrence Trumble (William Bendix), a good-natured lunkhead salesman coming to Macao for the gambling. And gambling, among other less legal activities, is what local hood Halloran (Brad Dexter) is all about. He's just hot enough in international crime circles to attract the authorities, who can't touch him in Macao; he's already had one New York detective killed and expects another to arrive, and he's keeping an eye on any suspicious, unfamiliar Westerners arriving, which leads him to Julie, Cochran, and Trumble. Halloran has other, obvious plans for Julie, especially when obliging corrupt police chief Thomas Gomez points her to a singing job at his club, much to the distress of his one-time girlfriend (Gloria Grahame); he dismisses Trumble as a lovable clown. But Nick has cop written all over him and is hiding something. All of the pieces fit together neatly in the end, and everyone is keeping at least one secret that will surprise viewers.

What makes Macao truly special are the performances, beginning with Jane Russell, who, with the possible exception of Gentlemen Prefer Blondes, was never better. Her ample physical assets are on display as usual, but she also never gave a sharper, more naturalistic or purely sensual acting performance. Russell had clearly found her talent and her center with this film. Whether she's shooting a suspicious glance at larcenous police chief Thomas Gomez, singing a sultry torch song in a seductive white strapless outfit, or striding forward in an exquisite dolly-out shot, she commands every scene in which she appears. And it's not just her imposing physique that does it, but a boldness of nuance; Russell had learned a lot since The Outlaw. Brad Dexter, the odd man out in The Magnificent Seven, makes an excellent villain, like a more pathological version of Steve Cochran. Meanwhile, Robert Mitchum, in his portrayal of a neurotic, perhaps shell-shocked veteran, shows a vulnerable side that seldom came out so convincingly or touchingly in his RKO movies; and even William Bendix found a new wrinkle to his screen persona as the seemingly larcenous commercial traveler. The audience will be beguiled and surprised throughout this movie -- an underrated noir classic -- and not just by the stories that unravel. The last line and wrap shot create an amazingly lusty, censor-challenging denouement for an early '50s film. ~ Bruce Eder, Rovi

This second screen version of Ernest Hemingway's To Have and Have Not is closer in spirit to the original than the first version, though it still is far from faithful to its source. John Garfield stars as Harry Morgan, who has metamorphosed from Hemingway's gun-runner to an ex-PT boat captain, now running a charter boat service in Southern California. Deeply in debt, Morgan agrees to smuggle aliens and later tries to sneak a bunch of gangsters out of the country. By the time he's been given a wake-up call by his conscience, Morgan has caused the death of a close friend. Patricia Neal and Phyllis Thaxter make the most of their limited footage as, respectively Harry Morgan's casual mistress and faithful spouse. Many critics feel that The Breaking Point represents Michael Curtiz' finest directing job--no small praise for a man who helmed such classics as Casablanca and Yankee Doodle Dandy. ~ Hal Erickson, Rovi

Those scurrilous Chinese communists are up to their old tricks in the 1949 flagwaver State Department - File 649. William Lundigan plays Ken, an operative of the U.S. Foreign Service stationed in North China. Ken is one of several people trapped in a remote village by evil warlord Yun Usu (Richard Loo), who intends to sell his services to the highest bidder, be they Red or otherwise. Our hero manages to get a message out to the Free World before the film's operatically self-sacrificial climax. The characterizations are of the cardboard variety and the dialogue is straight out of Fu Manchu. Still, State Department - File 649 is a fascinating encapsulation of postwar political propaganda. ~ Hal Erickson, Rovi

Set in the Cuba of 1933, We Were Strangers stars John Garfield as revolutionary-minded Tony Fenner. A member of an underground movement dedicated to toppling the despotic Machado regime, Tony supervises the booby-trapping of a cemetery where several top Cuban officials are planning to converge for a state funeral. Also involved in the assassination scheme is China Valdes (Jennifer Jones), whose brother had been executed by the government. As often happens in a John Huston film, the best-laid schemes of the protagonists go tragically awry. Based on a portion of Robert Sylvester's novel Rough Sketch, We Were Strangers was scripted by frequent Huston collaborator Peter Viertel. The film has the curious distinction of being lambasted by both the left-wing and right-wing critics in the U.S. Audiences were likewise underwhelmed, compelling Columbia Pictures to withdraw the film from distribution early on. ~ Hal Erickson, Rovi

In the first of his three serials for Columbia Pictures, Larry "Buster" Crabbe starred as Captain Silver who, with his crew, gets involved with rescuing John Whitney (Milton Kibbee), a man with a certain knowledge of sunken treasure. Whitney has been kidnapped by a mysterious pirate known as The Admiral (Robert Barron), who rules over the ubiquitous South Seas Island. The girl in the case is Whitney's lovely daughter (Pamela Blake). Based on both a comic strip and a radio series, The Sea Hound was produced by the corner-cutting Sam Katzman and looked it. A former MGM starlet, brunette leading lady Pamela Blake was earlier known as Adele Pearce, her real name, apparently. ~ Hans J. Wollstein, Rovi

This WW II drama is the first to deal with the fateful atomic bomb attack on Japan. Originally, the film centered on the acquisition of a new kind of gun, but as it was in production during the time the Bomb was dropped, the producers were quick to change the story to suit the times. It tells the story of a straight-arrow American pilot who was raised in Japan and is asked to return there to get a captured scientist to garner valuable information about the A-bomb. The pilot, Major Ross, realizes that he will not survive the mission, but as he has just lost his lover, he cares little for life. Before he goes, his face is surgically altered so he looks Japanese and he then infiltrates the camp where the scientist is being held. There he finds his girl friend, an army nurse, who has also been captured. Unfortunately, she has fallen in love with a fellow inmate. The determined Major Ross remains focused and completes his mission, but not before encountering considerable danger at the hands of enemy officers. The end of the film features actual newsreel footage of nuclear bombings from Pathe. ~ Sandra Brennan, Rovi

A lively espionage drama that reunited the stars and director of the previous year's The Maltese Falcon, Across the Pacific was originally envisioned as the story of a Japanese invasion of Hawaii. Real-life events of December of 1941, however, precluded such a scenario and the location was changed to the Panama Canal. For reasons known only to Warner Bros., the title was retained despite the fact that none of the action takes place in the Pacific. Humphrey Bogart plays Rick Leland, a disgraced ex-army man, who, after being turned down by the Canadian military, jumps a Japanese steamer bound for the Panama Canal Zone. Also onboard are Alberta Marlow (Mary Astor), a small-town girl claiming to be en route to Los Angeles; Dr. Lorenz (Sydney Greenstreet), a corpulent sociologist with a suspiciously friendly regard for all things Japanese; and Joe Totsuiko (Victor Sen Yung), a happy-go-lucky second generation Japanese-American on his way to visit the old country. But no one is exactly who he or she claims to be and the voyage from Halifax via New York City to Panama becomes a matter of life and death for the passengers in general, and for the future of the United States in particular. Director John Huston was forced to leave the film three weeks into the four-week shooting schedule when summoned to report to the Department of Special Services. According to Huston, he purposefully placed Humphrey Bogart's character in a highly precarious situation and left it up to his replacement, Vincent Sherman, to come up with the solution -- which Sherman did in an especially fiery climax. ~ Hans J. Wollstein, Rovi

General Yang (Akim Tamiroff) is a politically ambitious Chinese bandit who holds the Northern districts in a grip of terror. Yang is opposed by O'Hara (Gary Cooper), an American mercenary who fights on behalf of the peasants. When he is entrusted with a large sum of money to buy guns, O'Hara becomes the target of Yang and his minions. Betrayed by a cowardly Caucasian (Porter Hall), O'Hara nonetheless falls in love with his betrayer's daughter Judy (Madeline Carroll). Yang captures both O'Hara and Judy and spirits them away on his junk, where the General intends to torture O'Hara so as to find out where the money is. A bizarre and gloomy ending caps this atmospheric thriller, adapted from Charles G. Booth's best-selling novel by Clifford Odets--who, along with director Lewis Milestone, novelist John O'Hara and Hollywood columnist Sidney Skolsky, appears as an extra in one scene. ~ Hal Erickson, Rovi