Don Alvarado Movies

This landmark juvenile-delinquent drama scrupulously follows the classic theatrical disciplines, telling all within a 24-hour period. Teenager Jimmy Stark (James Dean) can't help but get into trouble, a problem that has forced his appearance-conscious parents (Jim Backus and Ann Doran) to move from one town to another. The film's tormented central characters are all introduced during a single night-court session, presided over by well-meaning social worker Ray (Edward Platt). Jimmy, arrested on a drunk-and-disorderly charge, screams "You're tearing me apart!" as his blind-sided parents bicker with one another over how best to handle the situation. Judy (Natalie Wood) is basically a good kid but behaves wildly out of frustration over her inability to communicate with her deliberately distant father (William Hopper). (The incestuous subtext of this relationship is discreetly handled, but the audience knows what's going on in the minds of Judy and her dad at all times.) And Plato (Sal Mineo), who is so sensitive that he threatens to break apart like porcelain, has taken to killing puppies as a desperate bid for attention from his wealthy, always absent parents.

The next morning, Jimmy tries to start clean at a new high school, only to run afoul of local gang leader Buzz (Corey Allen), who happens to be Judy's boyfriend. Anxious to fit in, Jimmy agrees to settle his differences with a nocturnal "Chickie Run": he and Buzz are to hop into separate stolen cars, then race toward the edge of a cliff; whoever jumps out of the car first is the "chickie." When asked if he's done this sort of thing before, Jimmy lies, "That's all I ever do." This wins him the undying devotion of fellow misfit Plato. At the appointed hour, the Chickie Run takes place, inaugurated by a wave of the arms from Judy. The cars roar toward the cliff; Jimmy is able to jump clear, but Buzz, trapped in the driver's set when his coat gets caught on the door handle, plummets to his death. In the convoluted logic of Buzz' gang, Jimmy is held responsible for the boy's death. For the rest of the evening, he is mercilessly tormented by Buzz' pals, even at his own doorstep. After unsuccessfully trying to sort things out with his weak-willed father, Jimmy runs off into the night. He links up with fellow "lost souls" Judy and Plato, hiding out in an abandoned palatial home and enacting the roles of father, mother, and son. For the first time, these three have found kindred spirits -- but the adults and kids who have made their lives miserable haven't given up yet, leading to tragedy. Out of the bleakness of the finale comes a ray of hope that, at last, Jimmy will be truly understood.

Rebel Without a Cause began as a case history, written in 1944 by Dr. Robert Lindner. Originally intended as a vehicle for Marlon Brando, the property was shelved until Brando's The Wild One (1953) opened floodgates for films about crazy mixed-up teens. Director Nicholas Ray, then working on a similar project, was brought in to helm the film version. His star was James Dean, fresh from Warners' East of Eden. Ray's low budget dictated that the new film be lensed in black-and-white, but when East of Eden really took off at the box office, the existing footage was scrapped and reshot in color. This was great, so far as Ray was concerned, inasmuch as he had a predilection for symbolic color schemes. James Dean's hot red jacket, for example, indicated rebellion, while his very blue blue jeans created a near luminescent effect (Ray had previously used the same vivid color combination on Joan Crawford in Johnny Guitar). As part of an overall bid for authenticity, real-life gang member Frank Mazzola was hired as technical advisor for the fight scenes. To extract as natural a performance as possible from Dean, Ray redesigned the Stark family's living room set to resemble Ray's own home, where Dean did most of his rehearsing. Speaking of interior sets, the mansion where the three troubled teens hide out had previously been seen as the home of Norma Desmond in Sunset Boulevard. Of the reams of on-set trivia concerning Rebel, one of the more amusing tidbits involves Dean's quickie in-joke impression of cartoon character Mr. Magoo -- whose voice was, of course, supplied by Jim Backus, who played Jimmy's father. Viewing the rushes of this improvisation, a clueless Warner Bros. executive took Dean to task, saying in effect that if he must imitate an animated character, why not Warners' own Bugs Bunny? Released right after James Dean's untimely death, Rebel Without a Cause netted an enormous profit. The film almost seems like a eulogy when seen today, since so many of its cast members -- James Dean, Natalie Wood, Sal Mineo, Nick Adams -- died young. ~ Hal Erickson, All Movie Guide

With Gary Cooper and Barbara Stanwyck in the cast, Blowing Wild was a guaranteed hit even before the cameras began turning. Cooper plays oil wildcatter Jeff Dawson, who does his best to bring in a gusher in Mexico despite continual bandit raids. Dawson asks for help from his ex-employer Ward Conway (Anthony Quinn), but Conway, now married to Dawson's ex-lover Marina (Barbara Stanwyck) refuses, fearing that his wife will want to renew her romance with the other man. The predatory Marina, still in love with Dawson, murders her husband, admits her crime to Jeff, and pleads to be taken back to America with him. A timely bandit attack solves everyone's problems in ultra-violent fashion. Blowing Wild was filmed through the facilities of Mexico City's Churubusco Studios. ~ Hal Erickson, All Movie Guide

This breezy and unpretentious film noir from director Don Siegel starts off with fireworks. Duke Holliday (Robert Mitchum), an American army lieutenant, is on his way to Mexico by boat when he's confronted in his cabin by Blake (William Bendix), gun in hand, who plans on taking him back to the United States. Holliday gets away, pummeling Blake pretty hard in the bargain and stealing his identification, and crosses paths with Joan Graham (Jane Greer). It turns out that she's looking for the same man he is, a smooth-talking hood and grifter named Fiske (Patric Knowles), who took Holliday at gunpoint for 300,000 dollars in army payroll money and Graham for 2,000 dollars, in addition to her hand in marriage. They spend a lot of their time sizing each other up, not knowing how much to believe about the other while trying to catch up with Fiske, while Blake -- an army captain who's after Holliday for his alleged part in the robbery -- stumbles along a step or two behind them. These four end up playing cat-and-mouse across Veracruz, with Fiske always a half-step ahead, while police Inspector General Ortega (Ramon Novarro) calmly keeps tabs on all of them, trying to figure out (along with the rest of us) exactly who is on the level (in those days, especially after Out of the Past, there was no built-in assurance for audiences that Mitchum and Greer played characters with clean hands, and Mitchum is almost too good with the rough stuff here to be an obvious hero). Holliday and Graham engage in some surprisingly playful and suggestive banter during their travels, in between her keeping Holliday -- whose command of Spanish is less than minimal -- from adding too many new permutations to the phrase "the ugly American" in his dealings with the Mexicans. The mood is decidedly brisk and light-hearted at times, given the gunplay and violence that explodes at key intervals. The addition of John Qualen -- in one of the strangest roles of his career -- as a decidedly fidgety and neurotic presence in the last quarter of the story only adds to the undertone of quirkiness in this superb film noir. ~ Bruce Eder, All Movie Guide

Paramount's Café Society applies a glossy new coat of paint to a wheezy old plotline. Madeleine Carroll plays a debutante named Christopher, who after a whirlwind courtship marries newspaper photographer Crick O'Banion (Fred MacMurray). But when Crick finds out that he's been rushed to the altar so that Christoper can win a bet with society columnist Sonny DeWitt (Allyn Joslyn) he vows to teach her a good lesson. With the sub rosa help of Christopher's wealthy uncle (Claude Gillingwater Sr.), Crick contrives a latter-day "Taming of the Shrew" scenario. It's all been done before and would all be done again, but the stars are attractive and the production values top-rank. ~ Hal Erickson, All Movie Guide

In this detective adventure, a young woman is accused of stealing a valuable necklace from her boss and takes off for Spain just before the Civil War. She is trailed by a detective form Scotland Yard. He finds her and soon falls in love and the two try to flee on a British ship. The story does not reveal whether the girl was innocent or not. ~ Sandra Brennan, All Movie Guide

Three former stalwarts of producer Hal Roach's two-reel comedies, actresses Patsy Kelly and Lyda Roberti and director Gus Meins, combine their talents in the Roach feature film Nobody's Baby. Kelly and Roberti play nurses-in-training Kitty and Lena, who reluctantly come into possession of a cute baby. The kid's mother, nightclub dancer Yvonne (Rosina Lawrence), doesn't want her public to know that she's married to her partner Cortez (Don Alvarado), so she prevails upon our heroines to take care of the baby "temporarily." Naturally, the presence of a squawling infant in the apartment of two bachelor girls results in all sorts of gossip and innuendo -- and this being a Hal Roach picture, situation comedy gives way to farce, gives way to slapstick. Sadly, Nobody's Baby was among the last of Lyda Roberti's screen appearances: she died the following year of an acute heart condition at the age of 29. ~ Hal Erickson, All Movie Guide

One of the few non-western releases from Sam Katzman's Victory Productions, Put on the Spot stars Eddie Nugent as G-Man Bob Andrews. When Joe Bradley (George Walsh) is railroaded into prison for a murder he didn't commit, Andrews takes it upon himself to clear the man. Digging up new evidence, our hero discovers that culprits are involved in smuggling activities along the Rio Grande. The script allows Andrews to travel several hundred miles along both sides of the border, though it is clear that most of the picture was filmed in Chatsworth California. Based on a novel by Peter B. Kyne, Put on the Spot went into production as Rio Grande Romance. ~ Hal Erickson, All Movie Guide

On the threshold of international fame as mature cowboy hero Hopalong Cassidy, William Boyd made three low-budget action-melodramas for independent company Winchester Pictures, the last of which, Federal Agent, featured the prematurely graying star as Bob Woods, a G-Man looking into the death of a colleague. As Bob learns, Recard Kantos (Don Alvarado), a vicious foreign spy, and his wife, Vilma (Lenita Lane), intend to buy a newly invented explosive capable of destroying the entire world. Turning to one of Kantos' disgruntled associates, Helen Gray (Irene Ware), Bob gets the inside scoop on the spy ring but ends up its prisoner. Helen, who proves to be the daughter of the murdered agent, manages to pass a knife to Bob and there is a final confrontation between the G-Man and his dangerous prey. Federal Agent, which was filmed in 1935 and released the following year by Republic Pictures, proved William Boyd's final non-Hopalong Cassidy starring vehicle. ~ Hans J. Wollstein, All Movie Guide

The last of Fox Studios' Hollywood-made Spanish-language films, Rose de Francia (Rose of France) stars Rosita Diaz as the title character. Diaz plays Luisa Isabel de Orleans, the French-born wife of Spain's Prince of Asturias. Because of their distrust of France, the Prince's parents refuse to allow him to consummate the marriage. Unaware of the reasons behind her husband's abstinence, Luisa Isabel tries to rouse the Prince by making him jealous. The plan works, the parents are foiled, and the film fades out discreetly as the royal couple scamper into their boudoir. ~ Hal Erickson, All Movie Guide

Director Josef Von Sternberg and his greatest discovery, Marlene Dietrich, worked together for the last time on this historical melodrama, which was a notorious and controversial box-office flop in its day. Antonio Galvan (Cesar Romero), a young military officer, meets a mysterious and alluring woman named Concha Perez (Dietrich) and soon falls under her seductive spell. Antonio excitedly confesses his love for Concha to his friend Don Pasqual (Lionel Atwill), an older and higher-ranking officer. Pasqual is horrified when he learns of Antonio's infatuation; years ago, he met Concha, and it was the start of a long and disastrous relationship in which the cold-hearted woman would repeatedly lure him into her romantic web, drain him of his wealth, and then leave him for wealthier prospects elsewhere. While he has learned the hard way, Pasqual has never been able to cure himself of his addiction to Concha's charms, and when he encounters Concha with Antonio at a boisterous street festival, Pasqual is overcome with jealousy and challenges Antonio to a duel for Concha's affections. Shortly after The Devil Is a Woman's unsuccessful initial release, the United States State Department and the Spanish government both tendered objections to (@ Paramount Pictures about what they felt were insulting depictions of the Spanish people and their leadership. Paramount pulled the film from circulation, and it was thought to be lost for some time until Dietrich provided a print from her personal collection for a Sternberg retrospective in 1959; the movie has since been released on home video. John Dos Passos co-authored the screenplay, based on a novel by Pierre Louys which Luis Bunuel later adapted as That Obscure Object of Desire. ~ Mark Deming, All Movie Guide

Marian Nixon made the first of a brace of starring appearances at low-budget Liberty Pictures in Once to Every Bachelor. Nixon plays a young innocent who through no fault of her own has become involved with gangsters. Seeking a way out, she latches on to a wealthy playboy (Neil Hamilton). Having been soured on matrimony, the lout suggests an "open" marriage, whereby he and his wife will be permitted to seek out the companionship of others. But he doesn't count on genuinely falling in love with his new bride. Silent screen favorite Aileen Pringle walks away with the picture as the vampish "other woman" in the case. ~ Hal Erickson, All Movie Guide

Hollywood's Charles Bickford and Mexican leading lady Raquel Torres top the cast of the British circus melodrama Red Wagon. Bickford plays Joe, an expert trick rider, while Torres is his fiery gypsy dancer Sheba. Though in love with tiger trainer Zara (Greta Nissen), Joe breaks up with her over a foolish misunderstanding and marries Sheba as consolation. A climactic confrontation with a rival circus man forces Joe to confront the mistakes he's made in his life. Red Wagon was adapted from a novel by Edward Knoblock, of Kismet fame. ~ Hal Erickson, All Movie Guide