Harry V. Cheshire Movies

Toward the end of Jerry Lewis's Paramount studio period, Lewis slapped together this bitter comedy about Hollywood phoniness and fame that has to be the most rancid portrait of the Hollywood star system in the Rat Pack era this side of Clifford Odets. When a famous entertainer suddenly is killed in an airplane crash, his team of flunkies -- producer Caryl Fergusson (Everett Sloane), writer Chic Wymore (Phil Harris), press agent Harry Silver (Keenan Wynn), director Morgan Heywood (Peter Lorre in his final film role), valet Bruce Alden (John Carradine), and secretary Ellen Betz (Ina Balin) -- decide to continue their life style by finding a complete unknown and manufacturing him into a Hollywood star. That unknown turns out to be the nervous and inept bellboy Stanley Belt (Jerry Lewis). They train Stanley to become an over-night singing sensation, and despite a disastrous recording session and a failed nightclub performance, the public relations blitz makes Stanley's recording of "I Lost My Heart in a Drive-In Movie" a smash single. So much so that Stanley is given a shot at appearing on "The Ed Sullivan Show." Expecting the worst, Stanley's management team abandons him right before his performance. But Stanley musters up enough confidence to go on the live program alone and manages to surprise his pessimistic ex-staff. A collection of Hollywood celebrities circa 1964 --George Raft, Ed Wynn, Ed Sullivan, Mel Torme, Rhonda Fleming and Hedda Hopper -- make cameo appearances. High spots include an apocalyptic music lesson with voice teacher Dr. Mule-rrr (Hans Conried), Ed Sullivan performing a bizarre impersonation of himself, and an ending that would make even Jean-Luc Godard blush. ~ Paul Brenner, All Movie Guide

In New Orleans during Mardi Gras, Bret loses several thousand dollars in a card game with the beauteous Felice De Lassignac (Joanna Barnes). To recoup his losses, Bret accepts a job from Felice's aristocratic husband (Charles Maxwell) to deliver a casket containing the body of a dearly departed family retainer. En route to his destination, Bret meets another woman (Roxane Berard) who also claims to be Felice De Lassignac...and before he quite knows what's happening, our hero is up to his neck in an elaborate--and deadly--smuggling scheme. ~ Hal Erickson, All Movie Guide

Let's Make Love is a breezy comedy about an off Broadway musical production. Jean-Marc Clement (Yves Montand) is the richest man in the world and looking for someone who loves him instead of his money. He reads in Variety he is to be satirized in the new production and tries out for the part. The producers hire him, unaware of his real identity. He hires Bing Crosby, Milton Berle and Gene Kelly to coach him for the role. Amanda (Marilyn Monroe) is the poor aspiring actress who lands a part in the play. Her opening number is the classic "My Heart Belongs To Daddy". Unaware of his fabulous wealth, she falls for the playboy billionaire during the rehearsals for the show. Tony Randall plays Montand's fussy public relations agent and tries to keep his boss from embarassment. ~ Dan Pavlides, All Movie Guide

Another of director Allan Dwan's underrated but well-crafted westerns of the 1950s, The Restless Breed stars Scott Brady as a young gunslinger who lives for revenge. When Brady's father is killed by gun runners, he pursues the villains across the Mexican border. Gang leader Jim Davis, beyond the reach of American law, is confident that his henchman can get rid of Brady in short order, but he's wrong. As his hired guns drop like flies, Davis is forced to accept Brady's challenge to a showdown. Anne Bancroft is intriguingly if incongruously cast as an Indian girl who falls in love with Brady. ~ Hal Erickson, All Movie Guide

Loving You was the most autobiographical of all Elvis Presley's movies, and, not coincidentally, features the most naturalistic, easygoing performance of his early career. He plays Deke Rivers, a truck driver with a penchant for singing and a raw animal magnetism where women are concerned. He attracts the business interest of publicity agent Glenda Markle (Lizabeth Scott), who sees a potential gold mine in Deke. She hires him to appear with a band that she handles, fronted by aging country & western singer Tex Warner (Wendell Corey), who used to be romantically involved with Glenda and is now a client. Pretty soon he's pulling in bigger crowds and generating more excitement than Tex did during his best days (which drives the older singer to start drinking again), but also a lot more controversy, too. Deke is so provocatively sexual a presence on-stage that some citizens in the southern and border states where the band is working think that what he does is immoral. Girls can't keep away from him, their boyfriends despise what he symbolizes, and their parents are aghast, even as concert promoter Carl Meade (James Gleason) smells a fortune to be made from this boy. Glenda parlays these disputes and a ban on one of Deke's performances into a national television event. Amid all of this, Deke reveals the private, vulnerable side that no one ever knew -- that he's not even Deke Rivers (it was a name he took off a gravestone), but an orphan named Jimmy Tompkins, and that he's never had a home. He also reveals that he's attracted to Glenda, mistaking (with her encouragement) her interest in his talent with a personal involvement, but he's also drawn the the band's female singer, Susan Jessup (Dolores Hart), who could genuinely love him, and offers him a caring family of her own that would accept him. Deke and Glenda's conflicts are eventually straightened out, and Deke gets to say his piece and sing his music on network television. ~ Bruce Eder, All Movie Guide

John Payne always felt that he delivered his best screen performance in The Boss. Set in the years following WW1, the story concerns a small-town veteran named Matt Brady (John Payne), whose brother, machine politician Tim Brady (Roy Roberts), arranges for Matt to get a cushy government job. When Tim dies, Matt takes over his operation, eventually assuming control of the entire state (which judiciously remains unnamed in the film). Though a successful power broker, Matt is unable to win the woman he loves (Doe Avedon), so he settles for another (Gloria McGhee) whom he treats atrociously. A falling out with his best friend/severest critic Bob Herrick (William Bishop) sets the stage for the ruthless Brady's inevitable downfall. Though all the names were changed to protect the guilty, audiences in 1956 were quick to perceive that the film was a thinly disguised attack on the Pendergast machine of Kansas City, Missouri. Coproduced and cowritten by John Payne, The Boss falters only in its overreliance upon anachronistic newsreel footage. ~ Hal Erickson, All Movie Guide

With his movie career fading in 1955, Bob Hope was amenable to writer/director Mel Shavelson's suggestion that Hope try something different. The Seven Little Foys was the first of Hope's two "straight" biopics (the second was 1956's Beau James). Though not completely abandoning his patented persona, Hope does an admirable job of impersonating legendary Broadway song-and-dance man Eddie Foy, right down to the soft-shoe shuffle and affected lisp. A successful "single" in vaudeville, Foy meets and marries lovely Italian songstress Madeleine Morando (Milly Vitale). The union results in seven children, moving the Foys' priest to comment "we're running out of Holy water" after the seventh baptism. Hardly an ideal family man, Foy leaves Madeleine and her sister Clara (Angela Clarke) behind in their Connecticut home to raise the kids, while he rises to spectacular career height. Returning home after attending a testimonial for George M. Cohan (James Cagney, who played this unbilled cameo on the proviso that Hope turn over Cagney's salary to charity), Foy discovers that his wife has died of pneumonia. Months pass: Foy sulks in his rambling house, while his seven kids run roughshod. Foy's manager (George Tobias) suggests that the entire family be assembled into a vaudeville troupe called The Seven Little Foys. Though the kids are profoundly bereft of talent, the act gets by on its charm, and before long Foy is a bigger success than ever. But when Foy and the kids are booked into the Palace on Christmas Day, Aunt Clara decides that the kids are being cruelly exploited, and arranges for the authorities to arrest the act on charges of violating a state law barring children from singing and dancing. The authorities decide to drop the charges when the kids rally around their father, declaring their genuine love for him--but the deciding factor is a quick demonstration that the kids can't sing or dance to save their lives! The Seven Little Foys is a standard Hollywood whitewash job, emphasizing Eddie Foy's virtues (including his on-stage heroism during the infamous Iroquois Theatre fire of 1903) and soft-pedaling or ignoring his faults (e.g. his capacity for alcohol). Wisely, the scenes between Bob Hope and the seven children playing the Little Foys (including Father Knows Best's Billy Gray, The Real McCoys' Lydia Reed and Leave It to Beaver's Jerry Mathers) are refreshingly free of cloying sentiment. Also, Hope is a good enough natural actor to convince us that he deeply cares for his children without gooey effusions of emotion. The film's hands-down highlight is the "challenge dance" between Foy (Bob Hope) and Cohan (James Cagney)--a lasting testament of the superb terpsichorean talents of both men. The Seven Little Foys was narrated by Eddie's son Charley Foy, a fine comedian in his own right. ~ Hal Erickson, All Movie Guide

The 3D melodrama Dangerous Mission starts off with a bang when innocent Piper Laurie inadvertently witnesses the murder of her gangster boss. Though she doesn't get a particularly good look at the killer, she knows she's dead meat if she remains in town. Thus, Laurie skeedaddles to Montana's Glacier National Park, where most of the film takes place. Following her westward are Victor Mature and Vincent Price. One of these men is a federal agent, bound and determined to bring Laurie back to the East to testify; the other is the murderer, who intends to silence our heroine for keeps. Laurie doesn't know which is which, but the audience does. A bit poky at times (thanks in part to the uninspired editing of Gene Palmer), Dangerous Mission roars into life during a mid-film forest fire and a climactic chase through the glacier fields. Featured in the cast are William Bendix as a Montana ~ Hal Erickson, All Movie Guide

After several years of domestic squabbles, the marriage of Nina and Robert Tracy (Judy Holliday, Jack Lemmon) goes "phffft"! Upon receiving their divorce papers, Nina and Robert are certain that they'll remain friends, no matter how many new lovers they pick up along the way. Nina dallies briefly with bombastic Charlie Newton (Jack Carson), while Robert has a fling with the luscious Janis (Kim Novak). These romantic episodes only serve to make Nina and Robert realize how much they're still in love with each other. According to costar Jack Lemmon, the original title of this film was Phfffft!, but after an all-night bull session at Columbia Pictures it was decided to take out one of the "F"s. ~ Hal Erickson, All Movie Guide

A wealthy Texan named Sam Johnson (Harry Cheshire) offers to sell the Ricardos and the Mertzes some of his leftover oil stock. Suspecting that the stock isn't a valuable as it's cracked up to be, both Ricky (Desi Arnaz) and Fred (William Frawley) take a pass -- or at least, that's what they tell each other! Inevitably, both of the couples invest heavily in Johnson's oil wells, leading to another session of conclusion-jumping on the part of Lucy (Lucille Ball), who sets up her own "sting" operation to find out if Johnson is on the up-and-up. ~ All Movie Guide

Future Leave It to Beaver paterfamilias Hugh Beaumont appears in this episode as Dan Grayson, an ex-convict who has gone straight for the sake of his wife Peg (Aline Towne) and son Tim (Bradley Mora). Alas, his former cellmate Luke Maynard (John Kellogg) has threatened to reveal Grayson's criminal past unless Dan joins him in a string of robberies. Unable to turn to the police, Dan places his fate in the hands of Superman (George Reeves). ~ Hal Erickson, All Movie Guide

The "regeneration" of blacklisted director Edward Dmytryk was expedited when he was hired by producer Stanley Kramer to helm the location-filmed melodrama The Sniper. In the interests of political expediency, Dmytrk was required to direct Adolphe Menjou, one of the most virulent Red-baiters of the HUAC hearings. Shorn of his trademarked mustache, and with his famous expensive wardrobe replaced by a humdrum business suit, Menjou turns in one of his best performances as a world-weary San Francisco detective assigned to track down a mad sniper. From the beginning, the audience knows that the criminal is psycho Eddie Miller (Arthur Franz), who is possessed of the notion that he must kill every beautiful brunette woman who crosses his path. Some audience sympathy is elicited by Miller's pathetic attempts to rid himself of his obsession, but this never gets in the way of the film's suspense. The excellent supporting cast includes Richard Kiley as a police psychiatrist, Marie Windsor as Miller's first victim, and Mabel Paige as the sniper's snoopy landlady. An unbilled Wally Cox shows up briefly. ~ Hal Erickson, All Movie Guide

In this boxing drama, a deaf-mute prizefighter whose career is on the rise falls in love with a gold digging singer who only loves him for his potential earnings. He is also loved by a wholesome journalist who loves him for himself. It is she that helps him get the operation that restores his hearing. Unfortunately, upon finally figuring out that it is she who really loves him, the fighter again loses his hearing during a championship bout. ~ Sandra Brennan, All Movie Guide