Virginia Christine Movies

Hired to inventory the Bowden estate, Ralph Duncan (Vaughn Taylor), a none-too-bright civil servant, decides to impress his wife Helen by bringing home $153,000 in old greenbacks that he has found on the Bowden property. Of course, Duncan intends to return the money the next morning; unfortunately, the cash is stolen by his no-good cousin Charley (Robert Casper). Not only is poor Duncan accused of theft, but he's also charged with the murder of one Lloyd Farrell (Liam Sullivan)--and it is at this point that Perry Mason (Raymond Burr) enters the story. ~ Hal Erickson, All Movie Guide

Nehemiah Persoff, who appeared in the premiere Untouchables episode as mob accountant Jake "Greasy Thumb" Guzik, returns to the series in the role of crooked gambler Johnny Fortunato. Elliot Ness (Robert Stack) is reunited with his former school chum Frank Barber (Jack Warden), now the owner of the Chicago Sports Palace--and one of many entrepreneurs forced to pay tribute to Fortunato. A series of violent incidents convince Ness that Barber and his girlfriend Chickie (Madlyn Rhue) are in desperate need of police protection. What Elliot doesn't know is that old buddy Frank is setting him up as a dupe in an elaborate scheme to blackmail Fortunato and his flunkeys. ~ Hal Erickson, All Movie Guide

Former child actor Dean Stockwell makes his first grown-up appearance in The Careless Years. Stockwell plays a mixed-up high schooler who wishes to marry Natalie Trundy, but the girl's parents (played by John Stephenson and Barbara "June Cleaver" Billingsley) feel the couple should complete school first. Dean and Natalie impulsively run off to elope, while Natalie's anguished parents inaugurate a nationwide search for the wayward kids. Though it is fairly clear that Dean and Natalie have gotten to know each other intimately during their flight, they meekly return home and agree to "wait" until school is out. Careless Years served to introduce promising young actress Natalie Trundy, whose starring career was cut short by an auto accident that kept her off-screen until the late 1960s. ~ Hal Erickson, All Movie Guide

The only thing genuinely brave about Three Brave Men is the second word in the title. The film is based on the true story of a Navy employee who was fired as a security risk, then took the case to court to prove his loyalty to the United States. Ernest Borgnine plays the victimized employee, whose life is ruined simply because he once briefly participated in an alleged "Pinko" organization. Borgnine and his family are ostracized from the community when word leaks out about his so-called disloyalty. Lawyer Ray Milland takes Borgnine's case; he pleads so eloquently on behalf of his client's patriotism that the navy, represented by Eisenhower lookalike Dean Jagger, reinstates Borgnine. The problem in Three Brave Men is in how the material is approached. Instead of attacking the atmosphere of paranoia that fostered the Communist "witch hunts" of the 1950s, the crucifixion of Borgnine is treated as a necessary evil in the interests of "democracy." The low point comes at the end, when Ray Milland profusely thanks the Navy for their open-mindedness before his client has been exonerated. ~ Hal Erickson, All Movie Guide

Don Siegel's classic exercise in psychological science fiction has often been interpreted as a cautionary fable about the blacklisting hysteria of the McCarthy era. It can be read as a political metaphor or enjoyed as a fine low-budget suspense movie, and it works well either way. Kevin McCarthy stars as Miles Bennel, a doctor in the small California community of Santa Mira, where several patients begin reporting that their loved ones don't seem to be themselves lately. They look the same but seem cold, emotionally distant, and somehow unfamiliar. The longer Miles looks into these reports, the more stock he places in them, and in time he makes a shocking discovery: aliens from another world are taking over Santa Mira, one citizen at a time. Emissaries from a distant planet have sent massive seed pods containing creatures that can assume the exact physical likeness of anyone they choose. When Santa Mirans go to sleep, the pod creatures take on the shape of their victims and then destroy their bodies. The aliens may look the same, but they possess no human emotions and, like plants, are concerned only with propagating themselves and eventually subsuming the earth. Needless to say, Miles and his friends are terrified, but since it's hard to tell who's a person and who's a pod, they're at a loss for what to do, especially when it seems that there are increasingly more aliens than humans. Invasion of the Body Snatchers builds tension slowly and steadily, dealing not in the shock of bug-eyed monsters common to other 1950s science-fiction movies but in the unnerving possibility that the enemy is among us -- and impossible to tell from our allies. The ultra-paranoid conclusion of Siegel's original cut was softened by Allied Artists, who added a framing device that suggested help was on the way. This coda was as effective in blunting the film's grim conclusion as giving a Band-Aid to a beheading victim; few films of the era make it more painfully clear that for these people (and maybe for ourselves), there's no turning back and no way home. Keep an eye peeled for a bit part by soon-to-be-legendary Western director Sam Peckinpah, who plays a meter reader and also (uncredited) helped write the screenplay. Based on a novel by Jack Finney, Invasion of the Body Snatchers was remade in 1978 by Philip Kaufman and in 1993 by Abel Ferrara (as Body Snatchers); and its influence can be felt from The Stepford Wives (1975) to The X-Files. ~ Mark Deming, All Movie Guide

Jazz musician Stan Grayson (Kevin McCarthy) wakes up from a dream in which he has killed a man during a struggle in a bizarre mirrored room. However, thumbprints on his neck, a strange key in his pocket, and a haunting, otherworldly musical riff in his head quickly convince him that it was not just a dream. Afraid that he might be a murderer, yet not recalling the events of the nightmare, he confides in his brother-in-law (and New Orleans homicide detective) René Bressard (Edward G. Robinson), who tells him that he's been working too hard and drinking too much. But as Grayson is almost magnetically drawn back to the scene of the apparent crime, Bressard angrily comes to believe that Stan was lying and knew exactly what he had done. Grayson, paralyzed by his guilt, can barely find the strength to try to clear himself. McCarthy portrays a sense of overwhelming panic almost as well as he does in Invasion of the Body Snatchers (1956), and Robinson's tough cop is warmly textured with a sly sense of humor. Nightmare is a far superior remake of director Maxwell Shane's own first adaptation of the Cornell Woolrich story, Fear in the Night (1947). With a larger budget and better cast, Shane creates a shadowy, hypnotic world of seedy urban nightclubs and cheap hotels; even a picnic on the bayou evokes a feeling of dread. Woolrich would have felt right at home. ~ Steve Press, All Movie Guide

Upon his release from prison, gangster Dan Varrel (Gene Barry) vows to kill Lois Williams (Nancy Gates), the woman responsible for his brother's death. Catching up to Lois, Dan is surprised to find a lonely, impoverished, and thoroughly depressed young woman who all but begs him to put her out of her misery. Almost instantly, Dan changes his tune and does everything he can to help Lois pull herself out of her doldrums and gain a new lease on life -- but his motives are not entirely altruistic! "Salvage" had been previously dramatized on the radio anthology Suspense, with Burt Lancaster in the leading role. ~ Hal Erickson, All Movie Guide

Ambitious but impecunious medical student Lucas Marsh (Robert Mitchum) marries the older and (in this film, at least) not especially attractive Kristina Hedvigson (Olivia de Havilland) so that she can pay his tuition fees. Kristina loves Lucas, but he loves nothing but his work. Emotionally shutting himself off from everyone -- including best friend, Alfred Boone (Frank Sinatra), and drunken dad, Job Marsh (Lon Chaney Jr.) -- Lucas survives his training and goes to work as the assistant to tough but tender small-town medico Dr. Runkleman (Charles Bickford). He enters into an affair with wealthy Harriet Lang (Gloria Grahame) (watch for the symbolism-laden tryst in the horse barn!), obliging Alfred, now a big-city doctor, to try to patch up his pal's marriage. But Lucas feels nothing and needs no one because he's come to think of himself as the perfect physician, incapable of making an error. When Lucas fails to revive his mentor Dr. Runkleman during heart surgery (a genuine heart is used in the "massage" close-ups), the young doctor suddenly realizes that he's not infallible after all. He wanders aimlessly through town, finally returning to his wife and collapsing into her arms, sobbing "Help me! Please help me!" Cameo players range from Broderick Crawford as a Jewish doctor denied entry into medicine's upper circles to Carl Switzer as a bug-eyed patient. The film was adapted from the best-selling novel by Morton Thompson. ~ Hal Erickson, All Movie Guide

Cub reporter Jimmy Olsen (Jack Larson) is lured to a sinister-looking house, where he is confronted by all manner of paranormal phenomena, seemingly orchestrated by a mysterious Lady in Black. But when Jimmy reports his experiences to fellow reporter Clark Kent (George Reeves), he is unable to prove anything. Before long, Clark--or rather, his alter ego Superman--has figured out that someone is trying to discredit Jimmy, the better to cover up a widespread smuggling operation. Virginia Christine, better known to TV addicts as kindly coffee-commercial spokeswoman Mrs. Olson, offers a rather surprising characterization in this episode. ~ Hal Erickson, All Movie Guide

In the 100th TV episode of Dragnet (albeit the 89th to be telecast), Friday (Jack Webb) and Smith (Ben Alexander) investigate the disappearance of two little girls. Fortunately, both children are recovered and returned to their mother (Virginia Christine); unfortunately, there is evidence that the girls have been molested. The stunning climactic scene in which the detectives extract a confession from a slimy pedophile (Jack Kruschen) is remarkably frank and uninhibited--especially for a period in TV in history in which the word "pregnant" could not be spoken on I Love Lucy. This episode is based on the equally powerful Dragnet radio broadcast of February 15, 1951. ~ Hal Erickson, All Movie Guide

Investigating a series of robberies, Friday (Jack Webb) and Smith (Ben Alexander) find out that off-duty patrolman Paul Eastman (Don Gibson) was spotted at the scene of the most recent crime--several minutes before it took place. Sure enough, it turns out that Eastman, a married man with children, is a "dirty cop" who has been participating in the robberies in order to support his current mistress. The final scene affords Jack Webb the opportunity to deliver one of his legendary "Jesus speeches" (the actor's own description), in which he angrily chews out Eastman for betraying his public trust. This episode is based on a equally powerful Dragnet radio program, first heard on October 19, 1950. ~ Hal Erickson, All Movie Guide

Joe (Jack Webb) and Frank (Ben Alexander) are assigned to probe the mysterious kidnapping of three infants in as many weeks, all of whom have been returned unharmed. Despite setting an elaborate trap involving undercover policewomen and "decoy" baby dolls, a fourth child vanishes. After dismissing one nervous suspect who insists upon turning herself in to prove that she isn't a kidnapper, the two detectives finally resolve the situation by investigating the home of another woman who has no children--but plenty of baby clothes. This episode is based on the Dragnet radio presentation of May 29, 1952. ~ Hal Erickson, All Movie Guide