Virginia Christine Movies

In 4 for Texas, Frank Sinatra and Dean Martin star as Zack Thomas and Joe Jarrett, a pair of rival mountebanks who spend most of the film battling over who will control the gambling and wenching in 1870 Galveston. Though they'd as soon cut each other's throats than cooperate, Zack and Joe are forced to unite against a pair of common enemies: crooked banker Harvey Burden (played by Victor Buono, a favorite of director Robert Aldrich) and cold-blooded outlaw/hired-gun Matson (Charles Bronson, virtually the only person in the film who takes his role seriously). The heroes also battle over the affections of well-endowed heroines Elya Carlson (Anita Ekberg) and Maxine Richter (Ursula Andress), both of whom are sharp-witted businesswomen who match Zack and Joe scam for scam. The Three Stooges show up for a moment, in which they repeat their "point to the right" and "State of Texas" routines, and get into a fracas with feisty little old lady Jesslyn Fax. Also making guest appearances are Arthur Godfrey and Teddy Buckner and His All Stars. ~ Hal Erickson, Rovi

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, Rovi

The venerable John Carradine gets his first chance to play the fanged count in 20 years (the last time was House of Dracula), albeit in one of the weirdest scenarios ever committed to film. Arriving in the Wild West via stagecoach, Drac installs himself in the home of a pretty rancher (Melinda Plowman) by convincing her (through hypnosis) that he is her long-lost uncle. Unfortunately for the Count, one of her hired hands is none other than legendary outlaw Billy the Kid (Chuck Courtney), who has been trying to put his wicked ways behind him. Billy takes a shine to his boss but starts to have his suspicions about her creepy "uncle." Eventually, the reformed desperado straps on his six-guns again to do battle with the Count, ably assisted by the local sawbones who must be an acquaintance of Dr. Van Helsing, since he obviously knows such helpful arcane knowledge such as (gasp) "The Vampire Test!" A camp anti-classic from William "One-Shot" Beaudine, who shot it back-to-back with yet another Wild-West-Horror mutation, Jesse James Meets Frankenstein's Daughter. ~ Cavett Binion, Rovi

Charlie (Anthony Caruso) is an old and somewhat shabby Indian. Regularly taunted and persecuted by the self-righteous townfolk. Charlie has only two friends in the world: Ben Cartwright, and a little girl named Angela (Vicki Ros). Things take a nasty turn when Angela vanishes and Charlie is accused of killing the child. Also appearing is Virginia Christine, aka "Mrs. Olsen" in the Folger Coffee commercials, as Martha, and former B-western star Don Barry. Originally telecast on December 27, 1964, "The Saga of Squaw Charlie" was written by Warren Douglas. ~ Hal Erickson, Rovi

This drama is based on a Broadway play, One Against Seven, which in turn is based on the Russian play Pobyeda. Set during WW II, it centers on a Russian officer, a Russian woman, and seven German soldiers who have been trapped in the ruined cellar of a bombed out factory in a Nazi-controlled town. While waiting for someone to rescue them, the two Russians try to keep the Germans away. Eventually the Russian officer begins toying with a German officer and vice versa as both seek to extract information from the other. The Russian lets on that his troops are planning to construct a tunnel beneath the river. The woman is appalled at this betrayal of information, but her companion reassures her that he can kill the enemy before they have time to share that information. But first they need to get rescued. As time slowly passes, the tension increases, especially when the Russian finds himself falling asleep. The film was made during the brief period after WW II when Russia and the US were allies and the political overtones of the film were unintentional. Later, with the advent of the Cold War, many of the actors who participated in this film were called before the House Un-American Activities Committee and accused of being communist sympathizers and some were blacklisted. ~ Sandra Brennan, Rovi

Recreating his stage role, Jose Ferrer stars as Edmond Rostand's Cyrano, a 17th-century French cavalier, poet and swordsman whose prominent proboscis is the subject of many a duel. Cyrano is madly in love with the beautiful Roxanne (Mala Powers), but assumes that she'd never love him back due to his cathedral of a nose. Roxanne is also loved by the handsome Christian (William Prince), who unfortunately can't put two consecutive words together when it comes to pitching woo. Cyrano agrees to help Christian win Roxanne by feeding him the right words for his midnight courtships and love letters; in this way, Cyrano can vicariously express his own ardor for the fair lady. Years later, Cyrano's deception is revealed, and he dies happily in the arms of his beloved Roxanne, who realizes that she has really loved Cyrano all along--by way of Christian. Cyrano de Bergerac wasn't seen by many paying moviegoers upon its original showing, but its relative box-office failure resulted in an early release to television, where it has remained a perennial attraction for the past forty years. ~ Hal Erickson, Rovi

At the height of the popularity of his Dragnet TV series, producer/director/star Jack Webb struck a deal with Warner Bros. to direct several feature films--the first of which, but of course, was 1954's Dragnet. This time around, the "true story" in which "only the names are changed to protect the innocent" involves the murder of former syndicate member Dub Taylor. LAPD sergeants Joe Friday (Webb) and Frank Smith (Ben Alexander) follow the trail of evidence to shifty gangster boss Stacy Harris, who during most of the film is able to avoid arrest through legal loopholes. Richard Boone plays Captain Hamilton, while Ann Robinson, best known for her screaming and scurrying about in War of the Worlds, plays policewoman Grace Downey. Most of the rest of the cast is drawn from Webb's TV and radio stock company, including Virginia Gregg, who is quite good as the amputee wife of the victim, and Vic Perrin, who would later portray the voyeuristic serial killer in the 1967 TV movie version of Dragnet. Some sources list Cliff Arquette as being in the cast of Dragnet, playing his familiar Charley Weaver character, but we can't find him. Dragnet has often been derided because of Joe Friday's reluctance to honor the civil liberties of his suspects, but remember that this was 1954, long before the "You have a right to remain silent" era. Webb's terse, tightly edited, close-up-dominated TV technique translates surprisingly well to the big screen. At its worst, Dragnet falls victim to the corny overkill of the TV version: the subtle-as-an-earthquake musical cues, Friday and Smith's ubiquitous nods and exchanged glances, etc. Still, Dragnet was a satisfying and profitable feature film directorial debut for Jack Webb, whose subsequent efforts included Pete Kelly's Blues (1955), The DI (1957), 30 (1959) and The Last Time I Saw Archie (1961). ~ Hal Erickson, Rovi

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, Rovi

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, Rovi

Tensely directed by Don Siegel, Flaming Star is the grittiest of Elvis Presley's post-Army films. Elvis plays Pacer Burton, a half-breed youth in the old West, torn between loyalty to the whites, as represented by his father (John McIntyre), and the Indians, represented by his mother (Dolores Del Rio). A series of brutal Kiowa raids, and the subsequent reprisals by the white settlers, sorely test Pacer's fortitude. Though offered moral support from his loved ones, Pacer is forced to work things out himself. The film was based on a novel by Clair Huffaker. ~ Hal Erickson, Rovi

This distaff variation of the Goodbye Mr. Chips theme is based on a novel by Frances Gray Patton. While confined to a sickbed, ageing New England schoolteacher Miss Dove (Jennifer Jones) recalls the many students who passed through her classroom. Among her now-grown-up prize pupils are surgeon Tom Baker (Robert Stack), policeman Bill Holloway (Chuck Connors) and playright Maurice (Jerry Paris), all of whom were able to overcome difficult childhoods and strive for success with the help of Miss Dove. As it turns out, it is Dr. Tom Baker who is to perform the operation that may save the life of his ailing former teacher. A 60-minute TV adaptation of Good Morning Miss Dove, with Phyllis Kirk in the Jennifer Jones role, was seen in 1956 as part of the weekly anthology The 20th Century-Fox Hour. ~ Hal Erickson, Rovi

Hail, Hero! stars Michael Douglas in his screen debut as long-haired college student Carl Dixon. Reversing the usual procedure in late-1960s films, Dixon decides to quit school and enlist in the Army, even though he's already run afoul of the law as a Vietnam protestor. It is our hero's intention to use love, rather than bullets, to combat the Viet Cong. Needless to say, his idealism is no match for the harsher realities of war, but this doesn't stop him from endlessly spouting the sort of agit-prop rhetoric so beloved of filmmakers of the era. In addition to Michael Douglas, co-star Peter Strauss likewise makes his first film appearance in Hail, Hero! Dated in the extreme, the film is saved by the musical score by Gordon Lightfoot. ~ Hal Erickson, Rovi

This marked the first starring role for Rondo Hatton, previously seen in a few Sherlock Holmes films as the spine-snapping killer "The Oxton Creeper." Hatton, a giant of a man whose face was deformed by acromegaly, was luridly promoted by the studios as a "human monster" who required no makeup. Here, he plays yet another brutish character, a homicidal convict who is rescued from drowning by mad sculptor Martin Kosleck. Hatton returns the favor by killing any critic who ever gave the artist a poor notice. Though Hatton never had the opportunity to develop his acting skills before his tragic death, there is nevertheless a glimmer of talent evident here, which is put to better use in his final film The Brute Man. ~ Cavett Binion, Rovi