Ken Christy Movies

Rory Calhoun is Utah Blaine in this pinch-penny Sam Katzman-produced western. Adapted from a novel by Louis L'Amour, the story concerns the efforts of gunslinger Blaine to save a group of ranchers from an outlaw gang. When one the ranchers is killed, Utah finds himself half-owner of a valuable spread, placing him directly in the line of fire along with his attractive "business partner" Angie Kinyon (Susan Cummings). Ray Teal is all snarls as the outlaw leader, while former boxer Max Baer Sr. does a brief turn as a slow-witted hooligan. Like most Sam Katzman efforts, Utah Blaine turned a tidy profit for Katzman's home base of Columbia. ~ Hal Erickson, Rovi

This unusual western drama stars Ben Cooper as Jeff Blaine ,a twelve-year-old boy growing up sans a mother or a father in the small town of Plainsville. Jeff's mom died during his infancy, and his dad Nate (Dane Clark) left not long after and became an outlaw. With both of the parents absent, Jeff's aunt, Ruth Sewall (Ellen Drew) decided to step in and raise the young boy. As the tale opens, Nate turns up at Ruth's home and reveals his recent involvement in a gunfight. Because the law is on his tail, his time is rapidly running out. Though Nate hopes to make amends with his son, Jeff stringently rejects him, and Ruth backs up the boy's sentiments by politely asking Nate to leave, then returning the meager amount of support money that Nate sent to Jeff. In time, father and son do begin to make amends, but several obstacles threaten to stand in the way of a peaceful long-term relationship between them, including the violence of Nate's past, and the hostility of Ruth, who soon demonstrates that she's willing to do almost anything to make sure that the outlaw father doesn't take permanent custody of his son. ~ Nathan Southern, Rovi

Fury at Showdown stars John Derek as a gunfighter who hopes to hang up his guns and live the peaceful life of a cattle ranch. Settling down on his new spread with his brother Nick Adams, Derek finds that he can't live down his reputation. When his brother is murdered on the orders of land-grabbing lawyer Gage Clarke, Derek is forced to strap on his guns again. But Clarke, one step ahead of our hero, tries to save himself from prosecution by kidnapping Derek's girlfriend Carolyn Craig. As the title indicates, a showdown is inevitable, though not as predictable as one might suspect. Fury at Showdown was adapted from a novel by Lucas Todd. ~ Hal Erickson, Rovi

If it worked for Frank Sinatra... Singing star Johnny Desmond goes dramatic in the low-budget Escape From San Quentin. Desmond plays escaped convict Mike Gilbert, who goes on the lam with fellow prisoners Gruber (Richard Devon) and Graham (Roy Engel). While hiding from the law, Gilbert comes to realize that he's fallen in love with Robbie (Merry Anders), the sister of his ex-wife (Peggy Maley). Through Robbie's influence, Gilbert decides to go straight, but his cohorts aren't quite so willing to reform. Like most Sam Katzman quickies of the era, Escape from San Quentin was loosely based on a true story. ~ Hal Erickson, Rovi

Columbia's The Werewolf is not nearly as generic as its title would suggest: in fact, it is one of the better films of its kind. Steven Ritch plays Duncan Marsh, who after being seriously injured in a car wreck is used as a guinea pig by a pair of none too scrupulous scientists (S. John Launer and George M. Lynn). Seeking a cure for radiation poisoning, the scientists inject Marsh with wolf serum (what this has to do with radiation poisioning is never fully explained). Before long, Marsh is a full-fledged lycanthrope, wreaking havoc in the Big Bear Lake region. Some truly startling vignettes--including one lulu of a sequence in a jail cell--lift this Sam Katzman production well above the norm. ~ Hal Erickson, Rovi

When he takes a voluntary pay cut to help out his financially strapped boss, Dick Paine (Skip Homeier) must face the wrath of his nagging wife Beth (played by no less than Joanne Woodward). Demanding that Dick stand up for his rights, Beth tells him to go back to the office and confront his pinchpenny boss. Alas, Dick returns empty-handed, leading to a tragic denouement. This final episode of Alfred Hitchcock Presents' first season was previously heard on the radio anthology Suspense under the title "Too Little to Live On," starring Ozzie and Harriet Nelson. ~ Hal Erickson, Rovi

My Sister Eileen is a Technicolor, musicalized remake of the 1942 comedy of the same name. It is not, however, the film version of the 1949 Broadway musical Wonderful Town, which was also based on the 1942 film. Adapted from the short stories of Ruth McKinney, the film stars Betty Garrett as aspiring writer Ruth Sherwood, and Janet Leigh as her gorgeous sister Eileen. Moving from Ohio to New York, the girls take up residence in a basement apartment, which seems to be a gathering place for every eccentric character in the Big Apple. Ruth tries to get her stories published, but handsome editor Bob Baker (Jack Lemmon) doesn't buy anything until Ruth stops trafficking in fiction and begins writing about her own experiences. Most of those experiences are predicated on the misadventures of would-be actress Eileen, who has an uncanny knack for attracting strange men--not to mention a whole heap of trouble. Dancer/choreographers Bob Fosse and Tommy Rall costar as a timid soda jerk and wise-guy reporter, respectively, but their "roles" are merely excuses for a steady stream of flashy musical numbers, penned by Jule Styne and Leo Robin. Even Jack Lemmon gets to sing in this sprightly film, which compares quite favorably to all the My Sister Eileen adaptations which went before and were still to come. ~ Hal Erickson, Rovi

On the eve of his execution, killer Edward G. Robinson busts out of prison with the help of his girlfriend (Jean Parker) and a crook posing as a reporter (Warren Stevens). Robinson takes along five hostages, including the daughter of the murdered head guard (Sylvia Findley), a real reporter (Jack Kelly), and a priest (Milburn Stone). Escaping with Robinson is a murderous bank robber (Peter Graves), who is wounded while evading the law. The bleeding robber heads for the safety deposit box where he keeps his ill-gotten gains, allowing the Law to follow the trail of blood to Robinson's hideout. Robinson threatens to kill his hostages if he's not given safe passage, then murders the priest just to prove his point. Appalled at this action, the bank robber kills Robinson, allows the surviving hostages to escape, and gives himself up. ~ Hal Erickson, Rovi

They don't really go to Mars, they go to Venus, but first they go to New Orleans. While working at a missile base, Bud Abbott and Lou Costello inadvertently launch a rocket ship with themselves aboard. After a wild ride around New York City (the Statue of Liberty ducks when the rocket heads her way), Bud and Lou land in the outskirts of New Orleans. The boys are convinced that they've reached Mars, and their faith in this supposition is affirmed when they come across several strangely costumed "creatures" (actually revellers at the Mardi Gras). Meanwhile, bank robbers Jack Kruschen and Horace McMahon stow away on A&C's rocketship. When Bud and Lou return, the crooks force them to make a quick getaway into outer space. After several days of weightlessness, the four space travellers land on Venus, a planet populated by the gorgeous winners of the Miss Universe contest (including Anita Ekberg). Venusian queen Mari Blanchard falls in love with Costello, only to order him and his companions to return to earth when Lou proves to be unfaithful. Reportedly, this bizarre melange of sci-fi and slapstick was based on a story by Charles Beaumont, who received no screen credit (it's worth noting that Beaumont's later Queen of Outer Space boasts a remarkably similar plotline). Long considered the team's worst film, Abbott and Costello Go to Mars ("and about time!" quipped the New York Times' TV-movie reviewer) is rather likeable in its own incoherent way. ~ Hal Erickson, Rovi

Cecil B. DeMille's The Greatest Show on Earth is a lavish tribute to circuses, featuring three intertwining plotlines concerning romance and rivalry beneath the big top. DeMille's film includes spectacular action sequences, including a show-stopping train wreck. The Greatest Show on Earth won Academy Awards for Best Picture and Best Story. ~ Stephen Thomas Erlewine, Rovi

Billy Winder directed and co-wrote this bitterly satiric comedy-drama which turns a jaundiced eye towards both the news media and its consumers. Chuck Tatum (Kirk Douglas) is a talented but short-tempered reporter whose fondness for booze and unwillingness to bow to authority has cost him jobs at some of America's most prestigious newspapers. When Tatum's car breaks down in Albuquerque, New Mexico, Tatum persuades the editor of the local paper (Porter Hall) to give him a job until he can make enough to get his jalopy running and find a story that will put him back in the good graces of the Big City journals. After a year in Albuquerque, Tatum begins to wonder if a big scoop will ever cross his path, but when he's sent to Los Barios to cover the annual rattlesnake hunt, he lucks into a great human interest story -- Leo Minosa (Richard Benedict), who runs a local diner, motel and curio emporium, is caught in an abandoned mine shaft after a rockslide, which some superstitious locals attribute to an Indian curse. Tatum writes up the story with all the flourish he can muster, and portrays Leo's wife Lorraine (Jan Sterling) as a devoted spouse fearful for her husband's life, even though she can barely stand Leo and is planning to leave him. Tatum's story is picked up by the wire services and he makes friends with local sheriff Kretzer (Ray Teal) to insure he has an inside line on updates on Leo's rescue. When Tatum learns that Leo can be freed in a mere twelve hours, he persuades Kretzer and his men to adopt another rescue method that will take several days, which will generate more copy for Tatum, more press attention for Ketzer's re-election campaign, and more business for Lorraine's diner. Soon Los Barios is the biggest tourist attraction in the state, but as the media circus mounts, Leo begins to fall seriously ill. Also released as The Big Carnival, Ace In The Hole was a major box-office disappointment upon its original release in 1951, even though it was sandwiched between two of Wilder's biggest hits, Sunset Boulevard and Stalag 17. Despite never being released in home video until 2007, Ace In The Hole's bitter tone earned it an enthusiastic cult following, and it's now regarded as one of Wilder's best films of the Fifties. ~ Mark Deming, Rovi

Previously filmed in 1931 under its original title, Theodore Dreiser's bulky but brilliant novel An American Tragedy was remade in 1951 by George Stevens as A Place in the Sun. Montgomery Clift stars as George Eastman, a handsome and charming but basically aimless young man who goes to work in a factory run by a distant, wealthy relative. Feeling lonely one evening, he has a brief rendezvous with assembly-line worker Alice Tripp (Shelley Winters), but he forgets all about her when he falls for dazzling socialite Angela Vickers (Elizabeth Taylor). Alice can't forget about him, though: she is pregnant with his child. Just when George's personal and professional futures seem assured, Alice demands that he marry her or she'll expose him to his society friends. This predicament sets in motion a chain of events that will ultimately include George's arrest and numerous other tragedies, including a vicious cross-examination by a D.A. played by future Perry Mason Raymond Burr. A huge improvement over the 1931 An American Tragedy, directed by Josef von Sternberg, A Place in the Sun softens some of the rough edges of Dreiser's naturalism, most notably in the passages pertaining to George's and Angela's romance. Even those 1951 bobbysoxers who wouldn't have been caught dead poring through the Dreiser original were mesmerized by the loving, near-erotic full facial closeups of Clift and Taylor as they pledge eternal devotion. A Place in the Sun won six Oscars, including Best Director, Best Adapted Screenplay, and Best Cinematography, although it lost Best Picture to An American in Paris. ~ Hal Erickson, Rovi