Harry Cording Movies

In this adventure Bomba the Jungle boy helps a Hollywood movie star search the dark, dangerous jungle for her missing husband. As they search, they encounter a man-eating leopard. ~ Sandra Brennan, Rovi

The Bowery Boys go to Africa in this entry in the long-running series. They embark upon their adventure after they discover that one of them has the ability to smell diamonds. ~ Sandra Brennan, Rovi

Treasure of the Golden Condor is a Technicolor remake of 1942's Son of Fury; both films were based on the same novel by Edison Marshall. Cornel Wilde stars in the old Tyrone Power role as Jean-Paul, a Frenchman cheated of his birthright by his duplicitous uncle (George Macready). Retreating to South America with lovable reprobate MacDougal (Finlay Currie), Jean-Paul searches for buried treasure in the jungles of Guatemala. He also romances MacDougal's comely daughter Clara (Constance Smith). Eventually, Jean-Paul must bid Clara goodbye and return to France, there to settle accounts with his uncle. Clara prays for the day that Jean-Paul will come back for her and as the closing music swells . . . . ~ Hal Erickson, Rovi

This sixth entry in the Crosby-Hope-Lamour "Road" series was the first (and last) in Technicolor. This time, Bing Crosby and Bob Hope play George Cochran and Harold Gridley, American vaudevillians stranded in Australia. To avoid a dual shotgun wedding, George and Harold sign on as deep-sea divers for sinister South-Sea-island prince Ken Arok (Murvyn Vye). After a contretemps with an octopus (courtesy of stock footage from Reap the Wild Wind), our heroes sail to the prince's Balinese homeland, where they meet and fall in love with gorgeous Princess Lalah (Dorothy Lamour). Though Lalah favors George, she feels obligated to Harold, because he resembles her childhood best friend -- a chimpanzee (this must be seen to be believed). When Ken Arok attempts to usurp Lalah's throne, she and the boys escape to a tropical island, where they meet the inevitable slapstick-comedy gorilla. More adventures await the intrepid trio on another island, this one dominated by an active volcano. Who gets the girl in this one? A hint: the loser tries to physically prevent the "The End" title from flashing on the screen during the final fadeout. Though not as fresh and spontaneous as earlier "Road" endeavors, Road to Bali has its fair share of non sequitur gags, inside jokes and unbilled guest appearances (including Martin and Lewis, Bing's brother Bob Crosby, Humphrey Bogart and Jane Russell). Best bit: when Crosby feels a song coming on, Hope turns to the camera and hisses "He's gonna sing, folks. Now's the time to go and get your popcorn." ~ Hal Erickson, Rovi

Cripple Creek is an excellent example of Columbia's "A-minus/B-plus" Technicolor westerns of the 1950s. Government agent Bret Ivers (George Montgomery) goes undercover to infiltrate a gang of gold smugglers. Ivers and his two partners (Jerome Courtland and Richard Egan) face exposure and sudden death at every turn; indeed, one of the federal agents meets his demise before the film is a third over. The villains are the erudite-but-deadly Denver Jones (John Dehner) and the just-plain-deadly Silver Kirby (William Bishop). With so much already in its favor, Cripple Creek hardly needs a romantic interest, but Columbia had to keep contract actress Karin Booth busy, thus she shows up briefly as a flashy saloon gal. ~ Hal Erickson, Rovi

Veteran serial director Spencer Gordon Bennett keeps things moving at a hectic pace in Brave Warrior. The title character is legendary Shawnee chief Tecumseh, well-played by Jay Silverheels (better known as Tonto on TV's The Lone Ranger). Though he has every reason to distrust the White Man, Tecumseh comes to the aid of American emissary Steve Ruddell (Jon Hall) during the War of 1812. The villain is a renegade medicine man known as The Prophet, played by Michael Ansara, who later portrayed the peace-loving Cochise on the TV version of Broken Arrow. Considering that this is a typically low-budget Sam Katzman production, Brave Warrior is fairly elaborately mounted. ~ Hal Erickson, Rovi

After James Stewart's financial windfall attending his "percentage of profits" deal on Winchester 73, Errol Flynn decided to cash in by making his own deal with Universal Pictures, accepting a moderate fee up front and a huge chunk of the gross for Against All Flags. Set in the 16th century, the film casts Flynn as a British naval officer unjustly condemned for desertion. He escapes punishment and joins Anthony Quinn's pirate band, wherein he and Quinn vie for the attentions of glamorous female buccaneer Maureen O'Hara. Flynn incurs O'Hara's wrath when he rescues a lovely middle-eastern princess (Alice Kelley) from slave traders, but O'Hara still comes to Flynn's aid when he is left to die by Quinn. Flynn and O'Hara team up to thwart Quinn's evil schemes, whereupon it is revealed that Flynn's "disgrace" was a ruse, concocted by the British government to stem pirate activities in Madagascar. Though suffering several injuries during shooting, Errol Flynn was back in his old fighting form in Against All Flags, requiring a double only in a few scattered longshots. The film was poorly remade in 1967 as The King's Pirate, with Doug McClure inadequately filling Errol Flynn's seven-league boots. ~ Hal Erickson, Rovi

The creative team of producer Harry Joe Brown and star Randolph Scott turned out some of the best westerns of the 1950s, and Santa Fe is no exception. Set in the years following the Civil War, the film casts Scott as Britt Canfield, one of four ex-Confederate brothers who head West to carve out a new life. While his three siblings (Jerome Courtland, Peter Thompson and John Archer) cast their lot on the wrong side of the law, Britt accepts a job with the Santa Fe Railroad. Inevitably, Britt is obliged to bring his wayward brothers to justice, though he knows full well that the person responsible for their downfall is "untouchable" gambling boss Cole Sanders (Roy Roberts). In a well-staged climax, Britt squares accounts with the evil Sanders and his hulking henchman Crake (Jock O'Mahoney). Curiously, many TV prints of Santa Fe were processed with the soundtrack slightly out of sync with the action. ~ Hal Erickson, Rovi

Rhys Williams is afforded the leading role in Columbia's Tyrant of the Sea. The film borrows a few pages from Jack London's The Sea Wolf by depicting Captain William Blake (Williams) as a power-hungry despot, who runs his ship like a private fiefdom. In contrast, Blake is a perfect gentleman on shore, especially when dealing with his pretty daughter Betsy (Valentine Perkins) and her various beaux. The story comes to a rousing climax during a pitched sea battle between English and French vessels, with Captain Blake not only contending with the enemy, but with a mutinous crew. Some of the action highlights have been culled from Columbia's stock-footage library, which did yeoman service for producer Sam Katzman. ~ Hal Erickson, Rovi

Though usually associated with westerns, Columbia producer Harry Joe Brown proved to be up to the challenge of producing a satisfactory swashbuckler with Fortunes of Captain Blood. Based loosely on the same Rafael Sabatini novel which served as the inspiration for the 1935 Errol Flynn vehicle Captain Blood, the film stars Louis Hayward as Irish doctor Peter Blood, who is exiled from England after treating the wounds of an enemy to the crown. Blood and several other outcasts turn to piracy, terrorizing merchant vessels of all nationalities. Dogging Captain Blood's trail is the heavy of the piece, the Marquis de Riconete (George Macready). Also appearing are Patricia Medina (Columbia's stock costume-drama heroine) as the marquis' niece, and Alfonso Bedoya (immortalized as the Mexican bandit Gold Hat in Treasure of the Sierra Madre) as a sadistic prison overseer. The battle scenes in Fortunes of Captain Blood would be cannibalized time and again over the next few years by quickie-flick producer Sam Katzman. ~ Hal Erickson, Rovi

Producer Hal Wallis evidently hoped to recapture the magic of his earlier Casablanca with 1949's Rope of Sand. To that end, he hired three of Casablanca's supporting players: Paul Henreid, Claude Rains, and Peter Lorre. This time, Henreid is the villain, a sadistic police inspector named Paul Vogel. Stationed somewhere in Africa, Vogel hopes to find a legendary lost diamond field. His principal rival in this endeavor is jewel thief Mike Davis (Burt Lancaster), who continues bouncing back from every death trap lain for him by the ill-tempered Vogel. The scenes in which Davis is subjected to various physical tortures is pretty raw for a 1940s film. Claude Rains co-stars as a diamond syndicate head misleadingly named Toady, while Peter Lorre does his shifty-mercenary act. Billed ninth as the nominal heroine is Hal Wallis' latest discovery, French actress/singer Corinne Calvet. ~ Hal Erickson, Rovi

Samson and Delilah is Cecil B. DeMille's characteristically expansive retelling of the events found in the Old Testament passages of Judges 13-16. Victor Mature plays Samson, the superstrong young Danite. Samson aspires to marry Philistine noblewoman Semadar (Angela Lansbury), but she is killed when her people attack Samson as a blood enemy. Seeking revenge, Semadar's younger sister Delilah (Hedy Lamarr) woos Samson in hopes of discovering the secret of his strength, thus enabling her to destroy him. When she learns that his source of his virility is his long hair, Delilah plies Samson with drink, then does gives him the Old Testament equivalent of a buzzcut while he snores away. She delivers the helpless Samson to the Philistines, ordering that he be put to work as a slave. Blinded and humiliated by his enemies, Samson is a sorry shell of his former self. Ultimately, Samson's hair grows back, thus setting the stage for the rousing climax wherein Samson literally brings down the house upon the wayward Philistines. Hedy Lamarr is pretty hopeless as Delilah, but Victor Mature is surprisingly good as Samson, even when mouthing such idiotic lines as "That's all right. It's only a young lion". Even better is George Sanders as The Saran of Gaza, who wisely opts to underplay his florid villainy. The spectacular climax to Samson and Delilah allows us to forget such dubious highlights as Samson's struggle with a distressing phony lion and the tedious cat-and-mouse romantic scenes. ~ Hal Erickson, Rovi

Director Kurt Neumann, more closely associated with science fiction and mystery programmers, delivers a powerhouse of a pocket western in Bad Men of Tombstone. Barry Sullivan and Broderick Crawford head the cast as a pair of gunslingers who hold no regrets and evidently harbor no consciences. They ride into a mining camp during the Gold Rush days and set about staking a claim--and woe be unto him who gets in the way. A blood-splattered gunfight is the logical conclusion when the two gunfighters have their final falling out. Screenwriters Philip Yordan and Arthur Strawn clearly hold their leading characters in contempt, but can't help imbuing them with a certain degree of fascination. ~ Hal Erickson, Rovi