Elizabeth Hill Movies

Single mom Elaine (Marilu Henner) is having problems at home with her son Jason (David Mendenhall), who has just declared that he's "had it" with his oboe lessons. Sensing that a man's influence might help Jason get his head on straight, Elaine follows the advice offered her by Alex (Judd Hirsch) and agrees to let Jason sign on for the junior boxing program headed by Tony (Tony Danza). As it happens, however, Jason is possessed of a glass jaw -- and when he is flattened in his first bout, guess whom Elaine holds responsible? ~ Rovi

Streets of Laredo is a streamlined and Technicolorful remake of Paramount's 1936 box-office champ The Texas Rangers. William Holden, William Bendix and MacDonald Carey star as roguish outlaws Jim Dawkins, Wahoo Jones and Lorn Remming. After rescuing a little girl named Rannie Carter from a wicked tax collector, Dawkins and Jones decide to switch to the right side of the law; Remming, however, has other ideas. Years later, Rennie has grown up quite prettily into Mona Freeman, while Jim and Wahoo have become scrupulous members of the newly-formed Texas Rangers. Jim is in love with Rennie, but she has eyes for the still-crooked Lorn -- at least until Lorn proves to be the louse that the audience knew he was from the first reel. Streets of Laredo meticulously recreates the most famous scene from Texas Rangers, wherein one of the film's more sympathetic characters is abruptly shot to death from under a table; the scene still works, though it packed a bigger wallop in the original. Alfonso Bedoya, the "I don't have to show you any stinking badges" bandit from Treasure of the Sierra Madre, is appropriately menacing as the tax collector. ~ Hal Erickson, Rovi

Robert Donat stars as Dr. Andrew Manson in this adaptation of A.J. Cronin's best-selling novel. Manson devotes himself to treating the residents of a poverty-stricken Welsh mining community. Tuberculosis runs rampant in the village, and Manson is determined to help stem its tide and bring good health back to people who desperately need it. Through a series of unforeseen circumstances, Manson eventually leaves the community and begins working out of London, where he looks after wealthy hypochondriacs who don't really need his services but are willing to pay from them. While Manson gains money and prestige, he has turned his back on his friends, his wife (Rosalind Russell), and the people who need him most in the process. To give the film a more realistic "English" atmosphere, MGM shot The Citadel at their British studios, although they did import an American director (King Vidor) and leading lady (Russell) for the occasion. ~ Mark Deming, Rovi

Unable to secure Hollywood-studio backing for his Depression-era agrarian drama Our Daily Bread, director King Vidor financed the picture himself, with the eleventh-hour assistance of Charles Chaplin. Intended as a sequel to Vidor's silent classic The Crowd (1928) the film casts Tom Keene and Karen Morley as John and Mary, the roles originated in the earlier film by James Murray and Eleanor Boardman. Unable to make ends meet in the Big City, John and Mary assume control of an abandoned farm, even though they know nothing about tilling the soil. Generous to a fault, the couple opens their property to other disenfranchised Depression victims, and before long they've formed a utopian communal cooperative, with everyone pitching together for the common good. Beyond such traditional obstacles as inadequate funding, failed crops and drought, John is deflected from his purpose by sluttish blonde vamp Sally (Barbara Pepper), but he pulls himself together in time to supervise construction of a huge irrigation ditch -- a project which consumes the film's final two reels, and which turns out to be one of the finest and most thrilling sequences that Vidor (or anyone) ever put on film. The acting by Tom Keene and Barbara Pepper is atrocious, but John Qualen saves the show as a dedicated Swedish farmer, especially when he loudly rejects the notion that communal farming is a "Red" idea (this didn't stop the anti-New Deal press from labelling the film as "Pinko" back in 1934 -- and never mind that the communist press considered the film "capitalist propaganda"!) The optimistic finale, distinguished by its Eisentein-like "rhythmic" editing, fortunately lingers in the memory far longer than the film's dramatic and structural defects. Our Daily Bread is also enhanced by Alfred Newman's stirring musical score, later borrowed by Darryl F. Zanuck for his production of Les Miserables (1935). ~ Hal Erickson, Rovi