Noel Cravat Movies

Anthony Dexter, who had essayed the title role in the 1951 biopic Valentino, plays a beardless Captain Kidd. Eva Gabor, who would later costar with Arnold the Pig on TV's Green Acres, is the slave girl. Gabor has been dispatched by the villains to seduce Kidd and determine the whereabouts of the pirate's legendary buried treasure. She falls in love with him instead, standing by his side as he fights his way through reels and reels of stock footage from old Hollywood swashbucklers. Captain Kidd and the Slave Girl was produced by Edward Small--and is "small" in every sense of the word. ~ Hal Erickson, Rovi

Burt Lancaster and Virginia Mayo, the stars of 1950's Flame and the Arrow, are reteamed in the lusty adventure romp South Sea Woman. It all begins at the military trial of Marine sergeant O'Hearn (Burt Lancaster), facing a court-martial for desertion. In flashback, O'Hearn recalls how he was stranded in Shanghai while trying to break up the impending marriage between his pal David White (Chuck Connors) and brassy nightclub photographer Ginger Martin (Virginia Mayo). The two marines try to make it back to Pearl Harbor, but they undergo several hair-raising adventures along the way, including a sticky involvement with a group of French resistance fighters. The upshot of all this is that O'Hearn arrives in Pearl after the Japanese attack, and as such is branded as a coward. It is up to Ginger Martin to provide the evidence that will clear our hero -- but she isn't too fond of O'Hearn at the moment. ~ Hal Erickson, Rovi

Former juvenile star William Henry is the all-grown-up hero of Federal Man. Henry is cast as a government agent who dogs the trail of illegal narcotics peddlers. This requires several trips south of the US-Mexico border and back again. Scenes of startlingly vivid violence are counterpointed with prosaic shots of the scientific paraphernalia used by modern-day crime fighters ("modern," of course, by 1950 standards). Though leading lady Pamela Blake is ill-served by her bland dialogue, veteran utility player George Eldredge enjoys one of the largest assignments of his career as the slimy gang leader. Like many crime films of the era, Federal Man adopts a documentary approach to its scripted scenes. ~ Hal Erickson, Rovi

Government agent Richard Hendricks (Michael O'Shea) goes undercover to get goods on a gang responsible for dispensing illegal paroles. Posing as a prisoner, Hendricks links up with the gang's inside man, Barney Rodescu (Turhan Bey). As often happens in real life, several pillars of society are getting rich by manipulating the lives of others. The plot is not always logical, but audience involvement is sustained every step of the way. Parole Inc was one of the "in-between" pictures -- not quite a "B", not expensive enough for "A" -- produced by young-and-hungry Eagle Lion studios in the late 1940s. ~ Hal Erickson, Rovi

Three on a Ticket was the fourth entry in PRC's "Michael Shayne" series, and arguably the best of the batch. Hugh Beaumont, still ten years away from Leave It to Beaver, stars as Brett Halliday's red-headed private eye Michael Shayne, who this time out is assigned to locate a fortune in stolen bank funds. Mike's only clue is a baggage claim check, which has been torn in three pieces. Tracing these missing fragments, Shayne methodically tracks down the thieves. Though officially based on a story by Brett Halliday, the plot of Three on a Ticket is remarkably similar to the storyline of PRC's Lash LaRue western Law of the Lash. ~ Hal Erickson, Rovi

The Killers uses Ernest Hemingway's short story as a springboard for a complex film noir. Two mysterious men (William Conrad and Charles McGraw) muscle their way into a small town and kill an aging boxer (Burt Lancaster, making his screen debut), who offers no resistance and seems to be welcoming his death. An insurance investigator (Edmond O'Brien) is hired to locate the beneficiary to Lancaster's policy, and in the course of his investigation reopens a long-dormant robbery case. In a series of flashbacks, O'Brien makes the connection between Lancaster and the robbery and tracks down the "brains" behind the operation. He also comes in contact with Lancaster's former girlfriend (Ava Gardner), whose duplicity played a big part in Lancaster's demise -- and his indifferent reaction to it. Siodmak's hard-edged, moody direction of the Oscar-nominated screenplay by Anthony Veiller, makes The Killers one of the definitive films noirs, including what is considered to be one of the greatest opening sequences in movie history. ~ Hal Erickson, Rovi

In this thriller, a nurse begins having strange premonitions about an impending murder. So strong is her intuition that she soon begins searching for the intended victim to try and save him. ~ Sandra Brennan, Rovi

The general perception of the Technicolor costume adventure movies that Maria Montez and Jon Hall made for Universal in the early 1940's is that they were pure escapist entertainment, intended to make people forget for an hour or so about the Second World War and the general world situation. And generally that is true about them -- they were mostly no "about" much more than having fun for 90 minutes or so amid pretty sets with lots of action and some pretty women in exotic outfits. But watching Ali Baba and the Forty Thieves, one has to wonder if even here the screenwriter, Edmund L. Hartmann, was able to totally get away from the day-to-day reality around him. The opening Mongol invasion of Bagdad and the murder of the old Caliph (Moroni Olsen) while trying to set up a government-in-exile without thinking of the German and Japanese conquests and occupations of various nations that would have been going on at the time; additionally, the fact that the old Caliph is murdered with the help of a traitor in his own noble ranks -- a "quisling" in the term coined during World War II -- wouldn't have been missed by audiences at the time. Further, the screenplay very specifically paints the forty thieves as heroes who have gone from being criminals to an active resistance force against the occupying Mongols -- indeed, at the denouement, their invasion of the palace is greeted as a day of liberation by the people of Bagdad. The movie walks a strange tightrope, casting about veiled topical references of that sort, even as is otherwise sufficiently tongue-in-cheek to cast Andy Devine as a desert bandit. Obviously, Ali Baba And The Forty Thieves was sold as -- and mostly intended as -- light entertainment, but just below that glitzy Technicolor surface were some fascinating allusions to the real world. None of this stops Ali Baba And The Forty Thieves from being immense fun -- it is, even if the "fun" isn't totally escapist in nature -- and it's great to look at as well, even 60 years on; Universal has apparently kept preservation-quality source materials on this and Hall and Montez's other Technicolor costume romps. And this particular entry in that group of movies also contains one very instructive clue to the morays and censorship of the time in one scene, in which the hero meets the heroine bathing at an oasis -- the makers seem to have been forced to insert a particular shot that is there for no other reason then to make it clear that she is not totally naked when he sees her. ~ Bruce Eder, Rovi

The Dead End Kids take on a sinister gang of Japanese terrorists in this 12-chapter followup to the 1940 Universal serial Junior G-Men. When Eddie Holden (Gene Reynolds), the inventor brother of street-gang leader Billy Holden (Billy Halop), is kidnapped by minions of the Black Dragon society, Billy refuses to go to the police for help. Instead, he and his pals-Bolts Larson (Huntz Hall), Stick Munsey (Gabe Dell) and Greaseball Plunkett (Bernard Punsly)-decide to take on the villains themselves. Over the course of twelve weeks, the kids are pitted against the worst kinds of villains and pluguglies, but by the final chapter our heroes have thwarted the Black Dragons' plans to sabotage the American defense program. Despite the serial's title, however, the "Junior G-Men" hardly spend any time at all in the air. ~ Hal Erickson, Rovi

This Monogram quickie stars Richard Cromwell as Dr. Tom, an idealistic young tenement-district physician. When his best pal, a police captain, is killed by gangsters, Dr. Tom offers his services to the authorities in hopes of bringing the villains to justice. Working undercover, our hero becomes a gangland physician, gaining the confidence of mob boss Gruszo (John Miljan). Forced to reveal his true identity when the heroine's life is in danger, Dr. Tom nonetheless manages to alert the Riot Squad, who arrive Cavalry-style in the nick of time. Featured in the cast is 8-year-old Mary Ruth, a modestly talented moppet whom Monogram was briefly grooming as the "next Shirley Temple." ~ Hal Erickson, Rovi