Stephen Longstreet Movies

In this wartime espionage drama, two incarcerated safecrackers are released to help Naval Intelligence steal classified Japanese documents following the attack on Pearl Harbor. The documents are hidden in the Japanese embassy in Lisbon. Once there, the crooks learn that the papers are worth a bundle so after the mission is completed, one of the thieves attempts to steal them for himself. He ends up killed by their Lisbon contact, who absconds with the documents himself. He too gets killed and the Navy finally gets the papers. Meanwhile the other safecracker is caught by the Japanese and held captive on a ship. When it is torpedoed, the thief is saved and receives a presidential pardon for his heroism. ~ Sandra Brennan, All Movie Guide

This grim drama is set in the Mesa Vineyards of California and chronicles the horrible conditions suffered by migrant workers who are treated as slaves by a cruel vineyard supervisor. He is particularly brutal with the females whom he repeatedly rapes and batters. The foreman goes over the edge when he tries to beat the vintner to death so he can commandeer the ranch. Fortunately, the women band together and end up hacking up the brute with pruning shears. ~ Sandra Brennan, All Movie Guide

Untamed Youth is a camp classic, so stupefyingly awful that it's actually festive. The villains are cotton grower Tropp (John Russell) and corrupt female judge Mrs. Steele (Lurene Tuttle), who conspire between them to ship female convicts to work on Tropp's farm for starvation wages. Two of the new arrivals are professional entertainers Penny (Mamie Van Doren) and Janey (Lori Nelson), arrested on trumped-up charges and forced to work off their sentence on the Tropp spread. Salvation arrives in the form of Bob (Don Burnett), Mrs. Steele's son, who intends to expose his mom's eeeevil scheme. Featured in the cast is rock-and-roller Eddie Cochran, who gets to sing one song -- while Mamie Van Doren is permitted four numbers. To repeat examples of the film's howlingly bad dialogue would be to rob the viewer of the perverse pleasure of experiencing Untamed Youth in all its trashy glory. ~ Hal Erickson, All Movie Guide

Ginger Rogers ended her 23-year association with RKO Radio with the indifferent musical comedy western The First Travelling Saleslady. Ginger and Broadway favorite Carol Channing (whose only starring film this was) play a pair of corset salespersons who head westward in 1897 to hawk their wares. Finding a limited market for corsets, the ladies switch to selling barbed wire, which rests not at all well with cattle baron James Arness. Rescuing Ginger and Carol from Arness' hired guns are horseless-carriage inventor Barry Nelson and callow young cowpoke Clint Eastwood. Whenever asked about First Travelling Saleslady in later years, Carol Channing would blithely refer to it as "the picture that killed RKO"; she wasn't too far wrong in this assessment. ~ Hal Erickson, All Movie Guide

Love leads a man to his most evil deeds and forces him to change his ways in this Western. After being handed a dishonorable discharge during the Civil War, Mike McComb (Errol Flynn) becomes a professional gambler and follows a path of ruthless action to get what he wants. After moving out West and making a killing prospecting silver, McComb becomes a wealthy and powerful man, and he finds himself infatuated with beautiful Georgia Moore (Ann Sheridan). However, Georgia is married to Stanley Moore (Bruce Bennett), who works for McComb, so he arranges for Stanley to be given a dangerous assignment; Stanley is killed, and McComb sweeps the widowed Georgia off her feet. Georgia weds McComb, but in time she finds out the ugly truth about her second husband, leaving him behind. Devastated, McComb sets out to mend his ways and win Georgia back by serving more noble purposes. Silver River was the seventh Flynn vehicle directed by Raoul Walsh; it would also mark the last time they worked together. ~ Mark Deming, All Movie Guide

Though legendary entertainer Al Jolson was a highly visible presence on the U.S.O. circuit during World War II, he was generally regarded as a relic of an earlier time until his movie comeback in 1945's Rhapsody in Blue. Showing up 30 minutes into this biopic of George Gershwin, Jolson literally stopped the show with his robust rendition of "Swanee." Suddenly, every Hollywood studio was negotiating with Jolson to film his life story. Warner Bros., the studio that skyrocketed to the top ranks via the 1927 part-talkie Jolson vehicle The Jazz Singer, seemed to have the inside track, but it was Columbia's Harry Cohn who made the deal that Jolson couldn't refuse. An attractively appointed fabrication, the Technicolor The Jolson Story distorts and glosses over the particulars of Jolson's life, but the results are so darned entertaining that nobody really paid attention to its inaccuracies. The story begins in turn-of-the-century Washington, D.C., where young Asa Yoelson (Scotty Beckett), son of an immigrant cantor (Ludwig Donath), ignores his religious studies in favor of popular music. Asa is hired as an "extra added attraction" boy tenor by a vaudevillian; when his voice breaks, the boy wins over the audience with his whistling ability. Growing into manhood, Asa Yoelson -- now "Al Jolson," and now played by Larry Parks -- becomes fascinated with African-American jazz music. He breaks away from his initial vaudeville assignment by joining Lew Dockstader's (John Alexander) blackface minstrel troupe, then goes on to success as a "single." Ascending to Broadway, Jolson establishes a reputation as an inveterate ad-libber, as well as an indefatigable singing performer, frequently holding an audience in thrall until the wee hours of the morning. Along the way, he falls in love with singer Julie Benson (Evelyn Keyes), a character based on Jolson's third wife Ruby Keeler, who refused permission to have her name used on screen. As Jolson attains superstardom, his ego assumes gargantuan proportions, alienating many of those around him, including his wife Julie. Anxious not to lose Julie, Jolson promises to change his ways. He even goes into retirement so as to spend more time with his wife. But when coerced into performing before a nightclub audience, Jolson is "hooked"once more -- whereupon the understanding Julie walks out of his life, realizing that she can never compete with Jolson's love for his audience. Like its subject, The Jolson Story delivered exactly what the audience wanted to hear. Faithful Columbia contractee Larry Parks was catapulted to stardom as Jolson, though in retrospect he seems a curious casting choice: his miming of Jolson's style is painstakingly accurate, but he seems too boyish and unwordly for the role. Jolson, then well into his sixties, had wanted to play himself on screen, but was talked out of it after a rather embarrassing screen test. He consoled himself by personally coaching Parks in the role (his attitude toward the young performer alternated between avuncular and adversarial through the shooting), and by providing his own voice in the musical sequences. Jolson also appears in long-shot during the "Swanee" number, which like all the film's musical highlights was directed by cult favorite Joseph H. Lewis (whose "dry run" for this assignment was the 1945 PRC production Minstrel Man). A wealth of Jolson standards are heard in The Jolson Story, including "You Made Me Love You," "I'm Sitting on Top of the World," "My Mammy," "There's a Rainbow Round My Shoulder," "Toot Toot Tootsie," "The Anniversary Waltz," "Rock-a-bye Your Baby," and "Let Me Sing and I'm Happy." The film was nominated for several Oscars, winning in the "best sound" and "best score" categories. A fantastic box-office success, The Jolson Story spawned a 1949 sequel, Jolson Sings Again. Ironically, despite Larry Parks' contributions to the film, it did little for that actor and instead reignited Jolson's celebrity during the last several years of his life. ~ Hal Erickson, All Movie Guide

Strange Confession was the fourth in Universal's "Inner Sanctum" B-picture series, all of which starred Lon Chaney Jr. Chaney plays an idealistic writer who allows himself to be used by a politically ambitious publishing mogul (J. Carroll Naish). Not only does the publisher distort the sociological content of Chaney's works for his own purposes, but he also steals the writer's wife (Brenda Joyce). Chaney exacts a grisly revenge and turns himself over to the police. This is a scene-for-scene remake of the 1934 Claude Rains vehicle, The Man who Reclaimed His Head, which in turn was based on a play by Jean Bart. Universal was forced to completely withdraw the remake from theatrical and TV distribution when the studio realized that it no longer controlled the rights to the original Bart play. ~ Hal Erickson, All Movie Guide