Paul Power Movies

Unsuccessful football coach Burt Payne (Bill Williams) wants to sell his share of the Wildcats pro football team to a cartel of investors, but his wealthy wife Ellen (Mona Freeman) vetoes the deal. Even so, Ellen arranges a meeting with one of the investors--just before Burt is killed in a mysterious explosion. Perry Mason (Raymond Burr) is on hand when Burt's remains are delivered to Los Angeles by train. . .and also happens to be in the vicinity when another murder occurs and the wrong person is accused. Several real-life members of the Los Angeles Rams appear as themselves in this episode, which ends with a frenetic chase sequence filmed on location at LA Memorial Colisseum, site of the 1932 and 1984 Olympics. ~ Hal Erickson, Rovi

Future film superstar James Coburn appears as slimy entrepreneur Donald Fletcher, who purchases a highly respected publishing house and converts its output to slezy tabloids and nudie magazines. Unable to legally prevent Fletcher from inflicting further damage, editor Edmond Aitken (Philip Abbott), whose family once owned the publishing firm, may be driven to desperation. Ultimately, Fletcher is murdered--but it is Aitken's wife Alyce (Sara Shane), rather than her husband, who is charged with the crime because she was being blackmailed by Fletcher with nude photos taken during her modelling career. Perry Mason (Raymond Burr) prepares to clear Alyce and ferret out the genuine culprit. ~ Hal Erickson, Rovi

Making its CBC debut on February 22, 1959, the Canadian docudrama series Day of Decision offered reenactments of crucial decisions that altered the course of the world. Anticipating The Baxters by nearly two decades, the series devoted 20 of each of its episodes' 30 minutes to a dramatization of an important event, then halted the action just before the outcome, so that a panel of experts could discuss that outcome's ramifications -- or even suggest an alternate course of action that might have been taken. The series aired live from CBC's Vancouver facilities, with eminent Shakespearean actor Douglas Campbell serving as narrator of the dramatized segments, and Dr. David Corbett moderating the panel segments. The final Day of Decision was telecast on Sunday, April 26, 1959. ~ Hal Erickson, Rovi

In San Francisco, Bart (Jack Kelly) suspects that one of the town's leading citizens, Van Buren Kingsley, is a swindler. Before long, Kingsley shows his hand by arranging for Bart to get beaten up and shanghaied. In typical Maverick fashion, Bart tries to turn the tables on the duplicitous Kingsley by setting up a sting operation involving a cache of valuable diamonds. Watch for veteran character actor Sig Ruman, aka "Concentration Camp Ehrhardt" in the Jack Benny film To Be or Not to Be, in a supporting role. ~ Hal Erickson, Rovi

A locked-in-the-fifties science fiction film, The 27th Day begins with five different people from five different countries suddenly disappearing from view. They have been gently abducted by the agent (Arnold Moss) of a faraway dying planet, who gives each of the five earthlings a "killing capsule" that will destroy everything on Earth and allow the residents of the alien planet to re-colonize the planet--but which will be ineffective if not used after 27 days. In typical Cold War fashion, the representatives of the "good" countries (including Gene Barry) refuse to utilize the capsules, while the Soviets, (personified by Azemat Janti and Stefan Schnabel) intend to deploy the capsules for their own nefarious purposes. Their perfidy only results in the utter decimation of the USSR. ~ Hal Erickson, Rovi

Vincent Sherman replaced an uncredited Robert Aldrich as director of this noirish and atypically pro-union film from the 1950's. Tulio Renata (Robert Loggia), an organizer for the International Ladies Garment Workers Union, campaigns to unionize the employees of dress factory owner Walter Mitchell (Lee J. Cobb). Viscerally opposed to the union, Mitchell has hired Artie Ravidge (Richard Boone) to thwart Renata's efforts. In a complex oedipal sub-plot, Walter's son Alan (Kerwin Matthews) returns home and joins the firm following the suspicious death of his father's partner. Alan is more sympathetic to the union and attempts to persuade his father to sign a contract. Only after Ravidge kills Renata, and the elder Mitchell finally admits to himself that Ravidge is a thug who also killed his partner, does he agree to negotiate with the union. Before he can do so, however, he, too, is murdered by Ravidge's goons. It is then left to Alan, increasingly involved with Renata's widow Theresa (Gia Scala), to run the business, bring Ravidge to justice, and settle with the union. Similar to Herbert Biberman's Salt of the Earth (1954) in its overt support of the labor movement, The Garment Jungle is clearly a liberal, not a radical, film. Rather than advocate class warfare, it asserts that honest unions and decent capitalists can work together honorably. The film's real fire is found in the personal conflicts between Tulio and Theresa and Walter and Alan. Cobb, Loggia, and Scala perform with intense and multi-dimensional passion. Particularly noteworthy is Theresa's fury at her husband for taking excessive, and ultimately fatal, risks. ~ Steve Press, Rovi

This 1955 period piece recreates the notorious events surrounding the murder of architect Stanford White by Harry K. Thaw. This famous homicide, later immortalized in E.L. Doctorow's novel Ragtime, transpired on the Winter Garden roof in full view of countless theater patrons. Joan Collins stars as Evelyn Nesbit Thaw, a single showgirl who grows enamored with the married White (Ray Milland). He takes her to his posh Manhattan loft and enjoys a dalliance with her that includes pushing her on the red velvet swing of the title. Later, Evelyn gets courted by Harry Thaw (Farley Granger, who - after whisking her off to Europe and wheedling her into marriage - suddenly turns out to be a complete nutcase, driven around the bend by violent jealousy and rage. He grows incensed at the memory of her affair with White, and decides to to take drastic action by shooting the architect; in the wake of the murder, Thaw builds a fantastic legal defense that permanently alters his fate. Few of the facts in this tawdry soaper are true to history, because, as Bosley Crowther famously pointed out in his Times review, Evelyn Nesbit Thaw was still alive at the time of this production and the filmmakers probably feared a libel suit. ~ Hal Erickson, Rovi

Paul Newman made his screen debut in the gloriously nonsensical costume epic The Silver Chalice. Freely adapted from a novel by Thomas B. Costain, the film casts Newman as Basil, a first century Greek sculptor who is sold into slavery by his wicked uncle. Transported to Rome, Basil manages to enjoy a measure of freedom when his captors discover his sculpting talents; he also marries another slave, the demure Deborra (Pier Angeli) and dallies with the sensuous Helena (Virginia Mayo), the mercenary partner of court magician Simon (Jack Palance). The plot congeals when Basil is commissioned to create a silver receptacle for the chalice from which Jesus Christ drank at the Last Supper. Lorne Greene, likewise making his screen bow, is all portentous speeches and prophetic observations as the apostle Peter. Of the many silly highlights, the silliest -- and most memorable -- occurs when the unhinged Simon is possessed with the notion that he can fly with the gods (Palance's performance in this episode must be seen to be believed). When The Silver Chalice was first released, poor Paul Newman was roundly panned as a third-rate Brando; one reviewer noted that he "delivers his lines with the emotional fervor of a Putnam Division conductor announcing local stops." No one has been more vocal in the drubbing of Newman's performance than Newman himself. When the film was first aired on TV in Los Angeles in 1961, the actor took out a full-page apology in the trade papers. In recent years, however, Paul Newman has pointed to The Silver Chalice with pride, observing that he was able to overcome a bad beginning and endure as a screen favorite for over four decades. ~ Hal Erickson, Rovi

In this subtle 1954 comedy with feminist overtones, Clifton Webb plays Gifford, an executive with a large automobile manufacturer who is having trouble deciding who to hire as his chief sales manager. His three candidates are equally competent, so he brings their wives with them to New York headquarters, planning to hire the one whose wife is most suited to be an executive's wife. Elizabeth (Lauren Bacall) is the wife of Sid (Fred MacMurray), a company man. Elizabeth knows that Sid is such a workaholic that she will never see him if he gets the new job, but she is loyal to her husband and impresses the hiring team with her competency. Bill Baxter (Cornel Wilde) is handicapped in the competition by his wife Katie (June Allyson), a clumsy but sweet small-town girl from the Midwest. Katie dutifully tries to impress the big boss but proves inept at handling the social responsibilities. She would prefer to stay in Kansas City anyway. Jerry (Van Heflin) is married to Carol (Arlene Dahl), a seductive gold-digger who sexually teases various executives in the hopes that her assets can help land Jerry the job. Instead, her out-of-bounds behavior gets Jerry eliminated from the list, at least until Jerry tells Gifford that he doesn't sanction his wife's behavior. ~ Michael Betzold, Rovi

Something for the Birds is a toothless satire of Washington, filmed during the McCarthy era. For lack of a political target that wouldn't get them labeled as Communists, the producers decided to go after lobbyists. Patricia Neal comes to Washington on behalf of the preservation of the California Condor; she finds herself the object of ridicule for almost everyone, including leading man Victor Mature, a lobbyist for the oil interests who threatens a large bird sanctuary. Edmund Gwenn is one of the few Washingtonians willing to financially back Neal's cause; unfortunately he turns out to be a charlatan with nary a nickel to his name. Eventually Mature is made to realize that the plight of the Condor is worthy worrying about, and he is able to dissuade the agreeable oil executives from drilling on the bird's territory. ~ Hal Erickson, Rovi

The Milkman is a low-key variation of a theme explored in such slapstick festivals as The Fuller Brush Man and The Yellow Cab Man. Donald O'Connor plays Roger Bradley, who hopes to become a top-flight milkman to please his father (Henry O'Neill), the owner of the milk company. Jimmy Durante co-stars as Breezy Albright, the older milkman who teaches Roger the ropes. After several comic set pieces, the plot rears its ugly head in the form of John Carter (Jess Barker), the nephew of rival milk-company proprietress Mrs. Carter (Elizabeth Risdon). Carter has gotten mixed up with a nasty bunch of gamblers, led by Mike Morrel (William Conrad). This leads to an exciting, albeit chucklesome finale wherein Roger, Breezy and ingenue Chris Abbott (Piper Laurie) combine forces to rout the bad guys. ~ Hal Erickson, Rovi

In this film noir with romantic overtones, con man and cardsharp Nick Blake (John Garfield) returns home after serving in WWII to discover that a rival syndicate now controls New York's gambling rackets -- and that his girlfriend Toni (Faye Emerson) has run off with his money. Looking for a fresh start, Nick heads for California, where he becomes reacquainted with Pop Grueber (Walter Brennan), who gave him his start in the underworld. Pop and his boss Doc Ganson (George Coulouris) tip Nick off to a scam they've brainstormed to separate young widow Gladys Halvorsen (Geraldine Fitzgerald) from her recently inherited fortune. Nick's job is to sweet talk Gladys out of her money and then make tracks, but he finds himself falling in love with her and wants out of the deal. Meanwhile, Toni comes back into the picture and tries to convince Doc that Nick is trying to cheat him, leading to a kidnapping. Incidentally, John Garfield won the leading role in Nobody Lives Forever after Humphrey Bogart turned it down. ~ Mark Deming, Rovi

In this musical, a talented aspiring costume designer leaves her small town to seek her fortune in the Big Apple. The girl, who is also a singer, soon begins establishing herself in the fashion industry, but when a rival accuses her of stealing a pattern, her career is nearly destroyed. Fortunately, a handsome, romantic hero is around to help her clear her name. Songs include: "Come Along My Heart", "That does It", "Swing Low Sweet Lariat" and "Is You Is or Is You Ain't My Baby?". ~ Sandra Brennan, Rovi