Richard H. Cutting Movies

The movie opens as two outlaws are just being rescued from being hung as thieves by an old friend. They go their separate ways, but keep running into each other across the country on their way to California as they alternately are on the good and bad side of the law. Their rescuer becomes the infamous "Black Bandit," the nemesis of the Wells Fargo line, they work for the line and have to protect it. They decide to rob the line.... ad infinitum. Good working relationship between the actors makes this a much more comfortable movie than it might have been with the hackneyed plot line. ~ Tana Hobart, All Movie Guide

In this western, an ex-officer for the confederate Army becomes a Texas cattle rancher. He and his fellow ranchers are dismayed when they learn that the coming railroad intends on bypassing their ranches. The rancher then leaves his land to begin fighting the railroad. Meanwhile the railroad executives have hired Wild Bill Hickok, Buffalo Bill Cody, and Calamity Jane to defend their decision against the rancher and his guerrilla gang. When the marauders are finally surrounded by the Army and it looks as if they will die, the three western legends suddenly ride in to save them. They then all band together to convince the railroad that the Texas ranchers desperately need their services. ~ Sandra Brennan, All Movie Guide

One of the busiest directors of westerns at this time, Edward L. Cahn helms this uninspired saddle saga about love and betrayal. Kip (Buster Crabbe) is a gunslinger with a score to settle. Seth (Barton MacLane), a villainous land baron, frames Kip's brother for a crime he never committed and using his supposed guilt as an excuse, he carries through his murderous intentions by lynching him. It seems the unfortunate man backed the ranchers in their claims against Seth. As Kip gets ready to avenge his brother's death and clear his name, Alice (Judith Ames) finds herself in an uncomfortable position. She is Seth's daughter, was engaged to Kip's dead brother, and now finds herself attracted to Kip. ~ Eleanor Mannikka, All Movie Guide

Based on an actual Civil War mission, Colonel Marlowe (John Wayne) and Major Kendall (William Holden) are ordered by General Grant to take three regiments 300 miles into enemy territory. They must destroy the railroad line between Newton Station and Vicksburg in hopes of choking off supplies to the South. Marlowe encounters a Southern belle loyal to the enemy, and keeps her in sight throughout the journey so she can't warn the Confederates. Kendall, a Northern surgeon, and the crusty Marlowe have their differences along the way. Action, romance and gory battlefield surgery accompany the army as the mission is completed. John Ford directed this film based on a novel by Harold Sinclair. ~ Dan Pavlides, All Movie Guide

In this drama, a sea captain is accused of negligence when his ship sinks and 162 passengers drown. A zealous defense attorney, proud of his perfect track record, is assigned to defend the sailor. Though the captain is clearly guilty, the DA gets him acquitted. Afterward, the lawyer's wife and friends are utterly disgusted and end up leaving him. In the end, the lawyer vindicates himself by proving that the captain is indeed innocent. He then brings the guilty ship's mate to justice. ~ Sandra Brennan, All Movie Guide

Harry Keller, the man who directed the extra scenes in Orson Welles' Touch of Evil, receives solo directorial credit in The Female Animal. Hedy Lamarr stars as Vanessa Windsor, a beautiful but ageing film star whose life is saved on the set by handsome extra Chris Farley (George Nader). Falling in love with Chris, Vanessa finds herself in competition with her own adopted daughter Penny (Jane Powell). Meanwhile, poor Chris struggles to become his "own man", and not merely the sexual plaything of two predatory females. Stealing the film from the nominal stars are Jan Sterling as a fading beauty with romantic notions of her own, and James Gleason as a crusty but likeable agent. ~ Hal Erickson, All Movie Guide

Producer/director Joshua Logan's long-awaited filmization of Rodgers & Hammerstein's Pulitzer Prize winning musical South Pacific was not the classic that everyone hoped it would be, principally because of some curious creative choices made by the production personnel. Adapted from James A. Michener's best-selling novel Tales of the South Pacific, the film stars Mitzi Gaynor as WAVE officer Nellie Forbush, who while stationed overseas during World War II falls in love with wealthy French planter Emile De Becque (Rosanno Brazzi). The Navy would like DeBecque to help them in a reconnaissance mission against the Japanese, but he refuses; having run away from the outside world after killing a man in his home town, De Becque sees no reason to become involved in a war which he did not start and in which he has no interest. But when Nellie, her inbred bigotry aroused when she discovers that Emile has two mixed-race children, refuses his proposal of marriage, DeBecque, having nothing to lose, agrees to go on the mission. His partner in this venture is Lt. Joseph Cable (John Kerr), who like Nellie is a victim of prejudicial feelings; Cable has previously thrown away a chance at lasting happiness by refusing to marry Liat (France Nuyen), the dark-skinned daughter of Tokinese trader Bloody Mary (Juanita Hall). When Cable is killed and DeBecque is seemingly lost in battle, Nellie, realizing the stupidity of her racism, prays for Emile's safe return. The dramatic elements of South Pacific are offset by the low-comedy antics of "Big Dealer" seabee Luther Billis (Ray Walston). Outside of Walston and Hall, both repeating their stage characterizations, South Pacific suffers from a largely noncharismatic cast. Mitzi Gaynor never rises above cuteness in the difficult role of Nellie Forbush, while Rosanno Brazzi (whose singing is dubbed by Giorgio Tozzi) seems to be striking poses rather than acting as Emile DeBecque. These casting deficiencies might have been ignored had not South Pacific been laboring under an additional handicap: director Joshua Logan's decision to use colored filters in several key scenes, representing the emotions experienced by the actors. The constant color shift is more unsettling than attractive, drawing attention to Logan's technique and thereby taking the audience "out" of the picture. With all this going against it, however, South Pacific has much to be treasured. For one thing, all of Rodgers & Hammerstein's immortal songs--"Some Enchanted Evening," "Bali H'ai," "There is Nothing Like a Dame," "I'm in Love With a Wonderful Guy," "Younger Than Springtime" etc.--are retained, and, as a bonus, a song cut from the original stage production, "My Girl Back Home," is revived herein. In addition, the film is a bonanza for movie buffs who enjoy playing "spot the bit player:" among the supporting-cast ranks are Tom McLaughlin, Ron Ely, Doug McClure, John Gabriel and James Stacy (rumors persist that Joan Fontaine shows up unbilled as a nurse, but we've yet to spot her). Though artistically disappointing, South Pacific ended up one of the biggest box-office gold mines of the 1950s. ~ Hal Erickson, All Movie Guide

The Teenage Doll in this Roger Corman-directed "J. D." opus is a little number named Barbara (June Kenney). Basically a good girl, she falls into bad company when she impulsively decides to rebel against her parents. It isn't long before Barbara accidentally kills her tough-babe romantic rival (Barboura Morris), whereupon she is pursued all over town by femme gang leader Hel (Fay Spain) and her henchgirls (Barbara Wilson, Ziva Rodann). Barbara runs to her punk boy friend Eddie (John Brinkley) for protection, setting the stage for a climactic rumble. And remembers, kids: This could happen to you, so keep your record clean and stay home nights! ~ Hal Erickson, All Movie Guide

A group of scientists arrive on a remote Pacific island to investigate what became of the previous team, which was sent out there as observers of American hydrogen bomb tests and disappeared without a trace. They island is uninhabited and devoid even of most animal life, except for a few land crabs. The group's arrival is marred by the death of one of the navy crewmen accompanying them, who falls into the ocean and comes up with his head taken off. Then the navy plane that carried them there is blown out of the sky before it can get airborne, leaving them stranded and unaccounted for. Led by Dale Drewer (Richard Garland) and Dr. Karl Weigand (Leslie E. Bradley), they find the journal of the previous team, but no explanation of what happened to them, only that they'd noticed evidence of strange creatures and inexplicable physical phenomena on the island. Soon the scientists are hearing the voices of members of the previous scientific party, calling to them in the night. Their own radio is sabotaged and something has been probing the area where they're living; finally, the group is lured into the caverns where the real menace is hiding -- gigantic, bloodthirsty mutated land crabs that communicate telepathically and seem to have all of the knowledge of the previous team's members. One by one, all but three of the members -- Brewer, electrical engineer Hank Chapman (Russell Johnson), and scientist Martha Hunter (Pamela Duncan) -- are killed off and their minds and memories absorbed by the mutant crabs, who also have the power to focus infrared radiation into deadly, destructive beams that they use to gradually pulverize large sections of the island. By the end, a single giant crab has run the trio to ground on a remaining parcel of land just a few dozen yards across. ~ Bruce Eder, All Movie Guide

Future "Master of Disaster" Irwin Allen produced this curious but inarguably fascinating adaptation of Henrik Willem Van Loon's best- selling historical volume. A Celestial Tribunal has been convened to decide the fate of the Earth after the invention of nuclear weapons, with The Devil (Vincent Price) and The Spirit of Man (Ronald Colman) debating if humankind should be allowed to continue or be exterminated once and for all. Both men present examples of human behavior at its best and worst, including Dennis Hopper as Napoleon, Hedy Lamarr as Joan of Arc, Virginia Mayo as Cleopatra, Peter Lorre as Nero, Edward Everett Horton as Sir Walter Raleigh, and Groucho Marx, Harpo Marx, and Chico Marx as, respectively, Peter Minuit, Sir Isaac Newton, and a monk (yes, the producers had the daring and vision to cast the Marx Brothers without having them play any scenes together). The Story of Mankind proved to be the last film for both Ronald Colman and Hedy Lamarr; it was also the last time the three Marx Brothers appeared in the same film, though the individual Marxes appeared in a few films following this. ~ Mark Deming, All Movie Guide

War Drums manages to be pro-Indian, pro-Mexican, pro-tolerance and pro-feminist without ever resorting to speechmaking or sacrificing its entertainment value. Former Tarzan Lex Barker stars as an Apache chief who is almost ostracized by his tribe when he marries Mexican girl Joan Taylor. Eventually, Barker is welcomed back, but Joan refuses to behave like a typical dutiful squaw. In deference to his wife's wishes, Barker trains Joan to become an Apache warrior! It is curious that the Political Correctness crowd has never paid homage to War Drums; perhaps it's because of the film's surfeit of decidedly non-PC violence and bloodshed. ~ Hal Erickson, All Movie Guide

When an Army general is appointed to the sensitive diplomatic post that the powerful publisher of a prominent news magazine had hoped would go to a particularly qualified civilian, she launches a vitriolic campaign to discredit the general. First the publisher orders one of her cameraman to snap a few incriminating photographs of the general. In order to get them, she invites the general out for a night on the town. No matter how hard she tries to get him drunk, the general remains sober. Unfortunately, she ends up quiet tipsy and falls in a pool where she nearly drowns until the general rescues her. The sodden but grateful publisher kisses him and it is at that point that they realize that animosity is rapidly turning to love, at least for her. When she discovers that her newborn love is fated to remain unrequited because of things from the general's past, the jealous publisher pens a poisonous article about him. This creates all kinds comical obstacles and further misunderstandings. ~ Sandra Brennan, All Movie Guide

To fully enjoy the rugged outdoors adventure The Mountain, one must accept the notion that 55-year-old Spencer Tracy and 25-year-old Robert Wagner are brothers. Tracy plays veteran mountain guide Zachary Wheeler, who is coaxed out of retirement when a passenger plane crashes on high mountain. He decides it isn't worth risking his life to recover the bodies of the passengers, but hot-headed younger brother Chris (Robert Wagner), hoping to claim the victims' valuables, talks Zachary into accompanying him to the mountaintop. After their treacherous upward journey, the brothers discover that one of the passengers, a Hindu girl (Anna Kashfi), is still alive. Zachary wants to bring her back to safety, but the greedy Chris would rather abandon her and make off with the valuables. It is, inevitable, then, that not everyone involved is going to get off the mountain alive. A worthwhile character study enhanced by superb location photography, The Mountain is compromised by its overreliance on phony-looking studio "exteriors". ~ Hal Erickson, All Movie Guide