Henry Daniell Movies

In flashback, Sgt. Saunders (Vic Morrow), Lt. Hanley (Rick Jason) and the men of King Company recall the events surrounding their landing at Omaha Beach on D-Day. Pre-invasion highlights include a battle between Saunders and Hanley over the affections of a pert English lass (Pat Dahl), and the efforts by wheeler-dealer Braddock (Shecky Greene) to win a cash pool by picking the correct date for the landing (he wins, but doesn't feel so lucky after all--and for good reason!) Once the men have established a beachhead, they are ordered to capture a farmhouse where several American paratroopers are being held prisoner. Most of this program is comprised of re-edited footage from Combat's hitherto unseen pilot episode, which explains the occasional discrepancies (for example, Hanley is still a sergeant, and supporting character Caje [Pierre Jalbert] is referred to as "Caddy"). ~ Hal Erickson, Rovi

George Cukor directed this sanitized version of Irving Wallace's tawdry best-seller concerning a survey of the sexual habits of American women. Psychologist George C. Chapman (Andrew Duggan) arrives in a Los Angeles suburb with his assistant Paul Radford (Efrem Zimbalist Jr.) in tow. They are looking for volunteers for their sex survey, and four women raise their hands: Sarah Garnell (Shelley Winters) is a middle-aged woman who is having an affair with young theater director Fred Linden (Ray Danton); Teresa Harnish (Glynis Johns) is a happily married woman who becomes attracted to brawny football player Ed Kraski (Ty Hardin); Naomi Shields (Claire Bloom) is an alcoholic nymphomaniac who takes up with an unsavory jazz musician; and Kathleen Barclay (Jane Fonda) is a young widow who thinks she is frigid -- that is, until Radford makes her his personal project. ~ Paul Brenner, Rovi

Dana Andrews is ad-man Clint Lorimer in this uneven drama, the last feature film by director Bruce Humberstone, released several years after it was completed. Clint is fired from his job working for a big ad agency, and he is determined to prove himself better than his former bosses. He has two romantic liaisons, one with Peggy Shannon (Jeanne Crain) and another with Anne Temaine (Eleanor Parker). Anne works as the advertising agent for a milk company run by a weirdo exec (Eddie Albert) who plays with toy airplanes in his office, but as time passes he becomes Machiavellian and ego-maniacal. Anne herself changes from a frump to a tough and glossy businesswoman, perhaps making Clint's choice of a future bride easier. ~ Eleanor Mannikka, Rovi

Michael Curtiz's The Comancheros was a deceptively complex movie -- so enjoyable, that it masked some of the best character development seen in a John Wayne vehicle that was not directed by John Ford or Howard Hawks, and so well made that it got by with some of the most violent action seen in a major studio release of the era. It also bridged the gap between Ford's The Searchers and the upbeat buddy movies of the late '60s and '70s (The Sting, Butch Cassidy and the Sundance Kid, etc.). It's 1843 in the Republic of Texas, and Jake Cutter (John Wayne) is a two-fisted Texas Ranger who runs across a gang of white renegades, called the Comancheros, who are trading guns and other contraband with marauding Comanches from a secret hideout in Mexico. Substituting for a repentant gun-runner, he goes undercover as a partner with Crow (Lee Marvin), a vicious half-breed who is a contact man with the Comancheros and knows the whereabouts of their hideout in Mexico. But Crow manages to get himself killed, and Cutter is forced to throw in with Paul Regret (Stuart Whitman), a bystander who also happens to be an itinerant gambler wanted for killing a man in a duel in New Orleans, to complete his mission. It turns out that Regret is a more decent man than most, and he and Cutter, despite some different outlooks on right and wrong, take a liking to each other. Their quest eventually takes them south of the border, where they find the Comancheros and their leader, Graile (Nehemiah Persoff), a bitter, brilliant cripple -- think of The Sea Wolf's Wolf Larsen in a wheelchair -- who has established a landlocked pirate society, and his daughter Pilar (Ina Balin). The only thing that keeps Cutter and Regret alive when they enter the camp is that Pilar and Regret have a history, and she still has feelings for him, enough so that she won't tell what she knows about Cutter and who he is. The two men must play on Graile's greed and Pilar's love in the explosive surroundings of the Comancheros' camp, while figuring out a way to stay alive long enough to get word to the rangers about where they are -- and to survive the attack that must inevitably follow.

Director Michael Curtiz was ill for part of the shoot, and Wayne took up the slack, but The Comancheros displays some of the same freewheeling charm and deep passions that informed classic films of his such as Captain Blood, The Adventures of Robin Hood, and The Sea Hawk. Wayne and Whitman between them manage to evoke some of the rambunctiousness of Errol Flynn, and when Balin (one of the sexiest leading ladies ever to grace a John Wayne movie) arrives onscreen, the testosterone level shoots up even higher and the sexual sparks fly. The film's 105 minutes go by very fast, and this is a movie whose ending comes almost too soon. Curtiz's final film is one that leaves audiences with a smile, but also wanting more, which was a pretty good way to go out. John Wayne's daughter, Aissa Wayne (who subsequently went into a law career) appears in a small role. ~ Bruce Eder, Rovi

In the third episode of Walt Disney's eight-part miniseries The Swamp Fox, Revolutionary War hero Francis Marion (Leslie Nielsen) must pretend to despise his sweetheart, Mary Videaux (Barbara Eiler), lest anyone suspects Mary is one of Francis' most valuable allies against the Redcoats. Despite this charade, Redcoat leader Col. Tarleton (John Sutton) smells a rat. Meanwhile, Marion's nephew, Gabe (Tim Considine), hopes to impress his girlfriend, Melanie (Sherry Jackson), and dons his new Continental Army uniform and rides off to visit her -- whereupon he is captured by British officer Col. Townes (Henry Daniell). "Tory Vengeance" originally aired as part of the Walt Disney Presents anthology. ~ Hal Erickson, Rovi

In the fifth episode of Walt Disney's eight-part miniseries The Swamp Fox, the guerilla forces under the leadership of Francis Marion (Leslie Nielsen) have succeeded in capturing British officer Col. Townes (Henry Daniell). Unfortunately, Marion's longtime enemy Col. Tarleton (John Sutton) has, at the same time, seized the home of Marion's brother Gabriel (John Sutton). As Marion prepares to escort Towne and his wife to Continental Headquarters, Tarleton lays a carefully planned trap for the elusive "Swamp Fox", using Redcoats disguised as American patriots. "Redcoat Strategy" originally aired as part of the Walt Disney Presents anthology. ~ Hal Erickson, Rovi

An angry head-shrinker (not a psychiatrist) puts a curse upon a family of white traders in this well-wrought low-budget horror film. It must have been a doozy for 200 years later it is still going strong. The story opens as the eldest male descendant of the cursed Drake family finds himself on the brink of losing his head at the hands of a strange witch doctor and his spooky-looking servant. Fortunately his daughter and a detective show up in time to save his noggin from a fate too horrible to disclose here. ~ Sandra Brennan, Rovi

Having just recovered from a heart attack, fabled British barrister Sir Wilfred Robards (Charles Laughton) has been ordered by his doctor to give up everything he holds dear-brandy, cigars and especially courtroom cases. Robards' already shaky resolve to follow doctor's orders flies out the window when he takes up the defense of Leonard Vole (Tyrone Power), a personable young man accused of murdering a rich old widow. The case becomes something of a sticky wicket when Vole's "loving" German wife Christine (Marlene Dietrich) announces that she's not legally married to Robards' client-and she fully intends to appear as a witness for the prosecution! At the close of this film, a narrator implores the audience not to divulge the ending; we will herein honor that request. A delicious Billy Wilder mixture of humor, intrigue and melodrama, Witness for the Prosecution is distinguished by its hand-picked supporting cast: John Williams as the police inspector, Henry Daniell as Robards' law partner, Una O'Connor as the murder victim's stone-deaf maid, Torin Thatcher as the prosecutor, Ruta Lee as a sobbing courtroom spectator, and Charles Laughton's wife Elsa Lanchester as Robards' ever-chipper nurse (a role especially written for the film, so that Lanchester could look after Laughton on the set). And keep an eye out for that uncredited actress playing the vengeful-and pivotal-cockney. Adapted by Wilder, Harry Kurnitz and Larry Marcus from the play by Agatha Christie, Witness for the Prosecution was remade for television in 1982. ~ Hal Erickson, Rovi

For its time, The Sun Also Rises was a reasonably frank and faithful adaptation of the 1926 Ernest Hemingway novel. Its main concession to Hollywood formula was the casting of star players who were all too old to convincingly portray Hemingway's "Lost Generation" protagonists. Tyrone Power heads the cast as American news correspondent Jake Barnes, who, after incurring a injury in WW I that has rendered him impotent, relocates to Paris to escape his troubles. Barnes links up with several other lost souls, including the nymphomaniacal Lady Brett Ashley (Ava Gardner), irresponsible drunkard Mike Campbell (Errol Flynn) and perennial hangers-on Robert Cohn (Mel Ferrer) and Bill Gorton (Eddie Albert). In their never-ending search for new thrills, Barnes and his cohorts trundle off to Spain, where they participate in the annual Pamplona bull run and act as unofficial "sponsors" of handsome young matador Pedro Romero (played by future film executive Robert Evans). Additionally, Lady Brett pursues a romance with Jake, despite her engagement to the dissolute Campbell. Filmed on location in Pamplona, Paris, Biarritz and Mexico, The Sun Also Rises was budgeted at $5 million; like many "big" pictures of the era, it tended to be hollow and draggy at times. The film's best performance is delivered by Errol Flynn, though it can be argued that, in taking on the role of the hedonistic, hard-drinking, burned-out Mike Campbell, he was merely playing himself. A vastly inferior version of The Sun Also Rises was produced for television in 1984. ~ Hal Erickson, Rovi

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, Rovi

Irregularly scheduled on NBC from 1954 through 1957, Producers' Showcase was a series of lavish, full-color 90 minute specials, bringing the best of Broadway to the 21 inch screen. The series' April 2, 1956 presentation was Guthrie McClintic's adaptation of Rudolf Besier's 1931 Broadway hit The Barretts of Wimpole Street. Repeating her celebrated stage role as the fragile, invalided poetess Elizabeth Barrett was McClintic's wife, Katherine Cornell, in her first television appearance. Set in London in 1845, the play recounts the familiar story of the romance between Elizabeth and the dashing, much-younger poet Robert Browning (Anthony Quayle), who is determined to rescue Elizabeth from the autocratic grip of her domineering father, Edward Moulton-Barrett (Henry Daniell), who holds the rest of the grown Barrett children in tyrannical thrall in their home at 50 Wimpole Street. Previously filmed by Hollywood in 1934 with Norma Shearer, Fredric March and Charles Laughton, The Barretts of Wimpole Street would again go before the cameras one year after this well-mounted Producers' Showcase production, this time with Jennifer Jones, Bill Travers and John Gielgud. ~ Hal Erickson, Rovi

Lana Turner stars as Diane in this opulent costume drama. Set in 16th century France, the film finds the gorgeous Diane de Pottiers rising to a position of absolute power through her manipulation of the men in her life. Those men include King Francis I (Pedro Armendariz), Prince Henri (Roger Moore) and Diane's husband, the Count de Breze (Torin Thatcher). Diane's principal foe is the scheming Catherine de Medici (Marisa Pavan), who for the first time in her life has met her match in Our Heroine. Christopher Isherwood's screenplay is literate to a fault, though the film could have used a few more action highlights. The tepid box-office receipts of Diane hastened the end of Lana Turner's long association with MGM. ~ Hal Erickson, Rovi