Royal Dano Movies

One major film star referred to director Nicholas Ray as a "loser," because of Ray's alleged willingness to let his more temperamental actors walk all over him. Evidently, Ray had a very compliant and cooperative cast in King of Kings, inasmuch as the film emerged as one of the most disciplined Biblical epics ever made. Jeffrey Hunter is cast as Jesus Christ, delivering a wholly credible performance in this most taxing of roles (never mind the wags who referred to the film as "I Was a Teenage Jesus"). Siobhan McKenna is a radiant if somewhat overaged Mary; Hurd Hatfield offers a properly preening Pontius Pilate; Rip Torn portrays Judas more for the tragedy than the treachery; Robert Ryan (a personal favorite of Ray's) is one of the best John the Baptists you're ever likely to see; and Harry Guardino convincingly interprets Barabbas as a firebrand political extremist. The only false note in the casting is the MGM-dictated selection of teenaged Brigid Bazlen as Salome. The best aspect of the film is its handling of the days after the Resurrection; the "Jesus sightings" are offered as secondhand information, so as to retain some of the mystery inherent in the Scriptures. King of Kings was previously filmed in 1927 by Cecil B. DeMille, with a middle-aged H.B. Warner as Jesus. ~ Hal Erickson, All Movie Guide

Raucous comedianJudy Canova plays it straight in this episode as Helen Parch, a small-town gossip who shares a telephone party line with two other ladies, Betty (Gertrude Flynn) and Emma (Ellen Corby). Years earlier, Helen had relinquished the phone to a man claiming to be making an emergency call, only to find out that the man was simply contacting his bookie. Subsequently, Helen refused to hang up during an actual emergency that resulted in a death. Now, it is Helen's turn to find herself in a desperate situation -- and this time, it is her "friends" Betty and Emma who won't give up the party line. ~ Hal Erickson, All Movie Guide

Only one of three films directed by screenwriter Charles Lederer, known for movies as disparate as The Thing (1951) and Gentlemen Prefer Blondes (1953), this crime comedy-drama-musical obviously defies categorization. Mixing James Cagney as a gangster out to control a big union, with musical numbers and cute songs is about like mixing onions and vanilla pudding. Jake MacIllaney (Cagney) wants to be elected president of Longshoreman's union 26 and, being a top mob boss, is used to getting his way. He is not past almost any stunt or method of coercion to get votes. Dan Cabot (Roger Smith) is Jake's lawyer, and after Jake meets Cabot's wife Linda (Shirley Jones), he sets his sights on conquering her affections. Disregard the husband, he can be taken care of. Setting this to music introduces some entertaining songs (I'm Sorry -- I Want a Ferrari) but the seriousness of the mobster's immorality and power is hard to reconcile with a perky tune about not stealing the small stuff. ~ Eleanor Mannikka, All Movie Guide

Don Murray stars as a humble cowboy with aspirations for bigger things. He borrows money from his dance-hall girlfriend Lee Remick to buy a ranch, then dumps Remick in favor of banker's daughter Patricia Owens. Murray runs for political office, and in so doing is compelled to join a posse in search of his best friend Stuart Whitman, who has turned rustler. Anxious not to compromise his climb to the top, Murray stands by in silence as Whitman is lynched. In the end, however, Murray regains his essential decency when he is shot while trying to protect his ex-girlfriend Remick from bullying land baron Richard Egan. Based on a novel by A. B. Guthrie Jr., These Thousand Hills may look and sound like a western, but it has "film noir" written all over it. ~ Hal Erickson, All Movie Guide

The Civil War is revisited in this taut episode of The Rifleman, which has a crippled Confederate soldier (Royal Dano) arriving at Lucas McCain's ranch at the same time as a visiting General Sheridan (Lawrence Dobkin). But the War is well over and Lucas (Chuck Connors), with Sheridan's assistance, manages to prevent further carnage. ~ Hans J. Wollstein, All Movie Guide

Rod Serling's first original screenplay for the Big Screen was the psychological western Saddle the Wind. In one of his best performances, Robert Taylor plays Steve Sinclair, a world-weary gunslinger. Hoping to become a rancher, Sinclair is given a plot of land by patriarchal Dr. Deneen (Donald Crisp), on the proviso that Steve tries to curb the violent tendencies of his younger brother Tony (John Cassavetes). Unfortunately, Tony is not so easily controlled; he not only seethes with sibling rivalry, but also takes near-orgasmic delight in his gunslinging skills. Determined to prove to Steve and to his saloon-girl paramour Joan Blake (Julie London) that his shooting prowess somehow makes him a superior being, Tony brings tragedy to all concerned. Elmer Bernstein's overemphatic musical score is ideally suited to the larger-than-life histrionics of Saddle the Wind. ~ Hal Erickson, All Movie Guide

In this drama, a law student discovers corruption in city hall while researching a class project involving mock grand-jury work. ~ Sandra Brennan, All Movie Guide

Man in the Shadow is a better-than-usual Albert Zugsmith production starring Jeff Chandler as the newly appointed lawman in a corrupt southwestern town. A Mexican laborer has been murdered, a crime which powerful land baron Orson Welles wants the sheriff to ignore. Chandler bucks Welles' wishes and investigates the killing, with the trail of evidence leading inexorably to Welles...but what's the motive? Man in the Shadow is unimportant enough on its own, but the fact that it was produced at all would have a far-reaching effect on cinematic history. It was during shooting of this western that producer Albert Zugsmith and actor Orson Welles agreed to collaborate on the Welles-directed masterpiece Touch of Evil (58). ~ Hal Erickson, All Movie Guide

Kathy Ferguson (Barbara Stanwyck) is a cynical newspaper columnist in San Francisco, handling women's advice -- by chance one day, the paper's city editor assigns her to cover the woman's angle on the arrival of a pair of L.A. police detectives, Capt. Manny Alidos (Royal Dano) and Lt. Bill Doyle (Sterling Hayden), on the hunt for a murder suspect known to be hiding somewhere in the city. They're both pretty button-down types and seem like fish-out-of-water in the more easy-going Frisco, and Kathy quickly clashes with them both, especially when her column appealing to the missing suspect as a woman yields serious dual results -- not only does Kathy boost her profile and readership, but the missing suspect makes contact and is ultimately brought in; in the process, Kathy goes from journalistic back-bencher to media star. That would be the end of the issue, except that Kathy and Bill have become attracted to each other amid their clashes, parries, and thrusts, and decide to get married -- she spurns the offer of a job in New York to move to Los Angeles and settle down to the life of a wife and homemaker. But that proves impossible -- Kathy quickly chafes at what she regards as the empty vacuous chatter of her fellow detective wives' lives and social interactions, and also her place in their pecking order as determined by their husbands' ranks and assignments (and Bill just doesn't rate high enough). Her own life suddenly cut off from career and ambition, and an ability to act on either, she becomes fixated on Bill's career and advancing it and him as a substitute. She contrives to cross paths socially with Alice Pope (Fay Wray), the wife of Inspector Tony Pope (Raymond Burr), who is both the head of an elite detective unit and the top man in her husband's division, and is soon not only getting Bill invited to parties with Pope and the police commissioner, but also cutting her husband's boss Manny Alidos and his wife Sara (Virginia Grey), to whom she's taken a special dislike, out of those same events.
It's not quite enough, however, and Kathy starts socializing on her own with Tony Pope, on Bill's behalf, and the two soon have their own relationship. Bill is still too much of a nice guy, and not careerist enough or assertive enough -- until she feigns distress at receiving poison-pen letters accusing her of having an affair with Pope, and blames Manny and Sara. This drives Bill to confront and assault Alidos, leading to a hearing in Pope's office where the chief of the division -- now very much beholden to Bill for Kathy's sake -- comes down on Bill's side. When the smoke clears, Manny is bounced back into uniform and Bill is made acting captain and put in charge of the homicide unit that Alidos formerly headed. Bill is on his way, and so is Kathy and Pope's relationship. But Pope proves to be a distressingly honorable and loyal man -- when his wife's health takes a turn for the worse, he decides to put in for retirement, and Kathy wants him to recommend Bill as his replacement. He considers it but decides that regardless of what he's done outside of his marriage, the department is too important to compromise the detective division, and that Bill just doesn't have what it takes to head it. Kathy is too deep in her strategy to back off, and also feels betrayed by Pope; now pushed over the edge, she contrives to threaten him with a gun, and is prepared to make good on her threat. Ironically enough, Bill may get his shot yet at heading the division, as he's head of homicide and takes personal charge of the biggest case the department has seen in years -- bringing in Tony Pope's killer. The only question is if and how he can put together the clues and pieces of the puzzle leading back to Kathy. ~ Bruce Eder, All Movie Guide

Previous film versions of Moby Dick insisted upon including such imbecilities as romantic subplots and happy endings. John Huston's 1956 Moby Dick remains admirably faithful to its source. "Call me Ishmael" declares itinerant whaler Richard Basehart as the opening credits fade. Though slightly intimidated by the sermon delivered by Father Mapple (Orson Welles in a brilliant one-take cameo), who warns that those who challenge the sea are in danger of losing their souls, Ishmael nonetheless signs on to the Pequod, a whaling ship captained by the brooding, one-legged Ahab (Gregory Peck). For lo these many years, Ahab has been engaged in an obsessive pursuit of Moby Dick, the great white whale to whom he lost his leg. Ahab's dementia spreads throughout the crew members, who maniacally join their captain in his final, fatal attack upon the elusive, enigmatic Moby Dick. Screenwriter Ray Bradbury masterfully captures the allegorical elements in the Herman Melville original without sacrificing any of the film's entertainment value (Bradbury suffered his own "great white whale" in the form of director Huston, who sadistically ran roughshod over the sensitive author throughout the film).Cinematographer Oswald Morris' washed-out color scheme brilliantly underlines the foredoomed bleakness of the story. Moby Dick's one major shortcoming is its obviously artificial whale-but try telling a real whale to stay within camera range and hit its marks. ~ Hal Erickson, All Movie Guide

Glynis Johns and Cameron Mitchell are top-billed in All Mine to Give, but they're out of the picture halfway through. Johns and Mitchell play a Scottish couple, Mamie and Robert, living in the American wilderness of the mid-19th century. Robert dies, whereupon Mamie takes on the responsibility of raising their six children. And when she succumbs to illness, it is the oldest child, Robbie (Rex Thompson, who'd previously played Louis Leonowens in The King And I), who takes on the challenge of finding homes for his siblings on Christmas Day. Based on a true story, All Mine to Give has heart-tugging potential, but the script isn't up to the performances. One year before its American release, the film was distributed in Great Britain under the title The Day They Gave Babies Away. ~ Hal Erickson, All Movie Guide

Set during Cuba's struggle to free itself from colonialist Spain, this exciting adventure chronicles the exploits of a tough, mercenary gun runner who learns about honor, sacrifice and caring for others when he ends up forced to smuggle his latest weapon's cache aboard a beat up stern wheeler bound for Cuba. There he meets a beautiful freedom fighter who has been in the States trying to rally her expatriot colleagues into returning to join in the battle. It is she, with her passionate idealism and unwavering courage, who turns the gunrunner's life around. ~ Sandra Brennan, All Movie Guide