Gail Bonney Movies

In this addiction melodrama, Joe Clay (Jack Lemmon), a promising adman, meet his future wife Kirsten (Lee Remick) at a party. Once married, the pressures of his business lead Joe to seek solace in liquor. Kirsten joins him in his nocturnal drinking sessions, and before long both are confirmed alcoholics. After several frightening episodes, Joe is able to shake the habit thanks to AA, but Kirsten finds it impossible to get through the day without liquor. The two split up, although Joe clings to the hope that someday he and Kirsten will be reunited, if for no reason other than the sake of their young daughter. J.P. Miller adapted the screenplay from his own 1958 Playhouse 90 television script. Though nominated in several categories, Days of Wine and Roses won only the Best Song Oscar for Henry Mancini's title tune. ~ Hal Erickson, All Movie Guide

Small-town garage mechanic Aaron Menefee (Andrew Prine) becomes a devoted disciple of the Reverend Otis Jones (Sidney Blackmer) after the traveling faith healer seemingly cures Menefee's ulcer. Even so, Jones refuses Menefee permission to marry his daughter Emily (Maggie Pierce), arguing that Aaron's faith isn't "strong enough." Thus does Menefee challenge himself with the ultimate test of that faith -- leading to a memorable "Lady or the Tiger" denouement. ~ Hal Erickson, All Movie Guide

Alcoholic Lottie Mead (Claire Trevor) bursts into the home of Ralph and James Birdwell (Robert Sampson, Patricia Smith), the couple who have been caring for Lottie's daughter ever since the girl's mother deserted her. Now Lottie declares that she will take the girl away from the Birdwells unless she is given a 25,000-dollar payoff. When the couple refuses, Lottie cooks up a kidnapping scheme with a seemingly dishonest detective named Phil Ames (Biff Eliott) -- who turns out to have an agenda of his own. ~ Hal Erickson, All Movie Guide

In this entertaining comedy by Charles Walters, everyone seems to get in on the act, even the dog and especially the four overactive kids in a wildly challenging family. David Niven co-stars with Doris Day as Lawrence and Kate Mackay, distinctive parents struggling with home, life, and family. Lawrence opts for leaving his job teaching at Columbia University in New York for a post as a drama critic for a Gotham newspaper, bringing new problems to the pile the family already owns. First, they are forced to move out -- far out -- to the countryside with their brood and canine. And next, while Kate handles home, hearth, and hellions, Lawrence proceeds to alienate one of his best friends with a shattering review. That unhappy beginning to his new career also brings in one of the actresses damaged by his cutting remarks (Janis Paige), who wreaks her own form of havoc on poor Lawrence. In the meantime, Day gets to sing some songs which add to the light-hearted attitude of it all. ~ Eleanor Mannikka, All Movie Guide

When Louisa Holbrook leaves $10,000,000 to her teeange daughter Trudy (Ann Benton), two different men appear out of nowhere, claiming to be Trudy's long-lost father. Though Trudy believes the "first" Jay Holbrook (Hayden Rorke), detectives have unearthed persuasive evidence that Jay Holbrook Number Two (Francis DeSales) is the genuine article. The only person who will be able to identity the real Jay Holbrook is Trudy's blind uncle Lawrence King (Francis X. Bushman)--and when King is murdered, Trudy is charged with the crime, obliging family attorney Perry Mason (Raymond Burr) to rush to the girl's defense. This is the final episode of Perry Mason's third season. ~ Hal Erickson, All Movie Guide

Philandering husband Courtney Masterson (Joseph Cotten) and his paramour, Peg Valence (Julie Adams), are attacked by a robber named Rudy (Don Gordon). Fortunately, Courtney and Peg manage to overpower their assailant and lock the man in the trunk of Masterson's car. At this point, Courtney should have gone to the police -- except that he doesn't, knowing full well that he'll have to explain to the authorities why he's in the company of Peg and not his wife. So should the couple allow Rudy to go free? Well...he could turn out to be a blackmailer...couldn't he? ~ Hal Erickson, All Movie Guide

In this frothy romantic comedy, a hard-working female Army shrink (Janet Leigh) devises the "perfect furlough" for battle weary men and convinces the brass to let her try it on selected men stationed at her base. According to her plan, selected men would be given three weeks, tailor made to fit their deepest desires. Her first test-case is a handsome ladies' man (Tony Curtis) who chooses to go to Paris with his favorite movie star. Naturally the psychologist chaperones. Romantic mayhem ensues and eventually the furloughed soldier and the shrink fall in love. The story is also titled Strictly for Pleasure. ~ Sandra Brennan, All Movie Guide

Too Much, Too Soon was adapted from the warts-and-all autobiography of actress Diana Barrymore, the troubled daughter of "great profile" John Barrymore. As played by Dorothy Malone, Diana is a basically decent young lady who suffers mightily from lack of parental love. Her famous father, played with boozy bravado by Errol Flynn, is the soul of graciousness and affection when sober, but a human monster when drunk -- which is often. Her poetess mother, Michael Strange (Neva Patterson), is too preoccupied by her bitterness against Barrymore to pay much attention to Diana. Striking out on her own as an actress, Diana vainly seeks personal happiness with several husbands: actor Vincent Bryant (actually Bramwell Fletcher), played by Efrem Zimbalist Jr.; jealous, possessive tennis player John Howard (Ray Danton); and another actor, alcoholic Robert Wilcox (Ed Kemmer). Unable to find satisfaction in her work or her private life, Diana follows family "tradition" by turning to liquor; this leads to extended sanitarium stays and innumerable suicide attempts. It is suggested at the end of the film that she is on the road to recovery, thanks in part to her biographer Gerold Frank (Robert Ellenstein); the sad truth is that two years after the release of Too Much, Too Soon, Diana Barrymore killed herself at the age of 39. This filmed version of Diana's tragic life seldom rises above soap-opera level, save for Errol Flynn's knowing performance of his old friend and drinking companion John Barrymore. ~ 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

In order to get rid of her husband Bruce's mistress Roxy Howard (Greta Thyssen), Sybil Granger hires Perry (Raymond Burr) to secretly help her gain a majority financial interest in Bruce's oil company. But someone else is apparently aware of what Sybil is up to, and that someone is old George Lutz (Richard Hale). After catching Sybil spying on Roxy, George is shot to death. Inasmuch as Sybil is already his client, Perry assumes the task of clearing her of a murder charge. This episode is based on a 1955 novel by Perry Mason creator Erle Stanley Gardner. ~ Hal Erickson, All Movie Guide

The Opposite Sex is an opulent musical remake of Clare Booth Luce's The Women (1939). June Allyson stars in the old Norma Shearer role, playing the virtuous wife who loses her husband to scheming Joan Collins (as the Joan Crawford character). At first agreeing to a divorce, June decides to win hubby back by utilizing the same crafty feminine wiles that Joan had employed to lead him astray. Doloress Gray plays the counterpart to Rosalind Russell's vitriolic gossip. The original The Women boasted an all-female cast: the remake includes several male characters, played by the likes of MGM contractees Leslie Nielsen and Jeff Richards. Dick Shawn, Jim Backus and Harry James are also on hand, billed as "special guest stars." The satirical bite of The Women has been softened in The Opposite Sex, but musical fans should have a good time. Sammy Cahn, Nicholas Brodszky, Ralph Freed and George Stoll were among the songwriters; Collins, Allyson and Jeff Richards perform musical numbers in the film. ~ Hal Erickson, All Movie Guide

This second film version of Lloyd C. Douglas' spiritual novel Magnificent Obsession is in its own way as successful as the first (filmed in 1935) in glossing over the plot holes and logic gaps in the original novel. Rock Hudson plays Bob Merrick, a reckless playboy who is indirectly responsible for the death of a kindly and much-beloved doctor. The dead man's wife, Helen Phillips (Jane Wyman), refuses to accept Bob's apologies. When Helen is accidentally blinded, Bob decides to "do right" by her anonymously, illustrating author Douglas' curious edict that the best sort of good deed is the one for which you're not rewarded. In record time, Bob becomes a brilliant physician, and it is he who performs the sight-restoring surgery on Helen. Rather than fade into the woodwork unheralded, Bob is at last forgiven by Helen, who has fallen in love with him during her sightless months without even knowing it. Luxuriously produced by Ross Hunter and directed con brio by Douglas Sirk, Magnificent Obsession was one of the most successful of Universal's big-budget "weepers" of the 1950s. ~ Hal Erickson, All Movie Guide