Richard H. Gordon Movies

A master blend of comedy, domestic drama and sudden tragedy, The Marrying Kind remains one of the best collaborations between star Judy Holliday, screenwriters Garson Kanin and Ruth Gordon, and director George Cukor. The film begins at the end, with married couple Florence and Chet Keefer (Judy Holliday and Aldo Ray) seeking a divorce. Both parties state their cases before understanding judge Carroll (Madge Kennedy)--whereupon the story of their marriage unfolds in a series of revelatory flashbacks. After an amusing recap of their courtship days, the film details the many major and minor trials and tribulations of married life. In the film's most unforgettable sequence, one of the couple's children dies by drowning while Florence and Chet are obliviously engaged in one of their petty squabbles. Throughout the testimony, the Judge gives equal time to both parties, and in so doing demonstrates that all aspects of marriage work both ways. In the final scenes, the Judge allows the Keefers to reconsider their impending divorce, but not before offering a few understanding and unobtrusive words of advice. Judy Holliday is in top form, while Aldo Ray delivers what may be his finest performance. Featured in the cast as Ray's sister-in-law is Peggy Cass in her film debut. ~ Hal Erickson, All Movie Guide

Loretta Young plays a guilt-ridden hit-and-run driver in Paula. After leaving the scene of an accident, Paula (Young) discovers that her victim, a young boy named David Larson (Tommy Rettig), may have permanently lost the power of speech. Her maternal instinct overcoming her desire for self-preservation, Paula makes it her mission in life to teach David how to talk again. Still, she never reveals to the boy that it was she who was responsible for his condition. Inevitably, however, he finds out, setting the stage for the film's tear-stained denouement. Paula strains credibility quite a bit, though Loretta Young's strong performance makes the whole thing more believable than it sounds. ~ Hal Erickson, All Movie Guide

The Racket was based on a play by Bartlett Cormack, first filmed as a silent in 1928. The storyline was updated to include references to Estes Kefauver's Senate Crime Investigating Committee: otherwise, the plot (and much of the dialogue) was lifted bodily from the Cormack play. Racketeer Robert Ryan has managed to get several government and law-enforcement higher-ups in his pocket. But Ryan can't touch the incorruptible police officer Robert Mitchum, who refuses all attempts at bribery. Ryan pulls strings to get Mitchum transferred to a series of undesirable precincts, but Mitchum will not be dissuaded. The battle of wills between cop and criminal comes to a head when mob-connected nightclub singer Lizabeth Scott turns on her former protector Ryan. The Broadway version of The Racket starred Edward G. Robinson as the racketeer; the 1928 film version featured Louis Wolheim in the Robinson role and Thomas Meighan as the upright cop. Both the silent and sound versions of the property were personally produced by Howard R. Hughes. ~ Hal Erickson, All Movie Guide

Though he doesn't know it at first, industrialist Walter Williams (Brian Donlevy) shouldn't trust his wife Irene (Helen Walker) any farther than he can throw her. Irene schemes with her lover Jim Torrance (Tony Barrett) to kill Walter in an "accidental" car crash. The plan fails, and it is Jim who is killed. When it develops that he is assumed to have also died in the accident, Walter changes his name and heads to a small town where no one knows him. Here he starts life all over again as a humble garage mechanic, falling in love with his boss Marsha Peters (Ella Raines) in the process. Disaster looms when detective Quincy (Charles Coburn) comes sniffing around; it seems that Lt. Quincy suspects the incognito Williams of murdering Torrance. To reveal any more would be giving the game away. Impact co-stars longtime favorite Anna May Wong, making her first screen appearance since 1942. ~ Hal Erickson, All Movie Guide

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, All Movie Guide

Lucille Ball offers a seminal version of her Lucy Ricardo TV character in Her Husband's Affairs. Ball is cast as Margaret Weldon, the wife of advertising executive William Weldon (Franchot Tone). Though Weldon is successful, Margaret can't help but feel that he'd be more successful if she were to take an active part in his business affairs. The fun really begins when Margaret tries to help Weldon promote a crackpot inventor (Mikhail Rasumny) who's come up with a revolutionary new embalming fluid. As in the previous year's The Hucksters, Madison Avenue and Big Business are targetted for a great deal of derisive ribbing. If only Her Husband's Affairs were as funny as everyone involved seems to think it is. ~ Hal Erickson, All Movie Guide

Three years after song-and-dance man Dick Powell reshaped his nice-guy image by playing hard-boiled gumshoe Phillip Marlowe in Murder My Sweet, he returned to film noir with this crime-based thriller. Johnny O'Clock (Dick Powell) and his partner Pete Marchettis (Thomas Gomez) operate a gambling casino that has seen better days. Chuck Blayden (Jim Bannon), a cop on the take, wants in on the casino, and he makes friends with Pete while trying to convince him that Johnny, the smarter of the two, should go. When Chuck's girlfriend Harriet (Nina Foch) is found dead, a supposed suicide, his sister Nancy (Evelyn Keyes) smells a rat, especially after Chuck skips town. Nancy is convinced that her sister was murdered, and she asks Johnny to help her prove it. Johnny, who already has a number of women in his life -- including Nelle (Ellen Drew), Pete's wife -- figures that one more can't hurt and agrees to help her. But Police Inspector Koch (Lee J. Cobb), convinced that Johnny and Pete were behind Harriet's death, is making it hard for Johnny to do much investigating, and matters get worse when Chuck's body is found floating in the river. Screenwriter Robert Rossen made his directorial debut with this film, 14 years later, he would return to this film's tough, gritty style for his best picture, The Hustler. ~ Mark Deming, All Movie Guide

The second of Monogram's 1945 trio of "Cisco Kid" westerns, In Old New Mexico stars Duncan Renaldo as Cisco and Martin Garralaga as Pancho. The plot concentrates on heroine Ellen (Gwen Kenyon), a nurse accused of murder. Gallant Cisco "kidnaps" Ellen from the authorities, then sets about to prove her innocence, all with the cooperation of a sympathetic sheriff. Cisco and Pancho stage an elaborate ruse to force a confession out of the genuine killer, which in real life would of course be thrown out of court-but whoever said that these films had anything to do with real life? After a third "Cisco Kid" entry, South of the Rio Grande, Duncan Renaldo would temporarily leave the series, returning with a vengeance three years later. ~ Hal Erickson, All Movie Guide

A favorite of the 1930s exploitation circuit, Birth of a Baby is a simple, unadorned story of an expectant couple (Eleanor King, William Post Jr.) Concerned about the health factors of the upcoming delivery, the couple consults a kindly obstetrician (Richard Gordon). The birth takes place without a hitch, and everyone is happy. So what's the big deal? It seems that, as a means to "hype" the film, documentary footage of an actual birth was spliced into the last reel. A model of decorum by today's standards, this footage was sufficiently provocative in 1938 to permit the film's exhibitors to ballyhoo the picture as "daring" and "controversial." In many cities, it was shown to segregated-by-sex audiences: men were not allowed in the theatre when women were present, and vice versa. In itself nothing special, Birth of a Baby is a prime example of old-fashioned (and very successful) hucksterism ~ Hal Erickson, All Movie Guide

Released in ten chapters by low-budget Beacon Films, The Flame Fighter starred one of the silent era's better serial heroes, Herbert Rawlinson, as Jack Sparks, a fireman battling corruption within the department and a gang of smugglers operating out of the San Pedro harbor, where most of the serial was filmed. Distributed through the states' rights circuits, The Flame Fighter came and went but the good-looking, wavy-haired Rawlinson, according to surviving reviews, made a pleasing hero and was well-teamed with one Brenda Lane, a bobbed-haired starlet who appeared regularly in this sort of fare in the mid-1920s. Robert Dillon directed from his own screenplay. ~ Hans J. Wollstein, All Movie Guide