Joe Palma Movies

Tony Curtis stars as The Great Leslie, a hero among heroes whose purity of heart is manifested by his spotlessly white wardrobe. Leslie's great rival, played by Jack Lemmon, is Professor Fate, a scowling, mustachioed, top-hatted, black-garbed villain. Long envious of Leslie's record-setting accomplishments with airships and sea craft, Professor Fate schemes to win a 22,000-mile auto race from New York City to Paris by whatever insidious means possible. The problem is that Fate is his own worst enemy: each of his plans to remove Leslie from the running (and from the face of the earth) backfires. Leslie's own cross to bear is suffragette Maggie Dubois (Natalie Wood), who also hopes to win the contest and thus strike a blow for feminism. The race takes all three contestants to the Wild West, the frozen wastes of Alaska, and, in the longest sequence, the mythical European kingdom of Carpania. This last-named country is the setting for a wild Prisoner of Zenda spoof involving Professor Fate and his look-alike, the foppish Carpanian king. When Leslie and Fate approach the finish line at the Eiffel Tower, Leslie deliberately loses to prove his love for Maggie. Professor Fate cannot stand winning under these circumstances, thus he demands that he and Leslie race back to New York. The supporting cast includes Peter Falk as Fate's long-suffering flunkey Max, Keenan Wynn as Leslie's faithful general factotum, Dorothy Provine as a brassy saloon singer, Larry Storch as ill-tempered bandit Texas Jack, and Ross Martin as Baron Von Stuppe. The film also yielded a hit song, Henry Mancini and Johnny Mercer's The Sweetheart Tree. The Great Race was dedicated to "Mr. Laurel and Mr. Hardy". ~ Hal Erickson, All Movie Guide

This romantic comedy opens with a resounding warning: its chief concerns are passion, bloodshed, desire, and death. "Everything," exclaims the narrator, "that makes life worth living." Irma La Douce (Shirley MacClaine) is Paris' most prosperous prostitute. Wise, endearing, and compulsively clad in green, Irma rules the rue Casanova. She triumphantly works the most coveted corner on a street where the cops gladly look the other way and the naughty johns leave tips. Her street is a content community of live and let live and good-natured desire, an Augean stable of human understanding. However, to upright Nester Patou (Jack Lemmon), the area's new policeman, genial wrongdoing is still wrongdoing. Freshly promoted from day patrol at a children's playground, the scrupulous Nestor arrests Irma and her colleagues in a bumbling, unauthorized raid. He takes pity on Irma, but harasses the guilty johns -- including the police captain. Promptly unemployed, Nester returns to the scene of his crime, the rue, and to Irma. After physically besting her pimp, Nester unwittingly takes his position. The two fall madly in love, but Nestor quickly grows jealous of Irma's patrons. Thus, he masquerades as a wealthy English aristocrat and becomes Irma's sole customer -- only to eventually grow violently jealous of himself. Soon enough, this formally righteous cop is comically jailed for his own brutal murder! As the film's prologue promises, Irma La Douce is a celebration of life from beginning to end -- unabashedly adoring lust, emotion, fervor and, above all, foolish love. ~ Aubry Anne D'Arminio, All Movie Guide

Sexual misconduct in white-collar suburbia is the topic of this routine melodrama involving two neighboring couples. Architect Larry Coe (Kirk Douglas), unhappy with his wife Eve's (Barbara Rush) fixation on their bank balance, starts taking an interest in Maggie Gault (Kim Novak), whose husband has been losing interest in her. The two steal several illicit moments together, but this activity has not gone unnoticed. Good ol' neighbor Felix (Walter Matthau) figures that Eve might be feeling a little neglected, so he decides to move into the picture. Richard Quine's direction is an asset to an otherwise clichéd tale. ~ Eleanor Mannikka, All Movie Guide

This is one of the funnier shorts made by the latter day Three Stooges lineup of Moe Howard, Larry Fine, and Joe Besser. The boys are assistants to Professor Jones (Emil Sitka) and they have traveled from Earth to the planet Sunev (which a title informs us is "Venus" spelled backwards). The planet's leader greets them cordially enough, but he has secret plans to bring prehistoric men to life and take over the earth. Jones finds out about the evil scheme and is promptly tied up. Meanwhile, the Stooges are making time with some Sunevian girls. Unfortunately, the girls are charged with "atomic electricity," which makes smooching a bit difficult. At dinner, the alien leader informs them that they are about to die, so they make a mad dash to escape. Getting the aliens out of the way is easy enough -- they short circuit their "atomic electricity" with Joe's hot water bottles (he thought it was going to be cold on Sunev). They have a much harder time getting rid of a prehistoric man (Bonanza's Dan Blocker), but they manage to free Jones and they begin to destroy all the equipment that would have brought doom to the Earth. It turns out that all this is a story the boys were telling their kids (played by the Stooges in baby bonnets). But then the baby-sitter shows up -- and she's got the same caveman face as the monster in their tale. The boys panic and leap out the window. ~ Janiss Garza, All Movie Guide

The "regeneration" of blacklisted director Edward Dmytryk was expedited when he was hired by producer Stanley Kramer to helm the location-filmed melodrama The Sniper. In the interests of political expediency, Dmytrk was required to direct Adolphe Menjou, one of the most virulent Red-baiters of the HUAC hearings. Shorn of his trademarked mustache, and with his famous expensive wardrobe replaced by a humdrum business suit, Menjou turns in one of his best performances as a world-weary San Francisco detective assigned to track down a mad sniper. From the beginning, the audience knows that the criminal is psycho Eddie Miller (Arthur Franz), who is possessed of the notion that he must kill every beautiful brunette woman who crosses his path. Some audience sympathy is elicited by Miller's pathetic attempts to rid himself of his obsession, but this never gets in the way of the film's suspense. The excellent supporting cast includes Richard Kiley as a police psychiatrist, Marie Windsor as Miller's first victim, and Mabel Paige as the sniper's snoopy landlady. An unbilled Wally Cox shows up briefly. ~ Hal Erickson, All Movie Guide

Hot on the heels of such Red Skelton slapstick comedies as The Fuller Brush Man and The Yellow Cab Man came The Fuller Brush Girl, starring Lucille Ball in a fascinating dry run for her wacky "Lucy Ricardo" TV character. Unable to hold a job because of her tendency to get into trouble, Sally Elliot (Ball) hires on at the Fuller Brush company as a door-to-door cosmetics salesman. After several misadventures involving obnoxious children and snooty matrons, Sally finds herself in the middle of a murder scheme. With reluctant boyfriend Humphrey (Eddie Albert) in tow, Sally gets mixed up in one hilariously life-threatening situation after another, culminating in a prolonged chase sequence on board a tramp steamer. Highlights include Ball's outrageous striptease scene (to the tune of Rita Hayworth's "Put the Blame on Mame") and a choice cameo by Red Skelton as an all-too-cooperative customer. Most of the sight gags in Fuller Brush Girl were cooked up by former cartoon director Frank Tashlin, who'd also contributed to Fuller Brush Man. ~ Hal Erickson, All Movie Guide

Eliot Ness may have gotten lots of publicity (especially long after the fact) for breaking the Capone mob, but as Joseph H. Lewis' The Undercover Man reminds us, it was the accountants and the numbers-crunchers that brought down Capone and his mob. Frank Warren (Glenn Ford) started out as an accountant, but now serves as an investigator for the Treasury Department. His job has frequently required him to go undercover, masquerading as a criminal to get the goods on the top-level tax-law violators that his unit targets. But now his assignment is to gather evidence on the operations of the nation's number-one crime boss and get proof of the income that he and his lieutenants are not declaring, and this proves not only frustrating but dangerous. Potential stoolies are murdered and witnesses intimidated, and when one otherwise "respectable" lawyer (Barry Kelley) starts mentioning Warren's wife (Nina Foch) in casual conversation, he takes the hint. He's ready to quit until the mother (Esther Minciotti) of a witness-turned-victim tells him about what life was like in Italy under the Black Hand, and why she came to America to raise her sons. Warren and his men (James Whitmore, David Wolfe) make one last attempt to get the proof they need, tracing signatures and handwriting to get evidence implicating a small man in the operation, using it to turn him and going for bigger fish. Finally, even the shyster lawyer who has been dogging Warren every step of the way ends up in the sights of the feds, and the mob turns its attention to getting rid of this new "liability" and taking care of Warren as well. ~ Bruce Eder, All Movie Guide

Though Humphrey Bogart is the official star of Knock on Any Door, the film is essentially a showcase for Columbia's newest young male discovery John Derek. The first production of Bogart's Santana company, the film casts Bogart as attorney Andrew Morton. A product of the slums, Morton is persuaded to take the case of underprivileged teenager Nick Romano (Derek), who has been arrested on a murder charge. Through flashbacks, Morton demonstrates that Romano is more a victim of society than a natural-born killer. Though this defense strategy does not have the desired result on the jury thanks to the badgering of DA Kernan (George Macready), Morton does manage to arouse sympathy for the plight of those trapped by birth and circumstance in a dead-end existence. As Nick Romano, John Derek would never be better, nor would ever again play a character who struck so responsive a chord with the audience. Nick's oft-repeated credo--"Live fast, die young, and leave a good-looking corpse"--became the clarion call for a generation of disenfranchised youth. Director Nicholas Ray would later expand on themes touched upon in Knock on a Any Door in his juvenile delinquent "chef d'oeuvre" Rebel without a Cause. Viewers are advised to watch for future TV personalities Cara Williams and Si Melton in uncredited minor roles. Knock on Any Door spawned a belated sequel in 1960, Let No Man Write My Epitaph. ~ Hal Erickson, All Movie Guide

Soon to be married in real life, Barbara Hale and Bill Williams also played sweethearts on screen in the frantic farce A Likely Story. After a routine medical examination, ex-GI Bill Baker (Bill Williams) overhears a conversation between two doctors, leading him to the mistaken conclusion that he's doomed to die from a rare heart condition. Chancing to meet aspiring artist Vickie North (Barbara Hale), Baker resolves to help Vickie realize her dream by bankrolling her career. He takes out a huge life insurance policy, then talks a couple of gangsters (Sam Levene and Nestor Paiva) into bumping him off so that Vickie and her kid brother Jamie (Lanny Rees) can collect immediately. Things get complicated when Baker discovers that he's as hale and hearty as the next fellow, prompting him to try to weasel out of his bargain with the gangsters-who, having financed the insurance policy in the first place, aren't inclined to let our hero off the hook so easily. Curiously, what should have been a frothy comedy plays more like a film noir, complete with a brief, hallucinatory nightmare sequence! ~ Hal Erickson, All Movie Guide

Based on a famous book by Richard Henry Dana, Jr., this grueling saga of shipboard oppression is set in the mid-19th century. Charles Stewart (Alan Ladd), the wealthy son of a Boston shipowner, is hijacked by Amazeen (William Bendix), the first mate on a ship bound for California. Francis Thompson (Howard Da Silva) is the tyrannical captain of the Pilgrim who was booted out of the U.S. Navy for mistreating his sailors. Now he wants to set a record sailing time, and he and Amazeen mete out severe punishment for the slightest of infractions. They even deny the men permission to go ashore and pick fruit when they stop in California and pick up the beautiful Maria Dominguez (Esther Fitzgerald). Without fruit, the men develop scurvy and begin to mutiny. Stewart allies himself with the author Dana (Brian Donlevy), whose brother died on one of Captain Thompson's previous voyages. Dana wants to write an expose of Thompson. Stewart steals guns and tries to take over the ship, but Amazeen subdues and imprisons him. The film was shot on a Hollywood set, but with devices on the set that simulate rolling waves so effectively that much of the cast got seasick. ~ Michael Betzold, All Movie Guide