Ezelle Poule Movies

Unlike some of the "twist" movies that hit the theaters in the early '60s when the dance craze flourished, Twist around the Clock has something resembling a plot. Mitch Mason is an out-of-work promoter who sees people doing the "twist" in a regional backwater -- and immediately understands that the dance could be a real hit. His problem lies in getting anyone to believe him, and making money in the process. It turns out that the daughter of the head of a major agency could be his ticket to fame and fortune but he ignores her interest in him, at least for awhile. In the end, this teen-oriented tale is best remembered for two of Dion's hit songs, Runaround Sue and The Wanderer. Other vocals are supplied by Chubby Checker, The Marcels, and Vicki Spencer. ~ Eleanor Mannikka, All Movie Guide

In his first "solo" episode, Bart Maverick (Jack Kelly) agrees to protect Daisy Harris (Kathleen Crowley) during a hazardous journey through the Badlands. Even though Daisy explains that she'd been forced to kill her previous escort in self-defense, Bart gallantly remains by her side, even going so far as to pose as her husband--a deception which may end up sealing his doom! "The Jeweled Gun" was later reworked as "A Rage for Vengeance", in which Bart's brother Bret was the central character. ~ Hal Erickson, All Movie Guide

Based on the autobiography by George and Anna Rose, Room for One More is a warm-hearted vehicle for husband-and-wife actors Cary Grant and Betsy Drake. Though she already has three children of her own, New Jersey housewife Anna Rose (Drake) adopts several kids born into less fortunate circumstances. Both Anna and her husband "Poppy" (Grant) must contend with the emotional baggage brought to their home by these "unwanted" kids, and both bear up quite well. The film's dramatic core concerns the Roses' efforts to reach a desperately unhappy 13-year-old girl (Iris Mann) and a physically handicapped boy with a penchant for getting into serious trouble (Clifford Tatum Jr). Despite occasional moments of anguish and pathos, Room for One More for the most part opts for a light-hearted approach to its subject matter. In 1962, a TV sitcom version of Room for One More, starring Andrew Duggan and Peggy McCay, debuted as a mid-season replacement over the ABC network; at that time, the original film was re-titled The Easy Way. ~ Hal Erickson, All Movie Guide

Previously filmed in 1931 under its original title, Theodore Dreiser's bulky but brilliant novel An American Tragedy was remade in 1951 by George Stevens as A Place in the Sun. Montgomery Clift stars as George Eastman, a handsome and charming but basically aimless young man who goes to work in a factory run by a distant, wealthy relative. Feeling lonely one evening, he has a brief rendezvous with assembly-line worker Alice Tripp (Shelley Winters), but he forgets all about her when he falls for dazzling socialite Angela Vickers (Elizabeth Taylor). Alice can't forget about him, though: she is pregnant with his child. Just when George's personal and professional futures seem assured, Alice demands that he marry her or she'll expose him to his society friends. This predicament sets in motion a chain of events that will ultimately include George's arrest and numerous other tragedies, including a vicious cross-examination by a D.A. played by future Perry Mason Raymond Burr. A huge improvement over the 1931 An American Tragedy, directed by Josef von Sternberg, A Place in the Sun softens some of the rough edges of Dreiser's naturalism, most notably in the passages pertaining to George's and Angela's romance. Even those 1951 bobbysoxers who wouldn't have been caught dead poring through the Dreiser original were mesmerized by the loving, near-erotic full facial closeups of Clift and Taylor as they pledge eternal devotion. A Place in the Sun won six Oscars, including Best Director, Best Adapted Screenplay, and Best Cinematography, although it lost Best Picture to An American in Paris. ~ Hal Erickson, All Movie Guide

Don Barry stars as Texas Ranger Bob Standish, sworn to avenge his brother's death in Border Rangers. To achieve his goal, Standish goes undercover, joining the bandit gang. In this guise, he hopes to trap outlaw Mugo (Robert Lowery), his brother's murderer, unawares. Most Lippert Studio productions include Sid Melton as comedy relief. But Melton must have been out of town, since the comic sequences in Border Rangers are handled by veteran vaudevillian Wally Vernon. As an added fillip, child actor Paul Jordan provides a few heart-tugging moments. ~ Hal Erickson, All Movie Guide

The Ben Hecht-Charles MacArthur Broadway comedy Ladies and Gentlemen formed the basis of the Warner Bros. laughspinner Perfect Strangers. The title characters are Terry Scott and David Campbell, played by Ginger Rogers and Dennis Morgan. She's a divorcee, he's a husband and father. Terry and David are thrown together by fate -- or rather, the LA judicial system. While serving as jurors on a murder trial, the two fall in love. Ironically, the woman on trial allegedly killed her husband because he'd asked for a divorce. The seriocomic tension develops on two levels: will juror Isobel Bradford (Margolo Gillmore) be able to sway the others to vote for the death penalty, and will Terry and David continue to pursue their romance at the expense of the happiness of others? ~ Hal Erickson, All Movie Guide

The most memorable aspect of Winter Meeting, and the one that stirred up the most publicity, was its teaming of two Davises: Bette Davis and Jim Davis (whose only "A"-picture starring role this was). Bette D. plays disenchanted poetess Susan Grieve, while Jim D. is cast as disillusioned war hero Slick Novak. Inexorably drawn to one another, these two lost souls fall in love while discussing their inner demons. Ultimately, both Susan and Slick decide to go their separate ways, though both have grown and matured during their brief affair. Adapted from a novel by Ethel Vance, Winter Meeting falls short of being the "important" picture Warner Bros. hoped it would be: even so, Bette and Jim Davis work quite well together, making one wonder why Jim D. didn't go farther in films (though he did become a star of sorts late in life as Jock Ewing on TV's Dallas). ~ Hal Erickson, All Movie Guide