Joe Devlin Movies

Pop singers Sonny and Cher are featured in this fluffy film that chronicles the popular duo's ideas for the film in which they are to make their cinematic debut. Much of the story centers around Sonny's movie fantasies as he tries to convince the studio head to use a more interesting script than the one he wants to present. Songs include: "I Got You Babe," "It's The Little Things," "Good Times," "Trust Me," "Don't Talk To Strangers," "I'm Gonna Love You" and "Just A Name." ~ Sandra Brennan, All Movie Guide

Herman (Fred Gwynne) falls asleep in the Munster Koach, inadvertently leaving the keys in the ignition. Shortly thereafter, the vehicle is stolen by two crooks, to be used as the getaway car in a bank robbery. Accidentally taken along for the ride, Herman gets mixed up in the bank heist when the bad guys mistake him for another gang member, a punchdrunk lug named Big Louie (played by boxer-turned-comedian "Slapsy" Maxie Rosenbloom, in one of his last TV appearances). ~ Hal Erickson, All Movie Guide

In this sea-going suspense drama, Edwin Rumill (James Mason) is the former first mate of an ocean liner who leaps at the chance to have a vessel under his full command. However, the S.S. Berwind is no ship to write home about, a freighter from the mothball fleet whose captain has recently died. The crew is often ill-tempered, and Mahia (Dorothy Dandridge), the wife of the ship's cook, doesn't make anyone more comfortable with her flirtatious nature. Rumill learns that the bad attitude of his crew has a sinister undercurrent: two of the hands, Leroy Martin (Stuart Whitman) and Henry Scott (Broderick Crawford), have hatched a scheme to murder Rumill and the rest of the crew, bring in the ship as salvage, and sell it to the highest bidder, expecting to earn close to a million dollars. Rumill must rally support if he and the other men hope to survive. ~ Mark Deming, All Movie Guide

The endearingly awful Shake, Rattle and Rock! serves as a showcase for four top rock-and-roll talents of the 1950s. Fats Domino heads the cast as "himself", performing "I'm in Love Again", "Ain't it a Shame" and "Honey Chile". Likewise, Joe Turner offers renditions of "Feelin' Happy" and "Lipstick, Powder and Paint", while Tommy Charles and Annita Ray let loose with "Sweet Love on My Mind" and "Rockin' on Saturday Night". The plot is one of the oldest known to man: a quartet of buttinsky do-gooders, played by screen veterans Douglass Dumbrille, Margaret Dumont, Raymond Hatton and Percy Helton, try to impose a ban on rock-and-roll, while TV producer Touch (later Mike) Connors does his best to convince the "squares" that the new musical style is harmless fun. Sterling Holloway is a riot as Connors' jive-talking assistant, who lays on the hipster slang so heavily in one scene that he requires English subtitles! Shake, Rattle and Rock was (sort of) remade for TV in 1994 as one of Showtime Cable's "Rebel Highway" entries. ~ Hal Erickson, All Movie Guide

The best thing that can be said about Abbott and Costello Meet the Keystone Kops is that it's better than the team's previous outing Abbott and Costello Meet Dr. Jekyll and Mr. Hyde. Set in 1912, the film casts Bud Abbott and Lou Costello as a couple of New Yorkers who are swindled out of their life savings by a crooked lout (Fred Clark). Pursuing the villain to Hollywood, the boys discover that the double-dealer is now posing as an autocratic Russian film director. To put A&C out of the way, the crook and his partner in crime (Lynn Bari) hire the boys as stunt men, intending to kill them off at the first opportunity. But the comic duo save the day when they enlist the aid of the Keystone Kops in capturing the fleeing villain, who has absconded with the studio payroll. Pretty dull stuff for most of its 78 minutes, Abbott and Costello Meet the Keystone Kops finally comes to life during the climactic chase, which is every bit as funny and thrilling as anything put together in the silent era. Though the film is rife with anachronisms, a measure of authenticity is achieved by such silent-era guest stars as Mack Sennett (who gets to throw a pie at Costello), Heinie Conklin, Herold Goodwyn and Hank Mann. ~ Hal Erickson, All Movie Guide

Next to Slightly Scarlet, Silver Lode is the best of the many 1950s collaborations between producer Benedict Bogaeus and director Allan Dwan. Clearly inspired by High Noon, the story covers three hours in the lives of a group of westerners. As the townsfolk prepare for the Fourth of July celebration, stranger Dan Duryea rides into view, followed by three tough-looking hombres. Duryea claims to be as US marshal, and further claims that he has a warrant for the arrest of the town popular sheriff, John Payne. A few hours away from his marriage to Lizabeth Scott, Payne assumes that no one will believe the troublemaking Duryea, and that his spotless record will speak for itself. But since it is impossible to confirm or deny Duryea's allegations, the seeds of doubt are planted in the minds of the townspeople, and before long virtually all of Payne's "friends" have turned against him. It soon becomes clear to the movie audience that Duryea is lying, especially after he guns down one of his own men. But Duryea is able to pin the blame of the killing on Payne, and in a twinkling the sheriff is a hunted man. The only person willing to give Payne the benefit of the doubt is town trollop Dolores Moran (Mrs. Benedict Bogeaus), who hides the sheriff while telegrapher Frank Sully tries to find out if Duryea is telling the truth. Building slowly and methodically to a slam-bang climax, Silver Lode is an above-average psychological western--and, like many "guilt by supsicion" films of the 1950s, a thinly veiled attack on McCarthyism. Best line: when Duryea bursts into Dolores' boudoir to see if Payne is hiding under the bed, she moans "Oh, what is this? A French farce?" ~ Hal Erickson, All Movie Guide

In this action comedy, a bunch of bungling jewel thieves are in such a hurry to flee the site of their latest caper that they leave their loot on the back seat of the cab they used for the getaway. Later they return and torment the driver into revealing where he stashed the stones. ~ Sandra Brennan, All Movie Guide

Robert Ryan plays Jim Wilson, a tough police detective embittered by years of dealing with low-life urban scum, in Nicholas Ray's moving film noir. After severely beating several suspects, Jim is assigned to a case far from the city to find the killer of a young girl. Joining the manhunt, in snow-covered terrain, Wilson finds himself paired with the victim's father, Walter Brent (Ward Bond), who plans to shoot the killer himself. When the two men come upon a cabin occupied by Mary Malden (Ida Lupino), a blind woman who is also the killer's sister, Wilson's life is changed forever. Mary, a generous and loving person who has cared for her mentally ill brother Danny (Sumner Williams) since the death of their parents, convinces Wilson to protect Danny from Brent. Wilson also promises to get help for Danny if he surrenders to him. Inspired by Mary's courage and recognizing Brent's rage as the mirror image of his own, Wilson gains the insight to free himself from his own blindness. The film includes a memorable score by Alfred Hitchcock favorite Bernard Herrmann. ~ Steve Press, All Movie Guide

A Kiss in the Dark opens with a shot of Jane Wyman in a two-piece bathing suit. Alas, the dictates of cinematic construction demand that some sort of plot must follow this promising beginning. Wyman plays model Polly Haines, one of several mildly eccentric tenants in an apartment building owned by neurotic concert pianist Eric Phillips (David Niven). Requiring absolute peace and quiet, Eric intends to evict his tenants and thereby have the building all to himself. Soon, however, he is won over by the apartment dwellers, who in their own various ways are as high-strung as the musician. He also falls in love with Polly, just as expected. The supporting cast of Kiss in the Dark is peopled by such expert farceurs as Victor Moore, Broderick Crawford, Wayne Morris, Joseph Buloff, and Curt Bois. Making her final screen appearance is Maria Ouspenskaya as the building's resident "earth mother." ~ Hal Erickson, All Movie Guide

A Song is Born is a musical remake of the 1941 comedy Ball of Fire, with the same producer (Sam Goldwyn) and director (Howard Hawks) at the helm. It will be recalled that the original film, co-scripted by Billy Wilder, was an amusing spin on "Snow White and the Seven Dwarfs," wherein seven pedantic professors, working on a dictionary of slang, "adopted" an authority on the subject, breezy burlesque dancer Sugarpuss O'Shea. In the remake, the septet of scholars are working on an encyclopedia of music, but they're held up on the subject of "swing." When nightclub singer Honey Swanson (Virginia Mayo), escaping from her gangster suitor Tony Crow (Steve Cochran), takes refuge in the professors' home, she offers to introduce them to the world of popular music. This proves to be quite a tuneful undertaking, since two of the professors are played by Danny Kaye and Benny Goodman! The tang and zest of original plotline has been muted to the point of harmlessness, but the film is saved by the presence of Goodman, his fellow bandleaders Charlie Barnet, Tommy Dorsey and Mel Powell, and specialty performers Louis Armstrong, Lionel Hampton and Buck & Bubbles. A Song is Born was Danny Kaye's final starring vehicle for Sam Goldwyn. ~ Hal Erickson, All Movie Guide

Also known as A Miracle Can Happen, On Our Merry Way is a multipart comedy linked by inquiring reporter Burgess Meredith. It is Meredith's job to interview several people, asking them what effect children have had on their lives. First he checks with two itinerant musicians (James Stewart and Henry Fonda), who earn extra under-the-counter money by fixing a music contest so the mayor's son will win. Next he meets Hollywood extras Dorothy Lamour and Victor Moore, who are hired to work with a precocious child star. Finally, the old "Ransom of Red Chief" twist is given to the tale of hoboes Fred MacMurray and William Demarest, who find themselves at the mercy of a preteen prankster, whose wealthy uncle (Hugh Herbert) won't take the kid back unless the hoboes pay him. Meredith returns to the newspaper office with a black eye, which earns him the sympathy and affection of coworker Paulette Goddard. Though the direction is credited to Leslie Fenton, portions of On Our Merry Way were actually directed (sans credit) by George Stevens and King Vidor. ~ Hal Erickson, All Movie Guide

The 1931 George Arliss vehicle The Millionaire was updated and retailored in 1947 as That Way With Women. Sidney Greenstreet plays the old Arliss role as automobile tycoon James P. Alden, forced into involuntary retirement by his well-meaning wife Minerva (Barbara Brown) and family doctor Harvey (Howard Freeman). Anxious to get his hands grimy with good honest work once more, Alden assumes the identity of family gardener Herman Brinker and takes a grease-jockey job at the corner gas station run by pugnacious Greg Wilson (Dane Clark). It so happens that Wilson, unaware of Alden's true identity, has fallen in love with Alden's snobbish daughter Marcia (Martha Vickers)-and though she won't admit it, she's crazy about Wilson too. The plot thickens when a group of corrupt local-government officials, in league with Marcia's duplicitous fiance Carter Andrews (Craig Stevens), use underhanded methods to force the honest Wilson out of business. As an upshot, the flustered Alden, still posing as Brinker, spends a night in the hoosegow. Eventually everything turns out OK, permitting Sidney Greenstreet to give out with his trademarked gravelly chuckle. More slapstick-oriented than the original The Millionaire (which was based on a story by Earl Derr Biggers, of "Charlie Chan" fame), That Way With Women was perfectly attuned to postwar audience tastes. ~ Hal Erickson, All Movie Guide

Bringing Up Father was the first of a series of Monogram comedies based on the popular comic strip by George McManus. Joe Yule (aka Mickey Rooney's father) and Renie Riano star as Jiggs and Maggie, a shanty-Irish couple who suddenly become millionaires. While Jiggs remains his old, loveable self, forever escaping his magnificent mansion in order to enjoy some corned beef & cabbage at Dinty Moore's restaurant, Maggie is nouveau riche to an obnoxious degree. The plot rears its ugly head when Dinty Moore (Tim Ryan) is in danger of losing his diner thanks to the well-meaning but misguided machinations of Moore's architect son Danny (Wallace Chadwell). Jiggs gets into hot water by mistakenly circulating a petition to raze Dinty's eatery, and then must spend the rest of the picture setting things right. Cartoonist George McManus shows up briefly as "himself". ~ Hal Erickson, All Movie Guide