George Dolenz Movies

There's a rumor that the MGM executive who thought that Glenn Ford could fill Rudolph Valentino's shoes in the 1962 remake of Valentino's Four Horsemen of the Apocalypse would have been arrested had it been sufficiently proven that he was competent to stand trial. The World War I setting of the original Blasco-Ibanez novel has been updated to World War II, but the basic plot remains the same. A well-to-do Argentinian family, rent asunder by the death of patriarch Lee J. Cobb, scatters to different European countries in the late 1930s. Before expiring, Cobb had warned his nephew Carl Boehm that the latter's allegiance to the Nazis would bring down the wrath of the titular Four Horsemen: War, Conquest, Famine and Death. Ford, Cobb's grandson, has promised to honor his grandfather's memory by thwarting the plans of Boehm. At the cost of his own life, Ford leads allied bombers to Boehm's Normandy headquarters. As unsuited as Glenn Ford was for his role, co-star Ingrid Thulin was even worse: her Swedish accent proved so impenetrable that MGM was obliged to have Angela Lansbury dub Ms. Thulin's voice. A major misfire for director Vincente Minnelli, The Four Horseman of the Apocalypse was an expensive flop, forcing MGM to hope and pray that their upcoming epic How the West Was Won would save the studio's hindquarters (it did). ~ Hal Erickson, All Movie Guide

This unexceptional adventure yarn by director Jacques Tourneur is set in the French Sudan during the beginning of World War II, when the French Foreign Legion was doing battle with the Tuaregs. In order to bring a halt to the hostilities, a powerful Muslim religious leader has to make it to Timbuktu, the center of the conflict. In the meantime, an American merchant-adventurer (Victor Mature) is helping out the French commander of the garrison at Timbuktu, and falling in love with the commander's wife (Yvonne De Carlo). Between the forbidden romance, the journey of the Muslim leader, and the angry Tuaregs, there are no dull moments even if the tension is not exactly unbearable. ~ Eleanor Mannikka, All Movie Guide

The CinemaScope process gets a rugged workout in Henry Hathaway's The Racers. Kirk Douglas stars as an Italian bus driver who dreams of entering the Grand Prix as a world-famous race car driver. Being Kirk Douglas, he achieves his goal, racing in all the major events around the globe. Dedicated to the philosophy of "winning is the only thing", Douglas alienates his fellow racers and everyone else with whom he comes in contact. Only when he is on the verge of losing his sweetheart Bella Darvi does our hero put his priorities in order. Adapted from a novel by Hans Ruesch, The Racers was remade in a 60-minute version as Men Against Speed, an entry in the weekly TV anthology The 20th Century-Fox Hour. ~ Hal Erickson, All Movie Guide

A communist spy plots the abduction of an important American atomic scientist in this espionage drama. To do his evil deed, he coerces a notorious gangster to do the kidnapping. Meanwhile a G-man is hot on the spy's trail and is determined to protect the endangered scientist. Unfortunately, the spy is on to the detective and plans to bump him off first. The spy does not count on the fact that he has chosen a patriotic gangster to do his deeds and when the crook learns the spy's true alignment he takes action. Between him and the G-man, the world ends up safe for democracy once again. ~ Sandra Brennan, All Movie Guide

Jeff Chandler may be the top-billed star of Sign of the Pagan, but the film belongs to Jack Palance, cast as no less than Attila the Hun. As Attila's hordes advance upon Rome, noble centurion Marcian (Chandler) mounts a counteroffensive. Alas, the Scourge of God cannot be stopped by weaponry or sheer brute strength. No, Attila can be halted in his tracks only by the hand of God Himself. Through a deft combination of historical fact and movie magic, this is precisely what happens. Ballerina Ludmilla Tcherina, her voice dubbed by an anonymous American actress, co-stars as Marcian's lady love, while Rita Gam is sublimely cast as Attila's long-suffering daughter. Also appearing as Attila's slave bride is Allison Hayes, some three years away from her starring turn in Attack of the 50 Foot Woman. Filmed on a more spectacular scale than one usually associates with Universal-International, Sign of the Pagan loses some of its scope when shown on television. ~ Hal Erickson, All Movie Guide

Scared Stiff is the 1953 remake of the 1940 Bob Hope-Paulette Goddard vehicle The Ghost Breakers, reupholstered for the talents of Dean Martin and Jerry Lewis. While Martin handles the straight plot scenes, just as Hope did in the earlier film, the Hope-like wisecracks are fairly evenly divided between Martin and Lewis. Lewis is for the most part relegated to the secondary role played by black comedian Willie Best in Ghost Breakers, with a few opportunities for his manic specialties: his personal highlight is an imitation of Carmen Miranda (who also appears in the flesh). The plot is the same as before: an American heiress (Lizabeth Scott) is warned to stay away from the forbidding Cuban mansion that she's inherited. Disregarding these threats, the girl heads to Cuba, along with Martin and Lewis, who are on the lam from various antagonists (Dean has been falsely accused of murder, while Lewis has run afoul of gangsters). Once they've reached Scott's mansion, Martin and Lewis are confronted by all manner of terrors: a ghost, a zombie, a mysterious assailant (who turns out to be the least likely suspect). It turns out that the mansion is built over a huge cache of hidden gold, which is why the bad guy is so anxious to make Scott and the boys skedaddle. Bob Hope and Bing Crosby make gag appearances toward the end of Scared Stiff; returning the favor, Martin and Lewis would show up unbilled in the Hope-Crosby opus Road to Bali (1953). ~ Hal Erickson, All Movie Guide

Vendetta began as a pet project of producer/director/writer Preston Sturges. Producer Howard R. Hughes was at first enthusiastic about the project, but lost interest after a bitter argument with Sturges. Director Max Ophuls was originally slated to direct, but Hughes lost interest in him and hired Mel Ferrer instead. Eventually, Hughes decided to make the film anyway, primarily to introduce his latest protégé, Faith Domergue. The film sat on the shelf for four years before Hughes finally released it through RKO. The story begins in old New Orleans, where hot-blooded Corsican maiden Colomba (Faith Domergue) coerces her brother Orso (George Dolenz) into avenging their father's murder. There follows a series of labyrinthine plot twists, leading to a corpse-strewn denouement. Hillary Brooke co-stars as British gentlewoman Lydia Nevil, with whom Orso has a brief romance before sacrificing love for honor. The screenplay, which was credited to W.R. Burnett after several other writers had a crack at it, was based on Colomba, a novel by Prosper Merimee. ~ Hal Erickson, All Movie Guide

If Grecian storyteller Aesop really did exist, he was most likely a black slave. He wasn't an Austrian actor with an Egyptian name, but that's who played him in A Night in Paradise. Turhan Bey portrays the fable-spouting Aesop, who tries to escape his bondage by disguising himself as an old man. It is at the lavish court of King Croesus that the greyed-up Aesop first meets luscious Grecian princess Merle Oberon. The low-born talespinner is smitten, and determines to win the princess for his very own. Moral: If Universal buys a novel by George S. Hellman titled The Peacock's Feather, transforms it into a picture called A Night in Paradise, and appoints onetime Abbott and Costello cohort Arthur Lubin as director, you know what you're in for. ~ Hal Erickson, All Movie Guide

A would-be nightclub entertainer finds her life jeopardized after she inadvertently witnesses a gangland murder while heading for an audition. Fortunately, a brave photographer is there to save her and this crime drama ends on a happy note. ~ Sandra Brennan, All Movie Guide

In time-honored fashion, a couple of supporting players -- George Dolenz and Bill Kennedy -- found themselves elevated to starring roles in this minor Universal serial. They played Royal Canadian Mounted Police officers investigating the murder of a miner. The story, of course, was less important than speed and action, which directors Ray Taylor and Lewis D. Collins delivered in typical slap-dash Universal style. Starlet Daun Kennedy did not make much of an impression as the imperiled leading lady, and former star Robert Armstrong (of King Kong fame) was wasted in a subordinate role. Rondo Hatton, a non-actor whose grotesque appearance (caused by acromegaly, the so-called "Elephant Man" disease) was tastelessly exploited by Universal in the '40s, appeared as one of the outlaws. ~ Hans J. Wollstein, All Movie Guide

In this crime programer, Arsene Lupin (Charles Korvin) is an expert jewel thief from France who, while aboard a train, notices that Stacie (Ella Raines), a beautiful woman from England, is travelling with a large and valuable emerald. Lupin steals the gem, but he becomes so infatuated with Stacie that he reroutes himself to Great Britain in order to return it to her. However, while in the process of doing so, he discovers that her cousin Bessie (Gale Sondergaard) is planning to murder Stacie in order to claim her inheritance. Lupin is determined to intervene to save Stacie's life, but doing so puts him at risk of being captured by Ganimard (J. Carrol Naish). ~ Mark Deming, All Movie Guide

For their first film in a year, Bud Abbott and Lou Costello played it safe with a medley of old burlesque routines and slapstick setpieces -- and never mind a coherent plot. The boys play Eddie and Albert, a pair of plumbers hired to fix the pipes of a fancy society mansion. While a masquerade party takes place on the first floor, our heroes wreak havoc in the bathroom on the second floor. The angry owners (Thurston Hall, Netta Packer) shoot off a letter of complaint to the plumbers which gets mixed up with an invitation for a fancy weekend party. Thus it is that Eddie and Albert, accompanied by their female cab-driving pal Elsie (Marion Hutton), show up dressed to the nines at a posh country estate. While the boys get mixed up in further comic complications, Elsie carries on a romance with wealthy and handsome Peter (Kirby Grant). Things come to a head when a valuable painting is stolen, prompting Eddie and Albert to chase after the thieves by commandeering a fire engine! Released in most areas simply as In Society, this slapped-together comedy proved beyond all doubt that Abbott and Costello's appeal had not slipped during their screen absence. Highlights include a variation on the burlesque chestnut "Floogel Street" (here renamed "The Susquehanna Hat Company"), a wild and crazy fox hunt, and the climactic fire-engine pursuit, which was lifted virtually in toto from W.C. Fields' Never Give a Sucker an Even Break (1941). ~ Hal Erickson, All Movie Guide