Robert Riordan Movies

Danny Klega and Vincent Beck portray a pair of Russian Cosmonauts whose space capsule has crash-landing on the island (and who speak exclusively in thickly accented English for the benefit of the folks at home). The good news is that the Cosmonauts are willing to rescue the Castaways: the bad news is that they intend to take the Castaways back to the U.S.S.R as prisoners. A great deal of suspicion, mistrust and ill-will follows before everyone involved has learned a valuable lesson about their Fellow Man (though, of course, not everyone leaves the island at episode's end!) ~ Hal Erickson, All Movie Guide

Maurice Chevalier plays Philip Dulaine, a supposedly dying millionaire, while Sandra Dee co-stars as Cynthia, the elderly man's granddaughter. To allow Dulaine to die happy, Cynthia promises to find a husband. Actually, Dulaine is only pretending to be at death's door to get Cynthia married off. Subsequent complications involve Cynthia's personal choice for a husband, Warren Palmer (Andy Williams), and Dulaine's selection, Paul Benton (Robert Goulet). Deanna Durbin fans will quickly detect that I'd Rather Be Rich is a remake of Durbin's It Started With Eve (1941), with a gender switch (in the original, Robert Cummings is the grandson, and Durbin is the instant fiancee) and with Maurice Chevalier filling the sizeable shoes of Charles Laughton as the foxy grandpa. ~ Hal Erickson, All Movie Guide

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, All Movie Guide

Feeble in the action department, this drama directed by Thor Brooks fizzles before the arsonist gets his due. John (Steve Brodie) is the leader of an arson squad and he does not realize that it is one of his men who is setting the disastrous fires around town. The duplicitous and secretly criminal member of the squad is a part of an arson ring that preys on the victims of the fires they set in order to get them to divvy up the insurance money. To assure cooperation, the arsonists use either blackmail or intimidation. In-between fires, John is intent on tracking down the arsonists. ~ Eleanor Mannikka, 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

The stars of Shoot to Kill are Douglas Blackley and Susan Walters, both of whom later changed their professional names to, respectively, Robert Kent and Luana Walters. Blackley is a gangster who is framed by crooked DA Edmund MacDonald. Walters, Blackley's wife, secures a job as MacDonald's assistant, the better to find the proof of the DA's dishonesty. Reporter Russell Wade helps Walters expose MacDonald, falling in love with her along the way. The film is related in flashback by Walters, who lies hovering between life and death in a hospital bed. ~ Hal Erickson, All Movie Guide