Howard Duff Movies

Adapted from the popular British radio serial of the same name, Spaceways is a dual-market science fiction effort, co-financed by England's Hammer Films and America's Lippert Studios. American rocket scientist Stephen Mitchell (Howard Duff) works day and night to realize his goal of sending the first man-made satellite into outer space. Meanwhile, Mitchell's wife Vanessa (Cecile Chevreau) is carrying on an affair with fellow-scientist Crenshaw (Andrew Osborn). Not long after Mitchell discovers this, the satellite is launched ahead of schedule. Since both his wife and her lover have disappeared at the same time, Mitchell is accused of murdering the pair and stuffing their corpses into the spaceship. To prove his innocence, Mitchell volunteers to go up in a second ship with mathematician Lisa (Eva Bartok) to conduct a search of the satellite. ~ Hal Erickson, All Movie Guide

Attractively filmed in Cinecolor, Roar of the Crowd is a better-than-average actioner from Allied Artists. Howard Duff plays Johnny Tracy, scion of a racecar-driving family. Johnny wants a crack at the Indianapolis 500 above all else, but his girl friend Marcy Parker (Helene Stanley) wants him to quit the racetrack. Finally, a compromise is reached: Johnny will retire from racing if Marcy allows him to prepare for the 500. Alas, Johnny is injured in a pre-Indy accident, and it looks like he hasn't a chance. While the outcome is predictable, a few surprises still await the audience in the final reel. A few months before Roar of the Crowd went into release, stock footage from the racing sequences were seen in the Bowery Boys epic Jalopy. ~ Hal Erickson, All Movie Guide

Steel Town top-bills Ann Sheridan, but the bulk of the story is carried by John Lund. Cast as Steve Kostane, the nephew of a steel-plant proprietor, Lund must prove his value to by learning the business from the ground up as a steelworker. It isn't easy: throughout the film, Kostane is weighed down by personal problems that threaten to overwhelm him -- and to financially ruin the little steel town where he works. Sheridan does her usual competent job as "Red" McNamera, the down-to-earth restaurant cashier who ends up the romantic bone of contention between Kostane and veteran open-hearth worker Jim Denko (Howard Duff). A heart-pounding climax finds Kostane rescuing Red 's father (William Harrigan) from a horrible fate. Steel Town was lensed on location at California's Kaiser-Fontana steel plant. ~ Hal Erickson, All Movie Guide

Roger Quain (Howard Duff) arrives in Europe to look after the welfare of two zoo-bound black panthers. Catherine Ulven (Marta Toren), a secret agent for an unnamed country, decides to smuggle a valuable piece of film to America by hiding it in the collar of one of the big cats. If it were this easy, the film would be over in ten minutes. Instead, enemy agents Denson (Philip Friend), Paradou (Robert Douglas) and Kopel (Dorn) target Roger, Catherine, and the panthers for extermination. Thus the stage is set for a thrill-packed pursuit through the mountains of Switzerland. Spy Hunt is based on the somewhat more credible novel Panther's Moon by Victor Canning. ~ Hal Erickson, All Movie Guide

So far as the rest of the world is concerned, Deborah Chandler Clark (Ida Lupino) is dead, killed in a freak auto accident. But Deborah is alive, if not too well. Having discovered a horrible truth about her new husband (Stephen McNally), Deborah had intended to commit suicide. Now she is the "woman in hiding" of the title, living in mortal fear that someday her husband will catch up with her again. Howard Duff, Ida Lupino's husband-to-be, co-stars as a returning GI who turns out to be the hero of the piece. One particularly suspenseful sequence takes place during a noisy convention, with Joe Besser scoring as an obnoxious reveller. Woman in Hiding would make an interesting companion piece to Julia Roberts' Sleeping with the Enemy. ~ Hal Erickson, All Movie Guide

Long before he became producer/director of The Tonight Show, Fred DeCordova helmed the Universal meller Illegal Entry. Howard Duff, who later worked with DeCordova on the TV series Mr. Adams and Eve, stars as Bert Powers, an undercover agent for the U.S. Department of Immigration. While attempting to bring a vicious gang of alien smugglers to justice, Powers falls in love with Anna Duvak (Marta Toren), a gang member who is Not What She Seems. The film leaves no cliché unturned, not even the familiar scene wherein the airborne smugglers dispose of their human cargo by way of a handy lever which causes the bottom of the plane's passenger section to drop out. Illegal Entry is staged in semi-documentary fashion, maintaining the then-prevalent tradition of such popular films as House on 92nd Street and Call Northside 777. ~ Hal Erickson, All Movie Guide

For various reasons, the 1949 western Calamity Jane and Sam Bass has a rather poor reputation amongst film buffs. Many observers feel that stars Yvonne de Carlo and Howard Duff merely go through the motions, while others complain that the usually dependable Universal-International production values are largely absent. Recent cable-TV showings of this film have revealed that, while not in the same league as Stagecoach or Winchester 73, Calamity Jane and Sam Bass is a relatively entertaining rehash of a familiar story. Most of the film consists of Bass' rise to notoriety as a colorful outlaw. On the verge of retirement, he agrees to one last holdup, which proves his undoing. According to the film, Calamity Jane remains by Bass' side throughout his various exploits, even though she ultimately loses him to "nice" girl Katharine Egan (Dorothy Hart). ~ Hal Erickson, All Movie Guide

Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City." ~ Bruce Eder, All Movie Guide