Ralph Dumke Movies

In need of a new sheriff, the nearby town of Greendale offers the job to deputy Barney, on the basis of a newspaper story praising the efficiency of the two-man Mayberry police department. Realizing that Barney would be in way over his head, Andy contrives to make himself scarce so that Barney can experience first-hand the awesome and daunting responsibilities of High Sheriff. The guest cast includes Ralph Dumke as Greendale's Mayor Purdy and Dabbs Greer as Councilman Dobbs. Written by Ben Gershman and Leo Solomon, "Sheriff Andy" was originally telecast on December 25, 1961. ~ Hal Erickson, Rovi

Wake Me When It's Over is a zany service comedy in which Ernie Kovacs plays the latest in his long line of military captains. Kovacs and his men are stationed at a dead-end Japanese island. World War II vet Dick Shawn, redrafted through a clerical error, arrives on the island and decides to liven things up. Using the materials at hand, he supervises the building of a hotel, using the island girls as the staff. The military brass investigate when it's obvious than the servicemen are having too much fun on the island. Kovacs would love to have Shawn stay, and says so at Shawn's court-martial, but the reluctant draftee is mustered out of the service as accidentally as he'd been brought back in. Ernie Kovacs and Dick Shawn work so well together in Wake Me When It's Over that one can only feel an intensified loss over the early deaths of these two comic masters. ~ Hal Erickson, Rovi

While enjoying a leisurely ocean cruise in the company of secretary Della (Barbara Hale), Perry (Raymond Burr) is approached by passenger Anna Houser (Lurene Tuttle), who is worried about the wellbeing of her husband Carl (Theodore Newton). Not long afterward, Carl is seen jumping off the ship, an apparent suicide--but when the body is recovered, it turns out that he was shot. Accused of murder, Anna puts her fate in the hands of Perry, who in the course of piecing things together unearths the fact that Carl had once accepted a huge bribe while serving on a jury. And how does that mysterious wheelchair-bound passenger, whose face is completely wrapped in bandages, figure into the story? This episode is based on a 1938 novel by Perry Mason creator Erle Stanley Gardner. ~ Hal Erickson, Rovi

Loving You was the most autobiographical of all Elvis Presley's movies, and, not coincidentally, features the most naturalistic, easygoing performance of his early career. He plays Deke Rivers, a truck driver with a penchant for singing and a raw animal magnetism where women are concerned. He attracts the business interest of publicity agent Glenda Markle (Lizabeth Scott), who sees a potential gold mine in Deke. She hires him to appear with a band that she handles, fronted by aging country & western singer Tex Warner (Wendell Corey), who used to be romantically involved with Glenda and is now a client. Pretty soon he's pulling in bigger crowds and generating more excitement than Tex did during his best days (which drives the older singer to start drinking again), but also a lot more controversy, too. Deke is so provocatively sexual a presence on-stage that some citizens in the southern and border states where the band is working think that what he does is immoral. Girls can't keep away from him, their boyfriends despise what he symbolizes, and their parents are aghast, even as concert promoter Carl Meade (James Gleason) smells a fortune to be made from this boy. Glenda parlays these disputes and a ban on one of Deke's performances into a national television event. Amid all of this, Deke reveals the private, vulnerable side that no one ever knew -- that he's not even Deke Rivers (it was a name he took off a gravestone), but an orphan named Jimmy Tompkins, and that he's never had a home. He also reveals that he's attracted to Glenda, mistaking (with her encouragement) her interest in his talent with a personal involvement, but he's also drawn the the band's female singer, Susan Jessup (Dolores Hart), who could genuinely love him, and offers him a caring family of her own that would accept him. Deke and Glenda's conflicts are eventually straightened out, and Deke gets to say his piece and sing his music on network television. ~ Bruce Eder, Rovi

Don Siegel's classic exercise in psychological science fiction has often been interpreted as a cautionary fable about the blacklisting hysteria of the McCarthy era. It can be read as a political metaphor or enjoyed as a fine low-budget suspense movie, and it works well either way. Kevin McCarthy stars as Miles Bennel, a doctor in the small California community of Santa Mira, where several patients begin reporting that their loved ones don't seem to be themselves lately. They look the same but seem cold, emotionally distant, and somehow unfamiliar. The longer Miles looks into these reports, the more stock he places in them, and in time he makes a shocking discovery: aliens from another world are taking over Santa Mira, one citizen at a time. Emissaries from a distant planet have sent massive seed pods containing creatures that can assume the exact physical likeness of anyone they choose. When Santa Mirans go to sleep, the pod creatures take on the shape of their victims and then destroy their bodies. The aliens may look the same, but they possess no human emotions and, like plants, are concerned only with propagating themselves and eventually subsuming the earth. Needless to say, Miles and his friends are terrified, but since it's hard to tell who's a person and who's a pod, they're at a loss for what to do, especially when it seems that there are increasingly more aliens than humans. Invasion of the Body Snatchers builds tension slowly and steadily, dealing not in the shock of bug-eyed monsters common to other 1950s science-fiction movies but in the unnerving possibility that the enemy is among us -- and impossible to tell from our allies. The ultra-paranoid conclusion of Siegel's original cut was softened by Allied Artists, who added a framing device that suggested help was on the way. This coda was as effective in blunting the film's grim conclusion as giving a Band-Aid to a beheading victim; few films of the era make it more painfully clear that for these people (and maybe for ourselves), there's no turning back and no way home. Keep an eye peeled for a bit part by soon-to-be-legendary Western director Sam Peckinpah, who plays a meter reader and also (uncredited) helped write the screenplay. Based on a novel by Jack Finney, Invasion of the Body Snatchers was remade in 1978 by Philip Kaufman and in 1993 by Abel Ferrara (as Body Snatchers); and its influence can be felt from The Stepford Wives (1975) to The X-Files. ~ Mark Deming, Rovi

Though both star Donald O'Connor and director Arthur Lubin had said goodbye to the "Francis the Talking Mule" series, Universal-International wasn't about to give up on so valuable a property. Thus, Francis in the Haunted House starred Mickey Rooney, with Charles Barton calling the shots. Likewise missing from the earlier series entries was the voice of Francis, Chill Wills; he is replaced by the ubiquitous Paul Frees, who also narrated the film's promotional trailer. The plot and comic content of Francis in the Haunted House is summed up by the title, as Francis and his new buddy David Prescott (Mickey Rooney) try to corral a gang of art thieves. Along the way, they get mixed up with a phony heiress (Virginia Welles), a series of murders (one of the victims is Richard Deacon!) and, of course, a spooky old house. Most of the "scare" gags in Francis in the Haunted House had been done earlier, and better, by Universal's own Abbott and Costello. ~ Hal Erickson, Rovi

The Solid Gold Cadillac was adapted from the George S. Kaufman-Howard Teichmann Broadway hit of the same. Both the play and film were predicated upon the notion of a humble ten-share stockholder triumphing over a corrupt big-business board of directors, but there was one significant difference. In the stage version, septuagenarian Josephine Hull starred as Laura Partridge, a sweet little old lady who asks several embarrassing questions at a stockholder's meeting. In the film version, Laura's age is lowered by at least four decades to accommodate star Judy Holliday. In both versions, a romance develops between Laura Partridge and Edward L. McKeever, the owner of the corporation she takes on. McKeever (played in the film by Paul Douglas, Holliday's co-star in the Broadway version of Born Yesterday) is an honest man, which is more than can be said for his self-serving board of directors (Fred Clark, John Williams, Ray Collins et. al.) With McKeever's covert help, Laura, who has been given a dummy executive position in the corporation in hopes that she'll shut up, forms a stockholder's association intent upon throwing the rascals out. Though the dialogue in Solid Gold Cadillac is consistently entertaining, the film's best line goes to Judy Holliday: Describing her brief career as an actress in a Shakespearean troupe, she recalls ruefully that "No one's allowed to sit down unless you're a king." George Burns, taking over from the stage version's Fred Allen, provides the wry scene-setting narration. Currently available TV prints of The Solid Gold Cadillac have restored the original Technicolor final shot. ~ Hal Erickson, Rovi

This last remake (thus far) of the Jean Webster novel Daddy Long Legs was extensively revised to accommodate the talents of Fred Astaire and Leslie Caron. Fragments of the basic plot remain: American millionaire Astaire is the unknown benefactor of French orphan girl Caron, financing the girl's education on the proviso that his identity never be revealed to her. Moved by Caron's letters of thanks, Astaire's secretary Thelma Ritter advises Astaire to go to France to visit the "child". When he arrives, he finds that his ward has grown up rather nicely, and the two fall in love--though Caron never knows until the very end who Astaire really is. The old story has been updated to allow for an elaborate "cowboy" number and a couple of Eisenhower jokes. Highlights include a solo ballet by Caron and a wonderful Astaire routine involving a set of drums. The score for Daddy Long Legs is unremarkable save for Johnny Mercer's hit "Something's Gotta Give". ~ Hal Erickson, Rovi

Rails into Laramie is one of the more obscure Universal-International western programmers of the 1950s, but this is no reflection on its entertainment value. John Payne stars as "town tamer" Jefferson Harder, who intends to clean up the wide-open community of Laramie. Everyone knows that the outlaw gang headed by Jim Shanessy (Dan Duryea) is responsible for preventing the railroad from building a line into Laramie, but Shanessy always manages to intimidate the all-male juries into releasing him. He and saloon-hall gal Lou Carter (Mari Blanchard) want to keep the rails out of Laramie so that both can pursue their criminal activities unabated. But when Lou switches sides and aligns herself with Harder, it's the beginning of the end for the scurrilous Shanessy. The film's resolution is "borrowed" from the 1941 western The Lady From Cheyenne and works just as well here as it did in the earlier picture. ~ Hal Erickson, Rovi

After Robert Francis became an "instant star" in Columbia's The Caine Mutiny (54), the studio rushed Francis into as many vehicles as possible. In They Rode West, Francis plays a young Army doctor, stationed at a remote cavalry post. The post's commander (Philip Carey) immediately clashes with Francis due to the latter's humanitarian attitudes towards Native Americans. When a malaria epidemic breaks out at a local Kiowa encampment, Francis insists upon treating the Indians, despite opposition from both Carey and the tribe's medicine men. May Wynn, Francis' Caine Mutiny vis-a-vis, is third-billed in They Rode West. Alas, Robert Francis' skyrocketing career plummeted to earth when he was killed in a 1955 accident. ~ Hal Erickson, Rovi

Action star Phil Carey once more dons Cavalry Blue in Columbia's Massacre Canyon. This time, Carey plays the unsavory role of an alcoholic Cavalry lieutenent who fancies himself an expert on Indians. In truth, only his sergeant, Douglas Kennedy, possesses enough knowhow for the task at hand: To transport a wagon train full of weapons into Indian territory without arousing suspicion. Thanks to a stupid blunder, Native American chief Steve Ritch discovers that the army is trying to ship guns through his land, and the chase is on. Evidently as a means to enhance the film's box office, Massacre Canyon costars two attractive but totally unnecessary leading ladies, Audrey Totter and Miss Jeff Donnell (as she was often billed). ~ Hal Erickson, Rovi

The President's Lady is an historical drama starring Charlton Heston as Andrew Jackson and Susan Hayward as his wife Rachel, Jackson marries Rachel after she divorces her unfaithful first husband (Whitfield Connor), with scandal resulting when the ex-husband refuses to finalize the divorce. Jackson climbs up the military and political ladder, but Rachel is never socially acceptable due to her "tainted" past. Nonetheless, Jackson stands staunchly beside his wife, even fighting a duel for her honor. On the eve of Jackson's presidential election, Rachel dies, but "Ol' Hickory" takes comfort in recalling a marriage that remained happy against all odds. The best sequence in The President's Lady is a comic vignette which explodes the legend of the "pipe-smoking" Rachel Jackson. ~ Hal Erickson, Rovi

H.G. Wells's War of the Worlds had been on the Paramount Pictures docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles's infamous 1938 radio adaptation, the film eschews Wells's original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrate their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, Rovi