Robert Elliott Movies

Twice, Laura (Mary Tyler Moore) has arranged a vacation for Rob (Dick Van Dyke) and herself at a lakeside resort -- and both times, the vacation has had to be canceled because Rob has come down with a backache. A tearful Laura concludes that Rob's pains are psychosomatic, and that he simply doesn't want to spend any time alone with her. To put Laura's mind (and his own) to rest, Rob pays an uproarious visit to psychiatrist Phil Nevins (Robert Elliott). Ken Berry makes the first of two appearances as Tony Daniels, "The Alan Brady Show"'s choreographer. ~ Hal Erickson, Rovi

That dependable sleuth of pulp fiction fame, Nick Carter, apparently had an equally stalwart son. Chick Carter, Boy Detective did his sleuthing on radio before Columbia producer Sam Katzman brought him to the screen in Chick Carter, Detective. The juvenile hero of the radio waves had underwent certain changes in order for grown-up actor Lyle Talbot to portray him. Talbot's Chick Carter, however, remained strangely inactive in his own serial, allowing crusading reporter Rusty Farrell (Douglas V. Fowley) to perform most of the necessary derring-do. As plainly told as the title would suggest, Chick Carter, Detective was more or less a straightforward crime melodrama that eschewed the usual ray guns, invisibility inventions, and other paraphernalia of the genre. Former MGM starlet Pamela Blake did some snooping of her own as a rival detective, and a gangster bearing the unfortunate name of Nick Polio (George Meeker) indulged in a bit of insurance fraud on behalf of Charles King. With only two bona fide cliffhanger endings, Chick Carter, Detective found little favor with the small fry, its target audience. ~ Hans J. Wollstein, Rovi

A young, naive schoolteacher gets in over her head when the advances of a suitor grow too ardent. To escape his unwanted attentions she steals a rich man's car and takes off. In her haste she does not check the car. If she had, she would have seen the murdered corpse of a gangster stuffed into the back seat. Fortunately for her, the wealthy man, wants to help her. To do so, he pretends to be a gangster. ~ Sandra Brennan, Rovi

Invisible Stripes is a cookie-cutter Warners prison drama which rounds up the usual suspects. George Raft and Humphrey Bogart are top-billed, and as is often the case in such a circumstance, it is Raft who is given the larger (albeit less interesting) role. Raft plays Cliff Taylor, an ex-convict who finds that his "invisible stripes" prevent him from getting a decent job. Cliff's younger brother (William Holden) shows unfortunate signs of following his older sibling's footsteps when he is pressured into crime to support himself and his girl friend (Jane Bryan). To save his brother, Cliff joins Humphrey Bogart's gang and earns enough dishonest money to set his brother up in business. But movie censorship prevails, and all of the miscreants in Invisible Stripes--even those motivated by good intentions--must pay the penalty. Side note: The prankish Humphrey Bogart spent so much time needling newcomer William Holden that Holden nearly came to blows with the older actor; the animosity persisted into the Bogart-Holden costarring feature Sabrina, made fourteen years later. ~ Hal Erickson, Rovi

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi

In this heartwarming drama, a crook endeavors to raise his son in the slums until he kills a teller during a bank robbery. At first he sends the lad to his grandma, but when government agents threaten to catch him, he grabs the kid and hightails it. They high-jack a school bus filled with children and accidently run it into a snowdrift. The honorable son refuses to leave the freezing children and finally, the father goes out in search of help. Unfortunately, he is shot. The young man is then left to save the children. He does so by building a campfire, and thereby, becomes a hero. ~ Sandra Brennan, Rovi

The Saint Strikes Back was the second in the series of films featuring Simon Templay, better known as The Saint, and the first to star George Sanders in the role. Val Travers (Wendy Barrie) is the daughter of a police detective who killed himself after being dishonorably let go from the San Francisco Police Department, due to allegations that he was a member of a gang led by the mysterious criminal mastermind known only as Waldeman. Hoping to clear her father's name, Val has assembled a gang of minor criminal types to track down Waldeman, which puts her in trouble with the police. Templar crosses tracks with Val and, after hearing her story, believes that her father was framed, most likely by someone else working in the police department. Cullis, one of department's chief criminologists, dismisses this suggestion and implies that Templar might be Waldeman. Templar's investigations eventually find the real culprit and exonerates Val's father. ~ Craig Butler, Rovi

Joan Bennett plays a young woman who believes she's killed bigtime crook Sidney Blackmer. She changes her hair color from blonde to brunette and escapes from San Francisco to parts unknown. Police detective Fredric March is hired to track down Bennett, which he does in the company of two assistants, wisecracking Ann Sothern and dimwitted Ralph Bellamy. March's chase takes him all over the world (courtesy of back-projected shots of Tay Garnett's recent worldwide vacation); when he catches up with Bennett, he falls in love with her. Still, when they reach Frisco again, March turns Bennett in to the authorities, convincing Bellamy and Sothern that their boss is a no-good rat. But it's actually a clever ploy by March to bring the real murderer out in the open. Trade Winds was produced by Joan Bennett's future husband Walter Wanger, who noted the popularity of Bennett's new brunette status and advised her to stay that way...which she did. ~ Hal Erickson, Rovi

In this drama, a prominent Broadway producer's daughter inherits a fortune when her father dies. Included in the estate is a nightclub managed by an unscrupulous louse who teams up with the sneaky executor to steal her inheritance. Fortunately, after meeting his pretty young victim, the manager changes his tune and decides to help her. ~ Sandra Brennan, Rovi

In this crime drama, a woman loses custody of her baby boy after her rich husband dies. She later gets a job working in a nursery. She doesn't know that her young charge is her own son. She lives in an attic and one day her ex-lover busts out of prison, shows up and takes her hostage. He also captures the young boy. Fortunately, the cops arrive in the nick of time. Guns blaze, but no children are hurt. The kidnapper is killed, the truth is revealed, and happiness ensues. ~ Sandra Brennan, Rovi

Casey Jones shares his railroad wisdom with a young engineer in this lively train film. ~ Sandra Brennan, Rovi

Set within the steamy Louisiana bayous, this melodrama chronicles the reconciliation between an embittered bereaved mother and the daughter she always blamed for her husband's demise. Eventually, the mother sees the light and begins loving the child when she discovers that her beloved spouse had been having an affair. ~ Iotis Erlewine, Rovi

What isn't Heroes for Sale about? Within its 71-minute time frame, this film (co-written by "professional cynic" Wilson Mizner) tackles such issues as disenfranchised war veterans, misguided hero worship, drug addiction, the Depression, capitalism, labor relations and communism. Richard Barthelmess plays a wounded war hero whose hospital stay has turned him into a morphine junkie. He wanders from town to town looking for work during the Depression, only to be turned away with a "we've got our own to watch out for!" Eventually, Barthelmess befriends millionaire-in-the-making Robert H. Barrat, who has invented a revolutionary washing machine. Becoming Barrat's partner, Barthelmess attempts to quell a strike by workers who've been stirred up by Red agitators. With all this going on, Barthelmess still finds time to romance Loretta Young. Heroes for Sale is very much a product of its time, though its entertainment value has remained solid for well over six decades. ~ Hal Erickson, Rovi