John Emery Movies

In keeping with its title, the Australian sci-fier The Dreaming has all the earmarks of an extended hallucination. A young doctor experiments in mind-expanding drugs. While doing so, he accidentally discovers an additional dimension where dreams are reality and vice versa. Will he ever escape -- or better still, does he want to? The Dreaming was directed by Mario Andreacchio. ~ Hal Erickson, All Movie Guide

Ron (Jon Blake), a young man in his late teens or early 20s, but emotionally younger, has no visible, employable assets, including the ability to articulate, yet he rails at his status in life -- blaming everyone for the fact that his dreams are not coming true. Actually, his main dream is driving down the highway in a Porsche with a sophisticated woman in the passenger seat -- and in this dream, an ominous-looking black limousine just ahead of him starts swerving back and forth and finally dives off the edge of a cliff. In order to fulfill his fantasy, he steals a Porsche and takes off down the road. While on his joy ride, he stops at a roadside eatery and meets the errant Sally, who is on her way to retrieve her baby from a pair of foster parents. The two set off together, and nothing at all goes their way -- Sally fails in her mission, Ron runs down a policeman then has to get rid of Sally and devise some way to escape the law -- now after him in force. ~ Eleanor Mannikka, All Movie Guide

Prominent Australian Aboriginal activist Gary Foley plays a leading role in Backroads. Foley is cast as an Aborigine who links up with boorish, racist Bill Hunter. A wanted criminal, Hunter drags Foley down to his level. Disaster results, with the Aborigine bearing the brunt of the worst life has to offer. Running a scant 61 minutes, Backroads makes its point with the brutal sharpness of a slap. ~ Hal Erickson, All Movie Guide

Just before he is to hold a very important party, successful novelist Kerwin Drake (John Emery) is confronted by his alcoholic wife, Molly (Jo Van Fleet), whom he hasn't seen for 23 years. To avoid public embarrassment, Kerwin tells his guests that Molly is his new cook. Somehow or other this situation leads to murder -- and a remarkable statement from one of Kerwin's A-list guests. ~ Hal Erickson, All Movie Guide

Ten North Frederick is a generally satisfying adaptation of one of John O'Hara's weaker novels. Gary Cooper plays wealthy businessman Joe Chapin, whose politically ambitious wife Edith (Geraldine Fitzgerald) hopes to ramrod into the White House. To this end, Edith donates tons of money to the party of her choice and forces Joe into a maelstrom of power meetings and high-profile social engagements. Threatening to upset Edith's plans is her daughter Ann (Diane Varsi), who insists upon conducting a romance with an "undesirable" musician. Joe buys off Ann's boyfriend, thereby alienating his daughter. Soon Joe's chickens come home to roost when a rival politician makes public Ann's indiscretions. Adding insult to injury, Edith lets her husband know about her many extramarital affairs. In hoping to win back his daughter's affections, Joe falls in love with Ann's roomate Kate Drummond (Suzy Parker). Finding true happiness and contentment for the first time in his life, Joe is denied even this balm when he becomes mortally ill. Gary Cooper makes a valiant effort at playing a more complex individual than he was accustomed to, succeeding about 75 percent of the time. ~ Hal Erickson, All Movie Guide

A alien satellite enters close orbit around the Earth and releases a projectile that takes over the body and mind of Dr. Hubbell Eliot (John Emery), the director of Lab Central, America's top astrophysics research facility. Even as Elliot is falling victim to the invaders, Lab Central scientist Dr. Leslie Gaskell (Jeff Morrow) and his colleagues, Vera Hunter (Barbara Lawrence) and Dr. Arnie Culver (George O'Hanlon), have begun tracking the object -- not certain what it is -- and determine that it is going to hit the Earth in less than 24 hours. An attempt to destroy it with nuclear warheads fails, and the vehicle comes down off the coast of Mexico. While Eliot tries to resist the invaders' control and is hospitalized in a state of collapse, Gaskell, Vera, and Culver fly to the site of the landing, where the submerged craft emits a powerful energy pulse that spreads across the surface of the ocean and toward the beach. When it clears, there stands on the beach a huge metallic object -- a towering robot, inadvertently christened "Kronos" by Gaskell, in a relative moment of whimsy. Hundreds of feet tall and possessing immense power, Kronos proceeds to rampage across the countryside, destroying everything in its path as it seeks out and absorbs all sources of electrical and atomic energy. Back at Lab Central, Eliot temporarily breaks free of the aliens' control, long enough to tell Gaskell of the robot's purpose and mission -- Kronos is a accumulator, sent to Earth by a race whose own planet is depleted of energy, and it will continue to grow stronger unless someone can find a way of reversing the process; worse yet, if Kronos isn't destroyed, other accumulators will be sent to drain the Earth of all its energy. The robot advances relentlessly, growing in destructive power as it moves up the coast, and not even a hydrogen bomb can slow it down. Finally, as it heads toward an H-bomb depository and prepares to destroy the city of Los Angeles in its path, Gaskell devises a possible method of stopping Kronos, based on an untested, untried scientific theory. ~ Bruce Eder, All Movie Guide

The inimitable writer-director Frank Tashlin once more aims his satiric barbs at modern culture (modern 1950s culture, that is) in The Girl Can't Help It. Much of the film is dominated by Edmond O'Brien as mob boss Murdock, who while serving a term in federal prison becomes a singing sensation with his hit tune "Rock Around the Rock Pile." Once he's sprung, Murdock hires impoverished agent Tom Miller (Tom Ewell), not to promote his own career, but to turn his curvaceous lady friend Jerri Jordan (Jayne Mansfield) into a star. Alas, Jerri has no singing or acting talent whatsoever, a fact that she's eager and willing to admit. A domestic type at heart, all Jerri really wants out of life is to marry Murdock, so that she can clean his house, cook his meals and raise his children. When Murdock refuses to grant her wishes, Jerri falls in love with Tom instead.

Every so often, director Tashlin takes time out from the plot to poke fun at such technical marvels as CinemaScope and Technicolor, and to lampoon the American male's fixation on female bosoms and bottoms (at one point, Jayne Mansfield leans towards the camera, her cleavage exposed as far as the censors will allow, and plaintively asks Tom Ewell if he believes that she's equipped for motherhood). While much of the humor in the film is dated, The Girl Can't Help It is an invaluable record of the pop-music scene of the 1950s, featuring such guest artists as Julie London (playing Tom Ewell's dream girl), Ray Anthony, Fats Domino, The Platters, Little Richard and his Band, Gene Vincent and his Blue Caps, the Treniers, Eddie Fontaine, Abbey Lincoln and Eddie Cochran. ~ Hal Erickson, All Movie Guide

Fred (William Frawley) asks Lucy (Lucille Ball) to pick out an appropriate gift for his wife Ethel's birthday. Alas, Ethel (Vivian Vance) is disappointed by the selection, leading to a bitter quarrel with Lucy. Hoping to repair the girls' shattered friendship, Fred and Ricky (William Frawley) attempt to trick Lucy and Ethel into sitting in adjoining seats at a Broadway show. The scheme works -- and the ensuing Niagara of tears threatens to drown out the performers on-stage. ~ All Movie Guide

Joe Palooka in Triple Cross, like its predecessors, was based on Ham Fisher's comic strip Joe Palooka. This time around, soft-hearted boxer Joe Palooka (Joe Kirkwood Jr.), his wife Ann (Cathy Downs) and his manager Knobby Walsh (James Gleason) are kidnapped by a trio of goofy escaped convicts. One of the crooks decides to cash in on Joe's ring prowess by ordering the pugilist to throw a fight, thereby allowing the baddies to collect a huge sum at the betting booth. A surefire indication that this isn't supposed to be taken seriously is the scene wherein the head kidnapper (John Emery) disguises himself as Ann's spinster aunt. Joe Palooka in Triple Cross hit the screens at the same time that the earliest Palooka films were beginning to sprout up on television. Ring announcer Jimmy Wallington makes a last-reel appearance as himself. ~ Hal Erickson, All Movie Guide

Although Marie Windsor plays the title role in Dakota Lil, she is shunted away to third billing, right after male leads George Montgomery and Rod Cameron. Montgomery is cast as a secret service agent Tom Horn, sent West to round up a gang of counterfeiters. He starts by gaining the confidence of dance-hall girl Lil (Windsor), one of the ringleaders. She, in turn, leads Horn to the brains of the operation, Harve Logan
(Cameron). When Lil finds out that Horn is a Fed, she's tempted to fill him full of holes; instead, having fallen in love with him, she tries to help him get the goods on Logan. Dakota Lil was based on a story by Frank Gruber, later one of the leading lights of the TV-western craze. ~ Hal Erickson, All Movie Guide

Together with The Steel Helmet and Baron of Arizona, Rocketship X M is one of the best films ever turned out by the usually unimpressive Lippert Studios. Set sometime in the future, the film details the first manned space flight to the moon. John Emery plays the head of the expedition, with Lloyd Bridges, Osa Massen, Hugh O'Brian and Noah Beery Jr. in the crew. Blown off its course by a meteor shower, Rocketship X-M misses the moon and lands on Mars instead (the Mars scenes were originally tinted pink). During an exploratory expedition, the crew finds evidence of a once-mighty civilization, evidently destroyed by atomic warfare. A savage band of surviving Martians attack the earthlings, killing two and wounding a third. The survivors head back to the ship, but run out of fuel before reaching Earth. Out of this failure springs the hope that future space flights will prove successful. Generally avoiding cliches (except for the stereotypical comedy relief by Noah Beery Jr.), Rocketship X M is a reasonably intelligent outer-space yarn. While it's true that the film falters in the scientific-accuracy department, it is best to assess the film within the context of its times. Produced for $94,000, Rocketship X M reportedly grossed over a million dollars. A "restored" video version with new special effects was released in 1976 by entrepreneur Wade Williams. ~ Hal Erickson, All Movie Guide

This "B" effort from the 20th Century-Fox stable stars John Emery and Tamara Geva as John Newberry and Maria Ivar, a pair of quarrelsome stage stars. Realizing that their constant bickering is ruining their professional and personal lives, John and Maria separately consult psychiatrists Harold Matson (Leif Erickson) and Susan Nash (Virginia Gregg). To hide the fact that they're seeking therapy, John and Maria pretend that Harold and Suan are old school friends. It doesn't take long before the psychiatrists are arguing with each other, thereby "curing" John and Maria. Director Ray McCarey may have been the brother of Leo McCarey, but Ray's The Gay Intruders isn't in the same league as Leo's hilarious marital comedy The Awful Truth. ~ Hal Erickson, All Movie Guide

The Woman in White attempts to translate the archaic prose of 19th century gothic-mystery writer Wilkie Collins to the medium of film. Gig Young plays a 19th century painter who, while en route to a country estate, encounters a strange, ethereal young lady (Eleanor Parker) who both begs his help and insists that he keep their meeting a secret. He will meet the girl again at several crucial junctures -- though she will fail to recognize him. The painter has unknowingly stumbled upon a scheme by the diabolical Count Fosco (Sydney Greenstreet) to claim an inheritance on behalf of a dissipated nobleman (John Emery); the plan involves a marriage of convenience to the hapless lady of the house (Alexis Smith), blackmail, hidden siblings, and the suppression of a dark family secret involving Fosco's neurotic wife (Agnes Moorehead). The full plotline is far too labyrinthine to go into detail here -- in fact, it can barely be followed in the film itself. While The Woman in White suffers from excess verbiage, the film is at its best in its shadowy, nocturnal "conspiracy" set pieces and in the scenes with timorous aristocrat John Abbott, to whom every raised voice is a threat to his fragile health. And keep an eye on Sidney Greenstreet's pet monkey, Iago, easily the most well-adjusted character in the film. ~ Hal Erickson, All Movie Guide