Tom Ewell Movies

Like its predecessors, this third cinema version of Sidney Hoiward's Pulitzer Prize-winning play They Knew What They Wanted suffers from Hollywood censorship. Still, this story of the grim consequence of a misbegotten mail-order marriage has much to offer. Carole Lombard is superb as the waitress who lies about herself while carrying on a romance by correspondence with the Italian-born owner of a Napa Valley vineyard. Equally fine (if a shade too effusively hammy) is Charles Laughton as the grape grower, who also misrepresents himself in his letters, going so far as to pass off a photograph of handsome hired hand William Gargan as a picture of himself. Vowing to be loyal to her new husband Laughton, despite her distaste for him, Lombard nonetheless enters into an affair with Gargan. For the most part, the film moves along harmoniously. It falters only in the censor-dictated alterations (why is Lombard crying at the end?) and the horrendous performance by Frank Fay as a sanctimonious priest. Keep an eye peeled during the engagement party for a young, unbilled Karl Malden and Tom Ewell. Previous versions of They Knew What They Wanted included The Secret Hour (1928) and A Lady in Love (1930). ~ Hal Erickson, All Movie Guide

Gene Autry battles a crooked mine owner in this his signature western from Republic Pictures. Years earlier, Gene promised to take watch over his employer's son Tom (Edward Norris), a young hothead who enjoys the so-called finer things in life. Tom has to be corralled out of the wicked city after finally inheriting the old homestead but life in the supposedly pastoral Arizona hamlet of Solitude proves less than idyllic when greedy copper miner E.G. Blaine (Arthur Loft) begins poisoning the water supply. Not patient enough to let law abiding Gene handle things, Tom takes matters into his own hands and is promptly slapped with a murder charge. Since the local authorities are controlled by Blaine, Gene has Judge Bent (Edmund Elson secure a change of venue for the upcoming trial but the enemy may have an ace up his sleeve. When not shooting it out with Blaine and his henchmen, Gene, Smiley Burnette, leading lady Jacqueline Wells and girl singer Mary Lee perform "Good Old-Fashioned Hoedown", "Swingin' Sam, the Cowboy Man", "When the Cactus is in Bloom", "I'm an Old Cowhand", "Where the River Meets the Range", "I'm in the Jailhouse Now", "You Are My Sunshine", "Ninety-Nine Bullfrogs" and Ray Whitley's title tune. Back in the Saddle has been restored to its original length by the Westerns Channel and Gene Autry Entertainment. ~ Hans J. Wollstein, All Movie Guide

The year is 1942. Ensign Chuck Palmer (Tyrone Power) is stranded in the Japanese-occupied Philippines after his ship is torpedoed. Linking up with several other American refugees, Palmer helps the Filipinos organize a resistance movement against the enemy. They even manage to construct a few jerry-built radio stations to keep tabs on Japanese fleet movements. Hard to believe that Palmer finds romance under these trying circumstances, but he does, in the form of Jeanne Martinez (Micheline Presle), the wife of a Filipino war hero. Based on the novel by Ira Wolfert, American Guerilla in the Philippines is directed with unvarnished efficiency by Fritz Lang. Standouts in the supporting cast include Tom Ewell as Tyrone Power's wisecracking buddy and Robert Barrat as General Douglas MacArthur. ~ Hal Erickson, All Movie Guide

Lana Turner stars as an ambitious model who seeks her fortune in New York City. She is befriended by over-the-hill cover-girl Ann Dvorak, whose performance carries the story until she commits suicide twenty minutes into the film. Turner promises herself that she won't end up burned out like Dvorak, but as her fame grows, she is inexorably drawn into the hectic social whirl that sealed Dvorak's doom. Enjoying the favors of wealthy Ray Milland, Turner seeks out Milland's wife (Margaret Phillips), hoping to convince the woman to give up her husband. When she meets the crippled Mrs. Milland, Turner is made painfully aware of the length and breadth of the woman's love for her husband. Turner pulls out of the relationship, and we are encouraged to believe that hers will be a much happier and more fulfilling life than that of the unfortunate Ann Dvorak (ironically, in real life Ann Dvorak's final days were relatively contented ones, while Lana Turner spent her twilight years wondering where the looks, the men and the money had gone). Though not so noted in the credits, A Life of Her Own was inspired by The Abiding Vision, a novel by Rebecca West. Bronislau Kaper's musical score was later recycled for the 1951 MGM romantic drama Invitation. ~ Hal Erickson, All Movie Guide

Up Front is based on the wartime newspaper cartoons by Stars and Stripes contributor Bill Mauldin. Tom Ewell and David Wayne play Willie and Joe, the mud-caked, unshaven, war-weary protagonists of Mauldin's classic panels. The film is on the right track whenever using direct quotes from the original cartoons ("When we ain't fighting, we gotta ack like soljers?"), but soon the necessity for a plotline weighs down the humor. Also, the film waters down Mauldin's satirical jabs at insensitive Army officers and contradictory rules of conduct (Hollywood was still not permitted to find fault with anything military). Thus, we're left with a moderately entertaining piece of semi-slapstick about Willie and Joe's misadventures up and down the Italian front. Tom Ewell returned to play Willie in Up Front's sequel Willie and Joe Back at the Front (52), but David Wayne was replaced by Harvey Lembeck. ~ Hal Erickson, All Movie Guide

One reviewer of Abbott & Costello's Lost in Alaska summed up the proceeding in three pithy words: "Lost is right." While not A&C's worst film, it's several miles removed from their best. Cast as firemen in turn-of-the-century San Francisco, Bud and Lou rescue would-be suicide Tom Ewell. It turns out that Ewell is mooning over his former girl friend, saloon chanteuse Mitzi Green. It also transpires that Ewell has just come from Alaska, where he's been searching for $2 million in gold. Abbott and Costello accompany their new friend back to Alaska, where they're forced to dodge the bullets of Ewell's old enemies; foremost among these is plug-ugly Bruce Cabot. They find the gold, only to lose it all over again. The film's best scene occurs at the beginning, when Abbott, Costello and Ewell take turns saving one another from drowning. Otherwise, Lost in Alaska looks like a 2-reel comedy, clumsily stretched into an 8-reel feature. ~ Hal Erickson, All Movie Guide

Wealthy Walter Pelham (Tom Ewell) finds out that someone is going around impersonating him. Hoping to foil his "double," Pelham goes to great and strenuous lengths, changing his own appearance, his personal habits and quirks, and even his handwriting. Unfortunately, the impostor always seems to be one step ahead of Mr. Pelham -- and it looks as the though the phony will be successful in completely taking over the life of the genuine article. "The Case of Mr. Pelham" is one of a handful of Alfred Hitchcock Presents installments directed by Hitchcock himself. ~ Hal Erickson, 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

In this comedy, an auto mechanic and a horse trainer successfully steal $30,000 from a bank and squander it. They buy a race horse with the remainder, but need money to train it, so they rob another bank and are caught this time. The bank takes over ownership of the horse, which becomes a big winner. ~ Steve Huey, All Movie Guide

David O. Selznick had intended to film an adaptation of F. Scott Fitzgerald's Tender is the Night as a vehicle for his wife Jennifer Jones. But financial difficulties compelled Selznick to sell the property (including Ms. Jones' services) to 20th Century-Fox. Jones stars as a wealthy but disturbed woman of the 1920s who marries her psychiatrist (Jason Robards Jr.). They live together at her Riviera estate, where the doctor's analytical skills atrophy. As Jones grows stronger, the doctor becomes totally dependent upon her emotionally and financially. The film's supporting characters are equally self-destructive, notably an alcoholic composer (Tom Ewell) and Jones' avaricious sister (Joan Fontaine). Perhaps if Selznick had produced Tender is the Night, the film wouldn't have wallowed in misery for its own sake; on the other hand, we still would have been stuck with Jennifer Jones, who is woefully miscast. ~ Hal Erickson, All Movie Guide

The World of Abbott and Costello is a dismal attempt by Universal Pictures to cash in on the popularity of Robert Youngson's silent-movie compilation films. Random scenes from eighteen of the films of Bud Abbott and Lou Costello are yanked out of context, then assembled in a patchy continuity by editorial supervisor Sidney Meyers. The footage is overladen with obnoxious narration by comedian Jack E. Leonard, who sounds angry that someone would dare to ask him to show up at the studio. Many of the excerpts are taken from Abbott and Costello's worst films, among them Comin' Round the Mountain, Lost in Alaska, and the execrable Abbott and Costello Go to Mars (a scene from which opens this compilation). All expense was spared in assembling this half-baked "tribute;" even Joseph Gershenson's musical score is parsimoniously lifted from Abbott and Costello Meet the Keystone Kops. The sole saving grace of The World of Abbott and Costello are the few gems culled from such A & C classics as Buck Privates, In the Navy, Abbott and Costello Meet Frankenstein, as well as such second-echelon but enjoyable efforts as In Society (featuring the sidesplitting "Susquehanna Hat Company" bit) and The Naughty Nineties (which preserves the immortal "Who's On First"). One final carp: Why exclude the "moving candle" bit from Hold That Ghost? ~ Hal Erickson, All Movie Guide

A small-town California sheriff attempts to uncover facts behind the killing of a pregnant woman by her Doberman pinscher. James Garner stars in this mystery with performances by June Allyson and Ann Rutherford among others. ~ Kristie Hassen, All Movie Guide

This third film version of F. Scott Fitzgerald's classic 1925 novel was one of the most hyped movies of the summer of 1974. Robert Redford stars as self-made millionaire Jay Gatsby, who uses his vast (and implicitly ill-gotten) fortune to buy his way into Long Island society. Most of all, Gatsby wants to win back the love of socialite Daisy Buchanan (Mia Farrow), now married to "old money" Tom Buchanan (Bruce Dern). Calmly observing the passing parade is Nick Carraway (Sam Waterston), Gatsby's best friend, who narrates the film. Francis Ford Coppola's screenplay is meticulously faithful to the original novel, but Theoni V. Aldredge's costume design and Nelson Riddle's nostalgic musical score won the film its only Oscars. The huge supporting cast includes Howard Da Silva, who played Wilson in the 1949 Great Gatsby, and a very young Patsy Kensit as Daisy's daughter. ~ Hal Erickson, All Movie Guide