Myrna Fahey Movies

Perry Mason (Raymond Burr) is in Reno, helping Pete Warren (Peter Breck) finalize his divorce from his wife Myrna. When an incriminating photo reveals that Myrna (Myrna Fahey) is mixed up in a counterfeit gambling-chip scam at a local gambling casino, Pete tells a pack of lies to the authorities to save his soon-to-be "ex" from prosectuion. Before long, Pete is facing a far more serious charge than counterfeiting: Myrna has been murdered, and all the evidence points to him. ~ Hal Erickson, Rovi

The first of Roger Corman's Edgar Allan Poe films, Fall of the House of Usher was originally released as simply House of Usher. Vincent Price stars as the foredoomed Roderick Usher. Living in his decaying family mansion with his young sister Madeline (Myrna Fahey), Roderick does his best to shoo away Madeline's fiance Philip Winthrop (Mark Damon). He tells the young swain that Madeline suffers from the family curse of encroaching madness, and thus cannot be permitted to bear children. After a series of suspicious, near-fatal accidents, Phillip insists that Madeline be allowed to leave with him at once. But Roderick sadly announces that this is impossible: Madeline has died, and is slated to be entombed. Informed by the family butler that Madeline has previously been prone to near-catatonic spells, Phillip angrily insists that the girl may very well have been buried alive. The climactic conflagration would be recycled as stock footage in future Corman/Poe efforts, as would the set representing the Usher home. ~ Hal Erickson, Rovi

In New Orleans during Mardi Gras, Bart (Jack Kelly) witnesses the murder (or more accurately, the execution) of a wine merchant named Agostino (Joe Garcio). But when he tries to report the crime, Bart is accused of being the murderer himself. It soon develops that the killing was ordered by the local branch of the sinister "Black Hand" (a 1960s TV code-word for the Mafia), whose minions are determined to shut Bart up permanently before he can persuade someone to believe in his innocence. This episode was cowritten by actor Leo Gordon, who'd appeared in previous Maverick installments in the recurring role of Big Mike McComb. ~ Hal Erickson, Rovi

This glamorized remake of the 1934 film Imitation of Life bears only a passing resemblance to its source, the best-selling novel by Fannie Hurst. Originally, the heroine was a widowed mother who kept the wolf from the door by setting up a successful pancake business with her black housemaid. In the remake, Lana Turner stars as a would-be actress who is raising her daughter on her own. She chances to meet another single mother at the beach: African-American Juanita Moore. Moore goes to work as Turner's housekeeper, bringing her light-skinned daughter along. As Turner's stage career goes into high gear, Moore is saddled with the responsibility of raising both Turner's daughter and her own. Exposed to the advantages of the white world, Moore's grown-up daughter (Susan Kohner) passes for white, causing her mother a great deal of heartache. Meanwhile, Turner's grown daughter (Sandra Dee), neglected by her mother, seeks comfort in the arms of handsome photographer John Gavin. When Moore dies, her daughter realizes how selfish she's been; simultaneously, Turner awakens to the fact that she hasn't been much of a mother for her own daughter, whose romance has gone down the tubes. ~ Hal Erickson, Rovi

A suspenseful courtroom drama, The Story on Page One was the second and last film directed by the distinguished American playwright Clifford Odets (who also wrote the screenplay). Jo (Rita Hayworth) and Larry (Gig Young) are lovers accused of murdering Jo's husband. Their trial lawyer, Victor Santini (Anthony Franciosa) has his work cut out for him on two different fronts. For one, he has to overcome his own tendency to hit the bottle, and for another, he has to somehow win this case. As revealed in the beginning, Jo's husband died accidentally. Yet the unpredictability of the courtroom proceedings indicate that a verdict of "not guilty" is going to be anything but automatic. ~ Eleanor Mannikka, Rovi

This 104th and final episode of The Adventures of Superman not only stars George Reeves as the title character, but was directed by Reeves as well. Eccentric inventor Professor Pepperwinkle (Phillips Tead) has created a machine which he claims can produce gold from ordinary metal. And that's not all: Pepperwinkle has also developed a new strain of positive and negative Kryptonite. Whereas negative Kryptonite has the capacity to sap Superman of his strength, positive Kryptonite restores that strength--and also transforms reporters Lois (Noel Neill) and Jimmy (Jack Larson) into superpowered superheroes themselves! Unfortunately, once the inevitable villains arrive to steal the gold-manufacturing apparatus, "Super Lois" and "Super Jimmy" literally awaken to the discovery that they're still plain, ordinary mortals. ~ Hal Erickson, Rovi

I Died a Thousand Times is a scene-by-scene remake of the 1941 crime-drama classic High Sierra. Jack Palance steps into the old Humphrey Bogart role as Roy "Mad Dog" Earle, the ageing bank robber who intends to pull off one last heist before retiring. Sprung from prison by likeable crime boss Big Mac (Lon Chaney Jr.), Earle is commissioned to mastermind the robbery of a resort hotel. His partners in crime include the hotheaded, immature Babe (Lee Marvin) and Red (Earl Holliman), as well as "inside man" Mendoza (Perry Lopez). Also along for the ride is Marie (Shelley Winters), a dance-hall girl whom Babe has picked up. Marie falls in love with Earle, but he has eyes only for Velma (Lori Nelson), the club-footed daughter of a farmer (Ralph Moody) whom Earle had earlier befriended. Intending to use his share of the loot to finance Velma's operation, Earle goes through with the robbery, only to be thwarted by the ineptitude of his partners, the treachery of the late Big Mac's successors, and, finally, the fickle Velma. With the faithful Marie by his side, Earle makes a desperate escape into the High Sierras, but fate is still against him. Essentially an itinerary of what has previously "clicked" in High Sierra, I Died a Thousand Times makes a few concessions to changing tastes and mores; the stereotype comedy-relief character played by black actor Willie Best in the original film, for example, has been replaced by the more "acceptable" (at least by 1950s terms) stereotyped Mexican played by Gonzales-Gonzales. While the 1955 film cannot match the excellence of its 1941 role model, I Died a Thousand Times works pretty well on its own terms. ~ Hal Erickson, Rovi