Frank Faylen Movies

"Hello, gorgeous!" was Barbra Streisand's first comment to the Oscar statuette which she won for her performance in this biopic of entertainer Fanny Brice. This is also her first line in the film itself, the catalyst for a movie-long flashback. Repeating her Broadway role, Streisand stars as legendary comedienne Brice (1891-1951), whose life until the mid-1920s is romanticized herein. A gawky New Yawker, Brice fast-talks her way into show business, certain that she's destined to be "The Greatest Star." Hired as a "dramatic" singer by impresario Flo Ziegfeld (Walter Pidgeon), Brice defies orders to play it straight, turning a "Beautiful Bride" tableau into a laugh riot by dressing herself up as an extremely pregnant newlywed. The stratagem turns Brice into an overnight star and the toast of Broadway. But all is not roses for Brice, especially in her turbulent private life as the wife of big-time gambler Nicky Arnstein (Omar Sharif). Nicky at first finds it amusing to be referred to as "Mr. Brice," but he begins to resent his wife's fame and fortune and starts taking foolish risks with other people's money. The film was nominated for 8 Oscars, including Best Picture and Kay Medford for her portrayal of Brice's mother, Rose. Funny Girl was produced by Ray Stark, Brice's real-life son-in-law, who had enough material left over for a sequel, 1975's Funny Lady. ~ Hal Erickson, Rovi

Frank Faylen and Iris Adrian guest star as Marvin and Marita, a pair of over-the-hill vaudevillians. When Granny wins some free dance lessons from Marvin and Marita, the two ex-hoofers convert the Clampett mansion into a full-scale ballroom. Needless to say, Jed ends up teaching the teachers a little something about good ol' mountain dancin' (it will be recalled that Buddy Ebsen was one of the best dancers in show business -- and in fact, the script includes a throwaway gag about Buddy's sister and former dancing partner Vilma Ebsen). "Clampett Cha Cha Cha" first aired on November 9, 1966. ~ Hal Erickson, Rovi

Narrative takes a back seat to music in this loose remake of Girl Crazy, as Harve Presnell plays a footloose young millionaire who meets perky Connie Francis and hatches a scheme to save her father's failing Nevada ranch by turning it into a resort for people waiting out their quickie Las Vegas divorces. This was an early musical vehicle for then-Broadway star Presnell, who would gain notoriety with film fans years later as a character actor in Fargo, Patch Adams, and Saving Private Ryan. Besides, how often do you get to see a musical that features Louis Armstrong, Liberace, Herman's Hermits, and Sam the Sham and the Pharoahs? ~ Mark Deming, Rovi

Those familiar only with Johnny Horton's song hit North to Alaska might not be aware that the song came equipped with a movie. John Wayne and Stewart Granger star as a couple of lucky miners in Alaska Territory during the '98 gold rush. Since the Duke is the only man he can trust, Granger sends his pal to Seattle to fetch his fiance. Fabian appears in the cast (playing Granger's brother) primarily to attract teenage filmgoers; he gets to sing, of course, but he's better than usual. The film's centerpiece, an outsized brawl in the muddy streets of Nome, was repeated with several variations in Wayne's subsequent McLintock (1963). North to Alaska was based on a considerably more genteel stage play, Laszlo Fodor's Birthday Gift. ~ Hal Erickson, Rovi

The only thing genuinely brave about Three Brave Men is the second word in the title. The film is based on the true story of a Navy employee who was fired as a security risk, then took the case to court to prove his loyalty to the United States. Ernest Borgnine plays the victimized employee, whose life is ruined simply because he once briefly participated in an alleged "Pinko" organization. Borgnine and his family are ostracized from the community when word leaks out about his so-called disloyalty. Lawyer Ray Milland takes Borgnine's case; he pleads so eloquently on behalf of his client's patriotism that the navy, represented by Eisenhower lookalike Dean Jagger, reinstates Borgnine. The problem in Three Brave Men is in how the material is approached. Instead of attacking the atmosphere of paranoia that fostered the Communist "witch hunts" of the 1950s, the crucifixion of Borgnine is treated as a necessary evil in the interests of "democracy." The low point comes at the end, when Ray Milland profusely thanks the Navy for their open-mindedness before his client has been exonerated. ~ Hal Erickson, Rovi

Of the many filmed versions of the October 26, 1881, O.K. Corral shootout in Tombstone, Arizona, Gunfight at the O.K. Corral was one of the most elaborate and star-studded. Burt Lancaster plays Wyatt Earp, the renowned lawman, while Kirk Douglas is consumptive gambler (and gunfighter) Doc Holliday -- the two meet in difficult circumstances, as Earp discovers that Holiday, for whom he initially feels little but loathing, is being held on a trumped up murder charge and being set up for a lynching, and intercedes on his behalf. The action shifts to Dodge City, Kansas, where Earp is marshal and Holiday, hardly grateful for the good turn, shows up right in the middle of all kinds of trouble, this time mostly on Earp's side of the ledger. And, finally, the two turn up in Tombstone, Arizona, where Wyatt's brother Virgil is city marshal, and where Wyatt finally gets to confront the Clanton/McLowery outlaw gang (led by Lyle Bettger as Ike Clanton). Since the time-span of the actual gunfight was at most 90 seconds, the bulk of the film concerns the tensions across many months leading up to the famous battle. As scripted by Leon Uris (from a magazine story by George Scullin), the story involves two unrelated but parallel plot-lines -- a long-standing vendetta against Holliday and the efforts of Earp to bring the Clanton/McLowery gang to justice -- that are eventually drawn together on the streets of Tombstone. Woven into these proceedings are Earp's and Holliday's romantic dalliances with lady gambler Laura Denbow (Rhonda Fleming) and Kate Fisher (Jo Van Fleet), whose switch in affections from Holiday to outlaw fast-gun Johnny Ringo (John Ireland) only rachets up gambler's rage and the reasons behind the bloody climax. There are plenty of bribery attempts, terse dialogue exchanges and "Mexican standoffs" before the inevitable gunfight takes place. Director John Sturges takes some dramatic license with this confrontation, as well, stretching things out to nearly six minutes, but this is after all an "A" production, and a minute-and-a-half of gunfire just wouldn't cut it. The huge cast of western veterans includes Earl Holliman as Charles Bassett, Dennis Hopper as Billy Clanton, Kenneth Tobey as Bat Masterson, Lee Van Cleef as Ed Bailey, Jack Elam as Tom McLowery, and John Hudson, DeForest Kelley and Martin Milner as Virgil, Morgan, and James Earp, respectively. And there's that Dimitri Tiomkin score, pushing the movie's momentum as relentlessly as the two driven heroes, complete with a song (sung by Frankie Laine) underscoring the major transitions of scenes that's impossible to forget, once heard. Sturges himself would produce and direct a more fact-based and realistic version of the story -- focusing mostly on its aftermath -- a decade later, entitled Hour of the Gun, starring James Garner, Jason Robards, Jr., and Robert Ryan, which wasn't nearly as attractive or successful. But after Gunfight At The OK Corral, there would not be so impressive a lineup of talent at the OK Corral again until the twin Earp biopics of 1994, Wyatt Earp and Tombstone.
~ Hal Erickson, Rovi

This modest Republic suspenser stars Joan Vohs as a gorgeous victim of circumstance. Led to believe that she's killed a man in a car accident, Joan gets in deeper and deeper while trying to cover her tracks. Her detective boyfriend Scott Brady suspects that something's amiss, and begins conducting his own investigation. It turns out that Joan has been targeted to take the fall for a pair of deucedly clever auto thieves. The huge supporting cast includes radio veterans John Dehner and Virginia Gregg, not to mention the ubiquitous Percy Helton, who once more gets the bejeebers scared out of him while trying to indulge in a little petty larceny. ~ Hal Erickson, Rovi

Though the film's title may suggest otherwise, Seventh Cavalry takes place after Custer's Last Stand. Randolph Scott stars as Cavalry officer Tom Benson, who is branded a coward after supposedly deserting at the Little Big Horn. Benson hopes to redeem himself by personally leading a burial detail to the battlefield, despite the fact that the Indians haven't exactly left the premises. The excitement level in the closing reels more than justifies the slow, steady buildup to the finale. Innovative direction by the reliable Joseph H. Lewis enlivens this verbose western. ~ Hal Erickson, Rovi

Actor Abner Biberman specialized in unpleasant characters; when he turned director in the mid-1950s, he specialized in unpleasant subjects. The Looters is a marked-down variation of the Spencer Tracy film The Mountain. When a plane crashes on Pike's Peak, a group of mercenaries agree to search for survivors. The real motivation of some members of the rescue party is to strip the plane of all valuables, and to dispose of awkward witnesses. But a handful of the crash survivors also have looting on their minds, leading to a bloody clash in the snowy crags. ~ Hal Erickson, Rovi

On paper, Red Garters sounds like a wonderful idea: a raucous spoof of westerns, done up in the stylized fashion of a Broadway musical. Rosemary Clooney and Guy Mitchell, both popular recording stars of the era, head the cast as Calaveras Kate and Reb Randall, while Jack Carson is on hand as wheeler-dealer frontier lawyer Jason Carberry. The plot, which hardly matters, concerns Reb Randall's efforts to find out who was responsible for his brother's death. The film's basic joke is that none of the traditional western cliches come to fruition: the bad guys outdraw the good guys, the damsel-in-distress isn't rescued in the nick of time, and so on. Also, this may well be the first sagebrush satire in which the male characters doff their hats respectfully when mentioning "The Code of the West" (it certainly wasn' t the last!) To emphasize the unreality of the entire project, the backgrounds are designed impressionistically, like an animated cartoon. Red Garters might have worked better as the closing production number on a TV variety program than a 91-minute feature film; even so, everyone involved (especially tunesmiths Jay Livingston and Ray Evans) deserves credit for trying something different. ~ Hal Erickson, Rovi

Ernie Driscoll (John Payne) is an ex-fighter who came within seconds of winning the world championship. He's now forced to eke out a living driving a cab. A basically decent guy, he has lots of people who care about him, including Linda James (Evelyn Keyes), a slightly ditsy actress friend -- but Ernie also has a short fuse, especially where his wife Pauline (Peggie Castle) is concerned. His rage boils over when he spots her kissing another man, but her unfaithfulness turns out to be the least of his worries. The man she's seeing, Vic Rawlins (Brad Dexter), is a career criminal with both the police and his former partners after him, and he sees Ernie as the perfect fall-guy. The law and Rawlins' criminal associates are soon closing in on Ernie, while he tries desperately -- with Linda's help -- to buy the time he needs to unravel this nightmare. ~ Bruce Eder, Rovi

The titular Lusty Men are rodeo riders in this modern-day western, assembled with a touch of the offbeat by director Nicholas Ray. Former rodeo star Robert Mitchum, disabled by a series of accidents, hobbles back to his Oklahoma hometown in hopes of replenishing his bank account. Aspiring bronco-buster Arthur Kennedy hires Mitchum to train him for an upcoming rodeo, promising that they'll split the winnings. It doesn't take a crystal ball to predict that Mitchum will soon fall hard for Kennedy's wife Susan Hayward; she can take Mitchum or leave him, but decides to take him so that he'll continue to train Kennedy. After a falling out, Mitchum quits his job and enters the rodeo himself, hoping to win the prize from the arrogant Kennedy. He proves he still has what it takes, but does so at the price of his life. The Lusty Men was co-adapted by one-time cowboy David Dotort from a Life magazine story by Claude Stannish. ~ Hal Erickson, Rovi