William Campbell Movies

Officers Pete Malloy (Martin Milner) and Jim Reed (Kent McCord) are assigned to escort criminal Charlie Shanks (William Campbell) to jail. While shuffling their prisoner through Malibu Canyon, the two cops are ambushed by a pair of hired killers who are determined to prevent Shanks from ever testifying in court. The situation worsens when the killers take Jim hostage, offering to exchange his life for Shanks'. ~ Hal Erickson, All Movie Guide

The breathtakingly beautiful Technicolor cinematography of Irving Glassberg is but one of the many small pleasures of the big-budget western Backlash. Set in post-Civil War Arizona, the film stars Richard Widmark as Jim Slater, who hopes to prove that his down-and-out father (John McIntire) was not involved in a gold robbery. To prove this, Slater has to find the money, which is also the goal of Karyl Orton (Donna Reed), the supposed widow of one of the thieves. Eventually, Slater discovers that his father is every bit as rotten as the law claims he is, though he can take some comfort in the fact that Karyl is now in love with him. As in his earlier Bad Day at Black Rock, Backlash director John Sturges is more concerned with building tension than with overt displays of wanton violence. ~ Hal Erickson, All Movie Guide

Adapted by Leon Uris from his own novel, the film follows a group of World War II marines, from Basic Training to Battlefield. Major Van Heflin knows that his men are spoiling for a real fight, but must make do with the desultory skirmishes assigned them by the Brass. All this changes with an onslaught of heavy-duty battling in the South Pacific. Aldo Ray plays a tough leatherneck who falls in love with demure Nancy Olson, while James Whitmore, Tab Hunter, Dorothy Malone and Raymond Massey costar. And watch for young Justus McQueen, cast as private L.Q. Jones; McQueen liked his character name so much that he adopted it as his professional cognomen. Composer Max Steiner's musical score earned him an Oscar nomination. ~ Hal Erickson, All Movie Guide

Ben Cartwright is determined to block the gubernatorial bid of John Faraday (Simon Scott), the corrupt stooge of crooked tycoon Sam Endicott (Sidney Blackmer). When Ben is shot by one of Endicott's henchmen, he decides to "play dead" until the convention, then expose both Endicott and Faraday as murderous scoundrels. But a monkey wrench is thrown into the works when an innocent man is arrested for Ben's "murder." Portions of David Rose's background music were later incorporated into the themes of the subsequent Michael Landon series Little House on the Prairie). Among the supporting players is George Gaynes, best known to latter-day viewers for his hilarious performances in the theatrical features Tootsie and Police Academy. First shown on March 3, 1968, "The Late Ben Cartwright" was written by Walter Black. ~ Hal Erickson, All Movie Guide

Cell 2455 Death Row is based on the autobiography of condemned prisoner and "jailhouse lawyer" Caryl Chessman. William Campbell plays the Chessman counterpart, here renamed Whit. A seriously disturbed misfit, Whit begins a life of crime, culminating in sexual assault as the "Lover's Lane Bandit." Condemned to the gas chamber at San Quentin, Whit spends six years fighting his sentence, gradually winning the support and sometimes the respect of various legal experts. The film ends in 1955 (the year of its production), some five years before Caryl Chessman's ultimate execution; accordingly, the film's "open-ended" finale has been removed from many TV prints. A more thorough and incisive study of the Chessman case was offered in the made-for-TV movie Kill Me If You Can, which starred Alan Alda. ~ Hal Erickson, All Movie Guide

Kirby (Jack Hogan) and Littlejohn (Dick Peabody) volunteer as relief drivers for a "Red Ball Express" squadron headed by an overbearing sergeant (Claude Akins). In an extended sequence reminiscent of the French "new wave" classic The Wages of Fear, the two soldiers find themselves maneuvering a truck loaded with explosives through a gauntlet of German snipers. (Incidentally, the fact that many of the Red Ball Express drivers in WW2 were African-American is barely touched upon in this episode). ~ Hal Erickson, All Movie Guide

A young Francis Coppola was given the job of directing this moody low-budget chiller after begging producer Roger Corman for the opportunity to reuse the sets for another film which Corman was shooting in Ireland. The story centers on the dysfunctional Haloran family, who live in a state of perpetual sorrow in a spooky Irish castle. Still mourning the death of her young daughter Kathleen -- who drowned in the lake seven years ago -- Lady Haloran (Ethne Dunn) tortures herself regularly by visiting the girl's grave (when she's not shrieking and collapsing in anguish every five minutes). When daughter-in-law Louise Haloran (Luana Anders) loses her husband to a heart attack, she manages to conceal the body for fear of being cut out of Lady Haloran's will. To further complicate matters, a mysterious interloper begins prowling the grounds with an axe to grind... a very big axe. This enjoyable, quirky psycho-thriller is enlivened by Coppola's inventive camera setups, atmospheric locations and Patrick Magee's over-the-top performance as the leering family doctor. Despite some ragged editing (probably not Coppola's doing), this has relatively high production values for a spare-change Corman project. ~ Cavett Binion, All Movie Guide

In this teenage exploitation drama, a young woman secretly marries. The trouble begins after her husband is killed while drag racing. She bears his child, but she cannot prove that she was married. Caring nothing for the child, she spends her time hitting on a jazz trumpeter who takes her to Las Vegas. Soon she figures out that he is not interested in marriage. She takes off and marries a DJ. ~ Sandra Brennan, All Movie Guide

Fireman Chet Kelly (Tim Donnelly) is determined to learn more about the Native American "roots" of his coworker John Gage (played by Randolph Mantooth, a real-life descendant of the Seminole tribe). Chet's efforts are momentarily abandoned as the emergency staff tackles a huge work load, including such crises as a residential water supply contaminated with a flammable liquid, a child trapped in a wrecked car by a drunk driver, and a construction worker shot down by a sniper--to say nothing of lesser dilemmas involving a too-tight girdle and a gumball machine. This episode marks one of the first TV appearances of the now-familiar rescue apparatus "Jaws of Life". ~ Hal Erickson, All Movie Guide

As the title indicates, Hi-De-Ho is a vehicle for entertainer Cab Calloway. The star plays a bandleader (what else?) who is torn between two lovers: his jealous girlfriend Jenni leGon and his crafty manager Ida James. leGon hires a gangland assassin to take Calloway for a ride, but at the last moment has a change of heart and tries to prevent the murder. She stops a bullet meant for Calloway, allowing James to claim him for the final clinch. Produced for what we termed "colored theatres" in 1947, the all-black Hi-De-Ho is not what one could call expensive (many of the sets shimmer and shake as the actors stroll by) but the songs are first-rate. ~ Hal Erickson, All Movie Guide

An unusually long pre-credits sequence establishes the roots of faded Southern belle Charlotte's (Bette Davis) insanity; she'd been witness to the dismemberment murder of her fiance (Bruce Dern) and the suicide of the murderer, her own father (Victor Buono). Years later, Charlotte remains a recluse in her decaying southern mansion, zealously guarding the secret of her father's guilt; she is cared for by her slatternly housekeeper (Agnes Moorehead). When her house is targeted for demolition, Charlotte fears that this will uncover her lover's body parts and thus confirm that her father was a murderer. She desperately summons her seemingly sweet-tempered cousin Miriam (Olivia De Havilland) to help her fight off the house's destruction. Miriam brings along the family doctor (Joseph Cotten) to calm Charlotte's frayed nerves. When Charlotte begins to be plagued by horrific visions of the homicide/suicide of so long ago, it appears that she has gone completely insane. But soon we learn who is behind these delusions...and why. Hush Hush Sweet Charlotte was intended by director Robert Aldrich as a follow-up to the successful Joan Crawford/Bette Davis horror piece Whatever Happened to Baby Jane (1962). Ms. Crawford was originally slated to play Miriam, but became seriously ill shortly before filming started. Davis, who disliked Crawford intensely, suggested that the role of Miriam be filled by her best friend, De Havilland. On the first day of shooting, Davis and DeHavilland pulled a "Ding Dong the Witch is Dead" routine by toasting one another with Coca-Cola--a catty observation of the fact that Joan Crawford's husband was an executive with the Pepsi Cola company! ~ Hal Erickson, All Movie Guide

In the first half of a two-part story (originally telecast as a single two-hour episode), Ironside (Raymond Burr) begins to question his judgment in a manslaughter case which occurred seven years ago. At the time, the Chief rammed through the conviction of chief suspect Walter Booth (William Campbell). Now armed with new evidence, Ironside works hand and glove with Booth's attorney Ken Klaven (Cameron Mitchell) to secure the man's release--despite the formidable opposition of the DA's office, which is determined to keep Booth behind bars. ~ Hal Erickson, All Movie Guide

Elvis Presley made his motion picture debut in the Civil War drama Love Me Tender. Elvis, however, is not the star of the proceedings: that honor goes jointly to Richard Egan and Debra Paget. The story concerns three brothers--Egan, William Campbell and James Drury--who steal a Union payroll on behalf of the Confederacy, only to discover that the war is over and that they're now technically outlaws. Rather than return the money, the brothers divvy it up amongst themselves. Upon returning home, Egan discovers that his sweetheart (Debra Paget) has married Elvis, his youngest brother. Since Love Me Tender has been played incessantly on TV since the early 1960s, it is giving away nothing to reveal that the film is one of two in which Elvis Presley's character dies at the end. Naturally, Elvis is afforded plenty of opportunities to sing: the scene in which he launches into an anachronistic hip-swivelling performance at a county fair is one of the high points of mid-1950s kitsch. ~ Hal Erickson, All Movie Guide