Norman Field Movies

The title tells all in this seventh entry in Universal's "Ma and Pa Kettle" series. This time around, Ma (Marjorie Main) and Pa (Percy Kilbride) take their brood to Hawaii, where Pa is to take over management of his cousin's fruit processing operation. The villains are a group of rival businessmen who kidnap Pa and spirit him off to a remote island. Before long, however, it's the bad guys who need rescuing. Some of the funnier scenes involve Ma and Pa's Hawaiian counterparts, played by Hilo Hattie and Charley Lung. With this entry, Percy Kilbride bade adieu to the role of Pa Kettle, leaving Marjorie Main to carry on alone in the remaining two series installments. ~ Hal Erickson, All Movie Guide

A little girl is found wandering in the desert, in a state of complete shock. When she finally revives, she can scream out only one word: "Them!" Any aficionado of 1950s horror films can readily tell you that "Them" are giant ants, a byproduct of the radiation attending the atomic bomb tests of the era. Extremely well organized, these deadly eight-to-twenty-foot mutations converge on the storm drains of Los Angeles in the finale. Forming a united front against the oncoming ant battalions are New Mexico police sergeant James Whitmore, FBI representative James Arness, and father-and-daughter entomologists Edmund Gwenn and Joan Weldon. Since the details of Them are fairly common knowledge today, the mystery-thriller structure of the film's first half tends to drag a bit. Things liven up considerably during the search-and-destroy final reels, as the audience is barraged with convincing special effects and miniature work-not to mention that eerie ant-induced sound effect, so often imitated by subsequent lesser films. Fess Parker appears in a starmaking cameo as a pilot driven to the booby hatch after witnessing the ants in action, while an uncredited Leonard Nimoy is seen pulling info out of IBM machine. Definitely the high point in the careers of director Gordon Douglas and scenarists Ted Sherdeman and George Worthing Yates, Them is also one of the handful of vintage science-fiction thrillers that holds up as well today as it did when first released. (Sidebar: Though filmed in black-and-white, Them is alleged to have been released with a Technicolor opening title, the word THEM! hurtling towards the audience in a vibrant red). ~ Hal Erickson, All Movie Guide

The Twonky is ostensibly based on a wickedly funny short story by Henry Kuttner, though the resemblance between the original and the adaptations is thin indeed. In one of his few starring roles, Hans Conried plays philosophy professor Kerry West, who despairs when his wife (Janet Warren) squanders his money on a new television set. Professor West is even more upset when the TV turns out to be "The Twonky," a futuristic creature that does all of West's work, censors his books and newspapers, and reads everybody's thoughts. The Twonky has been designed to help people, but the professor -- who hates TV to begin with -- doesn't want that sort of help. The film's outcome is radically different from the denouement of Kuttner's original story: given a preference, most sci-fi buffs would opt for the Kuttner version. The Twonky was written and directed by Arch Oboler, the creator of radio's Lights Out. When interviewed in 1970, Hans Conried recalled that he told the producer that The Twonky would probably bomb at the box-office (which it did), whereupon the producer genially replied "That's all right. I need a tax write-off this year anyway." ~ Hal Erickson, All Movie Guide

Bronislau Kaper's haunting musical score for A Life of Her Own (1951) was recycled in the romantic melodrama Invitation. Dorothy McGuire stars as Ellen Bowker, a wealthy young woman with a rare heart condition. Knowing that his daughter may have only a year or so to live, Ellen's father Simon Bowker (Louis Calhern) wants to make certain that her last months on earth will be happy ones. To that end, he arranges for Dan Pierce (Van Johnson) to marry the girl. More interested in Ellen's millions than in Ellen herself, Dan agrees. Eventually, of course, he genuinely falls in love with the girl. But trouble looms on the horizon when Ellen discovers the real reason behind Dan's whirlwind courtship. How can a happy ending possibly result from all this? It's best to reveal no more at this point. ~ Hal Erickson, All Movie Guide

Something to Live For is the last of director George Stevens' "small" films, before he concentrated full-time on such blockbusters as Shane and Giant. Joan Fontaine plays a popular actress who descends into alcoholism. Ray Milland, in an unofficial extension of his Lost Weekend role, plays a reformed drunkard who comes to Fontaine's rescue. He encourages her to join Alcoholics Anonymous--one of the first times that this organization was given any kind of screen treatment. Milland's concern strains his relationship with his wife (Teresa Wright), who doubts that Ray's interest in Fontaine is merely humanitarian. But Milland refuses to endanger his marriage no matter how strong his feelings towards Fontaine--nor how much the audience wants him to. ~ Hal Erickson, All Movie Guide

Alcoholic Bill Cannon's (Dan Duryea) past sins catch up with him in Chicago Calling. Cannon's daughter Nancy (Melinda Plowman) is seriously injured in an accident while out of town, and his wife Mary (Mary Anderson) has promised to call him back as soon as she learns the result of Nancy's operation. Unfortunately, Cannon's phone service is cut off for nonpayment, forcing him to go begging for the $50 necessary to square his phone bill. Only through the kindness of waitress Peggy (Marsha Jones) and telephone engineer Jim (Ross Elliot) is Cannon able to make the crucial call to his wife. Alas, the operation has proved unsuccessful. Will the impact of this tragedy push Cannon over the brink, or will it inspire him to seek out a new lease on life? ~ Hal Erickson, All Movie Guide

The Milkman is a low-key variation of a theme explored in such slapstick festivals as The Fuller Brush Man and The Yellow Cab Man. Donald O'Connor plays Roger Bradley, who hopes to become a top-flight milkman to please his father (Henry O'Neill), the owner of the milk company. Jimmy Durante co-stars as Breezy Albright, the older milkman who teaches Roger the ropes. After several comic set pieces, the plot rears its ugly head in the form of John Carter (Jess Barker), the nephew of rival milk-company proprietress Mrs. Carter (Elizabeth Risdon). Carter has gotten mixed up with a nasty bunch of gamblers, led by Mike Morrel (William Conrad). This leads to an exciting, albeit chucklesome finale wherein Roger, Breezy and ingenue Chris Abbott (Piper Laurie) combine forces to rout the bad guys. ~ Hal Erickson, All Movie Guide

This second screen version of Ernest Hemingway's To Have and Have Not is closer in spirit to the original than the first version, though it still is far from faithful to its source. John Garfield stars as Harry Morgan, who has metamorphosed from Hemingway's gun-runner to an ex-PT boat captain, now running a charter boat service in Southern California. Deeply in debt, Morgan agrees to smuggle aliens and later tries to sneak a bunch of gangsters out of the country. By the time he's been given a wake-up call by his conscience, Morgan has caused the death of a close friend. Patricia Neal and Phyllis Thaxter make the most of their limited footage as, respectively Harry Morgan's casual mistress and faithful spouse. Many critics feel that The Breaking Point represents Michael Curtiz' finest directing job--no small praise for a man who helmed such classics as Casablanca and Yankee Doodle Dandy. ~ Hal Erickson, All Movie Guide

Destination Big House is a well directed Republic Programmer starring Dorothy Patrick as a vacationing schoolteacher. Gangster Richard Benedict bursts into Dorothy's mountain cabin, where he dies in a shootout with the Law. As he breathes his last, Benedict wills $80,000 to Dorothy, but neglects to tell her where the loot is hidden. Coerced by the police to suggest that she knows where the money is, Dorothy helps to ferret out the rest of Benedict's gang. When the money is recovered, Dorothy donates all of it to a polio clinic maintained by the film's hero, Robert Rockwell. ~ Hal Erickson, All Movie Guide

In this engagingly silly musical fantasy from the waning days of WW2, Fred MacMurray stars as Bill, who wants to serve his country but has been classified 4-F. While working at a local USO, Bill falls in love with the fickle Lucilla (June Haver, soon to be Mrs. Fred MacMurray), never realizing that he himself is worshipped from afar by the sensible Sally (Joan Leslie). Stumbling across an old lamp donated to a scrap drive, Bill impulsively rubs the lamp--and out pops Ali (Gene Sheldon), a bibulous, bumbling genie. Hoping to become a hero in Lucilla's eyes, Bill asks Ali to put him in the US Army. The genie complies, but gets his wires crossed, and Bill ends up in the Continental Army during the Revolutionary War. In short order, Bill meets two lookalikes of the girls in his life at "Ye U.S.O.", shows up at Valley Forge and trades quips with General Washington (Alan Mowbray)--who, in anticipation of MacArthur and Eisenhower, bombastically insists that he has no political aspirations--unsuccessfully tries to alert Washington of the duplicity of Benedict Arnold (John Davidson), and ultimately finds himself behind enemy lines with a troop of Hessians, whom he tries to hoodwink by delivering a Nuremberg-style speech, replete with "Sieg Heils." Arrested and sentenced to a Hessian firing squad, Bill again summons Ali, who whisks him off to the year 1492. In an elaborate "opera bouffe", Bill musically dissuades the sailors serving under Christopher Columbus (Fortunio Bonanova) from staging a mutiny, convincing them to continue seeking out the New World (as represented by a group of Cuban natives in a conga line). Once on dry land, Bill is entranced by a comely Indian maiden who looks a lot like Lucilla, only to be entrapped in an old-fashioned "badger game" cooked up by the girl's wily Native American boyfriend (Anthony Quinn). Buying his way out of an embarrassing situation by agreeing to purchase Manhattan Island for $24, Bill is then transported to "New Amsterdam" in the mid-1600s. In his efforts to persuade the local Dutch elders that he is the rightful owner of Manhattan, Bill succeeds only in getting arrested again. This time, however, the drunken Ali manages to zap our hero back to the 20th Century--with the 17th-century equivalent of Sally in tow. The songs, by Kurt Weill and Ira Gershwin, are appropriately bright and satirical, but none are standouts. Still, Where Do We Go From Here? is one of those frothy 1940s concoctions that is absolutely impossible to dislike. ~ Hal Erickson, All Movie Guide