Edward Fielding Movies

As Alfred Hitchcock's classic psychothriller opens, the staff of a posh mental asylum eagerly awaits the arrival of the new director. When the man in question shows up, it turns out to be handsome psychiatrist John Ballantine (Gregory Peck). But something's wrong, here: Ballantine seems much too young for so important a position; his answers to the staff's questions are vague and detached; and he seems unusually distressed by the parallel marks, left by a fork, on a white tablecloth. Dr. Constance Peterson (Ingrid Bergman) comes to the conclusion that Ballantine is not the new director, but a profoundly disturbed amnesiac--and, possibly, the murderer of the real director. But is she correct in her inferences? Scriptwriters Angus MacPhail and Ben Hecht soon add to this the complication that Constance begins to fall in love with John. Director Hitchcock tapped surrealist artist Salvador Dali to design the visually arresting dream sequences in the film. ~ Hal Erickson, All Movie Guide

This screwball comedy stars Claudette Colbert as Mary, the wife of bumbling but likeable banker Chris (Dick Foran). Foreign correspondent Joe (Don Ameche) Chris' best friend, is in danger of losing his job because he's not married (his boss insists that all his employees be married-and remember, bosses could get away with this in 1945!) Mary magnamimously offers to pose as Joe's wife, leading to all sorts of comic misunderstandings-the silliest of which finds Mary being accused of living in sin with her real husband. As one critic put it, "It's oh-ho time!" Guest Wife might have even been funnier had it not been hampered by the stringest censorship of the era. ~ Hal Erickson, All Movie Guide

Based on a novel by Barry Fleming, Colonel Effingham's Raid stars Charles Coburn in the title role. Upon retiring from the army, Effingham returns to his home town of Fredericksville, Georgia. Dismayed by the town's paucity of civic pride, the Colonel begins writing a newspaper column honoring Fredericksville's old traditions and chastizing those who would tear those traditions down. His pet peeve is the city administration's plan to rename Confederate Square after the pompous, mildly corrupt town mayor (Thurston Hall). When it seems that his protests are falling upon deaf ears, Colonel Effingham literally stage a "military assault" against City Hall, which in real life would get him thrown in the looney bin but which in a whimsical comedy of this nature results in a smashing success for the "good guys". If Colonel Effingham's Raid seems to be popping up on TV at a rate of once a day, it is because the film lapsed into public domain in 1973. ~ Hal Erickson, All Movie Guide

A scientist discovers that he can live forever by receiving gland transplants every ten years. Unfortunately, the unwilling donors must be killed for him to survive, something that doesn't bother the scientist until he falls in love. The girl, innocent of his grisly secret, falls for him too. Unfortunately, he is due for a new transplant and the endocrinologist who has been doing the operation gets a guilty conscience and refuses to help him any more. Desperate to remain young, the scientist finds someone else. This time though, Scotland Yard gets wind and begins investigating. The girl finds out, and remains true to the scientist causing him to abandon his mad quest for eternal youth. ~ Sandra Brennan, All Movie Guide

The usual modus operandi for Hollywood "through the years" sagas was to gradually age its young actors in the course of the film. In Mrs. Parkington, 35-year-old Greer Garson appears in old-lady makeup for virtually the entire 124-minute running time, even though this filmization of Louis Bromfield's best-selling novel covers the years 1875 through 1938. Eightyish widow Mrs. Susie Parkington (Garson) gathers together all of her grown children in an effort to bail out son-in-law Amory Stilham (Edward Arnold), who's gotten in Dutch through crooked financial deals. As the children and grandchildren bicker over the "impossibility" of giving up any part of their inheritance, Mrs. Parkington's mind wanders back to her marriage to wealthy mine owner Maj. Augustus Parkington (Walter Pidgeon) and her own efforts, as an unlearned Nevada serving girl, to fit into proper Manhattan society. Augustus' ex-love Aspasia Conti (Agnes Moorehead, in a surprisingly sexy role) is engaged to teach Susie the in and outs of which fork to use and how low to curtsy. Shut out by the "400," Susie is avenged by her husband, who wheels and deals to ruin the snobs financially. Later on, he assuages his anger by conducting several extramarital affairs, before perishing in one of those convenient movie auto accidents. Just how all these incidents strengthen Mrs. Parkington's resolve to rescue her wastrel son-in-law is a mystery that even two viewings of this overlong soap opera may not solve. Incidentally, Greer Garson isn't the only one who is prematurely aged in Mrs. Parkington; keep an eye out for 27-year-old Hans Conried, convincingly playing a doddering musician. ~ Hal Erickson, All Movie Guide

Newspaper reporter Marion Hargrove's best-selling novel was adapted to the screen by MGM as a vehicle for Robert Walker. The story is basically a series of humorous anecdotes about Hargrove's tenure at boot camp in the early days of World War II. Keenan Wynn is terrific as Hargrove's topkick, and Robert Benchley is no less superb as the father of Hargrove's girl friend (Donna Reed). See Here, Private Hargrove not only secured the stardom of Robert Walker, but launched Marion Hargrove on a lengthy career as a Hollywood screenwriter (his son, Dean Hargrove, has carried on the tradition into TV). The film was followed by a lesser 1946 sequel, What Next, Corporal Hargrove?, which followed the leading character to France. ~ Hal Erickson, All Movie Guide

Higher and Higher was advertised by RKO Radio as "The Sinatra Show", and small wonder: In his first major film role, Frank Sinatra was easily the film's biggest box-office draw. Actually, Frankie was a last minute addition to the film, which began as a traditional adaptation of a popular Broadway musical. Repeating his original stage role, Jack Haley plays Mike, the head servant in the household of millionaire Mr. Drake (Leon Errol). When Drake faces bankruptcy, Mike rallies the servants together and cooks up a moneymaking scheme: they'll pass off pretty scullery maid Millie (Michele Morgan) as Drake's daughter, and marry her off to a wealthy bachelor. Complicating matters is Sir Bictor Fitzroy Victor (Victor Borge), an impoverished nobleman who is himself looking for a rich wife. Mike saves the day with a last-minute discovery in the wine cellar, but not before a series of hilarious and tuneful plot twists involving Millie, heiress Katherine (Barbara Hale), and hired help Mickey (Marcy McGuire) and Marty (Mel Torme). Hastily written into the proceedings as Drake's next door neighbor, Sinatra croons several standards-to-be, including "I Couldn't Sleep a Wink Last Night" and "This is a Lovely Way to Spend an Evening"; he also is arbitrarily permitted the film's closing shot, emerging from heavenly clouds like the Second Coming of Music. Thanks to the film's enormous box-office take, everybody was happy with Higher and Higher--except Jack Haley, understandably miffed that his onetime starring role was whittled down to a supporting part to allow more screen time for the estimable Mr. Sinatra. ~ Hal Erickson, All Movie Guide

Freely adapted from a successful Broadway musical by Moss Hart, this story stars Ginger Rogers as Liza Elliott, the editor of a popular fashion magazine. Despite her beauty, wealth, and success in business, Liza is unhappy and out of sorts. And while three men are vying for her affections -- advertising director Charley Johnson (Ray Milland), newly single Kendall Nesbitt (Warner Baxter), and youthful and handsome Randy Curtis (Jon Hall) -- Liza has been unlucky in love, and she feels that she's come to the end of her emotional rope. She begins seeing Dr. Brooks (Barry Sullivan) in hopes of resolving her emotional crises and finding happiness, and her self-searching explorations of her past take the form of a handful of musical numbers. While the stage version of Lady in the Dark featured songs written by the estimable team of Kurt Weill and Ira Gershwin, several of them were replaced for this screen adaptation; "The Saga of Jenny", "One Life to Love", and "Girl of the Moment" were the most notable among the Weill/Gershwin tunes that survived the editing process. ~ Mark Deming, All Movie Guide

The genesis of The Story of Dr. Wassell is said to have been a story told by President Franklin Delano Roosevelt to director Cecil B. DeMille. Gary Cooper stars as Corydon M. Wassell, a real-life country doctor from Arkansas who worked as a medical missionary in China in the years prior to WWII. When America enters the war, Dr. Wassell joins the Navy and is shipped to Java. As the Japanese overtake the island, Wassell is placed in charge of the wounded evacuated marines. Ordered to leave the area immediately, the doctor disobeys his commands, staying behind to care for ten seriously wounded men from the USS Marblehead, even as Japanese bombs rain down upon his staff. With the help of other stranded allied troops, Wassell and his wounded make it to Australia, where despite his insubordination he is lauded as a hero. Not as much of a spectacular as earlier DeMille films, The Story of Dr. Wassell concentrates on personalities, with mixed results. ~ Hal Erickson, All Movie Guide

The "three smart guys" in this one-reel MGM Our Gang comedy are Mickey (Robert Blake), Froggy (Billy Laughlin), and Buckwheat (Billie Thomas), who devise a scheme to play hooky from school and go fishing. But upon arriving at the river bank, the kids make the acquaintance of a friendly hobo (Edward Fielding), who advises them that they'll never hook the "fish" of success unless they return to school. Duly chastened, the boys rush off to the schoolhouse just in time for the first bell. Three Smart Guys was originally released on October 23, 1943. ~ Hal Erickson, All Movie Guide

One of Cary Grant's most financially successful 1940s vehicles, Mr. Lucky finds Grant atypically cast as a shifty, out-for-number-one gambler. Having dodged the draft by adopting the identity of a dead man, Grant sets his sights on purchasing a fancy gambling ship. To raise the necessary funds, he pretends to be working hand in glove with the American War Relief society. Once he meets Laraine Day, however, Grant is seized by an uncontrollable bout of honesty. It takes him awhile, but he finally does the right thing. The film is framed in flashback, as old seaman Charles Bickford explains why a tearful Laraine Day waits at the dock each evening for a certain ship to come in. Also in the cast is Paul Stewart as a cold-eyed but nonetheless semi-comic hoodlum, and Kay Johnson and Gladys Cooper as elegant but gullible society women. The best aspect of this breezy comedy-drama is Grant's cockney propensity for "rhyming slang," a running gag better heard than described. Mr. Lucky was later adapted into a TV series in 1959, with John Vivyan in the Cary Grant part and with Blake Edwards at the production controls. ~ Hal Erickson, All Movie Guide

A bit treacly at times, Tender Comrade is nonetheless a fascinating distillation of the American mindset during WW2. Ginger Rogers is at her noblest and most self-sacrificial as Jo, whose husband Chris (Robert Ryan) is off fighting the war. Though pregnant, Jo finds a job at Douglas Aircraft, saving her money by living in a group home with several of her female co-workers. Delivering lines like "Share and share alike, that's democracy", Jo and her friends pool their salaries and divvy up responsibilities, as wait for news from the Front about their husbands and sweethearts. When news arrives that Chris has been killed, Jo delivers an impassioned cheer-up speech to her infant son, which will either leave the viewer in tears or in giggles, depending upon one's frame of mind. The "collectivism" implicit in Tender Comrade (not to mention its politically chancy title!) would later cause a lot of trouble for screenwriter Dalton Trumbo and director Edward Dmytrk during the HUAC "Communist witchhunt" era. In 1943, however, audiences didn't worry about such things, and the film posted a huge profit for RKO Radio. ~ Hal Erickson, All Movie Guide