Lee Tung Foo Movies

A mayoral candidate is booted out of town after he is gulled into a gunfight and kills his rival. This western chronicles his adventures as an outlaw. ~ Sandra Brennan, All Movie Guide

The tendency is to scoff at Macao as just another example of Josef von Sternberg's late-career exercises in exoticism; true, it has its problems, including a weak plot and a slightly hasty pace, but it is still an extraordinary film for its time and its personnel. The real sparkplug for the movie is Jane Russell as out-of-work singer Julie Benson, who inadvertently gets the plot rolling when she ends up in a cabin with a lout who won't take no for an answer. Her plight, and a flying shoe, brings in laconic, slightly mysterious traveler Nick Cochran (Robert Mitchum), who seems to have something to hide and manages to get his wallet (including passport) lifted by the opportunistic Julie. Crossing paths with them is Lawrence Trumble (William Bendix), a good-natured lunkhead salesman coming to Macao for the gambling. And gambling, among other less legal activities, is what local hood Halloran (Brad Dexter) is all about. He's just hot enough in international crime circles to attract the authorities, who can't touch him in Macao; he's already had one New York detective killed and expects another to arrive, and he's keeping an eye on any suspicious, unfamiliar Westerners arriving, which leads him to Julie, Cochran, and Trumble. Halloran has other, obvious plans for Julie, especially when obliging corrupt police chief Thomas Gomez points her to a singing job at his club, much to the distress of his one-time girlfriend (Gloria Grahame); he dismisses Trumble as a lovable clown. But Nick has cop written all over him and is hiding something. All of the pieces fit together neatly in the end, and everyone is keeping at least one secret that will surprise viewers.

What makes Macao truly special are the performances, beginning with Jane Russell, who, with the possible exception of Gentlemen Prefer Blondes, was never better. Her ample physical assets are on display as usual, but she also never gave a sharper, more naturalistic or purely sensual acting performance. Russell had clearly found her talent and her center with this film. Whether she's shooting a suspicious glance at larcenous police chief Thomas Gomez, singing a sultry torch song in a seductive white strapless outfit, or striding forward in an exquisite dolly-out shot, she commands every scene in which she appears. And it's not just her imposing physique that does it, but a boldness of nuance; Russell had learned a lot since The Outlaw. Brad Dexter, the odd man out in The Magnificent Seven, makes an excellent villain, like a more pathological version of Steve Cochran. Meanwhile, Robert Mitchum, in his portrayal of a neurotic, perhaps shell-shocked veteran, shows a vulnerable side that seldom came out so convincingly or touchingly in his RKO movies; and even William Bendix found a new wrinkle to his screen persona as the seemingly larcenous commercial traveler. The audience will be beguiled and surprised throughout this movie -- an underrated noir classic -- and not just by the stories that unravel. The last line and wrap shot create an amazingly lusty, censor-challenging denouement for an early '50s film. ~ Bruce Eder, All Movie Guide

Beautiful Adele Mara, who Republic Pictures took for granted for far too long, finally gets a chance to shine in this fine Western produced and directed by the dependent Joseph Kane. Mara plays Beth Martin, an Easterner traveling west to be reunited with her brother, Bob (Bill Williams). But Bob is not quite the hard-working miner that Beth and kid brother Tommy (Peter Miles) believed him to be and the newcomers quickly find themselves caught between double-crossing saloon owners Mike Prescott (Forrest Tucker) and Lincoln Corey (Jim Davis). Estelita Rodriguez, as Bob Martin's faithful girlfriend, performs "Second Hand Romance" and "I'm Goin' Round in Circles," both by Jack Elliott and Harold Spina. ~ Hans J. Wollstein, All Movie Guide

Western aficionados tend to regard Short Grass as the best-ever directorial effort by Lesley Selander. Considerably longer than most Monogram westerns (82 minutes), the film never lags, thanks to the expertise of Selander and a top-rank cast. Rod Cameron plays Steve, a drifter who briefly settles down on a ranch. During a range war, Steve comes to blows with avaricious rancher Hal Fenton (Morris Ankrum). Shortly thereafter, a man is killed and Steve is implicated in the crime. He leaves town in a hurry, returning five years later to clear his name and reclaim his land. He finds that his former girl friend Sharon (Cathy Downs) is married to alcoholic newspaperman John Devore (Tris Coffin), and that Fenton now holds the commuity in an iron grip of fear. Lawman Keown (Johnny Mack Brown) can't administer justice because of the political strings pulled by the villains. With Steve's help, Keown and the rest of the town's honest citizens are finally able to swing into action, leading to a superbly staged climax. Comic actor Raymond Walburn essays a relatively straight role as the town's leading citizen. ~ Hal Erickson, All Movie Guide

Whenever Monogram wanted to get prestige bookings, the studio released its product through its "class" subsidiary Allied Artists. Such was the case of There's a Girl in My Heart, a period musical that any of the larger studios would have been proud of. The only indication of its Monogram origins is its less-than-stellar cast, including Lee Bowman and Elyse Knox; surprisingly, the film's big-money musical stars, Gloria Jean and Peggy Ryan, are billed fourth and fifth. The story finds New York ward-heeler Terrence (Lee Bowman) trying to erect a sports stadium on the property partially occupied by music-hall entrepreneur Colton (Lon Chaney Jr.) The fly in the ointment is Claire (Elyse Knox), the owner of the property, who refuses to sell because several tenants would be thrown out of their homes. But Terrence is determined to have his way -- at least until he falls in love with Claire. Cast as the daughter of a music teacher, Gloria Jean gets to sing a couple of tunes, while Peggy Ryan hoofs it with her perennial dancing partner Ray McDonald. ~ Hal Erickson, All Movie Guide

One of the great onscreen romantic pairings, Alan Ladd and Veronica Lake, ended with this romantic adventure film, their fourth cinematic collaboration. In Shanghai after WWII, veteran pilots Larry Briggs (Ladd) and Pete Rocco (Wally Cassell) are dismayed when informed that friend Mike Perry (Douglas Dick) will soon die of a terminal illness. Larry and Pete decide to keep the tragic news from Mike and spend the next weeks showing him a high time. To finance the festivities, they accept an offer of $10,000 from unscrupulous war profiteer Zlex Maris (Morris Carnovsky) in exchange for a flight to Vietnam. When departure time arrives, Maris shows up with the police in hot pursuit, so the buddies take off with his secretary, Susan Neaves (Lake), whose briefcase contains Maris' earnings -- $500,000. En route to Saigon, however, the crew crash-lands in an Asian jungle. As they make their way back to civilization with a detective (Luther Adler) tailing them, Mike develops feelings for Susan, who plays along at Larry's urging. Susan, however, is actually falling for Larry and vice versa. ~ Karl Williams, All Movie Guide

In this the final Hopalong Cassidy Western, Hoppy (William Boyd), California Carlson (Andy Clyde), and Lucky Jenkins (Rand Brooks) search for the leaders of a counterfeiting ring after receiving a tip from an anonymous source whose signature is a pencil sketch of a comet. In Silver City, they help Nora Murray (Elaine Riley), her brother Sid (William Leicester), and ailing sister-in-law Mary (Joan Barton) get a room at the inn despite the misgivings of hotel (and town) owner Ora Mordigan (James Craven). The latter, needless to say, is the instigator of the counterfeiting scheme, which he operates from the Silver Belle Mine founded by John Murray (Herbert Rawlinson), Nora and Sid's long-lost father. The old man, an engraver by trade, has been kept a virtual prisoner for years, forced to print fake U.S. and Mexican money for Mordigan and his henchmen. With the assistance of undercover Mexican investigator DeLara (Albert Morin) and "the Comet," a local doctor (Joel Friedkin), Hoppy manages to rescue the old man and capture the entire gang. ~ Hans J. Wollstein, All Movie Guide

MGM whipped up another musical salad with Luxury Liner, featuring a glittering lineup of contractees including Jane Powell, Lauritz Melchior and Xavier Cugat. George Brent plays the skipper of a "love boat"-type cruise ship, while Ms. Powell plays his daughter. She entertains the passengers at every opportunity with a string of forgettable songs, and finds love herself in the form of Thomas E. Breen(you remember him). The highlight of the film features Jane Powell in male drag, singing "Spring Came to Vienna" to an uncomfortable-looking ingenue (Shirley Johns). Luxury Liner is the sort of lavish trifle that could only have come out of the Hollywood Studio System. ~ Hal Erickson, All Movie Guide

Alan Ladd stars in Calcutta as devil-may-care pilot Neale Gordon. With his equally fearless partners Pedro Blake (William Bendix) and Bill Cunningham (John Whitney), Gordon handles the air-freight route between Calcutta and Chungking. When Cunningham meets his death at the hands of jewel smugglers, Gordon vows to play judge and jury and bring the criminals to justice himself. Among the suspects are the film's two gorgeous leading ladies, sweetie-pie Virginia Moore (Gail Russell) and sultry nightclub singer Merina Tanev (June Duprez). Once Gordon figures out who his real friends are, he relies on his fists to mete out retribution, resulting in one sequence that's guaranteed to raise the hackles of every feminist in the crowd. Even with a short running time of 73 minutes, Calcutta secured top-of-the-bill bookings. ~ Hal Erickson, All Movie Guide

John Brickley (Robert Montgomery) believes in PT boats, and as a lowly U.S. Navy lieutenant stationed in the Philippines, that makes him a radical thinker. "Your boats maneuver beautifully," an admiral (Charles Trowbridge) tells him, "but if I'm going into combat, I prefer something a little more substantial." The gently delivered but stinging dismissal stirs the resentment of Lt. "Rusty" Ryan (John Wayne), who tartly tells Brickley that he wants to be transferred to destroyers. The Pearl Harbor bombing makes transfer impossible, especially with the Japanese preparing to invade the islands. So Brickley and Ryan go to work, first as message carriers between the Philippines and Corregidor, then, finally, as ship hunters. They record some successes, but it's a doomed effort: The Americans are hopelessly outnumbered by the Japanese, and with almost all of the Pacific Fleet destroyed at Pearl Harbor, they know help won't arrive to save them. As the Japanese push the U.S. forces back, Brickley and Ryan and their crews hop from island to island, scrounging supplies and taking casualties but keeping up the fight. Just as it appears that they will be forced to fight on Corregidor against the Japanese, they get rescued; they're ordered home to promote their PT-boat successes, and they take the last plane out, hoping to return and avenge their defeats. ~ Nick Sambides, Jr., 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

The year is 1942: eight American airmen crash-land during the Doolittle bombing raid on Tokyo and are taken prisoner. Though slated for execution, the pilots are put through a "show trial" by the military, on a charge of committing war crimes. The Japanese judges promise to be merciful if only the Americans will reveal vital US military secrets. But captain Dana Andrews speaks for the rest of his melting-pot crew-some of whom have been subjected to the most horrific of tortures--when he chooses death before dishonor. In its own way, The Purple Heart is as racist a piece of propaganda as was ever produced by Hollywood. The Japanese are shown to be little more than sadistic beasts (at one point, the judges interrupt the trial by moronically shouting "Banzai" after receiving news of a military victory), while hissing, buck-toothed interrogator Richard Loo ("I attended your...Amelican universities"), unable to admit that he's been wrong about Yankee resilience, commits hara-kiri. Remember, however, that The Purple Heart was made at a time when America was still at war with Japan, and political correctness was hardly a consideration. Its jingoism aside, the film is a first-rate piece of moviemaking, socked across by director Lewis Milestone with the same fervor that he'd expended on his anti-war masterpiece All Quiet on the Western Front (1930). ~ Hal Erickson, All Movie Guide