Preston S. Foster Movies

This video is part of a series that celebrates the early days of American television, with clips from some of the best-loved shows of the era. In this volume, there are two episodes from the 1950s show Waterfront, which starred Preston Foster. He appears with guests Ernest Borgnine and Willie Best. ~ Rose of Sharon Winter, All Movie Guide

A manipulative self-serving promoter attempts to exploit a yokel trio comprised of a singing minister and his musical brothers in this tuneful drama. The fast-talking, charming promoter manages to romance a wealthy woman into providing financial backing for the group. But eventually she learns the truth about the slickster and he gets his just desert. ~ Sandra Brennan, All Movie Guide

After a nuclear holocaust, a group of scientists travel to the future and find a world in tatters, where the human survivors must constantly defend themselves against mutated beasts. Upon seeing the future of the earth, the men would like to return to 1964, but find it may not be possible. ~ Kristie Hassen, All Movie Guide

A "Shock Theater" perennial since it was first released to television in the early 1960s (stretch-framed to pad out its running time), The Amazing Colossal Man is firmly in the "So Bad It's Good" category. While overseeing the atomic tests in the Nevada desert, Army colonel Glenn Langan is exposed to extensive amounts of radiation. As a result, Langan grows, and grows, and grows, at the rate of ten feet per day. This sudden height gain adversely affects the poor man's mind, and soon he's as mad as a hatter. Looking for all the world like Mr. Clean in a diaper, the Colossal Man goes on a murderous rampage, laying waste to several Las Vegas landmarks before he is killed by army bullets while standing atop the Boulder Dam. The special effects are adequate, but the dialogue is ridiculous-in fact, if we didn't know better, we'd say that the film was intended to be funny. Our favorite bit: the huge hypodermic needle. ~ Hal Erickson, All Movie Guide

This video features two television shows representative of '50s Cold War paranoia and xenophobia at its best. ~ Sandra Brennan, All Movie Guide

To fully appreciate the western comedy The Marshal's Daughter, one must be aware that its star, a zaftig, wide-eyed lass named Laurie Anders, was in 1953 a popular TV personality. A regular on The Ken Murray Show, Anders had risen to fame with the Southern-fried catchphrase "Ah love the wi-i-i-ide open spaces!" Striking while the iron was hot, the entrepreneurial Murray produced this inexpensive oater, which cast Anders as Laurie Dawson, the singing daughter of a U.S. marshal (Hoot Gibson). Teaming with her dad to capture outlaw Trigger Gans (Bob Duncan), Laurie briefly disguises herself as a masked bandit. Amidst much stock footage from earlier westerns and a plethora of lame jokes and dreadful puns, The Marshal's Daughter is a treat for trivia buffs, featuring such virile actors as Preston S. Foster, Johnny Mack Brown, Jimmy Wakely and Buddy Baer as "themselves." Ken Murray himself makes a supporting appearance as a leering frontier wiseacre named "Sliding Bill Murray." ~ Hal Erickson, All Movie Guide

The first film version of W.R. Burnett's novel Saint Johnson was filmed as Law and Order in 1932. Essentially an all-names-changed retelling of the Wyatt Earp legend, the film scored on its humanity and restraint. The 1953 remake eschewed the shadings and subtleties of the original in favor of a traditional shoot-em-up, replete with gratuitous violence. Ronald Reagan stars as the Earp counterpart this time, who has sworn to bring criminal Preston S. Foster to justice. The original Law and Order had no love interest at all; the Reagan version pairs up the star with beautiful Dorothy Malone, and offers a second leading lady in the form of Ruth Hampton. The original had a hanging sequence which was treated as business as usual; the remake turns this sequence into a brutal lynching. Common to both films was the final showdown between Reagan and Foster, given added melodrama in the later version by the fact that Reagan had previously sworn to give up his guns for the love of his lady. Like most of Ronald Reagan's 1950s vehicles, Law and Order paid its way and was then forgotten. ~ Hal Erickson, All Movie Guide

Lon McCallister stars in the Columbia "B-plus" western Montana Territory. McCallister plays deputy John Malvin, whose loyalty to sheriff Plummer (Preston S. Foster) knows no bounds. What John doesn't know (but the audience does) is that Plummer is a bandit leader, using his sheriff's badge as a front for his activities. Eventually, it is John's painful duty to bring his former mentor to justice--which, if the previous reels are any indication, won't be easy. Wanda Hendrix is appealing as Lon's leading lady, while Clayton Moore, TV's Lone Ranger, does a villainous turn. ~ Hal Erickson, All Movie Guide

Awkward teenager George LeMain (John Drew Barrymore, credited as John Barrymore Jr.) is given a small birthday party by his widowed father Andy (Preston Foster) at his bar. He is puzzled that his father's longtime girlfriend, Frances, is not there, but neither Andy nor Flanagan (Howland Chamberlain), bartender and George's surrogate mother, will say why. George is embarrassed when he is unable to blow out all the candles on his cake, but that's nothing compared to the humiliation to come when sportswriter Al Judge (Howard St. John) enters the tavern. Judge orders the elder LeMain to remove his shirt ("Show me some skin," he demands) and get down on all fours. Andy meekly offers no resistance when Judge brutally canes him. Enraged at both Judge and his father, George takes a gun from the cash register and goes off into the night to settle the score. His first stop is the fights, where after getting conned out of his money, he meets Lloyd Cooper (Philip Bourneuf), an alcoholic college professor who later introduces him to his girlfriend Julie Rostina (Dorothy Comingore) and her sister Marion (Joan Lorring). Although George and Marion hit it off, she tells him he is too young for her. Resuming his hunt, George finally comes face to face with Judge and learns that Frances, who was Judge's sister, had killed herself because Andy refused to marry her. Confused, George drops his gun and starts to leave. However, when Judge picks it up and turns the tables on him, George struggles for the gun, shoots Judge, and runs back into the night. When he gets home, he confronts his father with Judge's story. He learns not only that it's true, but also that his mother is not dead but had run off with another man. Joseph Losey's The Big Night functions largely as a perverse coming-of-age tale in which the price George pays for growing up is disillusionment with his emasculated father. Armed with this knowledge and a stronger sense of his abilities, George may now be better equipped to navigate the rejections, humiliations, and sadomasochistic relationships of his noirish world. ~ Steve Press, All Movie Guide

Tomahawk takes place during the Great Sioux Uprising of the 1860s. Van Heflin stars as famed frontier scout Jim Bridger, who labors valiantly and vainly to orchestrate peace between Indians and whites. Much of the action takes place at Fort Phil Kearney, the scene of one of the bloodiest battles in western history. Though the film isn't what one might call a pro-Native American tract, the script is careful to note that the Sioux were galvanized into action by the broken treaties and sadistic excesses of certain Indian-hating white men. The feminine angle in these otherwise all-male proceedings is provided by Yvonne de Carlo as a travelling showgirl and Susan Cabot as an ill-fated Sioux maiden. Though economically produced, Tomahawk has all the polish and professionalism of an "A" production. ~ Hal Erickson, All Movie Guide

Set in a rugged Northwest logging camp, this drama follows the exploits of the lumberjack who inherits the camp. For a long time, he has been courting a pretty young thing, and now that she believes him wealthy, she decides to finally accept his proposal. When she finds out that the company has many financial woes and that living in the woods takes guts and courage, she turns into a nagging shrew, constantly urging him to sell-out to a major corporation. Meanwhile his treacherous foreman, an agent of the bigger company, uses sabotage to change the stubborn camp owner's mind. A big forest fire flushes out the rest of the traitors and makes the wife realize that she loves her husband after all. ~ Sandra Brennan, All Movie Guide

A frequent cable-TV attraction since lapsing into public domain in 1976, The Big Cat is an excellent outdoor drama, beautifully lensed in Technicolor (though most current prints are printed in a washed-out 2-color process). Set in Utah in the darkest days of the Depression, the film stars Lon McCallister as Danny, the citified nephew of rancher Gil Hawks (Forrest Tucker). Danny is pretty useless as a ranch hand, but he proves his mettle when Hawks' life is endangered by a marauding cougar. Preston S. Foster delivers the film's best performance as a hirsute, stingy backwoodsman who spends most of his time tracking down the "Big Cat." Former juvenile performers Peggy Ann Garner, Skip Homeier and Gene Reynolds also register well in comparatively mature roles. The no-nonsense direction is by Phil Karlson, later a favorite of the auteur theorists. ~ Hal Erickson, All Movie Guide

In this detective story, a private eye must send his fiancee to prison as he truly believes that she was involved in a bank robbery. Unfortunately, she is innocent. Still she serves her time. Upon her release someone frames her for murder. The detective is in quite a quandary until the real criminal is found. The woman finally returns to her beloved private eye. ~ Sandra Brennan, All Movie Guide