Edward Ashley Movies

In this horror film, an evil magician creates a wax display of famous monsters and murderers and invites a group of unsuspecting young college students to view the collection. However, when the kids are trapped in the deadly displays, one-by-one they soon discover that the wax models are more than they appear to be. ~ Iotis Erlewine, Rovi

This spoof makes fun of a certain famous German shepherd movie star from the 1920s. The mayhem begins when the head honcho of a financially struggling studio turns a lost dog into a legend. The story features a number of old stars making cameo appearances. ~ Sandra Brennan, Rovi

James Clavell incorporated a few of his own experiences as a British POW in his novel King Rat. Bryan Forbes' film version stars George Segal as the mastermind of all black market operations in a Japanese prison camp. He is called "King Rat" because of his breeding of rodents to serve as food for his emaciated fellow prisoners; the nickname also alludes to Segal's shifty personality. British officer James Fox helps Segal expand his operation to include trading with the Japanese officers. Though on surface level a thoroughly selfish sort, Segal saves the ailing Fox's life by wangling precious antibiotics from the guards. ~ Hal Erickson, Rovi

Bret (James Garner) is hired by pretty Connie Coleman to protect her ranch's cattle drive to Abilene. While our hero has his hands full with Indians and such, poor Connie sells her herd for several thousand dollars--in counterfeit money. None too pleased that all his work is for naught, Bret sets about to catch the counterfeiter and make him fork over some genuine greenbacks. And yes, that timid, somewhat chubby youngster playing Connie's brother is indeed a 23-year-old Robert Redford. ~ Hal Erickson, Rovi

The Cartwrights play host to former big game hunter Lord Marion Dunsford (Edward Ashley) and his wife Lady Beatrice (Hazel Court). Having grown to abhor violence and bloodshed, Dunsford is now an object of contempt and ridicule to his wife, who prefers the company of "real men" like Adam Cartwright. Jealous over Beatrice's growing attraction to Adam, Dunsford is goaded into one last-and potentially fatal-hunting expedition. Also appearing in this Bonanza episode from March 26, 1960 is Bert Freed as Simon Belcher. "The Last Trophy" was written by Bill S. Ballinger. ~ Hal Erickson, Rovi

James Garner stars as WWII hero Major William Darby in this characteristically gusty William Wellman combat film. Darby organizes a highly-trained group of rangers, to be deployed in behind-the-lines activities in Italy and Northern Africa. The first portion of the film details the training, with time out for a few comic and romantic interludes; the second part shows Darby's Rangers in full, ferocious action. In addition to Garner, Warner Bros. used Darby's Rangers to spotlight another of its TV stars, Edd "Kookie" Byrnes; Bill Wellman Jr. also shows up in the supporting role of Eli Clatworthy. The film was adapted from the book by Major James Altieri. ~ Hal Erickson, Rovi

Elephant Walk was several weeks into production when the film's original leading lady, Vivien Leigh, was replaced by Elizabeth Taylor (you can still see Leigh in a few long shots). Based on a novel by Robert Standish, the film casts Taylor as Ruth Wiley, the new bride of solemn plantation owner John Wiley (Peter Finch). At first thrilled at the prospect of living in the wilds of Ceylon, Ruth rapidly becomes a beautiful bird in a gilded cage. When American overseer Dick Carver (Dana Andrews) arrives on the scene, Ruth falls in love. Before she can leave her husband, though, the region is devastated by cholera. Making things worse, the local elephants go on a rampage, destroying her husband's mansion, which his father had maliciously built in the middle of the pachyderm's ancient right of way. Fraught with sexual symbolism, Elephant Walk works on a high-gloss soap opera level. The climactic stampede, however, is disappointingly filmed on a studio interior set, robbing what should have been a rousing climax of much of its credibility. ~ Hal Erickson, Rovi

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, Rovi

The "mermaids" are really tribal pearl divers in this diverting Tarzan adventure. Their livelihood is threatened by an evil white trader (Fernando Wagner), who sets himself up as a "god." With the help of lovely diver Linda Christian (later Mrs. Tyrone Power), Tarzan defeats the wicked despot, but not before several underwater battles, not the least of which involves an octopus. If the jungle settings of Tarzan and the Mermaids don't look particularly African, that's because the film was shot at the Churubusco Studios in Mexico. Mermaids represents the final appearance of Johnny Weissmuller as Tarzan. ~ Hal Erickson, Rovi

Barbara Stanwyck headlines this romantic tearjerker as a free-spirited concert pianist dying of tuberculosis. She checks into a posh Alpine sanitarium and there falls in love with her suave and gentle doctor (David Niven). The poor physician has his hands full trying to keep the energetic Stanwyck quiet so her body can rest. She tries, but when the fellow patient she befriended dies, she becomes afraid of her own death and flees to have a crazy affair with a race car driver. Together they tear across Europe until she becomes weak and must return to the sanitarium for the tragic conclusion. ~ Sandra Brennan, Rovi

This drama is an updated version of Ulmer's 1944 film Bluebeard. It is set in New York and follows the exploits of an eccentric Parisian painter who has come to New York to escape a controversy surrounding his work. The trouble stems when the model he has used in all his work is found floating dead in the Seine. Later, his New York model is also found dead. When a second model is also found dead, her sister impersonates a model to prove his guilt. Instead she falls in love with him and helps to clear his name. (Interestingly, in the original, he was the killer.) ~ Sandra Brennan, Rovi

The moody mystery melodrama Nocturne was produced by longtime Alfred Hitchcock associate Joan Harrison. The film wastes no time getting started, with a caddish Hollywood composer (Edward Ashley) dropping dead right after the opening credits. The police think it's a suicide, but maverick lieutenent Joe Warne (George Raft) suspects foul play. Checking around, Warne discovers that the dead man had broken at least ten female hearts in the past few years, providing a motive for murder for all ten. The principal suspect is Frances Ransom (Lynn Bari), who may or may not have been avenging her sister, nightclub thrush Carol Page (Virginia Huston). Pursuing the case with such dogged diligence that he's eventually tossed off the police force, Warne nonetheless refuses to give up, and by film's end he has collared the murderer. It wouldn't be fair to reveal the killer's identity, except to note that the actor in question went on to quite a different career at Universal Pictures. Like the previous RKO George Raft vehicle Johnny Angel, Nocturne was a box-office bonanza, posting a then-impressive profit of $568,000. ~ Hal Erickson, Rovi

In this comedy, a slightly addled young advertising executive works for his father's radio-advertising agency. His first job is to hire a famous big-game hunter for an upcoming show. Unfortunately, the man he chooses proves to be a fake and mayhem ensues. ~ Sandra Brennan, Rovi