Steven Geray

The most interesting aspect of The Swinger is the name of the character played by Ann-Margret: the former Ann Margaret Olsson essays the role of Kelly Olsson. A naive small-town girl, Kelly aspires to become a writer in the Big City. When her stories are rejected because they aren't exciting and provocative enough, she decides to do some hands-on research by posing as the titular "swinger." She is so successful at this subterfuge that Hefner-like publisher Anthony Franciosa makes it his mission in life to reform the "fallen" Kelly. Didn't they do this one in the 1930s as Theodora Goes Wild, with Irene Dunne and Melvyn Douglas? ~ Hal Erickson, All Movie Guide

The first person the audience sees in Ship of Fools is dwarf Michael Dunn, who speaks to viewers directly and acts as a Greek chorus throughout the film. It begins on the deck of an ocean liner travelling from Vera Cruz to Bremerhaven. The time is the 1930s, so close and yet so far from war. The cross-section of humanity on board includes ship's doctor Oscar Werner, Spanish political activist Simone Signoret, aging coquette Vivien Leigh, hedonistic baseball player Lee Marvin, philosophical Jew Heinz Ruhmann, a smattering of pro- and anti-Hitlerites (Jose Ferrer plays the nastiest and most vocal "pro") and young lovers George Segal and Elizabeth Ashley. Yes, it's Grand Hotel at sea, a feast for stargazers and an endurance test for those who aren't comfortable with non-stop speechmaking. Despite such lines as "What can the Nazis do? Kill all six million of us?," Ship of Fools manages to stay afloat throughout its 148 minutes. Michael Dunn was nominated for an Academy Award for his interlocutory characterization; the rest of the performances range from brilliant to merely filling up the room. Other Oscars were presented to cinematographer Ernest Lazslo and to the art-direction staff. Ship of Fools was adapted by Abby Mann from the novel by Katharine Ann Porter. ~ Hal Erickson, All Movie Guide

William "One Shot" Beaudine's companion piece to the equally nonsensical Billy the Kid vs. Dracula represents a memorable closing to the eccentric "Z"-movie auteur's amusing body of work. The hare-brained concept finds the legendary outlaw Jesse James (John Lupton) stumbling into the decrepit lair of Maria Frankenstein (Narda Onyx) -- not the daughter but the granddaughter of the infamous monster-making Baron. Maria is, of course, following in Grandpa's footsteps by creating a creature of her own, transplanting the dormant but still-intact brain of Frankenstein's original monster into the body of one of James' cohorts. The lumbering, homicidal monster -- imaginatively dubbed "Igor" -- begins terrorizing townsfolk until the inevitable showdown between living and undead gunslingers. Though not as flamboyantly awful as its predecessor (mainly due to the absence of John Carradine), this is still worth a look for trash-movie completists. ~ Cavett Binion, All Movie Guide

The Seaview is called upon to investigate a series of bizarre deaths in the North Sea. They find a Norwegian village living in fear, and a few people who aren't telling what they know, and a murderer lurking somewhere nearby. They follow a trail of clues that leads them to an aging research scientist (Steve Geray) and his one-time assistant (Richard Carlson), and their experiments with marine life, which have created catfish as big as whales. But their biggest worry concerns the other creatures that those experiments have loosed into the ocean. ~ Bruce Eder, All Movie Guide

In this comedy, a Yankee musician is working in Paris when he encounters a movie star chasing after her naughty French poodle Monsieur Cognac. The name is most apropos for the little doggy is quite the lush when it comes to booze. This suits the hard-drinking musician just fine and the two go out on a bender. Later the star and her father find the toasted twosome. The star begins falling in love with the musician. Despite her father's objections, the two get married. Unfortunately, Mr. Cognac accompanies them on the honeymoon. He becomes quite jealous of the woman's new husband and ruins their wedding night. Because she refuses to relinquish the dog, their new marriage is nearly destroyed. They separate until the husband manages to bring home Pink Poupee, a charming female poodle. Suddenly Mr. C forgets all about his jealousy. ~ Sandra Brennan, All Movie Guide

Dime with a Halo was designed in part as a showcase for MGM's new child actor Manuel Padilla, who was featured shortly afterward in the studio's The Young and the Brave (63) and as a regular on the Tarzan TV series. Director Boris Sagal transcends the cold-cash motives of Dime by fashioning a touching Mexican-based comedy centering around five street urchins. The oldest (Roger Mobley) leads the kids in stealing a dime from a church collection box; they bet this "windfall" on a horse race, using the winnings to jointly purchase a sweepstakes ticket. All their dreams of sudden luxury are dashed when they find they're too young to cash the ticket when it hits the jackpot. Manuel Padilla manages to steal focus from his formidable kiddie opposition, but Dime with a Halo didn't quite establish Padilla as the Mickey Rooney of the 1960s. ~ Hal Erickson, All Movie Guide

Mob boss Big Jahnchek (Peter Whitney) escapes Federal custody and makes a beeline for his brother Gregory (R. G. Armstrong), who has managed to bury his connection to Big Steve by changing his name to John Gregory and establishing a successful fleet of tuna boats. Motivating Big Steve's getaway is the fact that the $100,000 trust fund of Helen Gregory (Susan Seaforth), whom each brother has at one time or another claimed as his own daughter, is being mismanaged by crooked Franz Moray (Steven Geray). When Moray is murdered, Gregory is charged with the crime, and a disturbing Jahnchek family secret is in danger of being exposed. It is up to Perry Mason to clear Gregory in court and to provide a happy ending for those who truly deserve one. ~ Hal Erickson, All Movie Guide

Mob boss Nate Kestor (Steve Cochran) adds to the profits accrued by his popular burlesque house with sales of "imported" French brandy--which he manufactures himself in Chicago. Nate pulls off this deception with the help of the Marquise De Bouverais (Joanna Barnes), the wife of a famous and highly respected French cognac manufacturer (Steven Geray). If the Marquise refuses to play along, Nate will reveal to the world that she is really a former hootchy-kootchy dancer named Marcie McKuen--and if that isn't persuasive enough, Nate promises to kill both Marcie and De Bouverais if they try to escape his clutches. How will Elliot Ness (Robert Stack) manage to topple Kestor without putting Marcie's life in danger? This is the final episode of The Untouchables' second season. ~ Hal Erickson, All Movie Guide

This routine drama is helped by good acting and well-known stars like Rossano Brazzi as an unfaithful French husband, Deborah Kerr as his faithful English wife, and Maurice Chevalier as the uncle who goes to bat for his nephew's loosely held views of marriage. What does not help the story is the viewpoint that the husband is right and deserves to be forgiven. The setting starts out during World War II when Charles-Edouard (Brazzi), an air force pilot, falls in love with Grace (Kerr), the daughter of an English parliamentarian. The two marry and Grace gives birth to their son Sigi (Martin Stephens) nine months later. Nine years later, Grace discovers that her husband has cultivated a string of paramours when he was a war-zone pilot in Southeast Asia and North Africa. The two argue and split. And while Sigi at first appreciates the added attention he gets during the turmoil, he later has his doubts. Between his actions and Charles-Edouard's uncle, Grace does not stand a chance. ~ Eleanor Mannikka, All Movie Guide

Based on a novel by Francoise Sagan, A Certain Smile was a vehicle for Darryl F. Zanuck's latest protegee, Christine Carere. Parisian student Carere spats with her boyfriend Bradford Dillman, then impulsively agrees to accompany Dillman's worldly uncle Rossano Brazzi to the Riviera. At first thrilled at the prospect of an affair with the dashing Brazzi, Carere is disillusioned to discover that she is the latest in a long line of "diversions" for the old charmer. After a heart-to-heart with Brazzi's patient wife (Joan Fontaine), Christine returns to her boyfriend. The title song for A Certain Smile became a hit for Johnny Mathis, who sings the tune over the film's opening credits. ~ Hal Erickson, All Movie Guide

Stagecoach to Fury was one of several "pocket westerns" released through 20th Century-Fox's Regal Films subsidiary. The titular coach is robbed by Mexican bandits, who hold the passengers prisoner at a relay station. As both captors and captives nervously await the arrival of a gold shipment, the true natures of the passengers are slowly revealed. Realizing that he and his fellow passengers will be killed the moment the bandits get their hands on the gold, the cavalry captain (Forrest Tucker) tries to organize a united front against the villains. Director William Claxton was later a primary director of the TV series Bonanza and Little House on the Prairie. ~ Hal Erickson, All Movie Guide

A jewel thief is at large on the Riviera, and all evidence points to retired cat burglar Cary Grant. Escaping the law, Grant heads to the Cote D'Azur, where he is greeted with hostility by his old partners in crime. All of them had been pardoned due to their courageous activities in the wartime Resistance, and all are in danger of arrest thanks to this new crime wave. But Grant pleads innocence, and vows to find out who's been copying his distinctive style. With the reluctant aid of detective John Williams, Grant launches his investigation by keeping tabs on the wealthiest vacationers on the Riviera. One such person is heavily bejeweled Jessie Royce Landis, who is as brash and outspoken as her daughter Grace Kelly is quiet and demure. But "still waters run deep," as they say, and soon Kelly is amorously pursuing the far-from-resistant Grant. Part of Kelly's attraction to Grant is the possibility that he is the thief; the prospect of danger really turns this gal on. Being Cary Grant, of course, he can't possibly be guilty, which is proven in due time. But by film's end, it's obvious that Kelly has fallen hard for Grant, crook or no crook. Occasionally written off as a lesser Alfred Hitchcock film (did we really need that third-act fashion show?), To Catch a Thief is actually as enjoyable and engaging now as it was 40 years ago. Though the Riviera location photography is pleasing, our favorite scene takes place in a Paramount Studios mockup of a luxury hotel suite, where Grant and Kelly make love while a fireworks display orgasmically erupts outside their window. And who could forget the scene where Jessie Royce Landis disdainfully stubs out a cigarette in an expensive plate of eggs? Adapted by frequent Hitchcock collaborator John Michael Hayes from a novel by David Dodge To Catch a Thief won an Academy Award for cinematographer Robert Burks. ~ Hal Erickson, All Movie Guide