Jo Gilbert Movies

Shades of "The Handy Housewife Helper" on The Honeymooners! Lamont (Demond Wilson) goes ballistic when he finds that the money he has been saving up for acting lessons has been squandered by his dad, Fred (Redd Foxx), who has purchased the "Watts franchise" for a kitchen appliance called the Whopper Chopper. Stuck with dozens of the useless utensils and with no prospect of selling any of them, Fred decides to exact revenge on the TV host who persuaded him to buy the Choppers in the first place. ~ Hal Erickson, All Movie Guide

This film is based on the novel Ratman's Notebooks, by Stephen Gilbert. Bruce Davison is Willard Stiles, a 27-year-old mama's boy whose repressions are bottled up inside and come to the fore in his nervous nail-biting. As one character describes Willard, "Willard is basically an extrovert, but it's all inside." Willard and his possessive invalid mother, Henrietta (Elsa Lanchester), live in thrall to Al Martin (Ernest Borgnine), the man who took over a foundry business after the death of Willard's father. Willard inwardly seethes but mostly stays in his run-down mansion with his mother, making friends with the rats that infest the place -- he even names them, Ben and Socrates. However, when Henrietta dies, things change. Al, in a rage, kills one of Willard's pet rats. Not only that, but Al also fires Willard from his job at the foundry. Losing his patience, Willard meets with his rat friends to exact his revenge for a lifetime of humiliation and neurosis. ~ Paul Brenner, All Movie Guide

Through a series of misunderstandings, Lucy (Lucille Ball) is assumed to be a notorious jewel thief called "The Red Flash" and is arrested by a zealous police lieutenant (Claude Akins). Assuming that she has been jailed merely for throwing a candy wrapper on the street, Lucy is not only surprised by the severity of her punishment, but also astonished when Mooney (Gale Gordon) and Mary Jane (Mary Jane Croft) show up with an elaborate scheme to spring her out of jail. Ere the day draws to a close, Mooney and Mary Jane have joined Lucy behind bars--as "accessories"! ~ Hal Erickson, All Movie Guide

The men behind America's first venture into space are honored in this drama that paid special emphasis on historical accuracy and obtained much input and assistance from the US Air Force. The story centers on an Air Force doctor who performs many detailed test to discover how the human body will respond to the rigors of space travel including its reactions to being ejected in a space capsule from 45,000 feet, to traveling 1,000 miles per hour in a rocket sled, and ascending to 100,000 feet in a balloon. His devoted wife supports him all the way even though he sometimes insists on using himself as a guinea pig. ~ Sandra Brennan, All Movie Guide

One critic has noted that The Prodigal was aptly titled, inasmuch as it was all too prodigal with the funds of the then-flagging MGM studios. In its retelling of the 22-verse Biblical story of the Prodigal Son, the film helpfully fills in the story details inconsiderately left out of the Old Testament. Edmond Purdon plays Micah, the wastrel son of Eli (Walter Hampden) who takes his share of his father's fortune and blows it all in wicked old Damascus. Micah's one redeeming feature is his unserving faithful in the Lord God Jehovah. Pagan princess Samarra (Lana Turner at her most giddily exotic) intends to seduce Micah into renouncing his faith, only to get stoned to death for her troubles. Nearly two hours pass before Micah returns home and the fatted calf is killed in his honor. If for nothing else, The Prodigal would be memorable for Lana Turner's pagan-ritual costume, which is little more than a glorified bikini. ~ Hal Erickson, All Movie Guide

Like so many other films that were once considered "lewd" and "scandalous", The French Line seems as harmless as Pollyanna when seen today. Essentially a remake of The Richest Girl in the World, the film stars Jane Russell as Mary Carson, an incredibly wealthy Texas oil heiress. Lucky in investments but unlucky in love, poor Mary can never keep a fiance: either they're fortune-hunters or they don't want to marry anyone so rich and powerful. Thus, while on an ocean voyage to France, Mary poses as the model of dress designer Annie Farrell (Mary McCarthy), hoping to attract a man who is interested in her for herself, and not her millions. That man turns out to be dashing stage star Pierre (Gilbert Roland), but there's many comic complications and misunderstandings before the happy ending. What shocked the censors in 1954 was Jane Russell's sizzling musical number "Lookin' for Trouble", in which she performed an uninhibited bump-and-grind while wearing nothing more than a seven-ounce glorified bikini. While Ms. Russell herself was offended by her skimpy costume, she saw nothing wrong with the dance itself, pointing out that she intended it as a parody of a "burleycue" number. The professional blue-noses disagreed, however: the film was condemned by the Catholic Legion of Decency and denied a Production Code Seal. Eventually, producer Howard Hughes got the Seal--along with a million dollars' worth of free publicity, which is what he intended all along. Filmed in 3D, The French Line is the film that was ballyhooed with the classically tasteless ad campaign "J.R. in 3D--It'll knock both your eyes out!" ~ Hal Erickson, All Movie Guide

At least half of the two-part Actors and Sin is well worth having. Part One, "Actor's Blood", is based on a Ben Hecht tale of theatrical intrigue. Edward G. Robinson plays a Barrymoresque Shakespearean actor whose obsessive control of the life and career of his actress-daughter Marsha Hunt results in disaster. Part Two, "Woman of Sin", is another Ben Hecht yarn, this one satirical in nature. Eddie Albert stars as a Hollywood agent who'd sell his Grandmother to represent the author of a sensationally sexy screenplay titled, yes, Woman of Sin. Much to Albert's surprise (but not ours), the author turns out to be a precocious 9-year-old girl, played by Hecht's own daughter Jenny. Of the two playlets, "Actor's Blood", though ripely melodramatic, scores best in the acting department. "Woman of Sin" is too arch and smug to be consistently funny, while Jenny Hecht is perhaps the greatest argument against nepotism in film history. Ostensibly directed by Ben Hecht (who also produced), Actors and Sin was largely helmed by cinematographer Lee Garmes. ~ Hal Erickson, All Movie Guide

June Allyson portrays real-life doctor Emily Dunning in this respectful biopic. Emily chooses a medical career despite turn-of-the-century prejudice against female physicians. The only job open to her is in a slum hospital in the Bowery, where she performs with courage and perseverance, exposing herself to the many deadly diseases which afflicted the poor in those pre-Penicillin days. Dr. Dunning's work brings her to the attention of the public, ultimately leading to an appointment on the staff at Bellevue Hospital--the first woman to hold such a job. Based on Emily Dunning's autobiography, This drama is slightly weakened by the fluctuating performance of June Allyson, though she wins over the audience in the very first scene by grimly slapping the face of a flirtatious intern. ~ Hal Erickson, All Movie Guide

Can it be that June Allyson is Too Young to Kiss in this bit of MGM fluff? Well, not really. Pianist Cynthia Potter (Allyson) is well into her 20s, but she's posing as a 14-year-old musical prodigy. It's part of her desperate effort to become a client of highly selective concert-promoter Eric Wainwright (Van Johnson), who is only hiring "young" performers. Wainwright falls for Cynthia's subterfuge, building a huge promotional campaign predicated upon his new protégé's "youth." He even adopts a fatherly attitude towards Cynthia, who would prefer that their relationship be a bit more intimate. Though it may seem to be a rehash of the 1943 comedy The Major and the Minor, Too Young to Kiss remains fresh and funny throughout, thanks to the script-writing know-how of Frances Goodrich and Albert Hackett. Ironically, Allyson was thirty-four when this film was shot. ~ Hal Erickson, All Movie Guide

Gene Autry is back in the saddle again, albeit North of the Border. Montana marshal Autry and another lawman pursue a bank robber into Canada. Teaming with a straight-arrow Mountie, Autry tracks down the criminal in the Canadian wilderness, taking time out once in a while to sing one of his host's national songs. Running 70 minutes, Gene Autry and the Mounties was promoted by Columbia Pictures as a western "special". While on location in Canada, the Autry unit decided to quickly make another film for next season's western schedule, and the result was Blue Canadian Rockies (52). ~ Hal Erickson, All Movie Guide

Blonde Dynamite was the 17th of Monogram/Allied Artists' 48 Bowery Boys entries. This time, the boys have transformed Louie's Sweet Shop into an escort bureau. Louie (Bernard Gorcey) has little to say on the matter, since he's on vacation and knows nothing about this new business enterprise. The boys' steadiest customers are a group of gorgeous ladies who are in the employ of a bank-robbery gang. The girls keep Slip (Leo Gorcey), Sach (Huntz Hall) and the others busy while their confederates dig a tunnel between the sweet shop and a neighboring bank. Gabe Marino (Gabe Dell), a bank employee, manages to alert the police, but it's lame-brained Sach who turns out (inadvertently, of course) to be the hero of the hour. One of the gun molls in Blonde Dynamite is Beverlee Crane, who in the 1930s was teamed with her twin sister Bettie Mae to deliver the "talking credits" for Hal Roach's Laurel & Hardy, Our Gang and Charley Chase comedies. ~ Hal Erickson, All Movie Guide

Though Humphrey Bogart is the official star of Knock on Any Door, the film is essentially a showcase for Columbia's newest young male discovery John Derek. The first production of Bogart's Santana company, the film casts Bogart as attorney Andrew Morton. A product of the slums, Morton is persuaded to take the case of underprivileged teenager Nick Romano (Derek), who has been arrested on a murder charge. Through flashbacks, Morton demonstrates that Romano is more a victim of society than a natural-born killer. Though this defense strategy does not have the desired result on the jury thanks to the badgering of DA Kernan (George Macready), Morton does manage to arouse sympathy for the plight of those trapped by birth and circumstance in a dead-end existence. As Nick Romano, John Derek would never be better, nor would ever again play a character who struck so responsive a chord with the audience. Nick's oft-repeated credo--"Live fast, die young, and leave a good-looking corpse"--became the clarion call for a generation of disenfranchised youth. Director Nicholas Ray would later expand on themes touched upon in Knock on a Any Door in his juvenile delinquent "chef d'oeuvre" Rebel without a Cause. Viewers are advised to watch for future TV personalities Cara Williams and Si Melton in uncredited minor roles. Knock on Any Door spawned a belated sequel in 1960, Let No Man Write My Epitaph. ~ Hal Erickson, All Movie Guide