Roy Gordon Movies

This lavishly produced, big-budget comedy (it cost $20 million in 1964 dollars) stars Shirley MacLaine as Louisa, a widow who is worth $200 million dollars. However, she's convinced that her fortune is cursed, and she wants to give all her money to the IRS. As she explains her sad tale to her psychiatrist, Dr. Stephanson (Robert Cummings), it seems that when Louisa was young she had the choice of marrying rich playboy Leonard Crawley (Dean Martin) or poor but decent Edgar Hopper (Dick Van Dyke). She chose Edgar, but soon he became obsessed with providing a fine home and fortune for her; he got rich but worked himself to death in the process. Despondent, Louisa flies to Paris, where she strikes up a romance with expatriate artist Larry Flint (Paul Newman). When Larry invents a machine that creates paintings based on sounds, he becomes wealthy and famous -- and dies. Louisa returns to America, where she figures to break her streak by marrying Rod (Robert Mitchum), a business tycoon who already has lots of money. He resolves to take life easier and becomes a farmer, only to die in a strange accident with a bull. Louisa is drowning her sorrows one night at a sleazy night spot when she falls for second rate entertainer Jerry (Gene Kelly). They marry, and a now-wealthy Jerry develops a relaxed, carefree quality to his act that makes him a huge star, which leads to his being crushed by a mob of his biggest fans. What a Way to Go! boasted a screenplay by Betty Comdon and Adolph Green that featured many amusing film parodies and a score by Nelson Riddle; it also marked the final screen appearance of comic actress Margaret Dumont, best remembered as Groucho Marx's straight woman in several films. ~ Mark Deming, Rovi

Scientist Alex March (John Agar) is working on developing what he hopes will be a new, non-lethal form of nerve gas -- but following an accident in his lab, he discovers that not only is the gas deadly, but also that it has invaded his entire body, and his touch is instantly fatal to any other living thing. He also realizes that the only thing keeping him alive is the partial immunity that he has developed over the course of months of work, which will soon wear off. He goes into hiding in his employer's home, hoping that a cure can be found, but he's already begun to go mad, tormented by the deaths he's caused and the mounting pain as the gas begins to affect him. Finally, the gas transforms him into a scaly, misshapen creature (vaguely resembling the Lizard from Marvel Comics, who was also, interestingly, a stricken research chemist). He goes on a rampage through suburban Los Angeles while the police hunt for him, and his fiancée (Paula Raymond) desperately hopes that he'll come to his senses long enough to surrender and allow himself to be confined to a hospital. ~ Bruce Eder, Rovi

This goofy but entertaining horror cheapie from producer-director Roger Corman and company involves the efforts of a questionable scientist working for cosmetics magnate Susan Cabot, who is developing a new rejuvenating beauty cream derived from an enzyme secreted by wasps, intended to make women look eternally youthful. A vain woman obsessed with restoring her lost beauty, Cabot insists on being the first test subject. The solution proves remarkably effective at first, transforming her into a sultry raven-haired vixen...until she begins to take on the predatory traits of a giant female wasp, setting out on a nocturnal killing spree. Originally double-billed with The Beast from Haunted Cave, this cheesy monster mash inspired the less-amusing Leech Woman and was later remade for 1980s audiences (i.e., with a higher sex-and-gore quotient) as Evil Spawn. ~ Cavett Binion, Rovi

Attack of the 50 Foot Woman may well be one of the worst science-fiction films of all time, but that's not to say that it isn't thoroughly enjoyable. Allison Hayes achieved screen immortality as Nancy Archer, the wealthy, dipsomaniac wife of shameless philanderer Harry Archer (William Hudson). When she witnesses the crash landing of a alien spaceship -- whose occupant is a 30-foot giant, dressed in the manner of a medieval Frenchmen! -- Nancy goes to the local sheriff (George Douglas) with her story, only to be laughed off as a drunken crank. Even the local TV anchorman makes cruel fun of Nancy on his nightly newscast. Meanwhile, hubby Harry is making whoopee at a roadhouse with his latest tootsie, Honey Parker (Yvette Vickers). Not long afterward, Nancy, who's been exposed to the radiation of the spaceship, begins to feel queasy. Within a few days, she has grown to the height of 50 feet and is lumbering around the countryside clad only in a gigantic towel, smashing houses and trees in search of her faithless husband ("HARRY-HARRY!!!") Hilarious in its ineptitude (the special effects are particularly shoddy), Attack of the 50 Foot Woman is impossible to dislike, which cannot be said of its slicker but less entertaining 1993 cable-TV remake (with Darryl Hannah in the title role). ~ Hal Erickson, Rovi

In this drama, a Korean war veteran, a victim of brainwashing while he was a POW, finally goes back to his home in Washington, DC, where he resumes his job at a public relations-opinion research firm. He soon discovers that his company is being run by communists after his partner mysteriously died. Now pro-communist propaganda seems to be their primary business. To stop them, the vet begins cooperating in a full-scale Senate investigation. ~ Sandra Brennan, Rovi

Republic's The Unearthly was originally released on a double bill with The Beginning of the End. John Carradine chews the scenery as Professor Conway, who claims to have discovered a gland which enables his patients to live forever. Alas, most of Conway's human experiments are failures, left to scream and gibber in the doctor's cellar. His latest "volunteer", a beautiful neurotic named Grace (Allison Hayes), arouses Conway's libido, and as a result he is hesitant to operate upon her; the same does not apply to another patient (Sally Todd), whom Conway inadvertently transforms into a nonagenarian. Fortunately, a police officer (Myron Healey) posing as an escaped convict manages to put an end to Conway's unearthly experiments. Harry Thomas' makeup work on Dr. Conway's hideously deformed human guinea pigs is the only worthwhile aspect of The Unearthly. Tor Johnson makes another of his appearances as mute monstrosity Lobo. ~ Hal Erickson, Rovi

This little film noir is freely adapted from James M. Cain's novel Love's Lovely Counterfeit, the story of a gangster working for a powerful Don who is fighting to retain control of the city's criminal activities when an honest mayoral candidate launches a strong anti-crime campaign. In a desperate attempt to derail his career, the Don assigns the hood to go digging for any dirt that can be used against the troublesome candidate. He finds some, but during the investigation he has fallen in love with the candidate's beautiful red-headed secretary and ends up double-crossing his boss. ~ Sandra Brennan, Rovi

The Gun That Won the West was, of course, the Springfield Rifle, the "central character" in this inexpensive Columbia western. The plot concerns the efforts of the War Department to build up a chain of defense posts to protect railroad workers from Indian attacks. Dennis Morgan stars as real-life frontier scout Jim Bridger, who guides the Army through Sioux Territory. Though Bridger is a friend of Sioux chief Red Cloud (Robert Bice), there's no telling what might happen should the railroad men be left at the mercy of Red Cloud's duplicitous second-in-command, an Indian brave known as Afraid-of-Horses (Michael Morgan). With the aid of the newly developed Springfield, Bridger and his cohort Jack Gaines (Richard Denning) are able to keep the peace. In the tradition of previous Sam Katzman productions, a goodly portion of The Gun That Won the West is comprised of stock footage from previous westerns. ~ Hal Erickson, Rovi

Mr. Dean's body is found face down in the fireplace, his features burned beyond recognition. Detectives Patrick (Paul Langton) and Rawley (Robert Shayne) arrest nightclub-singer Eden Lane (Barbara Payton) and she is convicted of the crime. On the way to prison, Eden sees a man through the train window, identifying him as the murderer, and Patrick and Eden jump from the train to search for the man. In a series of plot twists, the murderer is found, and Eden and Patrick are reunited. Directer Edgar G. Ulmer uses flashbacks and elliptical editing to good effect, but the film lacks any strong visual or narrative center. Barbara Peyton delivers a great performance as the ambiguous, mysterious femme-fatale. While still of some interest, Murder is My Beat lacks the power and grim vision of Ulmer's bleak gem, Detour. ~ Linda Rasmussen, Rovi

Filmed on location at Montana's Glacier National Park, Cattle Queen of Montana makes excellent use of the diverse talents of Barbara Stanwyck and Ronald Reagan. Stanwyck is cast as Sierra Nevada Jones, who hopes to stake her claim in the cattle business despite opposition from hostile land barons. She is helped along by government agent Farrell, even though he's officially on hand to find out who's been inciting the local Indian tribes into attacking the whites. Lance Fuller delivers a well-balanced performance as Colorados, a college-educated Indian chief who hopes to bring peace to the land. Long a fixture of TV's Late Late Shows, Cattle Queen of Montana was briefly reissued theatrically when Ronald Reagan was elected president in 1980. ~ Hal Erickson, Rovi

Historically important as the first CinemaScope feature film, 20th Century-Fox's The Robe is fine dramatic entertainment in its own right. Based on the best-selling novel by Lloyd C. Douglas, the film stars Richard Burton as the wastrelly Roman tribune who is assigned by a weary Pontius Pilate (Richard Boone, who spends the whole of his single scene washing his hands) to supervise the crucifixion of Christ. After the Seven Last Words, the jaded Burton wins Christ's robe in a dice game. Gradually, the mystical influence of the holy garment transforms Burton from a roistering cynic into a True Believer--at the cost of his own life, which he willingly gives up in the service of his Lord. Also starring in The Robe are Jean Simmons as Burton's pious childhood sweetheart, Victor Mature as his Christian-convert slave Demetrius (an excellent performance--in fact, Mature is more believable than Burton!), Michael Rennie as the disciple Peter, and Jay Robinson as the raving Emperor Caligula. Mature, Rennie and Robinson would appear in the 1954 sequel to The Robe, the hurriedly assembled Demetrius and the Gladiators. Watch and listen for the unbilled contributions of Michael Ansara as Judas and Cameron Mitchell as the voice of Jesus. The film won three Academy Awards, and a special Oscar bestowed upon Fox for the development of CinemaScope. For many years, the TV prints of the Robe were struck from the "flat," standard-ratio version shot simultaneously with the widescreen version. Only recently has the CinemaScope The Robe been made available to cable TV (shown in "letterbox" format to allow home viewers the full picture). ~ Hal Erickson, Rovi

This tuneful biography of operatic soprano Grace Moore begins as she prepares to perform on opening night. While awaiting her entrance cue, she reflects upon her life and the sequence of events that led her from a humble childhood in Tennessee to becoming one of the brightest stars in the opera world. Songs include "The Kiss Waltz," "Remember," "I Wish I Could Shimmy Like My Sister Kate" and "La Boheme." ~ Sandra Brennan, Rovi

This sixth entry in the Crosby-Hope-Lamour "Road" series was the first (and last) in Technicolor. This time, Bing Crosby and Bob Hope play George Cochran and Harold Gridley, American vaudevillians stranded in Australia. To avoid a dual shotgun wedding, George and Harold sign on as deep-sea divers for sinister South-Sea-island prince Ken Arok (Murvyn Vye). After a contretemps with an octopus (courtesy of stock footage from Reap the Wild Wind), our heroes sail to the prince's Balinese homeland, where they meet and fall in love with gorgeous Princess Lalah (Dorothy Lamour). Though Lalah favors George, she feels obligated to Harold, because he resembles her childhood best friend -- a chimpanzee (this must be seen to be believed). When Ken Arok attempts to usurp Lalah's throne, she and the boys escape to a tropical island, where they meet the inevitable slapstick-comedy gorilla. More adventures await the intrepid trio on another island, this one dominated by an active volcano. Who gets the girl in this one? A hint: the loser tries to physically prevent the "The End" title from flashing on the screen during the final fadeout. Though not as fresh and spontaneous as earlier "Road" endeavors, Road to Bali has its fair share of non sequitur gags, inside jokes and unbilled guest appearances (including Martin and Lewis, Bing's brother Bob Crosby, Humphrey Bogart and Jane Russell). Best bit: when Crosby feels a song coming on, Hope turns to the camera and hisses "He's gonna sing, folks. Now's the time to go and get your popcorn." ~ Hal Erickson, Rovi