Wilton Graff Movies

Ronald Colman won an Academy Award for his portrayal of an off-the-beam actor in A Double Life. A beloved stage star, Anthony John (Colman), has problems with his private life due to his unpredictable outbursts of temper. This trait has already cost him his wife, Brita (Signe Hasso), and threatens to sabotage his career. Nonetheless, Anthony makes his peace with Brita, and the two actors star in a new Broadway staging of Othello. The play is a hit, running over 300 performances, but the pressures of portraying a man moved to murder by jealousy takes its toll on Anthony. In a fit of delirium, he strangles his casual mistress, Pat (Shelley Winters), but retains no memory of the awful crime. Press agent Bill Friend (Edmond O'Brien), unaware that Anthony is the killer, uses Pat's murder as publicity for Othello. Anthony becomes enraged at this cheap ploy, and attacks Friend. At this point, Anthony realizes that he has been living "a double life" and is in fact Pat's murderer. A Double Life was written for the screen by Ruth Gordon and Garson Kanin, who occasionally digress from the melodramatic plotline to include a few backstage inside jokes. ~ Hal Erickson, All Movie Guide

The 1954 musical remake of A Star is Born could have been titled A Star is Reborn, in that it represented the triumphal return to the screen of Judy Garland after a four-year absence. The remake adheres closely to the plotline of the 1937 original: An alcoholic film star, on his last professional legs, gives a career boost to a unknown aspiring actress. The two marry, whereupon her fame and fortune rises while his spirals sharply downward. Unable to accept this, the male star crawls deeper into the bottle. The wife tearfully decides to give up her own career to care for her husband. To spare her this fate, the husband chivalrously commits suicide. His wife is inconsolable at first, but is urged to go "on with the show" in memory of her late husband. In the original, Janet Gaynor played Esther Blodgett, who with no training or contacts came to Hollywood hoping for stardom. The remake, scripted by Moss Hart, is a shade more realistic: Garland's Esther, though far removed from fame, is a working professional singer/dancer when first we meet her. Both Gaynor and Garland are transformed from "Esther Blodgett" to "Vicki Lester" after being screen-tested, though Gaynor goes on to star in fluffy costume dramas while Garland more logically headlines big-budget musicals. The 1937 Star is Born costarred Fredric March as Norman Maine, Esther/Vicki's sponsor-cum-spouse. March patterned his performance after the tragic John Barrymore, reining in his emotions in favor of pure technique; James Mason's interpretation is more original, more emotional, and far more effective (who can forget the scene where Norman sobbingly overhears Vicki planning to give up her career for his sake?) As the studio's long-suffering publicist, the 1937 version's Lionel Stander is more abrasive and unpleasant than the 1954 version's introspective, intellectual Jack Carson; on the other hand, Adolphe Menjou and Charles Bickford are fairly evenly matched in the role of the studio head. Several important omissions are made in the remake. The 1937 Star is Born included Esther's indomitable old grandma (May Robson), a helpful assistant director (Andy Devine) and a soft-hearted landlord (Edgar Kennedy); all three characters are missing from the 1954 version, though elements of each can be found in the "best friend/severest critic" character played by Tommy Noonan. Wisely, both versions end with the grieving Vicki Lester coming out of her shell at a public gathering, greeting the audience with a proud, defiant "Good evening, everybody. This is Mrs. Norman Maine". Though directors William Wellman (1937 version) and George Cukor (1954 version) handle this finale in their own distinctive manners, the end result is equally effective emotionally. What truly sets the 1954 A Star is Born apart from other films of its ilk is its magnificent musical score by Harold Arlen and Ira Gershwin. The songs include The Man Who Got Away (brilliantly performed by Garland in one long take, sans dubbing), It's a New World, Somewhere There's a Someone, I Was Born in a Trunk, Lose That Long Face and Gotta Have Me Go With You. When originally previewed in 1954, the film ran well over three hours, thanks to the lengthy-and thoroughly disposable-Born in a Trunk number, added to the film as an afterthought without the approval or participation of director George Cukor. The Warner Bros. executives trimmed the film to 154 minutes, eliminating three top-rank musical numbers and several crucial expository sequences (including Norman's proposal to Vicki). At the instigation of the late film historian Ronald Haver, the full version was painstakingly restored in 1983, with outtakes and still photos bridging the "lost" footage. Though nominated in several categories, A Star is Born was left empty-handed at Academy Award time, an oversight that caused outrage then and still rankles Judy Garland fans to this day (Footnote: Judy Garland had previously played Vicki Lester in a 1942 Lux Radio Theatre adaptation of the original A Star is Born). ~ Hal Erickson, All Movie Guide

Botany teacher Norman Logan (Dick York) is surprised to find that his bank account is short 200 dollars. Reporting this loss as an error, Norman confronts officious clerk Mr. Tritt (Philip Coolidge), who insists that the bank never, but never, makes a mistake. To prove Tritt wrong, and to extract a personal vengeance, Norman decides to get his money back by way of a nocturnal robbery -- with the "dusty drawer" of the title figuring prominently in the outcome of the story. ~ Hal Erickson, All Movie Guide

Another Part Of The Forest begins some twenty years before the events of Lillian Hellman's play and movie The Little Foxes and shows how that film's Hubbard family became the ruthless, greedy lot they were. It's fifteen years after the Civil War, and the Hubbards dominate their small Southern town financially, if not socially; The patriarch of the family (Fredric March) sold salt for $8 a pound to the Confederate Army at a time when they needed it most. Edmond O'Brien and Dan Duryea play his sons, the former as mean as his father, the latter and younger one a weakling. When the elder child finds out that his father was responsible for the death of Southern troops during the war, he threatens to expose the truth unless the family fortune is placed in his hands. In the end, only Hubbard's wife (Florence Eldridge) stands by her husband during his inevitable fall, and she banishes her own children from their house. Brilliant acting by all, especially March, Duryea, and O'Brien, plus a sharp script, make this unrelentingly grim melodrama fascinating to watch. ~ Don Kaye, All Movie Guide

Blondie's Big Deal was the 24th entry in Columbia's popular "Blondie" series. Since the actors were getting a bit too long-in-tooth to be thoroughly convincing in their characterizations, Big Deal is for the most part played on a farcical level. This time around, Dagwood (Arthur Lake) invents a nonflammable paint, much to the delight of his boss Radcliffe (Jerome Cowan), who hopes to snag a lucrative contract. Dishonest competitors plan to sabotage Dag's invention, but Blondie (Penny Singleton) and neighborhood boy-genius Rollo (Alan Dinehart III) do a little detective work and save the day. Director Edward Bernds handles the material in the manner of his "Three Stooges" 2-reelers: At one point, Blondie is decorously tied to a chair by the villains, while at another juncture Dagwood causes an outsized slapstick explosion. Bernds' breezy approach may not have pleased diehard "Blondie" fans, but it turned out to be a much-needed booster shot for this flagging film series. ~ Hal Erickson, All Movie Guide

It doesn't take a nuclear scientist to figure out that Smith Ohrig, the character played by Robert Ryan in Caught, is a thinly disguised takeoff of Howard Hughes. But whereas Howard Hughes was merely paranoid and eccentric, Smith Ohrig is an all-out psycho. Impulsively marrying ambitious model Leonora Eames (Barbara Bel Geddes), Ohrig keeps the poor girl a virtual prisoner in his palatial mansion, tormenting her with twisted mind games while he continues his premarital playboy activities. Coming to the realization that wealth and creature comforts are no substitute for stability, Leonora takes a "normal" job in the offices of society doctor Larry Quinada (James Mason). Falling in love with her boss, Leonora nonetheless returns to Ohrig when he turns on his patented charm. Only an act of God (accelerated by Ohrig's hedonistic lifestyle) rescues Leonora from a life of lavish bondage. Billed as Max Opuls on the credits of Caught, director Max Ophuls manages to implant his own distinctive style upon what is essentially a slick Hollywood studio product. ~ Hal Erickson, All Movie Guide

Convicted stars Glenn Ford as a hotheaded young man convicted of manslaughter. Broderick Crawford plays a sympathetic warden (formerly a tough DA) who tries to help Ford adjust to prison life, eventually giving the lad responsibilities in the warden's office. Ford witnesses the killing of a stoolie by another convict (Millard Mitchell), but adheres to the prison "code" and refuses to talk, even though it means he will be accused of the killing. Mortally wounded by a guard in a subsequent fracas, the real murderer confesses and Ford escapes the electric chair--into the arms of the warden's daughter (Dorothy Malone), with whom he has fallen in love. Convicted was the third film version of Martin Flavin's 1929 stage play The Criminal Code. ~ Hal Erickson, All Movie Guide

Broadway producer Earl Carroll was a Ziegfeld-like entrepreneur who staged lavish revues featuring attractive young ladies. Carroll's annual "Vanities" provided story material for three Hollywood films: Murder at the Vanities (34), A Night at Earl Carroll's (40) and Earl Carroll Vanities (45). This last film was produced by Republic Pictures, a bread-and-butter studio specializing in Westerns and serials; Republic had made musicals before, but few of them were expensive enough to allow for lavish production numbers. Earl Carroll Vanities is likewise rather threadbare, though some of the individual musical highlights aren't bad. The plot, such as it is, concerns financially strapped nightclub owner Eve Arden, who finagles Earl Carroll into staging one of his revues at her club. ~ Hal Erickson, All Movie Guide

The unbreakable bond between a young man and his pet lion provides the action in this comedy. The trouble begins when the young man becomes a private in the army. Because he cannot bear to sell his lion Fagan to a mean-spirited circus trainer, the private asks his sergeant to help him find a good home for his pet. Naturally, the sergeant at first disbelieves his charge. He becomes a believer after the big kitty escapes from his cage and the Army must send out search parties to get him back. Thanks to Army publicity, a good home is found for the lion. Unfortunately, the loyal feline again escapes to search for his master. He causes chaos during troop maneuvers. ~ Sandra Brennan, All Movie Guide

In his first starring role in several years, Robert Armstrong essays a dual role in Gangs of the Waterfront. Armstrong is seen as ruthless gangster Dutch Malone, who happens to be the exact double of mild-mannered taxidermist Peter Winkly. Hoping to avenge the death of his brother at Dutch's hands, Winkly poses as the gang boss, with the covert assistance of DA Brady (William Forrest). One of the curiouser bits of casting finds Martin Kosleck, usually seen in wartime films as Joseph Goebbels, as an Italian gangsters. Filmgoers with long memories would note that Gangs of the Waterfront bore a resemblance to the 1935 Edward G. Robinson vehicle The Whole Town's Talking. ~ Hal Erickson, All Movie Guide

Peggy Donovan (Joyce Reynolds) inherits a tidy sum of ill-gotten gains from her gambler father. Fearing that her late father's partner means to do her harm to claim the money for himself, Peggy takes the loot and hides out in an exclusive girl's school. Here she decides that her money would be put to better use by donating it to the school's faculty. Ultimately, everyone does the "right thing," and Peggy finds lasting happiness in the arms of poor-but-honest gas jockey Barry Shepard (Ross Ford). The film's best lines go to Laura Elliot as a snotty student: Elliot went on to play the bespectacled murder victim of Robert Walker in Hitchcock's Strangers on a Train (1951). ~ Hal Erickson, All Movie Guide

High Conquest was a good example of the sort of "prestige" fare that lowly Monogram Pictures hoped to turn out on a regular basis in the postwar years. Adapted from a novel by James Ramsey Ullman, the story centers on Hugo Lannier (Warren Douglas), an American youth who makes it his mission in life to conquer the Matterhorn in Switzerland. Hugo's father had been killed years earlier in a similar attempt, and our hero hopes to honor his father's memory by completing the task. But first, Hugo must overcome his intense dislike of the Alps and his fear of heights-not to mention his fear of fear itself. Top-billed Anna Lee plays Marie, a Swiss girl who believes in Hugo even when he doesn't. Genuine location footage of the Matterhorn is deftly blended with some surprisingly convincing studio mockups. ~ Hal Erickson, All Movie Guide

With a little extra effort, Columbia's Key Witness might have been a model B picture. John Beal plays inventor Milton Higby, whose treacherous ex-girlfriend is mysteriously murdered. As the number one suspect, Higby is in the doghouse witht he Law. Fortunately, it seems as though someone witnessed the crime; less fortunately, that someone has apparently disappeared from the face of the earth. Higby also tries to disappear by disguising himself as a bum, which only adds to his already mounting problems. So little critical attention was paid to Columbia's B product in the late 1940s that one reviewer labelled Key Witness costar Trudy Marshall as a "newcomer", even though she'd been in pictures since 1942 (Marshall, incidentally, is the mother of 1970s star Deborah Raffin). ~ Hal Erickson, All Movie Guide