William E. Green Movies

A gang of thieves has been prowling around local bars and stealing payroll checks from inebriated employees, then forging the endorsements. Searching for the outlaws, Friday (Jack Webb) and Smith (Ben Alexander) get a rather grim break when an automobile accident kills one of the suspects. Unnerved by this tragedy, the dead man's partner is suddenly willing to rat on the gang's higher-ups. This episode was originally scheduled to air on March 13, 1958. ~ Hal Erickson, All Movie Guide

Kirk Douglas plays the corrupt and amoral head of a major film studio in this Hollywood drama, often regarded as one of the film's industry's most interesting glimpses at itself. Actress Gloria Lorrison (Lana Turner), director Fred Amiel (Barry Sullivan), and screenwriter James Lee Bartlow (Dick Powell) are invited to a meeting at a Hollywood sound stage at the request of producer Harry Pebbel (Walter Pidgeon). Pebbel is working with studio chief Jonathan Shields (Kirk Douglas), whose studio is in financial trouble and needs a blockbuster hit. If these three names will sign to a new project, he's convinced that there's no way he can lose. But there's a rub -- all three of these Hollywood heavyweights hate Shields's guts. He dumped Gloria for another woman, he double-crossed Fred out of a plum directing assignment, and he was responsible for the death of James Lee's wife. All three are ready to tell Pebbel to forget it, until they hear the voice of Shields, calling from Europe to discuss the project by phone. The Bad and the Beautiful won five Academy Awards, including Best Screenplay and Best Supporting Actress for Gloria Grahame. ~ Mark Deming, All Movie Guide

In this adventure-fantasy, an American rocket ship crashes upon a remote island in the Pacific and an Air Force pilot and a scientist are assigned to find it. They get to the island and suddenly discover that the island is populated by a myriad of extinct animals, including dinosaurs. Fortunately, there is an island girl around to help the handsome captain and his crew recover important pieces of their craft and get back home. Some of this film is comprised of clips from Rocketship X-M and The Terror of Tiny Town. ~ Sandra Brennan, All Movie Guide

A Woman of Distinction serves as a tailor-made vehicle for Rosalind Russell. The star is cast as Susan Middlecott, a highly respected college dean. As can be expected, Susan is too busy for romance -- at least until handsome professor Alec Stevenson (Ray Milland) enters the picture. At first, the dean and the prof are thrown together by the overzealous machinations of a press agent, and they're none too pleased about it. No matter how hard they try to keep their distance from each other, Susan and Alec constantly find themselves in embarrassing situations in full view of the public. It takes the behind-the-scenes maneuvers of Susan's puckish papa (Edmund Gwenn) to straighten things out. Appearing in unbilled cameos are Lucille Ball as herself, and Ball's future TV cohort Gale Gordon as a railroad ticket agent. ~ Hal Erickson, All Movie Guide

Faith Domergue, the latest of Howard Hughes' protegees, made her film debut in 1950's Where Danger Lives. Domergue plays Margo Lannington the wife of Frederick Lannington (Claude Rains), an elderly millionaire possessed of a sadistic streak. Robert Mitchum co-stars as Jeff Cameron, a poor soul who falls in love with Margo without knowing that she's married. During a violent confrontation with the jealous Frederick, Cameron knocks the older man out and stumbles out of the room. Upon his return, he discovers that Frederick is dead. Margo had smothered her husband during Cameron's absence, but she insists that Cameron is the killer. The desperate lovers flee to Mexico, where Cameron at long last discovers that his travelling companion is more than a little unhinged. Masterfully directed by John Farrow, Where Danger Lives might have been one of the classic "film noirs," were it not for the acting deficiencies of Faith Domergue, who flounders in a role that Jane Greer could have played blindfolded. ~ Hal Erickson, All Movie Guide

Between Midnight and Dawn is a solid, no-frills detective drama from the Columbia studio mills. Mark Stevens and Edmond O'Brien star as police officers Barnes and Purvis, who tool around in their prowl car in the wee hours of the morning. Vengeful gangster Ritchie Garris (Donald Buka) would like nothing better than to get Barnes and Purvis out of his hair, especially after breaking out of jail. In a thrill-packed climax, Garris makes a desperate escape using a little kid as a shield, while Purvis tries to second-guess the homicidal gangster. As Kate Mallory, Gale Storm has little to do except serve as the bone of romantic contention between the two male protagonists. Curiously, Storm doesn't get to sing, though supporting actress Gale Robbins does--three times, in fact. ~ Hal Erickson, All Movie Guide

Spencer Tracy received an Oscar nomination for his performance in this classic comedy. Stanley T. Banks (Tracy) is a securely middle-class lawyer whose daughter Kay (Elizabeth Taylor) announces that she's going to marry her beau Buckley Dunstan (Don Taylor). From that point on, everything in Stanley's life is turned upside down. His wife Ellie (Joan Bennett) wants Kay to have the kind of formal wedding that she and Stanley never had, and between meeting his soon-to-be in-laws, the socially prominent Herbert and Doris Dunstan (Moroni Olsen and Billie Burke), his man-to-man talk with the groom, hosting the engagement party, financing the increasingly lavish wedding, and wondering if Kay and Buckley will resolve their differences before arriving at the altar, Stanley barely has time to deal with his own considerable anxieties about his advancing age and how his "little girl" became a grown woman. Director Vincente Minnelli reunited with the principal cast a year later for a sequel, Father's Little Dividend; and the movie was remade in 1991 with Steve Martin and Diane Keaton. ~ Mark Deming, All Movie Guide

This comedy is based on the enduring radio series and chronicles the attempts of an airplane riveter to find a better paying, less physically taxing job. Chester A. Riley gets his chance when his employer's son falls in love with Riley's daughter. Wanting to make her father happy, the daughter, who does not really love the boss's son, agrees to be his wife if her father can be promoted to an executive. This happens and the reluctant but honorable young woman prepares to become a bride until Riley finds out and sets things right. ~ Sandra Brennan, All Movie Guide

Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City." ~ Bruce Eder, All Movie Guide