Virginia Gregg Movies

Though Alfred Hitchcock's Notorious was produced by David O. Selznick's Vanguard Films, Selznick himself had little to do with the production, which undoubtedly pleased the highly independent Hitchcock. Ingrid Bergman plays Alicia Huberman, who goes to hell in a handbasket after her father, an accused WWII traitor, commits suicide. American secret agent Devlin (Cary Grant) is ordered to enlist the libidinous Alicia's aid in trapping Alexander Sebastian (Claude Rains), the head of a Brazilian neo-Nazi group. Openly contemptuous of Alicia despite her loyalty to the American cause, Devlin calmly instructs her to woo and wed Sebastian, so that that good guys will have an "inside woman" to monitor the Nazi chieftain's activities. It is only after Alicia and Sebastian are married that Devlin admits to himself that he's fallen in love with her. The "MacGuffin" in this case is a cache of uranium ore, hidden somewhere on Sebastian's estate. Upon discovering that his wife is a spy, Sebastian balks at eliminating her until ordered to do so by his virago of a mother (Madame Konstantin). Tension mounts to a fever pitch as Devlin, a day late and several dollars short, strives to rescue Alicia from Sebastian's homicidal designs. Of the several standout sequences, the film's highlight is an extended love scene between Alicia and Devlin, which manages to ignite the screen while still remaining scrupulously within the edicts of the Production Code. In later years, Hitchcock never tired of relating the story of how he and screenwriter Ben Hecht (who was nominated for an Oscar) fell under the scrutiny of the FBI after electing to use uranium as a plot device -- this before the bombing of Hiroshima and Nagasaki. A huge moneymaker for everyone concerned, Notorious remains one of Hitchcock's best espionage melodramas. In 1992, Notorious was remade for cable television; it goes without saying that the original is vastly superior. ~ Hal Erickson, Rovi

This riveting 1947 drama, regarded by many as the greatest boxing movie of all time, centers on a former pugilist who looks back on his life in and out of the ring and realizes that self-respect is a more important prize than winning. John Garfield is Charlie Davis, a former boxing champion who began fighting in order to save himself and his mother from poverty after his father was killed in a mob-related bombing. William Conrad plays Quinn, a veteran boxer-turned-trainer who discovers that Davis has the potential to be a professional fighter. Eager to take on all contenders, Davis eventually defeats the world champion, but winning has cost him more than he bargained for. He falls in with the mob and takes to a life of easy women and plentiful booze, winning easy bouts with second-rate opponents. In the end, Davis realizes the error of his ways -- but is it too late? With all the odds against him, and knowing that the fight has already been fixed, Davis is forced to make the choice between what's expected of him and what he expects of himself. The fight sequences were filmed on roller skates with a hand-held camera, adding a realism that strengthens the film's verisimilitude. ~ Don Kaye, Rovi

This "B" effort from the 20th Century-Fox stable stars John Emery and Tamara Geva as John Newberry and Maria Ivar, a pair of quarrelsome stage stars. Realizing that their constant bickering is ruining their professional and personal lives, John and Maria separately consult psychiatrists Harold Matson (Leif Erickson) and Susan Nash (Virginia Gregg). To hide the fact that they're seeking therapy, John and Maria pretend that Harold and Suan are old school friends. It doesn't take long before the psychiatrists are arguing with each other, thereby "curing" John and Maria. Director Ray McCarey may have been the brother of Leo McCarey, but Ray's The Gay Intruders isn't in the same league as Leo's hilarious marital comedy The Awful Truth. ~ Hal Erickson, Rovi

Sgt. Friday (Jack Webb) is invited to deliver a speech before a high school assembly, detailing the pitfalls of drug addiction. Ironically, once the speech is over, Friday must exercise his authority and arrest a baby-faced young dope addict (played by a decidedly pre-Adam 12 Martin Milner. Based on a radio episode first heard on April 19, 1951, this version marks the only TV appearance of Joe Friday's mother, enacted by Helen Kleeb (who was all of thirteen years older than Jack Webb!) ~ Hal Erickson, Rovi

In this boxing drama, a deaf-mute prizefighter whose career is on the rise falls in love with a gold digging singer who only loves him for his potential earnings. He is also loved by a wholesome journalist who loves him for himself. It is she that helps him get the operation that restores his hearing. Unfortunately, upon finally figuring out that it is she who really loves him, the fighter again loses his hearing during a championship bout. ~ Sandra Brennan, Rovi

Joe (Jack Webb) and Frank (Ben Alexander) are assigned to probe the mysterious kidnapping of three infants in as many weeks, all of whom have been returned unharmed. Despite setting an elaborate trap involving undercover policewomen and "decoy" baby dolls, a fourth child vanishes. After dismissing one nervous suspect who insists upon turning herself in to prove that she isn't a kidnapper, the two detectives finally resolve the situation by investigating the home of another woman who has no children--but plenty of baby clothes. This episode is based on the Dragnet radio presentation of May 29, 1952. ~ Hal Erickson, Rovi

In the conclusion of a two-part story, Friday (Jack Webb) and Smith (Ben Alexander) rush to the small sanitarium where hoodlum Gus Valentine, recuperating from two previous attempts on his life, has been shot and killed. Normally, this would be a case of "good riddance to bad rubbish"--except that an innocent nurse has also been killed in the crossfire. The trail of clues leads the detectives to the girlfriend (Virginia Gregg) of one of the triggermen. In the episode's highlight, important evidence is provided by an elderly witness to Valentine's murder, played by the ever-venerable Burt Mustin. This episode is based on the Dragnet radio broadcast of March 30, 1950. ~ Hal Erickson, Rovi

Susan Hayward pulls out all the stops, and then some, in this cinemadaptation of singer Lillian Roth's autobiography I'll Cry Tomorrow. In as harshly realistic a manner as possible in the still censor-dominated Hollywood of 1955, the film recounts Roth's rise to fame, her precipitous fall and her tearful comeback. The fact that Roth loves not wisely but too well is only part of the problem (only two of her eight husbands are portrayed in the film); contributing factors to her self-destruction also included her witchlike "stage mother" (Jo Van Fleet) and the pressures of fame and fortune. The principal reason for Roth's fall from the height of fame to the depths of squalor and despair is booze -- at least until she begins to pull herself together with the help of Alcoholics-Anonymous representative Burt McGuire (Eddie Albert). The story concludes with a testimonial staged in Roth's honor on the TV series This is Your Life (the original of which still exists in kinescope form). Having been personally coached by the real Lillian Roth, Susan Hayward does an excellent job of copying the singer's unique style. Though Hayward did not win an Oscar for her performance, she did cop the "Best Actress" prize at the Cannes Film Festival. ~ Hal Erickson, Rovi

Based on the autobiographical novel by Han Suyin, Love is a Many Splendored Thing was evocatively location-filmed in Hong Kong. Jennifer Jones plays Ms. Suyin, a Eurasian doctor and the widow of a Chinese general. She falls in love with American news correspondent Mark Elliot (William Holden), who unfortunately cannot obtain a divorce from his present wife. This, together with the disapproval of Dr. Suyin's tradition-bound relatives and Hong Kong's strict racial laws, forces the couple to carry on their romance in a clandestine fashion. The romance ends in tragedy, but with renewed hope for a happier future. The one lasting legacy of Love is a Many Splendored Thing is its Oscar-winning title song, written by Paul Fain and Sammy Webster; Oscars also went to Alfred Newman's musical score and Charles LeMaire's costume design. ~ Hal Erickson, Rovi

Hoping to square his debts before his retirement, Frank Patridge (Sidney Blackmer) talks his wife Mildred (Virginia Gregg) into a scheme to defraud the insurance company. Mildred will drop out of sight for seven years, at the end of which she will be declared legally dead so that Frank can collect her life insurance. During Mildred's disappearance, a diligent insurance detective (Robert Emhardt) dogs Mr. Partridge's trail, certain that Frank killed Mildred and buried her body somewhere. As it turns out, there is a "death in the family" by episode's end, but not in a manner that either Frank or Mildred could have possibly anticipated. ~ Hal Erickson, Rovi

This modest Republic suspenser stars Joan Vohs as a gorgeous victim of circumstance. Led to believe that she's killed a man in a car accident, Joan gets in deeper and deeper while trying to cover her tracks. Her detective boyfriend Scott Brady suspects that something's amiss, and begins conducting his own investigation. It turns out that Joan has been targeted to take the fall for a pair of deucedly clever auto thieves. The huge supporting cast includes radio veterans John Dehner and Virginia Gregg, not to mention the ubiquitous Percy Helton, who once more gets the bejeebers scared out of him while trying to indulge in a little petty larceny. ~ Hal Erickson, Rovi

Frankie Dane (John Cassavetes) is the leader of the hornets, a local street gang that has had its share of rumbles and other trouble with the police. When one of his members is fingered to the police by a neighbor (Malcolm Atterbury) for having a gun, Frankie vows revenge, and when the same man humiliates him in public, he decides it's got to be murder. But only two members of the Hornets, mentally unstable Lou Macklin (Mark Rydell) and would-be full-fledged member "Baby" (Sal Mineo), are willing to go along, and even one of them is shaky -- the rest of the gang draws a line at killing. Social worker Ben Wagner (James Whitmore), who runs the local youth center, has been trying to reach out to the members of the Hornets and sees that something is splitting Frankie and a couple of the others off from the main gang, and is concerned enough to find out what it might be -- especially when Frankie's younger brother, a really nice kid named Richie (Peter J. Votrian), tells him that he thinks Frankie's planning to kill someone. He tries getting help from Frankie's mother (Virginia Gregg), who's too tired from her job to do much more than keep Richie from becoming like his brother, and Mr. Gioia (Will Kuluva), "Baby"'s father, who doesn't understand what went wrong between him and his son. A three-way battle of wills ensues as Frankie tries to hold his plan together and resist Wagner's efforts to intercede -- in the end, several lives are at risk, as Frankie ends up with his knife at the throat of his own brother, fully ready to use it. ~ Bruce Eder, Rovi

Much to the dismay of his wife Norma (Virginia Gregg), middle-aged Harry Parker (Henry Jones) is quite smitten by his new neighbor across the hall, sexy actress Lainie Elliott (Barbara Baxley). Thus it is that, when Lainie comes to Harry's door in a panic, he offers to help her in any way he can. It seems that someone fired a shot through Lainie's window, instantly killing her husband -- and rather than be blamed for the murder, Lainie begs Harry to help her dispose of the body. The viewer might conclude that Harry is being set up for a fall by Lainie...but the viewer would be only half right. ~ Hal Erickson, Rovi