James Gregory Movies

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

Commercial artist James Vanning (Aldo Ray) and his friend, Dr. Edward Gurston (Frank Albertson), are on a hunting and fishing trip in Wyoming when they stop to help two men whose car has crashed. The pair, John (Brian Keith) and Red (Rudy Bond), turn out to be escaped bank robbers, on the run with 350,000 dollars in stolen cash after a clean getaway, and they don't plan on leaving any witnesses -- Gurston is shot dead by Red, using Vanning's hunting rifle, but Vanning survives by accident, knocked cold but alive. He awakens to discover the stolen money, accidentally left behind, and runs with it from the returning killers -- he gets away but loses the bag in the blizzard that hits. He manages to make it to the nearest town, but not before the doctor's body is found, with a bullet in it from Vanning's rifle. Now the prime suspect in the murder, Vanning takes it on the lam, hiding out for months -- unbeknowst to him, however, he's been under observation for most of that time by Ben Fraser (James Gregory), an investigator from the insurance company whose policy covered the bank that was robbed; and has been found by John and Red -- and all of them think that Vanning can lead them to the missing money. But John and Red are perfectly prepared to torture and even maim Vanning to get the money, and they get their chance when he lets his guard down one night to talk to Marie Gardner (Anne Bancroft), a young model he meets in a bar. He manages to get away from his captors after a fierce struggle and makes his way to her place; after convincing her that it's not the police he's running from (which is not entirely true), they take off together, with Fraser and the two hoods only a half-step behind, headed to Wyoming and the spring thaw so he can hunt for the bag and the missing money and prove his innocence. ~ Bruce Eder, All Movie Guide

The Scarlet Hour was a relatively bold experiment for a mid-1950s Paramount release. The studio expended a great deal of money on the project and enlisted the services of top-flight director Michael Curtiz -- then populated the cast with young unknowns. Carol Ohmart and Tom Tryon (yes, the future novelist) star as Paulie and Marsh, respectively the film's villainess and protagonist. Knowing that Marsh is hopelessly in love with her, Paulie uses him as a dupe in an upcoming jewelry heist. Only after a killing has occurred does Marsh come to his senses. Jody Lawrance, whose previous career as a Columbia contract player had led nowhere, is "introduced" as the good girl to whom Marsh eventually retreats. Other comparative newcomers in the cast include Elaine Stritch, James Gregory and Edward Binns. ~ Hal Erickson, All Movie Guide

Adapting a made-for-TV play that he had directed for the screen, John Frankenheimer made his feature film debut with this sensitive father-son drama. Tom Ditmar (James Daly) is a movie studio executive who has a strained relationship with his teenaged son Hal (James MacArthur). Hal is arrested after an incident in a movie theater in which he was provoked into slugging the manager, Grubbs (Whit Bissell). Hal is rude to the police officer, Sergeant Shipley (James Gregory). Tom Ditmar gets the charges dropped but doesn't believe his son's story. Hal goes back to talk to Grubbs to try to get him to tell his father what really happened. ~ Michael Betzold, All Movie Guide

Elderly actor Charles Gresham (Claude Rains) spends more of his time in barrooms than backstage, but he is always on the lookout for the role that will make him a star. He finally gets that opportunity by blackmailing producer Wayne Campbell (James Gregory) into casting him as the lead in Campbell's new play. Ironically, Gresham has been cast as a blackmailer -- and he intends to give the performance of his life for the entertainment of a potential backer named Nick Roper (Paul Picerni). Without giving away the ending, it can be noted that the operative word in the previous sentence is "life." ~ Hal Erickson, All Movie Guide

In his third starring feature, Onionhead, Andy Griffith plays a character somewhere inbetween the bucolic ingenuousness of Will Stockdale in No Time for Sergeants and the hotheaded truculence of Lonesome Rhodes in A Face in the Crowd. Griffith is cast as Al Woods, a college student majoring in girls and parties. When his grades drop and his relationship with girlfiend Jo Hill (Erin O'Brien) sours, Al joins the Coast Guard as assistant cook on the SS Periwinkle, fully expecting to sit out WW2 in peace and quiet. Instead, he runs afoul of navy protocol in general and mess officer Red Wildoe (Walter Matthau) in particular. In or out of trouble, Al remains a stubborn individualist, and it is this quality that attracts him to Wildoe's erstwhile fiancee Stella (Felica Farr). Strong support is provided by Roscoe Karns as Al Woods' crusty father, James Gregory as the skipper of thePeriwinkle, and Joey Bishop is the inevitable Brooklynite. ~ Hal Erickson, All Movie Guide

The many undersea exploits of a Navy frogman provide the basis of this episodic adventure based on the true story of naval commander Francis D. Fane. The exciting underwater sequences include actual footage of divers swimming with sharks and a 300-foot dive. ~ Sandra Brennan, All Movie Guide

Meant primarily as TV fare, this standard, song-filled romantic drama stars Louis Prima as himself, and his real-life wife Keely Smith as Dorothy Spencer, a devout woman with a good singing voice. Dorothy is active in her local parish which like all parishes, is constantly thinking of ways to raise funds. One of the needy projects is a boys' camp, so when Dorothy is approached by Louis Prima to sing with his band she agrees only on one condition -- that he perform a concert benefit for the parish church and boys' camp. The interactions between Dorothy and Prima lead toward romance and a happy ending, as well as a popular album with the same title song featured in this film. ~ Eleanor Mannikka, All Movie Guide

The experiences of real-life NYC police detective Barney Ruditsky during the Prohibition Era are vividly dramatized in the first season of the crime drama The Lawless Years. James Gregory is seen as Ruditsky, with Robert Karnes as his sidekick Max. The season begins with "The Nick Joseph Story", a true-but-with-the-names-changed saga of a cocky gangster, with Vic Morrow in the leading role. Other guest stars of note showing up in the season's subsequent 18 half-hour episodes are Robert Fuller in "The Story of Cutie Jaffe", Burt Reynolds in "The Payoff", Tige Andrews in "The Tony Morelli Story" and Martin Landau in "Lucky Silva." Although, as mentioned, many of the "real" names are changed for legal reasons, a few exceptions are made during Season One, notably "The Dutch Schultz Story", featuring John Dennis as the title character. ~ Hal Erickson, All Movie Guide

This oddly technical drama about three test pilots for the X-15 devotes a great deal of time to scientific explanations and militarese, leaving slightly less time to examine the personal lives and motivations of the three pilots. The head honcho among the pilots is Lt. Col. Lee Brandon (Charles Bronson in a good performance), and Mary Tyler Moore makes her first feature-length film appearance as one of the Air Force wives who are in the background of their husbands' careers. Narrated by James Stewart, this drama was released just when the X-15 aircraft was breaking flight records. ~ Eleanor Mannikka, All Movie Guide

When The Lawless Years was canceled by NBC in the spring of 1960 after only two short seasons and 27 episodes, the series' fans decried its loss, opining that this saga of organized crime during the Prohibition Era was in many ways superior to the more popular ABC offering The Untouchables. Ironically, it was The Untouchables' success which moved NBC to commission producer Jack Chertok to revive Lawless Years in early 1961, churning out a third and final season of 20 half-hour episodes. Fortunately, Chertok was able to secure the services of the series' original star James Gregory in the role of real-life NYC police detective Barney Ruditsky, upon whose exploits the program was based. This last season focuses not only on the big-time gangsters of the 1920s and 1930s, but also on such flamboyant small-timers as Mad Dog Coll, whose career was the basis of a two-part episode. Also, Season Three of Lawless Years yielded an elaborately produced five-part story arc, "Louy K," chronicling the rise and fall of a Meyer Lansky-like mob boss played by Paul Richards. Reportedly, "Louy K" was slated to be re-edited into a theatrical feature, to be released overseas in the manner of the two-part pilot episode of The Untouchables. ~ Hal Erickson, All Movie Guide

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, All Movie Guide