Virginia Grey Movies

Ironside (Raymond Burr) launches an investigation when his psychologist friend Paul Bragen (Noah Keen) is murdered. It seems that the dead man possessed a large collection of rare artworks, created by several artists whom he had been consulting. A passing remark provides a vital clue as to the murderer's identity, whereupon Ironside enters the rarefied world of fine art to capture the elusive (and in this case, fiendishly clever) culprit. ~ Hal Erickson, Rovi

Lana Turner takes the lead in the seventh film version of Alexandre Bisson's glossy soap opera. Holly Parker (Turner) is married to respected diplomat Clay Anderson (John Forsythe), but his busy schedule prevents them from seeing each other very often. Distracted and lonely, Holly allows her head to be turned by carefree playboy Phil Benton (Ricardo Montalban), who dies in a freak accident during an assignation. In a panic, Holly contacts her mother-in-law, Estelle Anderson (Constance Bennett) and asks what she should do. Estelle, a joyless woman who has never cared for her daughter-in-law, tells Holly that unless she wants to destroy her husband's life and career, she should flee the country and never return. Tearfully, Holly follows Estelle's advice, leaving behind her young son. Many years later, Holly has fallen on hard times; addicted to drugs, she scrapes out a meager living as a prostitute in a cheap hotel in Mexico. Devious criminal Dan Sullivan (Burgess Meredith) tries to involve Holly in a blackmail scheme; at the last minute, she finds out that Clay is the target, and she kills Sullivan. She cannot afford to hire a lawyer to defend her, so she is assigned a dedicated young public defender, whom she soon recognizes as her son, Clay Anderson, Jr. (Keir Dullea). Not wanting Clay, Jr. to know her true identity, Holly is tried as "Madame X," but she has trouble keeping her composure given the trial and her mixed joy and shame at seeing her son. Madame X was Constance Bennett's first film in 12 years and the last she would ever make; she died of a cerebral hemorrhage shortly after completing her work on the picture, nine months before it was released. ~ Mark Deming, Rovi

Kelly (Constance Towers), a prostitute who wants to transform her life, beats up her pimp, takes the 75 dollars he owes her, and leaves town. Winding up in the small town of Grantville, she turns a trick with Griff (Anthony Eisley), who is actually the sheriff. After paying her for sex, Griff tells Kelly that Grantville is a clean town and orders her out, though he refers her to a brothel in a neighboring city. Instead, Kelly makes a final break with her past and becomes a nurse's aide at the local children's hospital. In that capacity, she meets Grant (Michael Dante), who is a benefactor of the hospital, a descendant of the town's founder -- and Griff's best friend. As Grant and Kelly fall in love, Griff viciously accuses Kelly of using her hospital job to hide ongoing illicit activities. When Kelly tells Grant about her past, he seems to accept her without reservation and proposes marriage; however, Kelly soon learns the perverse truth about her fiancée and takes matters into her own hands. Samuel Fuller's raw film noir exposes the hypocrisy of a supposedly proper society. Beneath the veneer of respectability lies an exploitive abuse of power, no different from that of any pimp. ~ Steve Press, Rovi

Dan O'Herlihy guest-stars as Matthew Raine, a brilliant artist who has gone blind. Wallowing in self-pity, Matthew begins coming out of his self-imposed exile when he befriends housekeeper Ann Loring (Virginia Grey). But a nasty character named Gavin (Arch Johnson), is determined to keep the former artist in a debilitated state. First telecast on October 7 1962, "The Artist" was written by Frank Chase. ~ Hal Erickson, Rovi

Bob Hope was in the first stages of his cinematic decline when he starred in Bachelor in Paradise. Hope plays a "romance expert" who is contracted to write an expose on the sexual habits of suburban California housewives. For research purposes, he moves into a subdivision called Paradise, populated exclusively by good-looking young newlyweds. Much to the dismay of the men in the community, all of the gorgeous young wives gravitate to Hope-especially Paula Prentiss, the sexy bride of nonplussed Jim Hutton. Fortunately for all concerned, Hope is "claimed" by the only other single resident of Paradise, the glamorous Lana Turner. Frequent Bob Hope collaborator Hal Kanter cowrote the screenplay of Bachelor of Paradise with Valentine Davies; the script was based on a story by Vera Caspary, who in better days wrote Laura. Henry Mancini and Mack Davis' Oscar-nominated title song is the only true distinction of this lesser Hope farce. He seems to be sleepwalking while the rest of the cast is trying way too hard. ~ Hal Erickson, Rovi

The only Rodgers and Hammerstein cinemadaptation to be produced by Universal Pictures, Flower Drum Song was, alas, also the only Rogers and Hammerstein film to lose money at the box office. It looks far better now than it did back in 1961, if only because of the paucity of musical films in the 1990s. Essentially a comedy about the culture clash between old-world Chinese and assimilated Chinese-Americans, the film begins when Mei Li (Miyoshi Umeki) and her grandfather (Kam Tong) smuggle themselves into San Francisco. It seems that Mei Li has arrived to honor an arranged marriage between herself and Runyonesque nightclub owner Sammy Fong (the incomparable Jack Soo). This might prove delicate, since Sammy is in love with flashy cabaret entertainer Linda Low (Nancy Kwan). Meanwhile, Linda is romancing Wang Ta (James Shigeta), the son of a wealthy Chinatown merchant (Benson Fong). Soon, however, Mei Li and Wang Ta have fallen in love.......It's a complex plot, to be sure, but comedy and music manage to predominate. The songs include "I Enjoy Being a Girl" (a tour de force for the special effects department, and for Nancy Kwan), "A Hundred Million Miracles," "The Other Generation," "Love Look Away," "I Am Going to Like It Here," "Don't Marry Me," "You Are Beautiful," "Grant Avenue" and "Chop Suey." Flower Drum Song is attractively produced and consummately acted; while no classic along the lines of King and I or Sound of Music, it deserves a second look. ~ Hal Erickson, Rovi

John Gant (Audie Murphy) rides into the town of Lordsburg and quietly checks into the hotel. He doesn't say much, nor does he need to -- his mere presence does the talking. Gant is a killer, a hired assassin, a gunman with 23 dead men to his credit, but he is not a murderer or a criminal; all of his killings have been legal, a result of self-defense when the men he was after drew on him. When he comes to a town, someone dies as surely as if he were the angel of death -- he even tells the town doctor in Lordsburg (Charles Drake) that he's in "a similar line of work," and ends up playing chess with him. Who has he come to "see" in Lordsburg? No one is sure, but as the sheriff (Willis Bouchey) tells his deputy, it will be mighty interesting watching the leading citizens over the next few days. Sure enough, the town banker (Whit Bissell) locks himself in his office with a gun, his business partner starts packing iron for the first time in his life, the man they cheated in their dealings is also going armed; and one guilty cuckold (Warren Stevens) is positive his ex-rival has paid Gant. Less than 12 hours after that, there's no law left in Lordsburg, every dirty little secret in every man's past starts bubbling to the surface, and gunplay has broken out in the streets between the men who think their respective rivals have brought Gant to town. ~ Bruce Eder, Rovi

Kathy Ferguson (Barbara Stanwyck) is a cynical newspaper columnist in San Francisco, handling women's advice -- by chance one day, the paper's city editor assigns her to cover the woman's angle on the arrival of a pair of L.A. police detectives, Capt. Manny Alidos (Royal Dano) and Lt. Bill Doyle (Sterling Hayden), on the hunt for a murder suspect known to be hiding somewhere in the city. They're both pretty button-down types and seem like fish-out-of-water in the more easy-going Frisco, and Kathy quickly clashes with them both, especially when her column appealing to the missing suspect as a woman yields serious dual results -- not only does Kathy boost her profile and readership, but the missing suspect makes contact and is ultimately brought in; in the process, Kathy goes from journalistic back-bencher to media star. That would be the end of the issue, except that Kathy and Bill have become attracted to each other amid their clashes, parries, and thrusts, and decide to get married -- she spurns the offer of a job in New York to move to Los Angeles and settle down to the life of a wife and homemaker. But that proves impossible -- Kathy quickly chafes at what she regards as the empty vacuous chatter of her fellow detective wives' lives and social interactions, and also her place in their pecking order as determined by their husbands' ranks and assignments (and Bill just doesn't rate high enough). Her own life suddenly cut off from career and ambition, and an ability to act on either, she becomes fixated on Bill's career and advancing it and him as a substitute. She contrives to cross paths socially with Alice Pope (Fay Wray), the wife of Inspector Tony Pope (Raymond Burr), who is both the head of an elite detective unit and the top man in her husband's division, and is soon not only getting Bill invited to parties with Pope and the police commissioner, but also cutting her husband's boss Manny Alidos and his wife Sara (Virginia Grey), to whom she's taken a special dislike, out of those same events.
It's not quite enough, however, and Kathy starts socializing on her own with Tony Pope, on Bill's behalf, and the two soon have their own relationship. Bill is still too much of a nice guy, and not careerist enough or assertive enough -- until she feigns distress at receiving poison-pen letters accusing her of having an affair with Pope, and blames Manny and Sara. This drives Bill to confront and assault Alidos, leading to a hearing in Pope's office where the chief of the division -- now very much beholden to Bill for Kathy's sake -- comes down on Bill's side. When the smoke clears, Manny is bounced back into uniform and Bill is made acting captain and put in charge of the homicide unit that Alidos formerly headed. Bill is on his way, and so is Kathy and Pope's relationship. But Pope proves to be a distressingly honorable and loyal man -- when his wife's health takes a turn for the worse, he decides to put in for retirement, and Kathy wants him to recommend Bill as his replacement. He considers it but decides that regardless of what he's done outside of his marriage, the department is too important to compromise the detective division, and that Bill just doesn't have what it takes to head it. Kathy is too deep in her strategy to back off, and also feels betrayed by Pope; now pushed over the edge, she contrives to threaten him with a gun, and is prepared to make good on her threat. Ironically enough, Bill may get his shot yet at heading the division, as he's head of homicide and takes personal charge of the biggest case the department has seen in years -- bringing in Tony Pope's killer. The only question is if and how he can put together the clues and pieces of the puzzle leading back to Kathy. ~ Bruce Eder, Rovi

Nightclub singer Ilona Vance (Vera Ralston) is Accused of Murder in this Republic programmer. And from the looks of things, Ilona is guilty; she was, after all, the last person to see crooked lawyer Hobart (Sidney Blackmer) alive. But Lt. Roy Hargis (David Brian) is convinced that Ilona is innocent, and he intends to prove it. Except for the mildly surprising denoument, there is little in Accused of Murder that is not thoroughly predictable. Star Vera Ralston, the wife of Republic chieftan Herbert J. Yates, is her usual expressionless self. ~ Hal Erickson, Rovi

The Republic super-production The Last Command is a partial remake of the same studio's Man of Conquest (1939). But whereas the earlier film concerned itself with the exploits of Texas patriot Sam Houston, Last Command concentrates on Houston associate James Bowie, played by Sterling Hayden. When Texas is threatened by the armies of Mexican general Santa Ana (J. Carrol Naish), Bowie at first adopts a policy of peaceful coexistence. When this proves impossible, Bowie joins Davy Crockett (played as an irascible old cuss by Arthur Hunnicut) and the rest of the courageous defenders of the Alamo. The climactic confrontation between the heroes of the Alamo and Santa Ana is long in coming, but well worth the wait. Frank Lloyd's large-scale direction and the vibrant musical score of Max Steiner imbues Last Command with a "major studio" aura not often found in Republic productions. ~ Hal Erickson, Rovi

One of Republic's most elaborate productions of the 1950s, The Eternal Sea is the biography of American admiral John M. Hoskins. Sterling Hayden delivers a superbly understated performance as Hoskins, who continued to serve throughout WW2 despite the loss of a leg in the early phases of the conflict. The admiral's farsighted activities as commander of the aircraft carrier Princeton led to the development of the more sophisticated jet-aircraft carriers of the Korean War. The well-chosen supporting cast includes Alexis Smith as Hoskin's wife Sue, Dean Jagger as Admiral Thomas L. Semple, Morris Ankrum as Adm. Arthur Dewey Struble, and John Maxwell as Adm. William "Bull" Halsey (whose life story would serve as the basis for the 1960 film The Gallant Hours). Elmer Bernstein's soaring musical score is the icing on the cake. ~ Hal Erickson, Rovi

Target Earth was adapted from Paul W. Fairman's short story Deadly City. Set in, of all places, Chicago, this sci-fier concentrates on four people who've congregated in the deserted city after a sudden and mysterious evacuation. The ill-matched foursome are Vicki Harris (Virginia Grey), a flashy, trashy blonde; Nora King (Kathleen Crowley), a young widow; Frank Brooks (Richard Denning), a handsome fellow with a questionable past; and Jim Wilson (Dick Reeves), a brutish transient. Though they don't get along at first, the four strangers are compelled to unite against a common enemy: an invading Venusian army, using huge robots to do their dirty work. Nothing spectacular, Target Earth works well within its modest limitations. ~ Hal Erickson, Rovi