Charlotte Austin Movies

This is one of the more off-beat entries into the Frankenstein sub-genre, in that it features the original Creature, Boris Karloff (who really hams it up) playing the disfigured grandson of the famed mad baron in a style that combines gothic horror with the awe and fear created by the newly dawned atomic age. The story begins in the title year and finds Victor the III living in the ancestral castle and strapped for the cash he needs to resurrect his grandfather's experiments. He needs a fortune because this time he wants to use atomic power to bring the monster to life. To scare up the needed cash, he lets a television crew come to his famous digs to shoot a show. He ends up getting a lot more than money from the cast and crew and eventually he succeeds in creating a brand-new Creature. Unfortunately, the monster proves to be as volatile as his predecessors, and tragedy for both master and creature ensues. ~ Sandra Brennan, Rovi

The secret to immortality is thus: to rejuvenate tired bones and muscles and retain that youthful feeling forever, simply place nubile young women in a vat filled with chemicals, attach wires to their heads and suck out their life forces Warning: If after the first dosage subsequent treatments are not promptly administered, irreversible petrification will occur in all cases. These side-effects create the dilemma faced by the scientists who invented the process and this sci-fi horror movie tells how they solved their problem. Fortunately for the women involved, a hero shows up, saves them, and leaves the evil professors stoned for life. ~ Sandra Brennan, Rovi

Betty Grable's final film was a remake of the 1934 Bing Crosby-Miriam Hopkins musicomedy She Loves Me Not, which in turn was based on a play by Howard Lindsay. Betty and Sheree North star as a couple of striptease "artistes" who have the bad luck to witness a murder. Hoping to evade the killer, the girls hide out in a small college town, where they immediately win the hearts of the male frat brothers. One of these is overaged undergrad Robert Cummings, who falls for Betty, while Sheree settles for not-terribly-bright Orson Bean. A subplot concerns the unending get-rich-quick schemes of college president Charles Coburn. Before the story can be resolved, both Betty and Sheree are placed under hypnosis, with hilarious results. It could not have rested well with Betty Grable that Sheree North stole the show in How to Be Very, Very Popular--especially with her energetic rendition of "Shake, Rattle and Roll"--but Betty was on the verge of retiring anyway, so what the heck? ~ Hal Erickson, Rovi

Director Henry Koster and writer Daniel Taradash speculate mightily in this historical tableau charting the rise and fall of Napoleon (Marlon Brando), all due to his unrequited love for noblewoman Desiree (Jean Simmons). The film takes a chronological view of Napoleon's reign and posits Napoleon's love of a woman he wanted to marry as a young general but abandoned for the sake of his career. Both Napoleon and Desiree go their separate ways -- he to become Emperor of France and loveless husband to Josephine (Merle Oberon) and she to become Sweden's disinterested Queen. Napoleon and Desiree meet up again in a whimsical confrontation in which Desiree urges the Little Corporal to surrender and go to St. Helena. The film is based on a novel by Annemarie Selinko that, like the film, takes wild liberties with the truth. ~ Paul Brenner, Rovi

Gorilla At Large is a more-or-less self-explanatory title for this thriller, set at an amusement park. The major attraction is the gorilla Goliath, and an act in which trapeze artist LaVerne Miller (Anne Bancroft) gets within inches of the ape's potentially deadly grasp. When fired employee Morse is found dead -- impaled on the spikes of the cage used in Goliath's act -- the police are called in; all signs point to the gorilla as the killer, except for the fact that Morse was dead before he was impaled, and as Sgt. Garrison (Lee J. Cobb) says, "Why would a gorilla do that?". A few rounds of questions uncover at least a half-dozen potential suspects, all of whom had opportunity and some with more possible motive than others. Among the more likely are Cyrus Miller (Raymond Burr), LaVerne's husband and the owner of Goliath; Joey Matthews (Cameron Mitchell), a new employee who was about to start a new act, wearing a gorilla suit; and Kovacs ($Peter Whitney), Goliath's keeper and a strange, hostile loner, who was insulted by Morse just before the latter's death. And then there's Owens (Charles Tannen), the publicist for the show and the most forthcoming of the witnesses, who seems to know more than he's telling. As it turns out, almost everyone involved has some kind of skeleton in their closet that could motivate them to kill -- but when new victims start turning up, almost too fast for Garrison to investigate, Garrison falls for a phony confession that sets up another killing. ~ Bruce Eder, Rovi

A remake of 1933's The Greeks Had a Word for Them, as well as a retread of 20th Century-Fox's favorite plotline, How to Marry a Millionaire was the first Hollywood comedy to be lensed in Cinemascope. Lauren Bacall, Betty Grable and Marilyn Monroe play three models of modest means who rent an expensive Manhattan penthouse apartment and pose as women of wealth. It's all part of a scheme hatched by Bacall to snare rich husbands for herself and her roommates. The near-sighted Monroe is wooed by an international playboy, but ends up settling for the tax-dodging fugitive (David Wayne) who owns the girls' apartment. The knuckle-headed Grable goes off on an illicit weekend in the mountains with a grouchy married executive (Fred Clark), but falls instead for a comparatively poor--but very handsome--forest ranger (Rory Calhoun). And Bacall very nearly lands an aging millionaire (William Powell), but has a sudden attack of conscience and opts instead for the supposedly poverty-stricken chap (Cameron Mitchell) who has been pursuing her since reel one. It turns out that she has actually landed one of the richest men in New York--and upon learning this, our three luscious heroines faint dead away. Before the opening credits roll in How to Marry a Millionaire, we are treated to a "live" orchestral rendition of Alfred Newman's "Street Scene" overture, conducted by Newman himself. In addition to its being the first wide-screen comedy, Millionaire was also the first-ever presentation of the weekly NBC series Saturday Night at the Movies, premiering on the small screen on September 23, 1961. ~ Hal Erickson, Rovi

Not up to the classic 1935 presentation, this is still an excellent adaptation of Victor Hugo's epic novel. The familiar characters of Valjean and Javert and the agonies of injustice are all portrayed convincingly against a backdrop of 18th century France. ~ Tana Hobart, Rovi