Eula Guy Movies

Humphrey Bogart plays Martin Ferguson, a prosecutor about to put Albert Mendoza (Everett Sloane), the head of a murder-for-hire ring, on trial. But the night before the trial, his key witness, Joe Rico (Ted de Corsia), dies in a fall out of the window of the room in which he's been guarded, part of an abortive escape attempt to keep from testifying. His case in shambles, Ferguson and detective Captain Nelson (Roy Roberts) try to piece the entire four-year investigation back together from square one, trying to find something that might give them another way to prosecute Mendoza. The main body of the movie is told in flashback, starting when a small-time hood named Duke Malloy (Michael Tolan, then billed as Lawrence Tolan) walks into a police station to turn himself in for killing his girlfriend -- and says that someone made him kill her. He babbles to the bewildered detectives about "hits" and "contracts" and men nicknamed Philadelphia, Big Babe, and Smiley. The body isn't found, but they arrest Malloy, who hangs himself in his cell. That dead end leads, almost by accident, to Philadelphia Tom Zaca (Jack Lambert), an asylum inmate who has to be put under sedation at the mention of Malloy's name. They find another suspect's body burning in his building's incinerator, and then Big Babe Lazick (Zero Mostel), a two-bit hood, hiding in a church in mortal fear of his life. He begins weaving a tale of a murder-by-contract ring and its head operator, Joe Rico, of a murder contract that Duke Malloy never filled on a girl who had to change her name, of mistaken identity and the murder of the girl's cab-driver father, and the connection between that and a murder that they both witnessed eight years earlier. In the midst of all of those interlocking stories (spread across ten years), there's something Ferguson missed -- when he had Rico to testify -- that he has to sort out from the reams of testimony and evidence, and he has to figure it out before Mendoza does, or lose the last witness he has. ~ Bruce Eder, All Movie Guide

This whimsical fantasy about a local drunk's 6' 3 1/2" imaginary rabbit pal was a smash hit (and a Pulitzer Prize winner) on Broadway and was then adapted into this likeable farce that's also an allegory about tolerance. James Stewart stars as Elwood P. Dowd, a wealthy tippler whose sunny philosophy and inebriated antics are tolerated by most of the citizenry. That is, until Elwood begins claiming that he sees a "pooka" (a mischievous Irish spirit), which has taken the form of a man-sized bunny named Harvey. Although everyone is certain that Elwood has finally lost his mind, Harvey's presence begins to have magically positive effects on the townsfolk, with the exception of Elwood's own sister Veta (Josephine Hull), who, ironically, can also occasionally see Harvey. A snooty socialite, Veta is determined to marry off her daughter, Myrtle (Victoria Horne), to somebody equally respectable, and Elwood's lunacy is interfering. When Veta attempts to have Elwood committed to an insane asylum, however, the result is that she is accidentally admitted instead of her brother. Then the institution's director, Dr. Chumley (Cecil Kellaway), begins seeing Harvey, too. Hull, who reprised her part from the stage production, won an Oscar and a Golden Globe. ~ Karl Williams, All Movie Guide

Blonde good-time girl Vivian Heldon (Jan Sterling), who lives in a cheap rooming house in a working-class section of Boston, run by the inquisitive and neurotic Mrs. Smerrling (Elsa Lanchester), goes out one night after a phone conversation with her boyfriend, proclaiming that she's got big plans and might even move to a nicer place. After putting in her shift as a waitress at a cheap dive called The Grass Skirt, she latches onto Henry Shanway (Marshall Thompson), an innocently drunk patron, who's trying to wash away his sadness over his wife's stillborn child. She uses Henry's car with him in tow to drive out to Cape Cod, then strands him on foot and meets her boyfriend -- but when she arrives, he puts a bullet into her, then strips the body, throws it into the sea, and drops the clothes and the car into a lake. Six months later, an ornithologist from the cape spots the skeleton of a human foot sticking up through the sand.

Enter Lt. Peter Morales (Ricardo Montalban) of the Boston PD; he and his partner on this case, Det. Sharkey (Wally Maher), bring the bones to Dr. McAdoo (Bruce Bennett), of Harvard University's forensic medical laboratory. Over the next few days, McAdoo and his staff are able to determine the gender, age, and general appearance of the person to whom the bones belonged, and that this is a case of murder -- and that the victim was pregnant. Morales and Sharkey, combing through what they know about the victim and the missing persons records of six nearby states, eventually tie the skeleton up with Vivian Heldon, who disappeared on just about the same day the victim was killed, and also to Shanway's car, which he reported stolen that day. The poor slob, who is merely trying to cover up a drunken lapse from his wife (Sally Forrest), acts guilty enough and lies about just enough so that Morales is certain that he's the murderer. His investigation isn't helped by the interference of Mrs. Smerrling, who sold Vivian's belongings when she didn't return to her room, and now seems fixated, even obsessed with the details of the case and its connection to her rooming house. While the police tighten the screws on Shanway, she backtracks Vivian's phone calls and makes contact with the woman's boyfriend, James Joshua Harkley (Edmon Ryan), member of a wealthy Boston family, and a married man; she also manages to steal a vital piece of evidence. But instead of turning it over to the police, she uses it to blackmail Harkley.

Meanwhile, the district attorney sets an early trial date for Shanway, but with the opening arguments only a week away, Morales begins to develop doubts about Shanway's guilt, in addition to harboring his own sympathy for Grace Shanway, whose life is being gradually destroyed by the prosecution on her husband -- not that Morales thinks he's innocent, but there's enough that's not right about the case, including the missing murder weapon, that he's not 100-percent sure. And that's when Vivian's friend and neighbor, Jackie Elcott (Betsy Blair) reports how strangely Mrs. Smerrling is acting, and the fact that she's got a gun. But before they can question her, Harkley kills Mrs. Smerrling -- now it's a race between Morales and Harkley to see who can get to the murder weapon first. ~ Bruce Eder, All Movie Guide

"This boy...and this girl...were never properly introduced to the world we live in." With this superimposed opening title, director Nicholas Ray inaugurates his first feature, They Live by Night. Farley Granger and Cathy O'Donnell play a "Bonnie and Clyde"-type fugitive couple, who in trying to escape their past are hell-bent down the road to Doom. Despite their criminal activities, Bowie (Granger) and Keechie (O'Donnell) are hopelessly naïve, fabricating their own idyllic dream world as the authorities close in. The entrapment -- both actual and symbolic -- of the young misfit couple can now be seen as a precursor to the dilemma facing James Dean in Ray's 1955 film Rebel Without a Cause. A box-office disappointment upon its first release, They Live by Night has since gained stature as one of the most sensitive and least-predictable entries in the film noir genre. The film was based on a novel by Edward Anderson, and in 1974 was filmed by Robert Altman under its original title, Thieves Like Us. ~ Hal Erickson, All Movie Guide

Casting Frank Sinatra as a Pennsylvania priest is but one of the many miscalculations made by the producers of Miracle of the Bells. Adapted by Ben Hecht and Quentin Reynolds from the best-selling novel by Russell Janney, the story revolves around an aspiring actress named Olga Treskovna (Alida Valli). Escaping the sooty environs of Coaltown, Pennsylvania, Olga heads to Hollywood, where through a series of incredible circumstances she manages to land the highly coveted leading role in a film based on the life of Joan of Arc. Tragically, Olga dies suddenly after wrapping up the film's final scene. Producer Marcus Harris (Lee J. Cobb) wants to reshoot the film with another, better-known actress, rather than risk losing a fortune on an "unknown" whom he can no longer groom for stardom. But press agent Bill Dunnigan (Fred MacMurray), who has journeyed to Coaltown to learn Olga's life story, tries to persuade Harris to release Joan of Arc as filmed, and to this end he enlists the aid of local priest Father Paul (Sinatra). To show their support for the late, lamented Olga, all the churches of all denominations in Coaltown ring their bells, nonstop, for three days. This man-made miracle not only convinces Harris to change his mind, but leads to a genuine miracle at the fadeout. Reviewers were unanimous in condemning Miracle of the Bells as a pretentious failure: the kindest comments ranged from "mawkish" to "nauseating." The picture hasn't improved much with age, but should be seen at least once on the strength of its cast alone. If it is seen, however, it's best to stick with the original black-and-white version and avoid the colorized TV print. ~ Hal Erickson, All Movie Guide

In this lightweight musical comedy, Judy Foster (Jane Powell) and Carol Pringle (Elizabeth Taylor) are teenagers and best friends who find their loyalties tested when they both fall for the same good-looking older man, Stephen Andrews (Robert Stack). This situation is particularly troublesome for Judy, who already has a boyfriend, "Oogie" Pringle (Scotty Beckett), Carol's brother. Meanwhile, the girls join forces for a little sleuthing when Judy discovers that her father, Melvin Foster (Wallace Beery), has been spending time with Brazilian bombshell Rosita Conchellas (Carmen Miranda). Judy and Carol suspect hanky-panky, but actually Melvin is taking dancing lessons from Rosita as a surprise for his wife. A Date With Judy certainly offers your only opportunity to see Wallace Berry dance the mambo, and it also features a guest appearance by Xavier Cugat and his band. ~ Mark Deming, All Movie Guide

In this drama, an egomaniacal producer freely treads upon those around him without regard to the harm he does. The devoted wife of a novelist sees this after the producer foists himself on her during a party; she tries to warn her novelist husband who wants the man to produce his play, but he does not listen. Later the producer tries to destroy his own girl friend's career by spreading vicious rumors; he succeeds and she loses her contract. Meanwhile the writer and his wife, thanks to the producer's manipulation, have separated. The writer is then forced to revise the play. The result is so bad that he cannot attract the actor he wanted to play his leading man. The novelist's wife gets her revenge on the producer by showing an original draft of the play to the actor her husband wanted. He is impressed and helps her find another producer. When the husband hears about his wife's actions he immediately returns, but not before punching the egotistical producer in the eye. ~ Sandra Brennan, All Movie Guide

Albert Dekker plays a crooked investment agent who embezzles a large sum from an estate, hoping to cover his crime by marrying the estate's heiress (Catherine Craig). The girl is already engaged, so Dekker arranges to have the fiance killed. The hit man's only means of identifying the victim-to-be is his picture in the society columns. But the girl changes her mind and agrees to marry Dekker--meaning that it is his picture that will appear in the columns, thereby condemning him to death. Desperately trying to contact the hit man, Dekker discovers that the man is dead...but the assassin's successor is still at large. A cheap but tidy "hoist on his own petard" melodrama, The Pretender was produced and directed by W. Lee Wilder, brother of the more famous (and frankly more talented) Billy Wilder. ~ Hal Erickson, All Movie Guide

Former army pilot Robert Taylor is accused, on the basis of strong circumstantial evidence, of his wife's murder. Suffering from periodic blackouts, Taylor isn't so certain of his innocence himself. When offered a brain operation, Taylor refuses, knowing that if he is proven sane he will be executed for murder. Instead, he opts for confinement in a high-walled veteran's mental institution. A compassionate lady doctor (Audrey Totter) falls in love with Taylor, convincing him to have the operation. Even after emerging from the ether, Taylor cannot remember any of the details concerning his wife's death--but he does recall that the dead woman had recently taken a job with a publisher (Herbert Marshall) of religious books. While the killer's identity is tipped off by this revelation, the audience is never certain that Robert Taylor isn't a murderer--especially since he'd previously appeared as a homicidal maniac in the 1946 film Undercurrent. The best moment in High Wall is the casual disposal of the sole witness to the murder, via a long, dark elevator shaft. ~ Hal Erickson, All Movie Guide

In this drama, a reporter marries a socialite with a bad ticker. The gold-digging reporter is well aware of her delicate condition, and he and his girlfriend conspire to kill her. He shoots her, but does not realize that she was dead from a heart attack before the bullet entered her body. He is later captured and convicted. The detective who caught him was well aware that the woman died of heart failure, but he decided to say nothing. ~ Sandra Brennan, All Movie Guide

Charmless films like The Bride Wore Boots helped to kill the postwar revival of the "screwball comedy" genre almost before it began. Here's the deal: Breeding-farm owner Sally (Barbara Stanwyck) loves horses. Novelist Jeff (Robert Cummings) hates horses, but loves Sally. Jeff and Sally marry, only to break up over their equestrian differences. They spend the rest of the film trying to get back together again, despite such hurdles as flirtatious Southern belle Mary Lou Medford (Diana Lynn) and charming "other man" Lance Gale (Patric Knowles). Is it any surprise that the film ends with a Big Race, and that horse-hating Jeff is astride the winning steed? ~ Hal Erickson, All Movie Guide

Leonard Maltin once observed that Storm Over Lisbon is what Casablanca would have looked like had it been produced by Republic instead of Warner Bros. This wartime meller reunites the cast and director of the successful Republic melodrama Lady and the Monster, with less than successful results. Skating star Vera Hruba Ralston plays Maritza, a woman of mystery operating in neutral Lisbon. Maritza is somehow connected with sinister café owner Deresco (Erich Von Stroheim), who seems to have a more than a cozy relationship with the Nazis. Deresco tries to prevent American journalist John Craig (Richard Arlen) from leaving Lisbon with a cache of top-secret microfilm (what, no Letters of Transit?) With the whole world crumbling, Vera Ralston manages to work in an ice-ballet number. Few have ever had the urge to shout "Play it again" after watching Storm Over Lisbon. ~ Hal Erickson, All Movie Guide