Frank S. Hagney Movies

Columbia Pictures tried to create a tongue-in-cheek American James Bond with this, the first of five motion pictures based on the character of Matt Helm, a spy created in a series of novels by Donald Hamilton. Dean Martin stars as Helm, a boozing, womanizing cad of a spy coaxed out of retirement by ex-girlfriend Tina Batori (Daliah Lavi). His mission: stop the evil Big O organization, whose leader, Tung-Tze (Victor Buono), schemes to sabotage an atomic missile and thus spark World War III. Producer Irving Allen had once been partners with Albert R. Broccoli in the British film production company Warwick Films, their alliance ironically disintegrating over the merits of creating a Bond series. When Broccoli's instincts proved correct, Allen attempted to create his own spy franchise with the Helm character. The sequels to The Silencers (1966) were Murderers' Row (1966), The Ambushers (1967), and The Wrecking Crew (1968). Allen unsuccessfully tried to resurrect the character as a TV movie, Matt Helm (1975). ~ Karl Williams, Rovi

While vacationing in the mountain community of Fawnskin, Perry (Raymond Burr) becomes intrigued by the plight of recently paroled Phil Beecher (Ray Hemphill), who is despised by the townfolk because he was responsible for the death of Aggie Norris--who happened to be the daughter of Perry's good friend, Sheriff Eugene Norris (Barton MacLane). Apparently no one hates Phil more than Aggie's sister Charlotte (Ina Victor), who hopes to send the man back to jail by framing him for robbery. When Charlotte turns up murdered, Phil may end up the guest of honor at a lynching party unless Perry can prove his innocence. (Curiously, in the original TV Guide synopsis for this episode, the murder victim is identified as Aggie Norris' brother!) ~ Hal Erickson, Rovi

Having escaped from a mental institution, Evelyn Forbes (Ann Rutherford) is the primary suspect in the murder of her ex-husband Arthur Cartwright (Robert Ellenstein). Things get worse for Evelyn when another person is killed, as well as a strange dog that has been howling nonstop throughout the proceedings. Perry Mason (Raymond Burr) sets about to save Evelyn's life, even though the evidence against her is overwhelming. This episode is based on a novel by Erle Stanley Gardner, which was previously adapted as a 1934 theatrical feature starring Warren William as Mason (in the movie, it is implied that the heroine is actually guilty, but Perry manages to get her off in the spirit of "justifiable homicide"!) ~ Hal Erickson, Rovi

Quickie king Sam Katzman's Zombies of Mora Tau is a game attempt to imitate what Roger Corman was doing so well over at American-International. The story takes place on the coast of Africa, where a race of white zombies jealously guards an ancient, jewel-encrusted African Idol. The treasure rests somewhere under the sea, and adventurers Jeff Clark (Gregg Palmer) and George Harrison (Joel Ashley) intend to get their hands on it. Before long, Jeff and George are in danger of being zombified themselves. Jeff's solution to this dilemma is surprisingly bland, bringing this otherwise rousing melodrama to a flat conclusion. Allison Hayes, of Attack of the 50 Foot Woman fame, is decorative as George's wife, who has the misfortunate to fall under the spell of the "living dead". Zombies of Mora Tau was originally released on a double bill with Katzman's The Man Who Turned to Stone. ~ Hal Erickson, Rovi

Of the many filmed versions of the October 26, 1881, O.K. Corral shootout in Tombstone, Arizona, Gunfight at the O.K. Corral was one of the most elaborate and star-studded. Burt Lancaster plays Wyatt Earp, the renowned lawman, while Kirk Douglas is consumptive gambler (and gunfighter) Doc Holliday -- the two meet in difficult circumstances, as Earp discovers that Holiday, for whom he initially feels little but loathing, is being held on a trumped up murder charge and being set up for a lynching, and intercedes on his behalf. The action shifts to Dodge City, Kansas, where Earp is marshal and Holiday, hardly grateful for the good turn, shows up right in the middle of all kinds of trouble, this time mostly on Earp's side of the ledger. And, finally, the two turn up in Tombstone, Arizona, where Wyatt's brother Virgil is city marshal, and where Wyatt finally gets to confront the Clanton/McLowery outlaw gang (led by Lyle Bettger as Ike Clanton). Since the time-span of the actual gunfight was at most 90 seconds, the bulk of the film concerns the tensions across many months leading up to the famous battle. As scripted by Leon Uris (from a magazine story by George Scullin), the story involves two unrelated but parallel plot-lines -- a long-standing vendetta against Holliday and the efforts of Earp to bring the Clanton/McLowery gang to justice -- that are eventually drawn together on the streets of Tombstone. Woven into these proceedings are Earp's and Holliday's romantic dalliances with lady gambler Laura Denbow (Rhonda Fleming) and Kate Fisher (Jo Van Fleet), whose switch in affections from Holiday to outlaw fast-gun Johnny Ringo (John Ireland) only rachets up gambler's rage and the reasons behind the bloody climax. There are plenty of bribery attempts, terse dialogue exchanges and "Mexican standoffs" before the inevitable gunfight takes place. Director John Sturges takes some dramatic license with this confrontation, as well, stretching things out to nearly six minutes, but this is after all an "A" production, and a minute-and-a-half of gunfire just wouldn't cut it. The huge cast of western veterans includes Earl Holliman as Charles Bassett, Dennis Hopper as Billy Clanton, Kenneth Tobey as Bat Masterson, Lee Van Cleef as Ed Bailey, Jack Elam as Tom McLowery, and John Hudson, DeForest Kelley and Martin Milner as Virgil, Morgan, and James Earp, respectively. And there's that Dimitri Tiomkin score, pushing the movie's momentum as relentlessly as the two driven heroes, complete with a song (sung by Frankie Laine) underscoring the major transitions of scenes that's impossible to forget, once heard. Sturges himself would produce and direct a more fact-based and realistic version of the story -- focusing mostly on its aftermath -- a decade later, entitled Hour of the Gun, starring James Garner, Jason Robards, Jr., and Robert Ryan, which wasn't nearly as attractive or successful. But after Gunfight At The OK Corral, there would not be so impressive a lineup of talent at the OK Corral again until the twin Earp biopics of 1994, Wyatt Earp and Tombstone.
~ Hal Erickson, Rovi

Adapted from the best-selling novel by Jessamyn West, Friendly Persuasion is set in Southern Indiana in the early days of the Civil War. Gary Cooper plays Jess Birdwell, patriarch of a Quaker family which does not believe in warfare. Birdwell's son Josh (Anthony Perkins) wishes to adhere to his family's pacifism, but is afraid that if he doesn't sign up for military service, he'll prove to be a coward. Josh joins the Home Guard, which disturbs his mother Eliza (Dorothy McGuire). But Jess Birdwell realizes that his son must follow the dictates of his own conscience. Josh proves his courage to himself when he is wounded during a Rebel raid, while the elder Birdwell is able to stay faithful to his religious calling by not killing a Southern soldier when given both a chance and a good reason to do so. Allegedly, writer Jessamyn West nearly scotched her deal with producer/director William Wyler and distributor Allied Artists when Gary Cooper, taking his fans into consideration, insisted upon including a scene in which he forsakes his pacifism and takes arms against the Rebels. If true, then wiser heads prevailed, since no such scene exists in the final release print. Though uncredited due to his status as a blacklistee, Michael Wilson wrote the screenplay for Friendly Persuasion--and even won an Oscar nomination. Also nominated was the film's chart-busting theme song, "Thee I Love" (by Dmitri Tiomkin and Paul Francis Webster). The story was remade as a 2-hour TV pilot film in 1975. ~ Hal Erickson, Rovi

Ray Milland made his directorial debut with the Republic western A Man Alone. Milland also starred in the film, playing fugitive gunslinger Wes Steele. While escaping a lynch mob, Steele stumbles onto an Arizona ranch that has been quarantined due to Yellow Fever. During his enforced stay, he falls in love with sheriff's daughter Nadine Corrigan (Mary Murphy), who is as much a "lost soul" as Steele. The only hope the lovers have for a happy future is Steele's exoneration, but this won't happen so long as crooked town banker Stanley (Raymond Burr) holds all the cards. A Man Alone did well enough to encourage future directorial efforts by Ray Milland, which included the well-paced espionager Lisbon and the above average sci-fi exercise Panic in the Year Zero! ~ Hal Erickson, Rovi

Up until its surisingly mundane finale, A Lawless Street is one of the best of the Randolph Scott westerns of the 1950s. Scott plays famed marshal Calem Ware, whose strenous activities on behalf of law and order have exacted a toll on his personal life. Keeping the peace in the town of Medicine Bend, Ware hopes to someday be reconciled with his ex-wife Tally Dickinson (Angela Lansbury), now a touring musical comedy star. Just as Tally arrives in Medicine Bend, Ware is forced to deal with big-time criminals Thorne (Warner Anderson) and Clark (John Emery), not to mention their hired gun Baskam (Michael Pate). Will he do his duty and rid the town of his outlaw element, or will he hang up his guns as Tally wants him to? One of the highlights of A Lawless Street is a lively saloon-hall number performed by Angela Lansbury, who is quite a dish in her revealing stage wardrobe. ~ Hal Erickson, Rovi

1954's Rose Marie is the third film version of the 1924 Otto Harbach-Oscar Hammerstein-Rudolph Frinl operetta of the same name. Though not a completely faithful adaptation, this version is closer to the original than the (admittedly enjoyable) Nelson Eddy-Jeanette MacDonald version of 1936. Ann Blyth stars as Rose Marie Lemaitre, a hoydenish French-Canadian lass who is "tamed" by cheerful mountie Mike Malone (Howard Keel). At first, Mike is only interested in using Rose Marie to capture her sweetheart, renegade trapper Duval (Fernando Lamas), but eventually he falls in love with her, and she with him. Counterpointing the romantic main plot are the comic antics of Bert Lahr, who elucidates his sorry lot in life with the song "I'm the Mountie Who Never Gets His Man." The original Rudy Friml score is well in evidence, along with several new Friml compositions and a few extra tunes penned by Georgie Stoll and Herbert Baker. There's also a remarkable "Indian sacrifice" production number spotlighting a young Rita Moreno. Original Cinemascope prints of Rose Marie included a nine-minute prologue, wherein conductor Alfred Wallenstein led the MGM orchestra in a rendition of "Poet and Peasant Overture" (this was evidently inspired by the similar symphonic prologue which opened 20th Century Fox's How to Marry a Millionaire). ~ Hal Erickson, Rovi

Randolph Scott makes his 3-D debut in the stereoscopic western Stranger Wore a Gun. This time, Scott plays Jeff Travis, a former spy for Quantrill's Raiders. When he heads to Arizona to start life anew, Travis finds that his reputation has preceded him: crooked Jules Mourret (George Macready) hires him to monitor a series of gold shipments, in preparation for a major robbery. Eventually, Travis falls in love with Shelby Conroy (Joan Weldon), daughter of freight-line operator Jason Conroy (Pierre Watkin), and decides to turn honest. That won't be easy: in addition to the surly Mourret, Travis must deal with such formidable movie heavies as Alfonso Bedoya, Lee Marvin and Ernest Borgnine. Also on hand is Claire Trevor, in a soft-pedalled variation of her role in John Ford's Stagecoach. Stranger Wore a Gun was directed by Andre DeToth, whose previous foray into 3D had been the box-office smash House of Wax. ~ Hal Erickson, Rovi

Joel McCrea plays 19th-century miner Rick Nelson in The San Francisco Story. The year is 1856, and Frisco is a wide-open town. To stem the activities of crooks and con artists, newspaper editor Jim Martin (Onslow Stevens) organizes a group of peace-keeping vigilantes. Nelson, an old friend of Martin's, arrives in the Golden Gate city to help out. The villain of the piece is political boss Andrew Cain (Sidney Blackmer), who regards San Francisco as his own personal fiefdom. When not battling Cain's bought-off flunkies and hulking henchman, Nelson dallies with Cain's erstwhile girlfriend Adelaide McCall (Yvonne DeCarlo). Not so much a western as a historical actioner, The San Francisco Story is tip-top entertainment. ~ Hal Erickson, Rovi

Here Comes the Groom was the second collaboration between director Frank Capra and star Bing Crosby. Though not as "socially relevant" as previous Capra productions, the film is a thoroughly likeable yarn about a happy-go-lucky newspaperman named Pete (Bing Crosby). In order to legally adopt a brace of war orphans, Pete must marry within a week. His plans to wed his longtime sweetheart Emmadel (Jane Wyman) come acropper when she, tired of waiting for him to pop the question, becomes engaged to wealthy Wilbur Stanley (Franchot Tone). Conspiring with Wilbur's cousin Winifred (Alexis Smith), Pete spends the balance of the film trying to win Emmadel back. From all accounts, the set of Here Comes the Groom was a happy one, the conviviality extending to Alexis Smith's willingness to be on the receiving end of several jokes concerning her height (she seems nearly a head taller than Crosby!). The film's best scene is the Bing Crosby-Jane Wyman duet "In the Cool, Cool, Cool of the Evening," reportedly filmed in one take without post-dubbing. As a bonus, Here Comes the Groom introduces a bright new singing talent, Anna Maria Alberghetti, and is festooned with uncredited guest stars, ranging from Dorothy Lamour to Louis Armstrong. ~ Hal Erickson, Rovi

Al Goddard, (Alan Ladd) special investigator for the U.S. post office, is assigned to collar two criminals who've murdered a postal detective. Goddard must first locate the only witness to the crime, attractive young nun, Sister Augustine (Phyllis Calvert). Posing as a crook, Goddard gains the confidence of the murderers' boss Earl Boettiger (Paul Stewart), who has worked out a scheme to defraud the post office of one million dollars. Once they've tumbled to the deception, the crooks take Goddard and the nun prisoner, leading to a fight to the finish in a lonely industrial district. Appointment with Danger tends to draw chuckles rather than shivers nowadays, thanks to the casting of future Dragnet co-stars Jack Webb and Harry Morgan as the murderers -- and as icing to the cake, viewers are treated to a scene in which Webb bumps off Morgan! As a whole, the film, the last of Alan Ladd's series of film noir, is uneven and generally unsuccessful. However, it contains some crisp, tough dialogue and some terrific action sequences which make it worthwhile. ~ Hal Erickson, Rovi