Creighton Hale

A fast-paced western with a romantic twist, this was one of the last films pairing director Budd Boetticher and popular cowboy hero Randolph Scott before Scott's retirement. John Hayes (Scott) left the Civil War behind him when he took on the job of managing the Overland Stage Lines out of a small Colorado town. Clay Putnam has not forgotten that the Confederacy lost and he plans on robbing Hayes' Overland Stage of one of its gold shipments from California to the North. He wants the gold to stay in the South to revive the Confederate cause. Meanwhile, his wife Norma (Virginia Mayo) complicates matters since she was Hayes' old flame, and Putnam's cronies want the gold for themselves. ~ Eleanor Mannikka, All Movie Guide

Who else but Esther Williams could star in a romantic drama (with musical numbers) bearing a title like this? In Million Dollar Mermaid, Williams plays Annette Kellerman, a real-life Australian swimming star who took up the sport as a child to strengthen her legs, which were severely weakened by a birth defect. The treatment proves effective, and as she grows to adulthood, Annette shows that she has the talent to be a champion swimmer, though she prefers to follow her dream of becoming a ballet dancer. When Annette's father Frederick (Walter Pidgeon) accepts a position in London teaching music, Annette opts to go with him, and along the way she meets James Sullivan (Victor Mature) and Doc Cronnol (Jesse White), the joint-owners of a boxing kangaroo they intend to exhibit in London. James is already aware of Annette's abilities as a competitive swimmer, and he offers to be her manager and help her earn a living from her aquatic skills. At first Annette isn't interested, but when Frederick's job falls through and she can't find work as a dancer, Annette reluctantly agrees to work with James. He arranges a publicity stunt in which Annette swims 30 miles down the Thames River, which attracts the avid attention of the British press and wins her some work as a dancer. Convinced that the big money is in America, James persuades Annette to travel with him to the U.S., where she creates a scandal in Boston by staging another long swim in a one-piece bathing suit, considered shockingly-revealing at the turn of the Century. The stunt nearly lands Annette in jail, but she escapes the long arm of the law and becomes the star of a water ballet revue. Annette had fallen in love with James, but after an argument, he resigns as her manager and Annette takes up with Alfred Harper (David Brian), the male lead in her show. Annette and Alfred agree to marry while working on a movie together, but James returns on the last day of shooting, determined to win back the heart of the woman he loves. Legendary choreographer Busby Berkeley staged the film's elaborate water-ballet sequences. ~ Mark Deming, All Movie Guide

Based on a play by Fay Kanin, this comedy drama follows a successful congresswoman's emotional journey back to her alma mater. When Agatha Reed (Joan Crawford) is offered an honorary degree at her former college, she is forced to remember the reason she was expelled to begin with. Nearly twenty years prior, Agatha (Crawford) had an affair with Dr. James Merrill (Robert Young), one of her professors. After her departure, Dr. Merrill (Young) slowly rose through the ranks, eventually becoming the president of the school. Despite having left under less than desirable circumstances, Agatha is excited to see him and hopes to rekindle their relationship. Meanwhile, newspaper reporter Matt Cole (Frank Lovejoy), not only follow's Agatha to her former university, but unsucessfully proposes marriage. Unfortunately for him, the alumna's eyes are set firmly towards her old flame. However, once Matt (Lovejoy) and Agatha team up in a passionate attempt to update the school's outdated curriculum, she realizes who she truly loves. ~ Tracie Cooper, All Movie Guide

Booth Tarkington's Alice Adams, coupled with his Penrod stories, were incorporated in the script of the 1951 Warner Bros. musical On Moonlight Bay. The role of the incorrigible Penrod is played by future Father Knows Best regular Billy Gray, but his is a strictly secondary part herein. The emphasis is on Penrod's hoydenish older sister, played by Doris Day. She falls in love with Gordon MacRae, whose mildly anti-capitalist sentiments sit not at all well with Doris' banker dad (Leon Ames). Once a subplot involving Penrod's prevarications concerning his father's drinking habits is out of the way, we are treated to several romantic scenes involving Doris and Gordon, and a steady stream of early-20th-century standards like "Till We Meet Again," "I'm Forever Blowing Bubbles," "Cuddle Up a Little Closer," and the title song. On Moonlight Bay ends with MacRae marching off to World War I and Doris promising she'll wait for him; she did, as was proven in the 1953 sequel By the Light of the Silvery Moon. ~ Hal Erickson, All Movie Guide

Unlike his earlier Warner Bros. westerns, Errol Flynn's Montana was strictly a programmer, inexpensively produced and modestly promoted. Flynn plays Morgan Lane, an Australian sheepherder who arrives in the middle of Montana's cattle country. He faces opposition from wealthy cattle rancher Maria Singleton (Alexis Smith), not to mention several bigger, tougher galoots. It takes a few fistfights and gun battles to settle the sheepherders vs. cattlemen imbroglio peacefully. While the action highlights are so-so, Montana scores best during the scenes between stars Errol Flynn and Alexis Smith; they were good friends in real life, so much so that Flynn served as best man at Smith's wedding to actor Craig Stevens. ~ Hal Erickson, All Movie Guide

John Lawrence (Ronald Reagan) is a returning GI. Mary McKinley (Patricia Neal in her film debut) is the girl he left behind. But their reunion will have to wait: John has returned with cockney war bride Lilly Herbish (Virginia Field) in tow. It seems that John married Lilly as a favor to get her into the U.S., intending to divorce her so that she can wed her true love, John's old pal Fred Taylor (Jack Carson). Alas, Taylor has gotten married himself in the interim--and now John is stuck with Lillie. Somewhat cleaned up from Norman Krasna stage original, John Loves Mary is otherwise faithful to its source, right down to the all-smiles curtain call at the end. ~ Hal Erickson, All Movie Guide

The hero of Ayn Rand's The Fountainhead is Howard Roark (Gary Cooper), a fiercely independent architect obviously patterned after Frank Lloyd Wright. Rather than compromise his ideals, Roark takes menial work as a quarryman to finance his projects. He falls in love with heiress Dominique (Patricia Neal), but ends the relationship when he has the opportunity to construct buildings according to his own wishes. Dominique marries a newspaper tycoon (Raymond Massey) who at first conducts a vitriolic campaign against the "radical" Roark, but eventually becomes his strongest supporter. Upon being given a public-housing contract on the proviso that his plans not be changed in any way, Roark is aghast to learn that his designs will be radically altered. Roark sneaks into the unfinished structure at night, makes certain no one else is around, and dynamites the project into oblivion. At his trial, Roark acts as his own defense, delivering an eloquent paean to individuality. He is acquitted, while the newspaper tycoon, upset that he could offer Roark no help during the trial, kills himself. This clears the way for a final clinch between Roark and Dominique on the skeleton of his latest building project. Ayn Rand's celebration of Objectivism didn't translate very well to film, with Gary Cooper coming off more selfish and petulant than anything else. The Fountainhead's saving graces are the solid direction by King Vidor, the rhapsodic musical score by Max Steiner, and the symbolism inherent in Cooper's manipulation of his power drill when he first lays eyes on Patricia Neal! ~ Hal Erickson, All Movie Guide

"What a dump!" That's the classic line delivered by Bette Davis at the halfway point of Beyond the Forest, her final Warner Bros. effort of the 1940s. Some Davis devotees feel as though this vituperative utterance is the high point of an otherwise turgid melodrama; others consider the line a succinct assessment of the entire film. Based on a best-selling novel by Stuart Engstrand, the film stars Davis as Rosa Moline, a small-town girl with big-city ambitions. Trapped in a dull marriage to just-getting-by lawyer Lewis Moline (Joseph Cotten), Rosa plots and plans to sexually entrap millionaire industrialist Neil Latimer (David Brian). That Rosa's scheme is doomed from the start is telegraphed at every juncture by Max Steiner's sledgehammer musical score (few will ever want to hear the song "Chicago" again after this). Hampered by the censorship standards of the era, the film is prevented from being as frank as the novel; in one scene, for example, Rosa is obviously visiting an abortionist, but the sign on the door reads "Psychiatrist." A standard entry in most film historians' "Worst Movies" lists (even Davis herself hated it), Beyond the Forest is rather entertaining in its own schlocky fashion. ~ Hal Erickson, All Movie Guide

After years of dumb-blonde and best-friend roles, Jane Wyman proved her skills as a dramatic actress -- and won an Academy Award in the bargain -- in Johnny Belinda. Adapted from a stage play by Elmer Harris, the story takes place in Nova Scotia, where deaf-mute Belinda (Wyman) leads a lonely existence on the hardscrabble farm of her father Black Macdonald (Charles Bickford) and her aunt Aggie (Agnes Moorehead). Newly arrived doctor Robert Richardson (Lew Ayres) takes a special interest in Belinda, vowing to ease her road in life by teaching her sign language. Despite initial resistance from her father and aunt, Belinda quickly learns how to communicate with others, opening a whole, wonderful new world for her. But things take a sorry turn when local lout Locky (Stephan McNally) corners poor Belinda after a village dance and rapes her. If the ending seems a bit ambiguous, it is because director Jean Negulesco intended it that way, allowing the viewer to draw his or her own conclusion regarding Belinda's future relationship with her mentor Dr. Richardson. Upon accepting her Oscar, Jane Wyman commented on the fact that she accomplished this feat through the simple expedient of "keeping my mouth shut." But there is nothing simple or facile in Wyman's astonishing performance as Belinda, which far outclasses the actresses who repeated the role in the two TV remakes. Also worthy of praise is the lush musical score by Max Steiner, one of his best post-Casablanca efforts. ~ Hal Erickson, All Movie Guide

In this slick melodrama, a sort of film-noir for women, a nightclub singer has an affair with an unhappily married San Francisco doctor. Though the physician desperately wants to leave his wife, he lacks the courage to ask for a divorce. In retaliation, the singer accepts an offer to move East and start up a new club in New York. Lost without the singer, the doctor is without option until his partner suddenly dies. With a burst of inspiration, he fakes his own death and flees to New York. Later, he is horrified to learn that his death has been officially declared a homicide, and so he goes into hiding in the singer's apartment. To cope with his fear and the increasing success of his lover, the physician begins drinking heavily. This only makes him paranoid and more depressed and he begins to suspect his lover is having an affair. Upon confronting the "lover," a fight ensues, the doctor wins, and thinking he killed his rival, he takes off -- only to end up in a horrible traffic accident that leaves his face unrecognizable. Though plastic surgery gives him a new identity, it is at that time that he is arrested and sent back to California to stand trial for his own murder. Rather than burden his family with the shock that he is still alive, the doctor insists that his lover keep mum, and he stoically goes to trial where he is sentenced to Death Row. Beautifully photographed by James Wong Howe in typically expressionistic style, the film focuses on the desperation and entrapment of the characters and expresses a true bleak, fatalistic film-noir sensibility which makes this film unique in the genre. ~ Sandra Brennan, All Movie Guide

The 1931 George Arliss vehicle The Millionaire was updated and retailored in 1947 as That Way With Women. Sidney Greenstreet plays the old Arliss role as automobile tycoon James P. Alden, forced into involuntary retirement by his well-meaning wife Minerva (Barbara Brown) and family doctor Harvey (Howard Freeman). Anxious to get his hands grimy with good honest work once more, Alden assumes the identity of family gardener Herman Brinker and takes a grease-jockey job at the corner gas station run by pugnacious Greg Wilson (Dane Clark). It so happens that Wilson, unaware of Alden's true identity, has fallen in love with Alden's snobbish daughter Marcia (Martha Vickers)-and though she won't admit it, she's crazy about Wilson too. The plot thickens when a group of corrupt local-government officials, in league with Marcia's duplicitous fiance Carter Andrews (Craig Stevens), use underhanded methods to force the honest Wilson out of business. As an upshot, the flustered Alden, still posing as Brinker, spends a night in the hoosegow. Eventually everything turns out OK, permitting Sidney Greenstreet to give out with his trademarked gravelly chuckle. More slapstick-oriented than the original The Millionaire (which was based on a story by Earl Derr Biggers, of "Charlie Chan" fame), That Way With Women was perfectly attuned to postwar audience tastes. ~ Hal Erickson, All Movie Guide

Humphrey Bogart plays a psychotic killer who disposes of his wives through slow ingestion of poison in The Two Mrs. Carrolls, made in 1945 but shelved for two years because of its similarity to Gaslight. Bogart is Geoffrey Carroll, an artist who paints a portrait of his wife as "The Angel of Death" and then meets Sally Morton (Barbara Stanwyck), with whom he quickly falls in love. In order to get rid of his wife and take up with Sally, Geoffrey slowly poisons his spouse by lacing her nightly glass of warm milk with liberal doses of toxic chemicals. He sends his daughter Beatrice (Ann Carter) away to school and, while the daughter is away, his wife dies. He immediately marries Sally and they appear to be happily together. But a few years pass and Geoffrey begins to work on another "Angel of Death" portrait of Sally, this time after he falls in love with his attractive neighbor Cecily (Alexis Smith). As before, Sally begins to grow weak from the daily nightcap of tainted milk. But complications set in when Cecily demands that she and Geoffrey run away together and the local druggist, Mr. Biagdon (Barry Bernard), presents Geoffrey with a blackmail demand. But Geoffrey overplays his hand when he once again tries to send Beatrice away to school. Sally now begins to suspect her husband is a serial killer. Borrowing a gun from a friend, Sally must defend herself against her deranged and murderous husband. ~ Paul Brenner, All Movie Guide

We first meet Joan Crawford, star of the moody flashbackfest Possessed, wandering aimlessly through the city streets, moaning "David....David." She goes to pieces in public and is rushed to the mental ward, where a team of psychiatrists try to find out who she is and where she's been. Who she is is a practical nurse, hired by Raymond Massey to care for Massey's invalid wife. While going about her duties, Crawford renews her acquaintance with an old flame, architect Van Heflin. Though Heflin is indifferent, Crawford is still crazy for the man. She remains so even after marrying her employer Massey, whose wife has committed suicide. Any further details would give away the ending, but we can note that Van Heflin's character name is David. Best scene: Crawford, descending into schizophrenia, imagining that she's killed Massey's vitriolic daughter Geraldine Brooks. While the psycho-babble delivered in the asylum scenes is laughable, Possessed still holds up well as one of the best of Joan Crawford's Warner Bros. soap operas. This black-and-white film is also available in a colorized version, but don't blame us. ~ Hal Erickson, All Movie Guide