Alvin Hammer Movies

A darkly comic and surreal contemporization of Charles Dickens's A Christmas Carol, this effects-heavy Bill Murray holiday vehicle from 1988 sees the former SNL funnyman assuming the role of television executive Frank Cross, the meanest and most depraved man on earth. Cross will stoop to unheard of levels to increase his network's ratings -- even if it means mounting outrageous programs to retain an audience, such as "Robert Goulet's Cajun Christmas" and Lee Majors in "The Night the Reindeer Died," with an AK-47-toting Santa. Cross plots his foulest move, however, for the Christmas holiday, when he will force his office staff to mount a live production of A Christmas Carol on national television -- and thus work through Christmas Eve. Cross's life is turned upside down with visits from three ghosts: a craggy-faced cabbie known as The Ghost of Christmas Past (David Johansen); the sugar-plum fairy Ghost of Christmas Present (Carol Kane) (who gets her jollies by bonking Frank across the face with a toaster oven); and, eventually, the caped, headless Ghost of Christmas Future, who will send Frank sliding into a crematory oven -- just before he gives the sleazoid one last chance to redeem himself. Along the way, the spirits carry Frank to scenes from his past, present, and future (per Scrooge) and impart a glimpse of how he became so thoroughly rotten. The radiant Karen Allen co-stars as Frank's girlfriend, Claire Phillips, and the film packs in cameos from countless celebrities -- among them, Mary Lou Retton, John Houseman, Jamie Farr, and, in a truly grisly and tasteless bit, John Forsythe. Richard Donner directs, from a script credited to the late Michael O'Donoghue and Mitch Glazer. ~ Nathan Southern, All Movie Guide

Director Robert Aldrich's last film, All the Marbles stars Peter Falk as a "win-at-all-costs" type manager of a ladies tag-team wrestling combo. These girls are good and Falk wants them great. And he doesn't really care what they've got to do to get there. (This film's "R" rating is not for Raunchy, but it could be for "Revealing.") Following sort of a Rocky theme, this film finds our ladies tag team climbing its way to the top of the women's wrestling world where they face off against the world's best. ~ All Movie Guide

After writing, directing, and starring in The Adventure of Sherlock Holmes' Smarter Brother, Gene Wilder added the producer's hat to his three-headed beast in The World's Greatest Lover. Wilder plays Rudy Valentine, a Milwaukee baker who enters a talent search in the Hollywood of the 1920s, initiated by movie studio mogul Zitz (Dom DeLuise), to find a new Rudolph Valentino. He travels to Hollywood with his wife Annie (Carol Kane) in hopes of taking a screen test, but Annie falls in love with the real Valentino. Jealous of the Latin Lover, Rudy disguises himself as a sheik in an attempt to look like Valentino. Rudy then invites Annie to a rendezvous at the studio, where he tries to seduce his own wife. ~ Paul Brenner, All Movie Guide

Manhattan South detective lieutenant Theo Kojak (Telly Savalas) wastes no time getting the series bearing his name under way in this premiere episode. After a failed armored-car robbery, the three desperate thieves--Jerry Talaba (Harvey Keitel), Jack Murzie (James J. Sloyan) and Mike Amazeen (Jude Farese)--grab six hostages and barricade themselves in a sporting goods store, amply stocked with surplus weaponry. Kojak has only two hours to formulate a plan to defuse the situation before the outlaws begin killing their captives, one by one. ~ Hal Erickson, All Movie Guide

The Grissom Gang is a remake of the notorious 1949 British melodrama No Orchids for Miss Blandish. Kim Darby plays a 1920s-era debutante who is kidnapped and held for ransom. Her captors are the Grissoms, a family comprised of sadists and morons, and headed by Ma Barker clone Irene Dailey. One of the Grissoms, played by Scott Wilson, takes a liking to his prisoner, which results in a bloody breakdown of the family unit. Both The Grissom Gang and the original No Orchids for Miss Blandish were inspired by the best-seller by James Hadley Chase, though neither film retains Chase's original ending. ~ Hal Erickson, All Movie Guide

Officers Malloy (Martin Milner) and Reed (Kent McCord) swing into action when suspicions arise that a hit-and-run accident was actually a case of cold-blooded murderer. Witnesses insist that a young man had a violent quarrel with the female "accident" victim on the night before the tragedy. The guest cast on this occasion includes several reliable character actors, including veteran vaudevillian and master dialectician Benny Rubin. ~ Hal Erickson, All Movie Guide

Love Nest is a thoroughly likeable formula comedy with a most engaging cast. William Lundigan plays Jim Scott, an aspiring writer who, together with his wife Connie (June Haver), moves into the basement of an apartment building that they've bought. Scott's hopes to keep financially solvent are thwarted by the everyday travails of maintaining the building and ministering to the needs of the tenants. The episodic plotline settles on the activities of charming con artist Charley Patterson (Frank Fay), who targets tenant Eadie Gaynor (Leatrice Joy) as his latest victim. When Patterson is finally arrested, he generously offers to tell his life story to Scott, thereby launching the latter's writing career in earnest. Love Nest was frequently revived throughout the 1950s and 1960s because of the supporting-cast presence of future sex symbol Marilyn Monroe and TV talk host Jack Paar. ~ Hal Erickson, All Movie Guide

Mickey Rooney, with his kid roles and musicals behind him, went for a major change of image in this harrowing film noir. He gives what many consider to be the best performance of his career as Danny Brady, a well-meaning grease monkey whose life is destroyed in less than a week. Danny finds himself short of cash when he's supposed to take out Vera (Jeanne Cagney), a waitress whom he's just met who works at a hash-house. He borrows 20 dollars from the cash register, planning on paying it back with 20 dollars that a buddy owes him the next day, but the friend doesn't turn up. To get the 20 dollars, he buys a 100-dollar watch on a payment plan and then hocks it for the 20 dollars, but a detective picks up on the purchase and threatens to have him jailed if he doesn't pay the full 100 dollars immediately; desperate to raise the money, he robs a drunken bar patron of his bill-fold. His money problems seemingly behind him, Danny takes Vera out with the extra cash, but gets into a fight with her former boss, Nick (Peter Lorre), who picks up a clue that Danny did the robbery. Nick pressures Danny to provide him with a new car (a hard-to-get commodity in 1950) from the garage where he works, in return for keeping quiet. Danny steals the car and turns it over to Nick, but he and Vera decide to get even by robbing Nick's safe that night -- now they've got 3,600 dollars, which they split. But Danny's boss, Mackey, tells him he knows who stole the car, and wants either the car back or the full value, or he'll turn Danny in to the police. Vera has already blown her share on a mink coat, and he goes back to Mackey with what he has, 1,800 dollars. Mackey takes it and proceeds to call the police. Danny attacks him and leaves him for dead. Danny goes on the run, convinced he's wanted for Mackey's murder. Danny runs into Helen (Barbara Bates), a nice girl that he was dating and then dumped, and they end up fleeing together, hijacking a car and holding an innocent man at gunpoint. Impending tragedy seems to loom up even larger when they cross paths with police officers on a manhunt. Realizing that Helen has been good to him, he ends up on the run alone, with a gun in hand, as the law closes in. ~ Bruce Eder, All Movie Guide

One of themost acclaimed films to emerge from Republic studios, The Red Pony is an adaptation of the John Steinbeck story of the same name. Top billing goes to Myrna Loy and Robert Mitchum, but the film's true star is young Peter Miles as Tom. A lonely farm boy, Tom seeks refuge from his troublesome home life and his eternally squabbling parents (Loy and Shepperd Strudwick) through his devotion to a newborn colt. The red pony is the issue of a prize mare owned by ranchhand Billy Buck (Mitchum), whom Tom idolizes. The film's coming-of-age theme cluminates in a poignant denouement. Louis Calhern plays Tom's lovably prevaricating grandfather, while 10-year-old Beau Bridges essays one of his first featured roles. Aaron Copland's score and the rich Technicolor photography of Tony Gaudio contribute to the film's overall mood. The Red Pony was remade for television in 1973. ~ Hal Erickson, All Movie Guide

Screenwriter Herman J. Mankiewicz adopts the same prismatic-flashback technique he'd used so well in Citizen Kane for the 1949 filmic soap opera A Woman's Secret. Based on a novel by Vicki (Grand Hotel) Baum, the film begins with the shooting of nightclub singer Susan Caldwell (Gloria Grahame). Marian Washburn (Maureen O'Hara), who'd coached Susan into the Big Time, confesses to the shooting. Neither Marian's piano-player friend Luke Jordan (Melvyn Douglas) nor police inspector Fowler (Jay C. Flippen) completely buy her story, and it is their probing investigation of the facts that sparks the flashback parade. The film details in sometimes clever, sometimes maudlin fashion the perils of living one's life vicariously through the accomplishments of others. Though filmed before director Nicholas Ray's "official" debut feature They Live by Night, A Woman's Secret was released afterward. ~ Hal Erickson, All Movie Guide

Texas, Brooklyn and Heaven deserves a historical footnote as director William Castle's only comedy western. Future Wild Bill Hickok star Guy Madison plays Eddie Taylor, a lonesome cowboy who falls in love with city-gal Perry Dunkin (Diana Lynn). The couple "meets cute" in Brooklyn, where the two have migrated to seek their fortunes. The plot veers into Runyonesque territory as Eddie tries to write the Great American Play, while Perry "adopts" pickpocket Mandy (Florence Bates) to pose as her mother. The loosely structured storyline permits several entertaining diversions, including a trip to Coney Island and a wild episode at a Brooklyn riding academy which hero and heroine have been conned into purchasing. Audie Murphy makes his second film appearance in a near-microscopic role. Based on a Saturday Evening Post story by Barry Benefield, Texas, Brooklyn and Heaven was released in England as The Girl From Texas. ~ Hal Erickson, All Movie Guide

Director Victor Fleming's final film features Ingrid Bergman as a vivid and luminous Joan of Arc, the 15th-century French peasant girl who led the French in battle against the invading English, becoming a national hero. When she was captured, tortured, and ultimately executed by the English, she was made a Catholic saint. Bergman's Joan is a strong and spiritual figure who proves her devotion to the Dauphin (Jose Ferrer), later to become the King of France. Joan is compelling as she wins an alliance with the Governor of Vaucouleurs and the courtiers at Chinon, leads her army in the Battle of Orleans, is betrayed by the Burgundians, and edicts that "our strength is in our faith." ~ Paul Brenner, All Movie Guide

Based on the novel by Erich Maria Remarque, Arch of Triumph is a complicated war romance directed by Lewis Milestone. Dr. Ravic (Charles Boyer) is a refugee physician practicing medicine illegally in Paris under a false name. He saves Joan Madou (Ingrid Bergman) from committing suicide after the sudden death of her lover. He gets her a job singing at the nightclub where his only friend, Boris Morosov (Louis Calhern), is the doorman. Joan falls in love with Ravic, but he is deported and she finds herself the mistress of wealthy Alex (Stephan Bekassy). Meanwhile, Ravic seeks revenge against a Nazi officer (Charles Laughton) and war is declared between France and Germany. ~ Andrea LeVasseur, All Movie Guide