Marilyn Hanold Movies

Derek Flint (James Coburn) is back in this James Bond-styled spy spoof sequel to Our Man Flint. Flint's boss Cramden (Lee J. Cobb) assigns him to stop a group of felonious females on the Virgin Islands who hope to take over the world; the bad femmes are kidnapping astronauts and replacing them with doubles to gain access to the world's missile sites. Andrew Duggan plays the U.S. President and his nefarious double. The feature was typical of the spoofs that followed in the wake of the successful James Bond spy films of the 1960s. ~ Dan Pavlides, All Movie Guide

Among her many other reasons for disliking her son-in-law Darrin, Endora is dissatisfied with Darrin's physical appearance. As Samantha looks on, Endora transforms a sleeping Darrin into a "perfect husband" -- a veritable Adonis, in fact. Upon awakening, Darrin becomes convinced that it is Sam and not Endora who is unhappy with his appearance, forcing Sam to assume the identity of a sexy French sculptress to build up her hubby's ego. Written by Bernard Slade, "Change of Face" originally aired on May 13, 1965. ~ Hal Erickson, All Movie Guide

In this WW II actioner, the crew of the Seahawk nearly mutinies when they discover that their new commander is a tactical instructor who has very little experience as a leader. They are quite angry because he refuses to allow them to sink the Japanese warships that are so close to them. Later they change their opinion after learning that he was only following orders. ~ Sandra Brennan, All Movie Guide

Vincent Sherman replaced an uncredited Robert Aldrich as director of this noirish and atypically pro-union film from the 1950's. Tulio Renata (Robert Loggia), an organizer for the International Ladies Garment Workers Union, campaigns to unionize the employees of dress factory owner Walter Mitchell (Lee J. Cobb). Viscerally opposed to the union, Mitchell has hired Artie Ravidge (Richard Boone) to thwart Renata's efforts. In a complex oedipal sub-plot, Walter's son Alan (Kerwin Matthews) returns home and joins the firm following the suspicious death of his father's partner. Alan is more sympathetic to the union and attempts to persuade his father to sign a contract. Only after Ravidge kills Renata, and the elder Mitchell finally admits to himself that Ravidge is a thug who also killed his partner, does he agree to negotiate with the union. Before he can do so, however, he, too, is murdered by Ravidge's goons. It is then left to Alan, increasingly involved with Renata's widow Theresa (Gia Scala), to run the business, bring Ravidge to justice, and settle with the union. Similar to Herbert Biberman's Salt of the Earth (1954) in its overt support of the labor movement, The Garment Jungle is clearly a liberal, not a radical, film. Rather than advocate class warfare, it asserts that honest unions and decent capitalists can work together honorably. The film's real fire is found in the personal conflicts between Tulio and Theresa and Walter and Alan. Cobb, Loggia, and Scala perform with intense and multi-dimensional passion. Particularly noteworthy is Theresa's fury at her husband for taking excessive, and ultimately fatal, risks. ~ Steve Press, All Movie Guide

The Solid Gold Cadillac was adapted from the George S. Kaufman-Howard Teichmann Broadway hit of the same. Both the play and film were predicated upon the notion of a humble ten-share stockholder triumphing over a corrupt big-business board of directors, but there was one significant difference. In the stage version, septuagenarian Josephine Hull starred as Laura Partridge, a sweet little old lady who asks several embarrassing questions at a stockholder's meeting. In the film version, Laura's age is lowered by at least four decades to accommodate star Judy Holliday. In both versions, a romance develops between Laura Partridge and Edward L. McKeever, the owner of the corporation she takes on. McKeever (played in the film by Paul Douglas, Holliday's co-star in the Broadway version of Born Yesterday) is an honest man, which is more than can be said for his self-serving board of directors (Fred Clark, John Williams, Ray Collins et. al.) With McKeever's covert help, Laura, who has been given a dummy executive position in the corporation in hopes that she'll shut up, forms a stockholder's association intent upon throwing the rascals out. Though the dialogue in Solid Gold Cadillac is consistently entertaining, the film's best line goes to Judy Holliday: Describing her brief career as an actress in a Shakespearean troupe, she recalls ruefully that "No one's allowed to sit down unless you're a king." George Burns, taking over from the stage version's Fred Allen, provides the wry scene-setting narration. Currently available TV prints of The Solid Gold Cadillac have restored the original Technicolor final shot. ~ Hal Erickson, All Movie Guide