Harry Harvey Movies

Irving Pichel's They Won't Believe Me is the flashback unfolding of Larry Ballentine's (Robert Young) witness-stand testimony in his trial for the murder of girlfriend Verna Carlson (Susan Hayward). Larry is the first to admit he's a parasitic heel, cheating on his rich wife Gretta (Rita Johnson) first with magazine writer Janice Bell (Jane Greer) and then with Verna. Though aware of Larry's affairs, Gretta cannot manage to leave him; rather, she uses her money to keep him in tow. She foils his attempt to run off with Janice by buying him a partnership in a brokerage firm. When she discovers his plan to flee with Verna, she sells her interest, leaving Larry unemployed and penniless. The lovers run off nonetheless, but Verna is killed when a truck crashes into their car. When the authorities assume the charred victim is his wife, Larry gets a sinister idea. He returns home to kill Gretta, but she is already dead, so all he has to do is hide the body. Unfortunately for him, the police come looking for the missing Verna, who they suspect was blackmailing him. They find Gretta's unrecognizable corpse, think it's Verna's, and arrest Larry. The flashback structure of this suspenseful film noir effectively creates a foreboding tension that mounts to a powerful final scene. ~ Steve Press, All Movie Guide

The third of western hero James Warren's trio of RKO Radio vehicles, Code of the West was like its predecessors based on a story by Zane Grey. Warren plays Bob Wade, a settler on the Arizona Strip, circa 1880. Representing his fellow settlers, Wade stands up to gambling boss Carter (Raymond Burr), who knows that the railroad intends to extend through Arizona and plans to drive the homesteaders out of the territory. Likewise defying the crooked Carter is Wade's Mexican-Irish sidekick, Chito Rafferty (John Laurentz). Code of the West was previously filmed in 1925 and 1934 (the latter version, titled Home on the Range, starred Randolph Scott). ~ Hal Erickson, All Movie Guide

A WWII Coast Guard veteran, Lt. Scott Burnett (Robert Ryan), is plagued by nightmares of his combat days. One day, he meets a woman, Peggy Butler (Joan Bennett), walking on a beach, picking up pieces of wood. Butler is married to a grumpy, blind painter, Ted Butler (Charles Bickford). Despite his affections for his fiancée Eve (Nan Leslie), whose father is a boat builder, Scott falls in love with Peggy and soon breaks off the engagement. Peggy reveals that she blinded her husband years earlier by throwing a glass at him during an ugly spat, ruining his career and her own ambitions to be an upper-class socialite. Scott fears that Ted is suspicious that he is having an affair with Peggy and becomes so paranoid that he begins to believe that Ted is faking his blindness -- and sets out to prove it. This was the fifth and final American film by the great French writer-director Jean Renoir. ~ Michael Betzold, All Movie Guide

This drama was one of the first major-studio efforts to confront anti-Semitism (beating the Oscar-winning Gentleman's Agreement by several months), and it features a standout performance from Robert Ryan as a bigoted soldier on the run. Monty Montogomery (Ryan) is a violent and unstable soldier who, while out on a pass, goes on a drinking spree with three buddies, Floyd (Steve Brodie), Arthur (George A. Cooper), and Leroy (William Phipps). While boozing it up in a tavern, the four men meet Joseph Samuels (Sam Levene) and strumpet Ginny (Gloria Grahame), who invite the soldiers back to their apartment for a party. Monty, however, has a fierce hatred of Jews, and he later goes into a drunken rage in which he beats Joseph to death. Monty's friends can barely remember the incident through their liquor-shrouded memories, but they recall just enough to make themselves scarce when police detective Capt. Finlay (Robert Young) begins making the rounds looking for information on Joseph's murder. Sgt. Kelly (Robert Mitchum), a soldier who knows the four men, begins to suspect that something is up, and he works with his wife and Finlay to help ferret out the killer in his ranks, while Monty kills Floyd when he becomes convinced that he's going to talk to the authorities. While director Edward Dmytryk showed real bravery in bringing this story to the screen, it had greater repercussions than he might have expected; the film's controversial themes led to Dmytryk's denunciation by the House Un-American Activities Committee during the McCarthy-era investigations of the 1950s. Luckily, unlike other filmmakers who suffered similar accusations by HUAC, Dmytryk continued to work steadily through the '50s and '60s. ~ Mark Deming, All Movie Guide

A loose remake of 1941's The Gay Falcon, The Falcon's Alibi is one of the better entries in RKO's "Falcon" series, and one of the few that can stand on its own merits as a "film noir." This time, amateur detective Tom Lawrence (Tom Conway), aka the Falcon, is hired by a wealthy woman's secretary to protect the lady's precious jewels. Nevertheless, the thief still manages to get away with them, which puts Lawrence hot on his trail. ~ Hal Erickson, All Movie Guide

True Confession was one of the unfunniest of the "screwball" comedies of the 1930s, and its musical remake, Cross My Heart, isn't much of an improvement. Betty Hutton steps into the old Carole Lombard role as Peggy, a compulsive liar who'll do anything to help her attorney fiance Oliver Clarke (Sonny Tufts) get ahead. When it looks as though an unsolved murder case will be Clarke's ticket to success, Peggy, sticking her tongue in her cheek (as she always does when she's about to tell a whopper), glibly confesses to the killing. Peggy's plan is to allow her boyfriend to prove her innocence, thereby cementing his reputation as a man of integrity-but things don't go quite as planned. The subsequent trial is enlivened by the antics of looney Russian actor Peter (Michael Chekhov), who may or may not be the actual murderer. Betty Hutton's song numbers are just about as mediocre as the rest of the film. ~ Hal Erickson, All Movie Guide

RKO's prefabricated comedy team of Wally Brown and Alan Carney came to an abrupt end with Genius at Work. A slapsticky remake of 1937's Super Sleuth, the film casts the stars as Jerry and Mike, the stars of a weekly radio "unsolved mysteries" series. Ellen (Anne Jeffreys), the show's head writer, is given invaluable script advice by famed criminologist Marsh (Lionel Atwill). Little do our heroes or heroine realize that Marsh is actually The Cobra, a wily murderer who kills for the thrill of it. When Mike, Jerry and Ellen pay a visit to Marsh's baronial estate, the villain and his faithful servant Stone (a sadly wasted Bela Lugosi) do their best to kill off the troublesome radio sleuths with an abundance of old-dark-house gadgetry. But Mike and Jerry have the last laugh in a tension-filled climax. Though Genius at Work represented the last joint starring appearance of Brown and Carney, the two actors would be reunited as supporting characters in Disney's The Absent Minded Professor (1961). ~ Hal Erickson, All Movie Guide

With Tim Holt still in military service and Robert Mitchum promoted to "A" pictures, RKO Radio attempted to create a new B-western star in the form of James Warren, who starred in three sagebrushers over a three-year period. Warren's second RKO effort was Sunset Pass, a remake of an oft-filmed Zane Grey story. The star is cast as Rocky, a railway express officer assigned to break up a train-robbery gang operating on the Arizona border. John Laurenz plays Rocky's Spanish-Irish sidekick Chito Rafferty, a role later assigned to Richard Martin in the Tim Holt series. One of the film's two heroines is played by Jane Greer, who unlike James Warren was destined for bigger things at RKO. ~ Hal Erickson, All Movie Guide

Barbara Hale landed her first A-picture starring role in the engaging romantic comedy Lady Luck. Hale is cast as Mary Audrey, the descendant of a long line of professional gamblers. Haughtily turning up her nose at the "family business," Mary spends most of her time keeping her poker-happy grandfather William (Frank Morgan) from losing his shirt. In spite of herself, Mary falls in love with another gambler, Larry Scott (Robert Young), but only after he promises to reform. Naturally he doesn't, compelling Mary to leave him on their honeymoon, thereby setting the stage for all the comic complications to follow. By film's end, Mary herself has caught the gambling bug, forcing Grandpa William and husband Larry to straighten her out! ~ Hal Erickson, All Movie Guide

The bland performance of star George Raft is the only drawback of this splashy 20th Century-Fox musical. Set in turn-of-the-century San Francisco, the film casts Raft as Barbary Coast saloonkeeper Tony Angel, who endears himself to patrons and pedestrians alike by tossing out silver dollars at the slightest provocation. Though Tony is loved by saloon singer Sally Templeton (Vivian Blaine), he only has eyes for Nob Hill socialite Harriet Carruthers (Joan Bennett). Upon marrying Harriet, Tony realizes he is sorely outclassed, and turns to the bottle as the result. It's up to "Little Miss Fixit" Katie Flanagan (Peggy Ann Garner) to bring Tony and Sally back together. Ample comedy relief is provided by Alan Reed and B. S. Pully, while the largely uncredited supporting cast includes such familiar faces as J. Farrell McDonald, Nestor Paiva, Bud Jamieson, and Frank McCown, who rose to fame under the new moniker of Rory Calhoun. ~ Hal Erickson, All Movie Guide

Bedlam is one of the costlier psychological-horror efforts from RKO producer Val (Curse of the Cat People) Lewton. Boris Karloff stars as the supervisor of the notorious 18th century British insane asylum St. Mary's of Bethlehem, better known as "Bedlam." Anna Lee, who co-stars as the feisty mistress of a fatuous government official, is appalled by the miserable treatment afforded the Bedlam inmates and insists that reforms be initiated. The crafty, politically connected Karloff responds by having Lee herself incarcerated in the institution: she is a "willful woman", and therefore must be insane. With the help of a few of the more rational patients, Lee stages a mutiny, capturing Karloff and giving him a mock trial. Though they don't truly intend to harm Karloff, he is seriously injured by one of his tormented patients. Assuming that Karloff is dead, the other inmates wall up his body in the cellar--and as the last brick is put in place, we see Karloff's eyes suddenly open! Though it has it moments of genuine terror, Bedlam is as historically accurate as possible, right down to the archaic dialogue passages. For the most part, the film is an indictment against political corruption, with Karloff (in a terrific, multi-faceted performance) alternately bullying and wheedling to save his own behind. Val Lewton (writing under the pseudonym Carlos Keith) based his film on one of the illustrations in Hogarth's "The Rake's Progress," glimpses of which are seen throughout the film as transitional devices. ~ Hal Erickson, All Movie Guide

A sleepy hay-seed filled Arkansas town gets spotlight fever when a local sow bears an unprecedented 10 piglets. Suddenly poor Pitchfork is inundated with greedy interlopers anxiously rooting around trying to make silk purses out of the unusual situation. ~ Sandra Brennan, All Movie Guide

Replacing James Newell, country and western crooner Tex Ritter joins Dave "Tex" O'Brien and Guy Wilkerson in the last eight of PRC's "Texas Rangers" western series. In his initial effort, Ritter, as Sheriff Tex Haines, is again confronted with Bart Kern (I. Stanford Jolley) and his gang of cutthroats who once before terrorized the community of Red Rock and are now back for a second helping. Despite joining forces with Texas Rangers Dave Wyatt (O'Brien) and Panhandle Perkins (Wilkerson), Tex comes up short against Kern's trigger-happy gangsters. But when a henchman (Charles King) kills the town's mayor, Frank Merritt (Harry Harvey), in cold blood, Mrs. Merritt (Betty Miles) and telegraph owner Jane Deering (Patti McCarty) demand to be sworn in as Texas' first female rangers. To boost the morale of this inexperienced but ultimately victorious group of frontier lawmen and women, Tex sings his own and Robert McGimsey's "Please Remember Me" as well as Tim Spencer's "He's Gone Up the Trail" and "Ride, Ranger, Ride". ~ Hans J. Wollstein, All Movie Guide