Edward Hearn Movies

For reasons that defy logic, the excellent This Island Earth was held up for ridicule as an allegedly bad movie in the film version of TV's Mystery Science Theater. If not the best science-fiction film of the 1950s, Earth is certainly one of the most intelligent and elaborate. The story begins when the image of Exeter (Jeff Morrow), a huge-domed scientific genius from the planet Metaluna, appears on an experimental 3D television screen. Exeter invites several noted scientists from around the world to work on a top-secret project at Exeter's earthly mansion. Among those accepting the invitation are Cal Meacham (Rex Reason) and his ex-fiancee Ruth Adams (Faith Domergue). Soon, Cal and Ruth learn Exeter's true motives; to use the Earth's atomic knowhow in building a defense shield to protect Metaluna against the enemy planet Zahgon. Eventually, Exeter boards his high-tech flying saucer and whisks Cal and Ruth off to his dying planet, where, among other perils, they are menaced by a hideous mutant. Based on a novel by Raymond F. Jones, This Island Earth is one of those rare 1950s speculative films that holds up as well today as it did when first released, despite the comparative quaintness of the special effects and high-tech paraphernalia. Incidentally, the climactic Metalunan scenes were directed by Universal's resident sci-fi specialist, Jack Arnold. ~ Hal Erickson, All Movie Guide

Port Sinister was produced by the team of Aubrey Wisberg and Jack Pollexfen, whose chief claim to fame was the 1951 sci-fi "sleeper" The Man From Planet X. Soldier of fortune Tony Ferris (James Warren) leads an expedition to an island threatened with extinction by a volcano. No, Ferris isn't crazy: it is his belief that the eruption will reveal a fortune in buried pirate treasure. Surrounded by highly suspicious-looking characters, Ferris can trust only his longtime companion, Jean Hunter (Lynne Roberts) -- and even she doesn't seem too trustworthy. Originally distributed by RKO Radio, Port Sinister was re-issued by Realart Pictures in 1961 under the title Beast of Paradise Isle. ~ Hal Erickson, All Movie Guide

At the time of its release the RKO "B"-western Road Agent raised eyebrows, not because of its violent content, but because of its astonishing lack of violence. Saddle pals Tim (Holt) and Chito (Richard Martin) find out the hard way that usurious Milo Brand (Mauritz Hugo) is charging exorbitant rates to the local ranchers for access to a private road. As a means to thwart the profiteer, Tim and Chito pose as bandits, the better to rob from the rich (Brand) and give to the poor (Everybody Else). The feminine interest is handled by Noreen Nash and Dorothy Patrick, while the very mild villainy is handled by Bob Wilke and Tom Tyler. Road Agent was slightly more successful financially than Tim Holt's first 1952 western Trail Guide, but not enough to elicit cheers at the RKO stockholder's meeting. ~ Hal Erickson, All Movie Guide

Man Behind the Gun is a standard-issue Randolph Scott western elevated by good performances and exciting action sequences. Scott plays Callicut, newly arrived in the bustling mid-19th century metropolis of Los Angeles. Outwardly just another soldier of fortune, Callicut is actually an undercover agent for the government, sent to LA to investigate a covert organization that hopes to make Southern California a separate state. When he finds the time, he romances schoolteacher Lora Roberts (Patrice Wymore), whose life he'd previously saved during a stagecoach holdup. Callicut's rival for Lora's attentions is Roy Giles (Philip Carey), a hotheaded Army captain who may be in on the secessionist movement. Once Callicut finds out who's behind the movement, all hell breaks loose. Robert Cabal makes a brief appearance in Man Behind the Gun as a supposedly harmless Latino who turns out to be firebrand desperado Joaquin Murietta. ~ Hal Erickson, All Movie Guide

Pistol Harvest starred RKO's "house cowboys" Tim Holt and Richard Martin. In this one, the two heroes are accused of killing their boss. They are saved from the hangman's noose when two other guys are arrested, but Holt feels as though justice is still not being served. On their own, Holt and Chito set about to track down the genuine killer. Joan Dixon, whose previous RKO endeavor was the tense film noir Roadblock, trods a more virtuous path as Tim Holt's romantic interest. Pistol Harvest was budgeted at $93,000, an indication that even a "B" western was a costly proposition in the postwar years. ~ Hal Erickson, All Movie Guide

Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making. ~ Linda Rasmussen, All Movie Guide

Set in wartime (WW II), this film finds the fat guy, skinny guy comedy duo not much good at any attempted professions; they can't even enlist in the war effort. None of the services want them. But they do become air raid wardens, at least for a while, until their misadventures continue. They get all boozed up and are kicked off the air raid squad, too! But things get better when they thwart a spy ring and save the day. ~ All Movie Guide

Granite-jawed Jack Holt plays himself-or at least the screen version of "himself"-in the 15-chapter Columbia serial Holt of the Secret Service. To get the goods on a counterfeiting ring, federal agent Holt poses as master criminal Nick Farrel. The villains swallow this ruse hook, line and sinker, making one wonder how they ever had the intellectual capacity to flood the US with funny money. Aided and abetted by fellow agent Kay (Evelyn Brent), who poses as "Mrs. Farrel", Holt endures numerous brushes with death, emerging from all of them with nary a hair out of place nor a crease in his well-tailored business suit. As usual, director James W. Horne injects several moments of zany comedy in the proceedings: at one point, the villains receive a valuable piece of information, whereupon they all shout "Hooray" in unison! A less intentionally amusing aspect of the film is that neither Jack Holt nor Evelyn Brent change their clothes during the serial's 4-hour length, leading one to assume that the other cast members had lost their sense of smell. ~ Hal Erickson, All Movie Guide

Each of Bob Hope's "My Favorite" films (My Favorite Blonde, My Favorite Brunette, My Favorite Spy) was, by accident or design, a parody of a dead-serious movie genre. 1942's My Favorite Blonde, for example, was a takeoff of Alfred Hitchcock in general and Hitchcock's 39 Steps in particular. Two-bit vaudeville entertainer Hope gets mixed up with gorgeous blonde British-spy Madeline Carroll. The "maguffin" (Hitchcock's nickname for "gimmick") which ties the two stars together is a ring which contains the microfilmed plans for a revolutionary new bomber. Hope and Carroll are forced to take it on the lam when Hope is framed for murder by Nazi-agents Gale Sondergaard, George Zucco et. al. Highlights include Hope eluding capture by impersonating a famed psychologist (watch for Carl "Alfalfa" Switzer as Hope's most contentious "patient"). Madeline Carroll also got several opportunities to shine comedically, especially when she lapsed into cloying baby talk while posing as Hope's wife. Bob Hope was hesitant to work with My Favorite Blonde director Sidney Lanfield, having heard of Lanfield's reputation as an on-set dictator. However, the two got along so swimmingly that they would collaborate on such future top-notch Hope farces as Let's Face It (1943) and The Lemon Drop Kid (1951). ~ Hal Erickson, All Movie Guide

Bob Hope plays a famous movie star who does his best to avoid the pre-war draft, but ends up in uniform all the same. Hope marries Dorothy Lamour, the daughter of Army colonel Clarence Kolb, in hopes that this union will help him sidestep military service. Stuck in boot camp, Hope is a class-A screw-up until redeeming himself during a sham battle--though his "heroic" commandeering of a tank began as yet another boo-boo. Still not entirely certain that Hope could carry a film by himself, Paramount teamed him with Eddie Bracken and Lynne Overman--a sort of Abbott and Costello plus One. Despite the efforts to make Bob Hope part of an ensemble, it is clear from the first frame to the last who is truly the star of Caught in the Draft. ~ Hal Erickson, All Movie Guide

Those popular MGM co-stars William Powell and Myrna Loy take a break from their usual Thin Man duties to star in the zany comedy I Love You Again. The film opens with Loy prepared to divorce her dull businessman husband Powell. A blow on the head causes Powell to remember his former life as a notorious con man. No one in town has any knowledge of Powell's criminal past, a fact he hopes to use to his advantage. Loy, astounded at Powell's sudden surge of amorous ardor, reconsiders her divorce. When she learns of his true identity, she is even more fascinated. Another blow on the head restores the non-criminal Powell--at least, that's what he and Loy would like you to believe. The film's highlight is a screamingly funny sequence in which Powell plays scoutmaster to a group of surly youngsters (including Our Gang veterans Carl Switzer and Mickey Gubitosi, aka Robert Blake). ~ Hal Erickson, All Movie Guide

The once-in-a-lifetime teaming of Mae West and W.C. Fields in My Little Chickadee had the potential for comic greatness: what emerged, though generally entertaining, was, in the words of critic Andrew Sarris, "more funny strange than funny ha-ha." Mae West dominates the film's first reel as Flowerbelle Lee, a self-reliant woman who is abducted by a mysterious masked bandit during a stagecoach holdup. Because she refuses to tell anyone what happened during her nocturnal rendezvous with the bandit, Flowerbelle is invited to leave her prudish hometown and move to Greasewood City. En route by train, Flowerbelle makes the acquaintance of con-artist Cuthbert J. Twillie (W.C. Fields), who carries a suitcase full of what seems to be large-denomination monetary notes. After a lively clash with marauding Indians, Flowerbelle tricks Twillie into a phony marriage; she does this so that she can arrive in Greasewood City with a modicum of respectability, and incidentally to get her hands on Twillie's bankroll. Once she discovers that Twillie's "fortune" consists of nothing but phony oil-well coupons, Flowerbelle refuses to allow Twillie into the bridal chamber (he unwittingly crawls into the marriage bed with a goat, muttering "Darling, have you changed your perfume?") Through a fluke, the cowardly Twillie is appointed sheriff of Greasewood City by town boss Joseph Calleila. The plot is put on hold for two reels while La West does a "schoolroom" routine with a class full of markedly overage students, and while Fields performs a bartender bit wherein he explains how he once knocked down the notorious Chicago Mollie. Jealous over the attentions paid to his "wife" by Calleila and honest newspaper-editor Dick Foran, Twillie decides to gain entry into his wife's boudoir by posing as the still-at-large masked bandit. His ruse is soon discovered by Flowerbelle, but the townsfolk capture Twillie as he makes his escape. They are about to lynch the hapless Twillie when Flowerbelle discovers that Calleia is the genuine masked bandit. She urges Calleia to save Twillie's life by making a surprise appearance at the lynching and by returning the money he's stolen. When all plot lines are ironed out, Flowerbelle and Twillie bid goodbye to one another. Borrowing a device utilized by ZaSu Pitts and Hugh Herbert in 1939's The Lady's From Kentucky, W.C. Fields invites Mae West to "come up and see me sometime," whereupon West appropriates Fields' tagline and calls him "My Little Chickadee." The script for this uneven comedy western was credited to Mae West and W.C. Fields, though in fact West was responsible for most of it. Fields willingly conceded this, noting that West had captured his character better than any other writer he'd ever met. Despite this seeming gallantry, it was no secret that West and Fields disliked each other intensely, a fact that had an injurious effect on their scenes together. My Little Chickadee has assumed legendary status thanks to its stars, and it certainly does deliver the laughs when necessary: still, it is hardly the best-ever vehicle for either Fields or West, two uniquely individual performers who should never have been required to duke it out for the same spotlight. ~ Hal Erickson, All Movie Guide