Peter Adams Movies

Bill (Brian Keith) has another problem on his hands when Carla (Darleen Carr), the teenage friend of his niece Cissy (Kathy Garver), develops a crush on him. Actually, it's more than a crush: Carla is convinced that she's "practically engaged" to the much-older Bill. In his efforts to let the girl down gently, Bill finds that Carla isn't so easily gotten rid of. (Trivia note: appearing as Carla's mother is Catherine McLeod, who gained pop-culture fame in the 1960s via her appearance in an aspirin ad in which she bellowed "Mother, PLEASE! I'd rather do it myself!!") ~ Hal Erickson, Rovi

Paint manufactuer Amory Fallon (played by Wesley Lau, who later joined the Perry Mason cast as Lt. Anderson) suspects his partner Ned Thompson of embezzling funds, setting the fire which wrecked their plant, and worst of all, cheating with Fallon's wife Vivian (Leslie Parrish). Intending to confront Thompson in the man's apartment, Fallon not only brings along a threatening letter, but also gets good and drunk to bolster his courage. Passing out before Thompson returns, Fallon wakes up to find his partner's dead body on the floor beside him. In defending Fallon on a murder charge, Perry Mason (Raymond Burr) must somehow get his client to remember exactly what happened on the fatal night. ~ Hal Erickson, Rovi

The lush romanticism of director Frank Borzage (Seventh Heaven, Street Angel) is subsumed by the plodding reverence of producer Rowland V. Lee's screenplay (co-written with Howard Estabrook), based on the best-selling novel by Lloyd C. Douglas. Howard Keel stars as a stalwart Simon-Peter, the apostle of Christ called "the fisher of men" and the "Rock" upon whom the Christian Church was founded. The film, on the surface, deals with Simon-Peter's conversion from a self-sufficient fisherman to a believer in the inspirational teachings of Christianity. Simon-Peter also serves the needs of the real story: how Simon-Peter succeeds in joining together two lovers from the other side of the tracks. John Saxon is Voldi, an Arab prince who wants to follow in his father's footsteps as the chief of an Arab tribe and marry his beloved, Fara (Susan Kohner). But Fara, wants to see her father, Herod Antipas (Herbert Lom), dead for the misery he has inflicted upon her mother -- abandoning her for the lustful Herodias (Martha Hyer). When Voldi and Fara hear the teachings of Christ, they realize that their love must be put in abeyance to their Christian beliefs. ~ Paul Brenner, Rovi

When seen today, Bullwhip seems to be a dry run for the 1975 Jack Nicholson-Mary Steenburgen western Goin' South. To save himself from being hanged on a trumped-up murder charge, frontiersman Guy Madison agrees to marry whip-wielding spitfire Rhonda Fleming. Once the ceremony is over, Fleming wants nothing to do with her new husband, but he insists upon insinuating himself in her burgeoning fur-trading business. How long will it be before the heroine succumbs to Madison's rakish charms? When Shakespeare wrote this story, he called it Taming of the Shrew. ~ Hal Erickson, Rovi

One of the best of Elvis Presley's pre-Army films, Jailhouse Rock offers us the sensual, "dangerous" Elvis that had won the hearts of the kids and earned the animosity of their elders. Presley plays a young buck who accidentally kills a man while protecting the honor of a woman. Thrown into prison, Elvis strikes up a friendship with visionary fellow-con Mickey Shaughnessy. Shaughnessy suggests that Elvis perform in the upcoming prison show. Ol' swivel-hips scores a hit, and decides to stay in showbiz after his release. Together with pretty Judy Tyler (the former Princess Summerfall Winterspring on Howdy Doody, who would die in a horrible traffic accident shortly after completing this film), Elvis sets up his own record company. Alas, success goes to his head, and soon Elvis plans to ditch Tyler in favor of signing with a big-time label. Shaughnessy shows up long enough to punch out Elvis for his disloyalty; as a result, Elvis' vocal chords are damaged and he is unable to sing. Deserted by his flunkeys and hangers-on, Elvis learns the value of friendship and fidelity when Tyler and Shaughnessy stay by his side in his darkest hours. His voice restored, Elvis climbs back up the charts--but this time, he's a much nicer fellow, and a lot more committed to Tyler. Usually the musical numbers in a Presley picture (this one has a doozy, complete with chorus boys dressed as convicts!) are more compelling than the plot. Jailhouse Rock is a perfect balance of song and story from beginning to end; seldom would Elvis be so well showcased in the future. ~ Hal Erickson, Rovi

Journalist Helmut Dantine, having spent eight years as a convict on Devil's Island, devotes his energies to exposing the horrible conditions at the notorious penal colony. The governor of French Guinea is sympathetic but helpless, since the Devil's Island overseer (William Talman) has technically committed no crime. Investigating the situation, Dantine learns that Talman is the mastermind of a gold-smuggling operation run by the owners of a nearby plantation. The reporter catches Talman in the act, breaks up the operation, and claims the governor's daughter (Donna Martell) for the fadeout clinch. Hell on Devil's Island is one of a group of inexpensive second features produced by 20th Century-Fox's Regal Films division in the late 1950s. ~ Hal Erickson, Rovi

Yvonne de Carlo is at her most smokily exotic in the Republic "special" Flame of the Islands. Filmed on location in the Bahamas, the story focuses on Rosalind Dee (Ms. DeCarlo), a cabaret singer who aspires to enter High Society. To this end, she comes into possession of a great deal of money through rather underhanded means. Rosalind forms a partnership with gambling-club owners Wade Evans (Zachary Scott) and Cyril Mace (Kurt Kasner), building the establishment into a gathering place for the Elite. Along the way, she attempts to rekindle a romance with randy playboy Doug Duryea (Howard Duff), but it is true-blue Kelly Rand (James Arness) who rescues Rosalind from gangland intrusion in the final reel. ~ Hal Erickson, Rovi

The infamous Benedict Arnold affair is the basis of the lively MGM costumer The Scarlet Coat. Arnold is played with suitably subtle menace by Robert Douglas, while his principal co-conspirator, Major John Andre, is essayed by Michael Wilding. The largely speculative storyline concerns the efforts of one Major John Boulton (Cornel Wilde), a colonial counterspy, to foil Arnold's plans. Thanks to some deft scriptwriting, the much-abused Major Andre emerges as the most sympathetic character in the film, if only because he is willing to face the consequences for his actions. Less sympathetic is George Sanders in another of his patented "cad" roles, while Anne Francis is the spunky (if unnecessary) heroine. ~ Hal Erickson, Rovi

H.G. Wells's War of the Worlds had been on the Paramount Pictures docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles's infamous 1938 radio adaptation, the film eschews Wells's original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrate their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, Rovi

Felix E. Feist directed this second adaptation of the novel by Curt Siodmak (filmed previously in 1944 as The Lady and the Monster and later in 1963 as The Brain), which tells the story of a brilliant brain specialist (Lew Ayres) whose attempts to save the life of an accident victim result in the extraction of the dying patient's brain, kept alive via electrodes and a special solution. Before long, the disembodied gray-matter -- which previously belonged to sinister, wealthy industrialist Donovan -- begins to exert a supernatural influence over the doctor, until the once-kindly scientist begins taking on Donovan's aggressive, paranoid personality traits and is compelled to carry out the brain's nefarious commands. This is by far the most effective and intelligent treatment of its source material, building a creepy, suspenseful mood while avoiding lapses into pulp-novel camp. ~ Cavett Binion, Rovi