Van Heflin Movies

Based on a novel by Netta Syrett, A Woman Rebels is the story of Pamela Thistlewaite (Katharine Hepburn), whose mission in life is to defy the restrictive and often hypocritical conventions of Victorian England. Refusing to conform to the status quo, Pamela lives alone, reads, and says whatever she wishes, and even -- horrors! -- takes a job. Her romantic dalliance with young Gerald (Van Heflin, in his film debut) results in an illegitimate daughter (Doris Dudley), whom Pamela raises as her niece until she decides it's high time to tell the truth in all matters. Faithful suitor Thomas Lane (Herbert Marshall) offers to make an "honest woman" of her, but Pamela refuses until she can stand on her own two feet financially. Fiercely independent to the last, she becomes the crusading editor of a pioneering pro-feminist magazine and an early champion of Women's Suffrage. It was hoped by RKO Radio that The Woman Rebels would restore the popularity of Katharine Hepburn, which thanks to a series of expensive failures had been flagging for the past two years. Though the film turned out to be a box-office loser (it posted a $220,000 deficit), in retrospect it can be regarded as an artistic triumph -- and a remarkably timely one at that. ~ Hal Erickson, Rovi

An unusually disturbing noir from a director better known for more mainstream fare like High Noon and From Here to Eternity, Act of Violence focuses on a WWII veteran haunted by his past. A film that was close to the director's heart, he said that it represented "the first time that I felt confident that I knew what I was doing and why I was doing it." Van Heflin stars as Frank Enley, a contractor living a peaceful life in a small California town, when Joe Parkson, a man who served in the army with him, arrives in the area, intent on killing him. He follows Frank to a lake where he's fishing but is unable to kill him. When a lakeside bartender tells Frank that a man with a limp is looking for him, Frank is frightened, realizing why he has come. He tells his wife, Edith (Janet Leigh), that Joe is a man who spent time with in a Nazi POW camp, who is now mentally ill, and that he intends to avoid him. When Frank goes to Los Angeles for a business convention, Joe arrives at his house and tells his wife that her husband is responsible for his injury and for the deaths of a number of men. Fearing for her husband's life, Edith heads for L.A. with Joe not far behind. ~ Michael Costello, Rovi

Annapolis Salute is the 1937 remake of RKO's 1933 film Midshipman Jack. Lensed on location at the Annapolis Naval Academy, the film alternates scenes of cadet training with a sentimental romantic story. Essentially, midshipman James Ellison wants to romance officer's daughter Marsha Hunt. He is discouraged from doing so by his father Harry Carey and his rival Van Heflin. A pre-Blondie Arthur Lake is on hand for klutzy comedy relief. Obvious though the material may be, Annapolis Salute posted a healthy profit for RKO. ~ Hal Erickson, Rovi

William K. Howard, a once-prestigious director fallen on hard times in 1939, proved that he still had the "right stuff" with the modest tearjerker Back Door to Heaven. Wallace Ford stars as Frankie, a pugnacious drifter stigmatized by his reform-school upbringing. Frankie and his former "classmate" Jud (Stu Erwin) try to go straight, but get mixed up in a robbery, during which a man is killed. Though not responsible for the murder, it is Frankie who is railroaded to the death house. Nonetheless, he manages to bust out -- just in time for his grammar school class reunion, presided over by teacher Miss Williams (Aline MacMahon), the only person who ever tried to give Frankie a break. Despite severe storytelling shortcomings and gaping logic holes, director Howard managed to make a silk purse out of the critically acclaimed Back Door to Heaven. However, what may once have been social realism, now seems more like a sentimental, mawkish melodrama. ~ Hal Erickson, Rovi

Broadway producer Peter Denver (Van Heflin) takes in young actress Nanny Ordway (Peggy Ann Garner) while his wife (Gene Tierney) is out of town. When Nancy is found murdered in his penthouse apartment, the two prime suspects are Peter and the neglected husband (Reginald Gardiner) of temperamental Broadway star Ginger Rogers, who had also been dallying with the dead girl. Detective Bruce (George Raft) figures out the true identity of the killer, but the audience may be well ahead of him. Despite its resplendant color photography, Black Widow is a "film noir" at heart. ~ Hal Erickson, Rovi

Surely Benjamin Appel's novel Fortress in the Rice was more interesting than its static film adaptation Cry of Battle. Van Heflin plays a crusty soldier of fortune fighting with the Philippine partisans during World War II. James MacArthur co-stars as the wealthy, aimless son of a businessman who joins the partisan cause for a lark. He is toughened up by Heflin and romanced by local girl Rita Moreno. Life's just full of surprises, isn't it? ~ Hal Erickson, Rovi

Once branded himself by the House Un-American Activities Committee, award-winning director Martin Ritt focuses on the cruel branding of five women in this standard wartime drama. Some of his better-known films (The Spy Who Came In from the Cold, Norma Rae) also deal with the question of social and ethical choices in the face of pressure. In this story, the savagery of the Yugoslav partisans as they fight off Nazi occupation forces is also vented on five women accused of Nazi sympathies because of their sexual association with one German officer. The women (played by Silvana Mangano, Vera Miles, Barbara Bel Geddes, Jeanne Moreau, and Carla Gravina) have their heads shaved in order to brand them as traitors. What the partisans did to the German officer (Steve Forrest) in revenge for sleeping with these women was much worse. Intermittently shocking, the film with its excess cruelty and hatreds stands as a good indictment against war and its causes. ~ Eleanor Mannikka, Rovi

Grand Central Murder was intended as a followup to the MGM "sleeper" Kid Glove Killer, with the earlier film's star, Van Heflin, appearing in a similar role. When bitchy actress Mida King (Patricia Dane) is bumped off in a private train car at Grand Central Station, police inspector Gunther (Sam Levene) gathers together all likely suspects. One of these is wisecracking private eye Rocky Custer (Heflin), who endeavors to uncover the genuine murderer himself before Gunther slaps the cuffs on him. Custer's seemingly casual, off-the-cuff methods of detection prove infuriating to Gunther, but guess who solves the mystery-and a particularly baffling one at that--by fadeout time? The film received a mixed reviews from the New York critics, who enjoyed the mystery angle but found fault with Hollywood's convoluted concept of Grand Central Station's floor plan and its unbelievably close proximity to a fictional Broadway theatre (even so, these critics also applauded the ongoing illusion of trains arriving and leaving throughout the picture). ~ Hal Erickson, Rovi

The highly variable Tab Hunter delivers his best film performance in the grim western Gunman's Walk. Hunter plays Ed Hackett, the son of gunslinger-turned-land baron Lee Hackett (Van Heflin). Out of respect (and fear) of his father, the hotheaded Ed is given a wide berth by the resentful townsfolk. The elder Hackett doesn't make things any better when he tacitly approves of Ed's violent behavior, all the while giving short shrift to his law-abiding younger son Davy (James Darren). Inevitably, Ed goes one step too far, forcing his father to make a devastating decision. Kathryn Grant, future wife of Bing Crosby, registers well as the half-breed girl with whom Davy falls in love. Gunman's Walk is seen at a disadvantage on television; director Phil Karlson's inventive use of the CinemaScope lens will be largely lost on a 22-inch screen. ~ Hal Erickson, Rovi

Robert Taylor toughened up his image considerably with this gangster movie, which was unusual both in its plot and origins, having come from MGM, which was generally not known for its crime movies. Taylor plays a parolee who is pretending to follow the straight-and-narrow as a hardworking cabbie, but is really the mastermind behind a dog-racing track being built with mob money. Eager works every angle, has a gang that's generally in line, and also has a loyal right-hand man in Jeff Hartnett (Van Heflin, who won an Oscar), his educated assistant, who drinks too much and waxes poetic when he isn't looking after Johnny's interests (and sometimes when he is, too). Eager has only one problem, special prosecutor John Benson Farrell (Edward Arnold) -- who was also the attorney instrumental in sending Eager up -- who has gotten an injunction against the track's opening. But the hood sees an opening when he accidentally crosses paths with a young sociology student, Lisbeth Bard (Lana Turner), who is drawn to him romantically, and then finds out that she's Farrell's step-daughter. After romancing her for a few months, he sets her up in a scam, making her believe that she killed one of Eager's men (Paul Stewart). He "generously" gets her away from the scene and then informs Farrell of what has happened, pointing out that he holds the evidence against Lisbeth. Farrell has no choice but to withdraw the injunction, and the track opens, but problems ensue when rival mobsters decide to try and cut in on Eager and his racket, and he finds out that Lisbeth is so guilt-ridden over her "crime," that she's destroying herself mentally. Eager can't figure out why she feels the way she does or what to do about it, or even if he should do anything to help her, but with Jeff's help, he discovers a nobler side to his nature. Realizing that she really does love him, and knowing it's not possible for the two of them to be together, he goes out in a blaze of glory -- laced with a special irony built into the plot -- solving Lisbeth's problem and also curing her of her love for him, and settling a score or two in the process. ~ Bruce Eder, Rovi

Based on the Alexander Pushkin story The Captain's Daughter, Tempest is set in Russia during the reign of Catherine the Great. A Russian ensign named Peter Griniev (Geoffrey Horne), banished by Catherine (Viveca Lindfors) to a distant outpost, saves the life of Pugachov (Van Heflin), leader of a peasant uprising. Allowed to escape, Griniev tries to warn of the Pugachov's plans, but the Russian generals refuse to listen. When Griniev attempts to remove Pugachov's daughter (Silvano Mangano) from harm's way, he is accused of desertion. This time it is Pugachov's turn to rescue Griniev by convincing Catherine that the boy is innocent of treason. Tempest compensates for its overall dullness with a few brilliantly staged battle sequences. ~ Hal Erickson, Rovi

MGM circumvented the censorship that would otherwise have prevented a film version of Gustave Flaubert's Madame Bovary by adding a prologue and epilogue that assured any and all bluenoses that the story was strictly a work of fiction. James Mason appears as Flaubert, defending his inflammatory novel before a French jury. Thus, the tragedy of Emma Bovary (Jennifer Jones) is offered as a product of Flaubert's imagination, rather than a real-life story. The body of the film concerns Emma's attempt to escape the boredom of her bourgeois existence by marrying a doctor (Van Heflin). She finds life with the physician even more tiresome than her previous experiences, thus begins taking a series of wealthy lovers-all of whom prove to be two-dimensional cads. Unable to tolerate a lifetime of dead-end affairs, Emma eventually commits suicide. The best sequence-indeed, one of the finest set pieces ever directed by Vincente Minnelli-is the "Emma Bovary Waltz" sequence, a dazzling experience in dizzying camera movements. ~ Hal Erickson, Rovi