Van Heflin Movies

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, All Movie Guide

The simple story of a Wyoming range war is elevated to near-mythical status in producer/director George Stevens' Western classic Shane. Alan Ladd plays the title character, a mysterious drifter who rides into a tiny homesteading community and accepts the hospitality of a farming family. Patriarch Joe Starrett (Van Heflin) is impressed by the way Shane handles himself when facing down the hostile minions of land baron Emile Meyer, though he has trouble placing his complete trust in the stranger, as his Marion (Jean Arthur) is attracted to Shane in spite of herself, and his son Joey (Brandon De Wilde) flat-out idolizes Shane. When Meyer is unable to drive off the homesteaders by sheer brute strength, he engages the services of black-clad, wholly evil hired gun Jack Wilson (Jack Palance). The moment that Wilson shows he means business by shooting down hotheaded farmer Frank Torrey (Elisha Cook Jr.) is the film's most memorable scene: after years of becoming accustomed to carefully choreographed movie death scenes, the suddenness with which Torrey's life is snuffed out -- and the force with which he falls to the ground -- are startling. Shane knows that a showdown with Wilson is inevitable; he also knows that, unintentionally, he has become a disruptive element in the Starrett family. The manner in which he handles both these problems segues into the now-legendary "Come back, Shane" finale. Cinematographer Loyal Griggs imbues this no-frills tale with the outer trappings of an epic, forever framing the action in relation to the unspoiled land surrounding it. A.B. Guthrie Jr.'s screenplay, adapted from the Jack Schaefer novel, avoids the standard good guy/bad guy clichés: both homesteaders and cattlemen are shown as three-dimensional human beings, flaws and all, and even ostensible villain Emile Meyer comes off reasonable and logical when elucidating his dislike of the "newcomers" who threaten to divest him of his wide open spaces. ~ Hal Erickson, All Movie Guide

Released in Great Britain as South of Algiers, Golden Mask thrusts it main characters into the dangerous environs of North Africa. An archeological expedition has trekked to Sahara to locate the legendary golden treasure mask. Also on the trail is a gang of murderous thieves, who hope that the expedition will find the treasure just before they slit the scientists' throats from ear to there. Hollywood star Van Heflin plays an American reporter along for the ride (and also to assure American distribution for this British production). Golden Mask is graced with a literate screenplay, which smooths over the rough spots in the continuity. ~ Hal Erickson, All Movie Guide

Vernon Sewell, a mercurial filmmaker who preferred to lens his pictures on chunks of his own property, was the director of Black Widow. We don't know which of Sewell's real estate holdings served as the locale for this amnesia meller. We can, however, tell you that the film was inspired by the BBC radio serial "Return from Darkness." Returning from you-know-where is Robert Ayres, who learns that his wife (Christine Norden) is planning to bump him off with the help of her boyfriend (Anthony Forwood). Ayres continues feigning a loss of memory until he is able to get the drop on his would-be murderers. ~ Hal Erickson, All Movie Guide

Tomahawk takes place during the Great Sioux Uprising of the 1860s. Van Heflin stars as famed frontier scout Jim Bridger, who labors valiantly and vainly to orchestrate peace between Indians and whites. Much of the action takes place at Fort Phil Kearney, the scene of one of the bloodiest battles in western history. Though the film isn't what one might call a pro-Native American tract, the script is careful to note that the Sioux were galvanized into action by the broken treaties and sadistic excesses of certain Indian-hating white men. The feminine angle in these otherwise all-male proceedings is provided by Yvonne de Carlo as a travelling showgirl and Susan Cabot as an ill-fated Sioux maiden. Though economically produced, Tomahawk has all the polish and professionalism of an "A" production. ~ Hal Erickson, All Movie Guide

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 wealthy 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, All Movie Guide

Director Mervyn Leroy lends a burnished MGM gloss to this sordid tale of infidelity among rich New York East Siders. Barbara Stanwyck stars as Jessie Bourne, a charming society woman whose finds out that her husband Brandon (James Mason) is guiltily indulging in an illicit affair with the earthy Isobel Lorrison (Ava Gardner). Jessie bears her husband's indiscretion with a gallant dignity, and when Isabelle is killed, Jesse realizes that she doesn't care for Brandon anyway. Van Heflin is also on hand as ex-cop Mark Dwyer, who admires Jessie's stoic dignity. ~ Paul Brenner, All Movie Guide

Barbara Stanwyck plays Polly Fulton, rebellious daughter of a wealthy industrialist (Charles Coburn). Polly marries a conservative economist professor (Richard Hart), but she chafes at his values and leaves him for socialist professor Van Heflin. Polly nearly ruins both her father's reputation and her own by embracing Heflin's radicalism. Based on a novel by J. P. Marquand, B.F.'s Daughter emerges as an unsubtle swipe at the policies of the late president Franklin Roosevelt; perhaps this was at the behest of MGM's arch-Republican head man Louis B. Mayer. In England, where the letters "B. F." comprise a euphemism for "bloody fool", the film was retitled Polly Fulton. ~ Hal Erickson, All Movie Guide

Set at the beginning of the Civil War, Tap Roots is all about a county in Mississippi which chooses to secede from the state rather than enter the conflict. The county is protected from the Confederacy by an abolitionist (Ward Bond) and a Native American gentleman (Boris Karloff). The abolitionist's daughter (Susan Hayward) is courted by a powerful newspaper publisher (Van Heflin) when her fiance (Whitfield Connor), a confederate officer, elopes with the girl's sister (Julie London). The daughter at first resists the publisher's attentions, but turns to him for aid when her ex-fiance plans to capture the seceding county on behalf of the South. A pocket-edition Gone With the Wind, Tap Roots is way too ambitious for its smallish budget. Modern viewers can have fun spotting such anachronisms as the Southern troops' use of dynamite--several years before it was invented. ~ Hal Erickson, All Movie Guide

We first meet Joan Crawford, star of the moody flashbackfest Possessed, wandering aimlessly through the city streets, moaning "David....David." She goes to pieces in public and is rushed to the mental ward, where a team of psychiatrists try to find out who she is and where she's been. Who she is is a practical nurse, hired by Raymond Massey to care for Massey's invalid wife. While going about her duties, Crawford renews her acquaintance with an old flame, architect Van Heflin. Though Heflin is indifferent, Crawford is still crazy for the man. She remains so even after marrying her employer Massey, whose wife has committed suicide. Any further details would give away the ending, but we can note that Van Heflin's character name is David. Best scene: Crawford, descending into schizophrenia, imagining that she's killed Massey's vitriolic daughter Geraldine Brooks. While the psycho-babble delivered in the asylum scenes is laughable, Possessed still holds up well as one of the best of Joan Crawford's Warner Bros. soap operas. This black-and-white film is also available in a colorized version, but don't blame us. ~ Hal Erickson, All Movie Guide

MGM's Till the Clouds Roll By is the musicalized, and highly fictionalized, life story of beloved composer Jerome Kern, who gave his blessing to the production shortly before his death in 1946. As played by a gray-templed Robert Walker, Kern is a likeable but none too exciting sort who expresses his emotions through his music. Constructed in the form of an extended flashback, the story proper begins at the turn of the century, as Kern tries to peddle his ditties to disinterested Broadway producers. His efforts to interest impresario Charles Frohman (Harry Hayden) go nowhere because Frohman is convinced that the only good music comes from Europe. Obligingly, Kern moves to London, where he meets and falls in love with his future wife Eva (Dorothy Patrick). On the verge of securing work with Frohman, Kern's hopes are dashed when the producer goes down with the Lusitania in 1915. Fortunately, Kern has developed such powerful U.S. contacts as Victor Herbert (Paul Maxey) and Oscar Hammerstein (Paul Langton), enabling him to find success as the composer of several "intimate" musicals for New York's Princess Theater. The film ends where it begins, with Kern's triumph as composer of the Broadway blockbuster Show Boat. Van Heflin weaves in and out of the proceedings as the obligatory best friend/severest critic, a musical arranger named Jim Hessler (purportedly based on longtime Kern associate Paul Sadler). No one in 1946 really cared about the dramatic passages of Till the Clouds Roll By; the film's biggest drawing card was its lineup of all-star MGM talent, performing Kern's most famous numbers. Judy Garland (as Marilyn Miller) sings "Look for the Silver Lining"; Dinah Shore performs "The Last Time I Saw Paris" before a back-projected "Gay Paree"; Kathryn Grayson does a Rita Hayworth imitation with "Long Ago and Far Away"; Virginia O'Brien deadpans "A Fine Romance"; Tony Martin warbles "All the Things You Are"; June Allyson and Ray McDonald team up for the title number; and Frank Sinatra, incongruously dressed in white tuxedo, runs through "Ol' Man River." In addition, other musical contributions are made by Van Johnson, Angela Lansbury, Cyd Charisse, Gower Champion, and Lucille Bremer (cast as Van Heflin's daughter). The film's high point comes at the very beginning with a Reader's Digest edition of Show Boat, featuring Lena Horne, as Julie (the role she was born to play, but never did again on screen), delivering a powerhouse rendition of "Can't Help Lovin' Dat Man." Since lapsing into public domain in 1974, Till the Clouds Roll By has, along with Royal Wedding, become the most readily accessible of all MGM musicals. ~ Hal Erickson, All Movie Guide

For his first directorial assignment at RKO Radio, Edward Dmytryk was handed the mile-a-minute topical meller Seven Miles From Alcatraz. James Craig and Frank Jenks star as cynical Alcatraz inmates Champ and Jimbo, who manage to escape from the "rock" and then take refuge in the lighthouse maintained by Captain Porter (George Cleveland) and his pretty daughter Anne (Bonita Granville). Though concerned only about their own plight at first, Champ and Jimbo alter their getaway plans to foil a nest of Nazi spies who are using the lighthouse as their rendezvous. As Jimbo explains it, "We may be rats, but we're American rats!", which may be why he and Champ are granted a happier denoument than most Alcatraz escapees. Among the Nazis is a slim and youthful John Banner, two decades removed from his duties as cuddly Sergeant Schultz in TV's Hogan's Heroes. ~ Hal Erickson, All Movie Guide