Russell Hicks Movies

After several years of supporting roles, Edward Arnold once again enjoys top billing in the independently produced Man of Conflict. Arnold plays powerful industrialist J. R. Compton, who tries to force his son Ray (John Agar) to become as ruthless and hard-hearted as his dad. But Ray is cut from a different cloth; he treats the employees like human beings, rather than automatons. The father-son conflict rages on until the elder Compton finally realizes that his way is not always the best way. Well cast with some of the best character actors in the business, Man of Conflict makes up in good intentions and good acting what it lacks in production values. ~ Hal Erickson, Rovi

In this "Wild Bill Elliot" western, Elliot and two other lawmen (Myron Healey and Robert Bray) are assigned to take three outlaws to prison. Along the way, they agree to escort Phyllis Coates and her grandmother Florence Lake through Indian territory. Everyone's safety is threatened when one of the deputies (Healey) casts his lot with the criminals. Maverick was the first of three serendipitous collaborations between star Elliot and director Thomas Carr. Incidentally, Carr had just finished directing leading lady Phyllis Coates in several episodes of the Superman TV series. ~ Hal Erickson, Rovi

In the early 1940s, producer Hal Roach turned out several entertaining and profitable "streamliners" (each running approximately 45 minutes) about an army recruit with a photographic memory and his long-suffering sergeant. William Tracy portrayed Private (and later Sergeant) Doubleday, while Joe Sawyer was his topkick Sgt. Ames. In 1951, Hal Roach Jr. decided to revive the series, but only two 6-reel films resulted. The first, As You Were, finds Doubleday re-enlisting, much to the consternation of the bombastic Ames. This time both men find themselves at odds with their new "fellow" sergeant, lovely WAC Joan Vohs. Like its sequel Mr. Walkie Talkie, As You Were was released by Lippert Films. ~ Hal Erickson, Rovi

From the opening credits onward, bombastic comedian Jerry Colonna dominates the proceedings in Kentucky Jubilee. Colonna plays second-rate entertainer Jerry Harris, who links up with aspiring singer Sally Shannon (Jean Porter) and hotshot reporter Jeff Benson (James Ellison). The trio heads to the small town of Hickory, Kentucky to participate in an annual fundraising musical show. Things get hectic when a gang of crooks steal the receipts and kidnap Colonna (worse luck for the crooks!) The scene-stealing supporting cast includes Fritz Feld, Raymond Hatton, Vince Barnett, Chester Clute, Si Jenks, George Cheseboro and George Sanders (no, not that George Sanders). ~ Hal Erickson, Rovi

In this musical, an ambitious young singer and her band leave their small hometown to head for the Big Apple in hopes of finding fame and fortune. ~ Sandra Brennan, Rovi

Raymond Burr stars as Roger Lewis, the ruthless publisher of a Confidential-style scandal magazine. For a fee, Lewis will keep certain names out of his rag. From blackmail it is one short step to murder: after killing his mistress, Lewis uses his magazine to frame the woman's husband for the crime. The husband commits suicide, thereby bringing his daughter Linda (Barbara Jackson) into the picture. Linda enlists the aid of sympathetic policeman James Webster (Robert Rockwell) to stop Lewis once and for all. For reasons unknown, the producers of Unmasked felt compelled to add a gratuitous gangster subplot to their already labyrinthine storyline. ~ Hal Erickson, Rovi

As indicated by its title, Blue Grass of Kentucky is a horse-racing opus. Bill Williams plays Lin McIvor, the owner of a horse named Blue Grass. He doesn't know it, but the horse was sired by a Kentucky Derby winner, owned by Armistead (Russell Hicks). The aristocratic Armistead had previously refused to mate his prize horse with McIvor's best mare, but the union was orchestrated in secret by Armistead's sympathetic daughter Pat (Jane Nigh). Highlighted by actual scenes from the annual Derby at Churchill Downs, Blue Grass of Kentucky was pleasingly lensed in Cinecolor. The film is ample proof that prolific "B"-flick director William "One Take" Beaudine was capable of turning out first-rate work. ~ Hal Erickson, Rovi

This independently produced crime caper was picked up for distribution by 20th Century-Fox. Tom Conway stars as criminal attorney John Campbell. After saving Frank Bricolle (Steve Brodie) from a murder charge, Campbell is taunted with revelation that Bricolle is actually guilty. Even more galling is the fact that Campbell was hoodwinked into being his client's alibi. Knowing that Bricolle can't be tried twice for same crime, Campbell tries to frame him on another murder rap. ~ Hal Erickson, Rovi

Samson and Delilah is Cecil B. DeMille's characteristically expansive retelling of the events found in the Old Testament passages of Judges 13-16. Victor Mature plays Samson, the superstrong young Danite. Samson aspires to marry Philistine noblewoman Semadar (Angela Lansbury), but she is killed when her people attack Samson as a blood enemy. Seeking revenge, Semadar's younger sister Delilah (Hedy Lamarr) woos Samson in hopes of discovering the secret of his strength, thus enabling her to destroy him. When she learns that his source of his virility is his long hair, Delilah plies Samson with drink, then does gives him the Old Testament equivalent of a buzzcut while he snores away. She delivers the helpless Samson to the Philistines, ordering that he be put to work as a slave. Blinded and humiliated by his enemies, Samson is a sorry shell of his former self. Ultimately, Samson's hair grows back, thus setting the stage for the rousing climax wherein Samson literally brings down the house upon the wayward Philistines. Hedy Lamarr is pretty hopeless as Delilah, but Victor Mature is surprisingly good as Samson, even when mouthing such idiotic lines as "That's all right. It's only a young lion". Even better is George Sanders as The Saran of Gaza, who wisely opts to underplay his florid villainy. The spectacular climax to Samson and Delilah allows us to forget such dubious highlights as Samson's struggle with a distressing phony lion and the tedious cat-and-mouse romantic scenes. ~ Hal Erickson, Rovi

In this whimsical fantasy, a young girl suddenly discovers that her horse is really a reincarnation of her beloved uncle who upon his death bed was heard to say that if could ever come back, he would want to be a race horse that wins the Kentucky Derby. When the girl's relatives learn of her beliefs, the greedily try to have her declared incompetent so they can get a hold of her estate. Fortunately, October the horse (it really is her reincarnated uncle!) intervenes, wins the Derby and gives them all pause for thought. ~ Sandra Brennan, Rovi

Hero Rod Cameron kills Sheriff Sam Borden (George Cleveland) at point-blank range and in front of several witnesses in the opening of this Republic Pictures Western, released in the company's patented Trucolor system. The "killing," however, is merely a ruse set up to allow army agent Johnny Drum (Cameron) to infiltrate a gang of highway robbers. The gang is led by Whit Lacey (Forrest Tucker), and although Johnny is determined to bring Whit and his men to justice, he cannot help befriending the charming rascal. It all comes to a head when the Sioux attack the local fort and both Johnny and Whit prove that they at least have something in common -- bravery and loyalty. Ilona Massey, as Cameron's love interest, performs "Walking Down Broadway," by William H. Lingard and Charles E. Pratt, and "I'll Sing a Love Song," with lyrics by Jack Elliott and Aaron Gonzales. ~ Hans J. Wollstein, Rovi