Russell Hicks Movies

This commendably short adaptation of Robert Louis Stevenson's The Black Arrow stars Louis Hayward in the title role. Returning from duty in the 15th-century War of the Roses, young Richard Shelton (Hayward) learns that his estate has been claimed by his usurping uncle Sir Daniel Brackley (George Macready), who for good measure has also murdered Richard's father. Forced to elude Brackley's minions, Shelton and his followers eventually manage to thwart the villain with all manner of weaponry, from crossbow to fist. Janet Blair co-stars as Joanna Sedley, whom Richard must rescue from a forced marriage to the brackish Brackley. Black Arrow was remade for television in 1985, with Benedict Taylor and Stephan Chase sharing the hero chores (in the Stevenson original, Richard Shelton and the Black Arrow were two different characters), and top-billed Oliver Reed as Brackley. ~ Hal Erickson, All Movie Guide

A rapidly maturing Gloria Jean is the star of the Columbia musical Manhattan Angel. She's cast at Madison Avenue copywriter Gloria Cole, at present striving to save a youth center for underprivileged children from being demolished to make way for a factory. Complications arise when Everett H. Burton (Thurston Hall), the elderly and irascible tycoon responsible for the factory project, develops a crush on our heroine. Ross Ford, later steadily employed as a TV and movie character actor, is the film's nominal leading man. Among the songs heard in Manhattan Angel is "I'll Take Romance," one of a handful of hit tunes owned outright by Columbia and thus royalty-free for "B"-movie redeployment. ~ Hal Erickson, All Movie Guide

Based upon a story by William Mercer, The Velvet Touch stars Rosalind Russell as Valerie Stanton, a celebrated Broadway actress whose latest smash comedy is coming to the end of its successful run. The play's producer, Gordon Dunning, has produced all of Stanton's hits for the last decade, and takes credit for making her the star she is today. He is therefore upset when she informs him that she wishes to make a break with him by both marrying Michael Morrell, a renowned architect, and by taking a stab at one of the classic roles -- namely Hedda Gabler -- under the auspices of another producer. Dunning has no intention of letting her move forward with her plans, and he tells her that if she refuses to continue working with him in light, profitable comedies, he will reveal unflattering information about her to Morrell. Frightened that this will destroy her relationship, Stanton picks up a statue from Dunning's desk and delivers a fatal blow. Fortunately, because she is wearing her trademark long black gloves, there are no fingerprints, and Stanton creates a plausible alibi. Suspicion therefore shifts to Marian Webster, a rival of Stanton's who finds the body and was once romantically involved with Dunning. Stanton seems to have gotten away with murder -- but can she avoid making any mistakes as police captain Danbury proceeds with the investigation? ~ Craig Butler, All Movie Guide

When Republic moved its popular star William Elliot from "B" series westerns to "A" frontier specials, a lot of the fun and excitement was lost in the process. Additionally, Republic seemed reluctant to admit the new Elliot films were westerns, as witness the title Gallant Legion, which could have been mistaken for a Sahara Desert epic. Actually Gallant Legion is one of the better Elliot big-budgeters, with Bill as one of the charter members of the Texas Rangers. The Rangers' task is to prevent greedy landgrabbers from dividing Texas into sections and setting up their own fiefdoms. Elliot's leading lady in Gallant Legion is Adrian Booth, who as "Lorna Gray" had been a Republic serial villainess a few seasons earlier. ~ Hal Erickson, All Movie Guide

Usually associated with erudite, urbane comedies, the legendary screen team of Katharine Hepburn and Spencer Tracy goes intensely dramatic in the expensive western Sea of Grass. Tracy plays cattle baron Colonel James Brewton, who staunchly opposes opening the western frontier to homesteaders. Standing steadfastly beside Brewton-at least at the beginning--is his headstrong wife Lutie (Hepburn). Eventually disillusioned by the stern implacability of her husband, Lutie leaves Brewton and goes off to Denver, where she falls in love with liberal attorney Brice Chamberlain (Melvyn Douglas), the champion of the homesteaders' cause. Upon giving birth to Chamberlain's son, Lutie confesses her indiscretion to Brewton, who takes the news with commendable restraint, even offering to accept the baby as his own. Unfortunately, the Brewtons' standing in the community is weakened by the revelation of Lutie's infidelity, causing her to leave her husband for a second time. Years later, Lutie's grown-up boy Brock (Robert Walker) drifts to the wrong side of the law, leading to his death at the hands of a posse. Though it hardly seems possible under the circumstances, Brewton and Lutie are at long last reconciled through the intervention of their daughter Sara Beth (Phyllis Thaxter). Elaborately produced in the traditional MGM manner and adroitly directed by Elia Kazan, Sea of Grass is still one of the lesser Tracy-Hepburns. ~ Hal Erickson, All Movie Guide

After serving with a notable lack of distinction in WW2, Corporal Slicker Smith (Bud Abbott) and Private Herbie Brown (Lou Costello) return to the US. Unbeknownst to their sourpussed sergeant Collins (Nat Pendleton), Slicker and Herbie have smuggled cute little war orphan Evie (Beverly Simmons) past the immigration authorities. In their efforts to find a decent home for Evie, our heroes return to the prewar "jobs" as sidewalk salesmen, then make a disastrous attempt to collect their GI bonus money. They also struggle to save Evie from deportation, hiding her from the prying eyes of the ubiquitous Collins, who has likewise returned to his civilian job as a police officer. The climax finds Herbie participating in a big-money midget-car race, feverishly dodging pedestrians and motorists as he tries to escape the authorities. The film also includes a romantic subplot involving Tom Brown and Joan Fulton (later known as Joan Shawlee). ~ Hal Erickson, All Movie Guide

Long before he became the foremost purveyor of ultra-realistic melodramas, writer/producer/director Andrew Stone turned out a handful of screwball comedies like Fun on a Weekend. Eddie Bracken stars as P. P. Porterhouse III, who despite his triple-barrelled monicker is flat broke. Long on ideas but short on self-confidence, Porterhouse teams up with Nancy Crane (Priscilla Lane), who has the push and fortitude to turn our heroe's grandiose dreams into reality. Posing as a fabulously wealthy married couple, Porterhouse and Nancy mingle with the rich and famous at a fancy summer resort, ever on the prowl of financial backers. Porterhouse, however, nearly drops the facade when he becomes jealous of the attentions paid to Nancy by suave playboy Van (Tom Conway). Fun on a Weekend cheerfully throws logic to the winds in favor of slapstick and whimsy. ~ Hal Erickson, All Movie Guide

A sharecropper's son grows up to be the governor of Louisiana in this rags-to-riches bio-pic that tells the story of Jimmie Davis who was determined to get a good education and make something of himself. Not only did he become known as the singing governor, Davis was also a professor in a women's college, and a streetwise police commissioner. He sings several songs throughout the film including: "You Are My Sunshine," "Nobody's Darling but Mine," "It Makes No Difference," "There's a New Moon over My Shoulder," "Let's Be Sweethearts Again," and "You Won't Be Satisfied That Way." ~ Sandra Brennan, 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

William Powell plays a cynical con man who graduates from penny-ante operations to a big-time charity racket. The scam involves collecting money on behalf of St. Dismas, bringing Powell in close contact with several men of the cloth. As the racket rolls on, Powell is touched by the sincerity of the religious men and the plights of the charity's rightful recipients. He has a change of heart, confessing his original criminal intentions but seeing to it that the money goes to the right people. Hoodlum Saint was typical of the facile religiosity often found in MGM pictures of the period. The film is best remembered as the first non-aquatic performance of MGM swimming star Esther Williams. ~ Hal Erickson, All Movie Guide

Republic Pictures certainly didn't believe in obscure or misleading film titles, as G.I. War Brides amply proves. Ann Lee plays Linda Powell, a British lass who desires to enter the United States without dealing with the immigration authorities. To this end, Linda trades places with Joyce Giles (Carol Savage), a war bride whose American husband no longer loves her. Arriving at the home of Joyce's husband Steve (James Ellison), Linda convinces her "husband" and his family to maintain the artifice lest she be sent back to England. Complicating matters is a snoopy reporter (Robert Armstrong) and Linda's real boyfriend Capt. Roger Kirby (William Henry). A few isolated comic-relief scenes aside, GI War Brides is pretty slow going. ~ Hal Erickson, All Movie Guide