Al Hill Movies

Next to Slightly Scarlet, Silver Lode is the best of the many 1950s collaborations between producer Benedict Bogaeus and director Allan Dwan. Clearly inspired by High Noon, the story covers three hours in the lives of a group of westerners. As the townsfolk prepare for the Fourth of July celebration, stranger Dan Duryea rides into view, followed by three tough-looking hombres. Duryea claims to be as US marshal, and further claims that he has a warrant for the arrest of the town popular sheriff, John Payne. A few hours away from his marriage to Lizabeth Scott, Payne assumes that no one will believe the troublemaking Duryea, and that his spotless record will speak for itself. But since it is impossible to confirm or deny Duryea's allegations, the seeds of doubt are planted in the minds of the townspeople, and before long virtually all of Payne's "friends" have turned against him. It soon becomes clear to the movie audience that Duryea is lying, especially after he guns down one of his own men. But Duryea is able to pin the blame of the killing on Payne, and in a twinkling the sheriff is a hunted man. The only person willing to give Payne the benefit of the doubt is town trollop Dolores Moran (Mrs. Benedict Bogeaus), who hides the sheriff while telegrapher Frank Sully tries to find out if Duryea is telling the truth. Building slowly and methodically to a slam-bang climax, Silver Lode is an above-average psychological western--and, like many "guilt by supsicion" films of the 1950s, a thinly veiled attack on McCarthyism. Best line: when Duryea bursts into Dolores' boudoir to see if Payne is hiding under the bed, she moans "Oh, what is this? A French farce?" ~ Hal Erickson, All Movie Guide

One of the most subtle and sophisticated of the musical comedies that came out of MGM's Arthur Freed Unit in the '40s and '50s, The Band Wagon stars Fred Astaire as Tony Hunter, a movie star whose career is in a downturn. Looking for a boost, Tony decides to try starring in a Broadway musical. His friends Lester and Lily Marton (Oscar Levant and Nanette Fabray) have written a show they feel would be just right for Tony, and the three team up with Jeffrey Cordova (Jack Buchanan), a self-styled "genius" director, who gets the idea to turn the play into a revised version of Faust. Cordova's more pretentious ideas don't always sit well with the Martons, and Tony isn't too happy with his leggy co-star, Gaby Gerard (Cyd Charisse), whom he's convinced is too tall (then again, she thinks he's too old). But when the show proves a disaster in out-of-town tryouts, everyone realizes they have to put aside their differences if they want a show that will be on Broadway for longer than four hours. The Band Wagon featured a rare American appearance for British musical star Jack Buchanan, who does a fine soft-shoe with Fred Astaire on "I Guess I'll Have to Change My Plan." Astaire also shines in the numbers "Shine on Your Shoes" and "The Girl Hunt," a witty Mickey Spillane parody. ~ Mark Deming, All Movie Guide

Though it isn't obvious at first glance, Three Sailors and a Girl is the fourth screen version of the George S. Kaufman stage comedy The Butter and Egg Man. The titular gobs are Jones, Twitch, and Parky, played respectively by Gordon MacRae, Gene Nelson, and Jack E. Leonard. On leave in New York with their pockets full of money, our trio of heroes are convinced by wheeler-dealer Joe Woods (Sam Levene) to invest their money in a musical show. It soon becomes obvious that the boys have backed a turkey, but with the help of pert leading-lady Penny (Jane Powell), a potential disaster is converted into a smashing success. The Sammy Cahn-Sammy Fain musical score is tuneful if forgettable, while LeRoy Prinz' choreography is first-rate. A cute celebrity cameo appearance caps this happy little film. ~ Hal Erickson, All Movie Guide

Burt Lancaster and Virginia Mayo, the stars of 1950's Flame and the Arrow, are reteamed in the lusty adventure romp South Sea Woman. It all begins at the military trial of Marine sergeant O'Hearn (Burt Lancaster), facing a court-martial for desertion. In flashback, O'Hearn recalls how he was stranded in Shanghai while trying to break up the impending marriage between his pal David White (Chuck Connors) and brassy nightclub photographer Ginger Martin (Virginia Mayo). The two marines try to make it back to Pearl Harbor, but they undergo several hair-raising adventures along the way, including a sticky involvement with a group of French resistance fighters. The upshot of all this is that O'Hearn arrives in Pearl after the Japanese attack, and as such is branded as a coward. It is up to Ginger Martin to provide the evidence that will clear our hero -- but she isn't too fond of O'Hearn at the moment. ~ Hal Erickson, All Movie Guide

There's no obvious motive when a police officer is killed in a drive-by shooting on the steps of his own house. But after Friday (Jack Webb) and Smith (Ben Alexander) trace the "murder car" to a man named Hymie Flores (Paul Picerni), it becomes obvious that the killer was ex-con Jake Carver (Tony Barrett), who had a personal vendetta against the victm. Ultimately, Carver is arrested for another killing and sentenced to life imprisonment. Still hoping to gather enough evidence to send Carver to the gas chamber, Friday goes undercover as a fellow prisoner. This episode is based on the Dragnet radio broadcast of March 2, 1950. ~ Hal Erickson, All Movie Guide

The "regeneration" of blacklisted director Edward Dmytryk was expedited when he was hired by producer Stanley Kramer to helm the location-filmed melodrama The Sniper. In the interests of political expediency, Dmytrk was required to direct Adolphe Menjou, one of the most virulent Red-baiters of the HUAC hearings. Shorn of his trademarked mustache, and with his famous expensive wardrobe replaced by a humdrum business suit, Menjou turns in one of his best performances as a world-weary San Francisco detective assigned to track down a mad sniper. From the beginning, the audience knows that the criminal is psycho Eddie Miller (Arthur Franz), who is possessed of the notion that he must kill every beautiful brunette woman who crosses his path. Some audience sympathy is elicited by Miller's pathetic attempts to rid himself of his obsession, but this never gets in the way of the film's suspense. The excellent supporting cast includes Richard Kiley as a police psychiatrist, Marie Windsor as Miller's first victim, and Mabel Paige as the sniper's snoopy landlady. An unbilled Wally Cox shows up briefly. ~ Hal Erickson, All Movie Guide

In this old-fashioned screwball comedy, Christy Sloane (Eleanor Parker) is a secretary with a large legal firm who is sent to California to inform Peter Lockwood (Fred MacMurray), an overly sentimental radio host, that he's just inherited $2 million. Christy is looking to raise her standard of living, and she gets an idea -- what if she woos Peter and gets him to marry her before telling him that he's a millionaire? Christy decides that it's worth a try, even though she soon learns that Peter is due to marry his fiancée June Chandler (Kay Buckley) in a matter of days. However, the wedding goes haywire when Dr. Roland Cook (Richard Carlson), Peter's best man, takes a flyer shortly before the ceremony. It seems that he's secretly in love with June, and he can't bear to see her marry anyone else, even his best friend. Peter takes off to find Roland, with Christy eagerly tagging along, but after the two are soaked by massive waves while driving along the coastline, they wind up at a wild party thrown by a large, overly-cheerful Mexican gentleman (Chris-Pin Martin) who has somehow decided that they're honeymooners and begins plying them with large amounts of tequila. After a few drinks, Christy begins to realize that she actually likes Peter for himself, not just his money, but where does this leave his almost-wedding to June? A Millionaire for Christy was directed by George Marshall, who would go on to helm a number of Jerry Lewis vehicles (including several with his sometimes-partner Dean Martin). ~ Mark Deming, All Movie Guide

In one of Alfred Hitchcock's suspense classics, tennis pro Guy Haines (Farley Granger) chances to meet wealthy wastrel Bruno Anthony (Robert Walker) on a train. Having read all about Guy, Bruno is aware that the tennis player is trapped in an unhappy marriage to to wife Miriam (Laura Elliott) and has been seen in the company of senator's daughter Ann Morton (Ruth Roman). Baiting Guy, Bruno reveals that he feels trapped by his hated father (Jonathan Hale). As Guy listens with detached amusement, Bruno discusses the theory of "exchange murders." Suppose that Bruno were to murder Guy's wife, and Guy in exchange were to kill Bruno's father? With no known link between the two men, the police would be none the wiser, would they? When he reaches his destination, Guy bids goodbye to Bruno, thinking nothing more of the affable but rather curious young man's homicidal theories. And then, Guy's wife turns up strangled to death. Co-adapted by Raymond Chandler from a novel by Patricia Highsmith, Strangers on a Train perfectly exemplifies Hitchcock's favorite theme of the evil that lurks just below the surface of everyday life and ordinary men. ~ Hal Erickson, All Movie Guide

Sealed Cargo was based on The Gaunt Woman, a novel by Edmund Gilligan. Dana Andrews stars as Pat Bannon, a Newfoundland fishing-boat captain during WW II. Coming to the rescue of an endangered vessel, Bannon finds himself in the middle of a nest of Nazi spies. Reasoning that he'll never be able to alert the authorities, Bannon takes it upon himself to scuttle an impending large-scale German submarine attack. Claude Rains is the personification of cultured evil as the head Nazi naval officer, while Carla Balenda co-stars as an innocent bystander who may well lose her life as a result of Bannon's planned heroics. Sealed Cargo was one of several moneymaking films released by RKO Radio during one of the studio's most profitable years. ~ Hal Erickson, All Movie Guide

Director Douglas Sirk's love of cinematic esoterica was kept in check in the musical comedy Slightly French. Dorothy Lamour stars as Mary O'Leary, a carnival entertainer who's discovered by enterprising director John Gayle (Don Ameche). The plot dictates that Gayle must pass off Mary as an elegant Parisian actress/singer. This slender plotline enables the film to toss off a number of satirical quips about show biz, and to display Lamour in a variety of exotic costumes. The best musical numbers occur during an extended film-within-a-film sequence. Slightly French is buoyed by its expert supporting cast, including Janis Carter, Willard Parker and Adele Jergens. ~ Hal Erickson, All Movie Guide

Bob Hope's Technicolor western spoof The Paleface was one of the comedian's biggest box-office hits. Hope plays Painless Potter, a hopelessly inept dentist who heads west to seek his fortune. Meanwhile, buxom female outlaw Calamity Jane (Jane Russell) is engaged in undercover work on behalf of the government, in the hopes of earning a pardon for her past crimes. Jane is on the lookout for notorious gun-runner Robert Armstrong. To put up an innocent front, Jane marries the befuddled Potter, then keeps the criminals at bay by convincing everyone that Potter is a rootin'-tootin' gunslinger (actually, it's Jane who's been doing all the shooting). Armstrong, who has been selling guns to the Indians, arranges for Jane to be captured by the scalp-hungry tribesmen, but Potter comes to the rescue. Somewhere along the way, Bob Hope and Jane Russell get to sing the Oscar-winning Jay Livingston/Ray Evans tune "Buttons and Bows". There are many hilarious moments in The Paleface, but screenwriter Frank Tashlin felt that director Norman Z. McLeod failed to get the full comic value out of his material. To prove his point, Tashlin directed the side-splitting sequel, Son of Paleface (1952), which once more teamed Hope and Russell. ~ Hal Erickson, All Movie Guide

Yvonne DeCarlo dons 19th century "adventuress" garb once more in River Lady. This time she's a 19th century gambling queen, in charge of a profitable Mississippi riverboat casino. DeCarlo falls in love with logger Rod Cameron; when he won't succumb to her charms, she tries to buy his affections by setting up a logging empire. DeCarlo's partner Dan Duryea is also fascinated with her, but he's his usual slimy self and hasn't got a chance of either winning the girl or surviving to the fade-out. ~ Hal Erickson, All Movie Guide