Earl Hodgins Movies

Neither a B nor an A picture, Bitter Creek is a solid western programmer, offering an excellent, unglamorized performance by Wild Bill Elliot. Though officially prohibited to do so by the Production Code, the film is motivated by revenge. Elliot arrives in Bitter Creek seeking retribution for the murders of his brothers. He suspects that powerful rancher Carleton Young is responsible, but has no proof. In the course of events, Elliot behaves with the same cold-blooded ruthlessness as the villains, with no concessions made to the kids in the audience: this, of course, results in a far more powerful film than usual. Beverly Garland is well cast as the vacillating heroine who believes in Young's innocence until it's almost too late. ~ Hal Erickson, All Movie Guide

Randolph Scott is as strong and silent as ever in Thunder Over the Plains. The scene is Texas, in the years just following the Civil War. Carpetbaggers have taken hold of the Texas government and imposed a near-dictatorship, hiding behind the legal protection of the Union Army of Occupation. Though his heart belongs to Dixie, Captain David Porter (Scott) is honor-bound to uphold the law of the land, even though it protects criminals and persecutes the innocent. Eventually, Porter reveals his true feelings as he tries to clear Texas patriot Ben Westman (Charles McGraw) from a murder charge framed by villains Standish (Elisha Cook Jr.) and Balfour (Hugh Sanders). Meanwhile, caddish Captain Bill Hodges (Lex Barker) tries to make time with Porter's long-suffering wife Norah (Phyllis Kirk). Perhaps a bit too complicated storywise for western fans, Thunder Over the Plains is right to the point when it comes to the action highlights. ~ Hal Erickson, All Movie Guide

The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat falls just short of greatness but is still a whale of a show. Howard Keel and Kathryn Grayson are in fine fettle as irresponsible gambler Gaylord Ravenal and showboat ingenue Magnolia Hawks. The plot adheres closely to the Broadway original making several welcome improvements in the final act (which was always a bit shaky). Magnolia, daughter of showboat impresario Captain Andy (Joe E. Brown) and Parthy Hawkes (Agnes Moorehead), falls head over heels in love with the raffish Ravenal. When the show's leading lady, Julie (Ava Gardner), and leading man, Steve (Robert Sterling), are forced to leave when Julie's mulatto heritage is revealed by disgruntled suitor Pete (Leif Erickson), Magnolia and Gaylord step into the vacant stage roles and score a hit. Eventually, the two are married and for several months are quite happy. After incurring serious gambling losses, however, Gaylord walks out of Magnolia's life never realizing that his wife is expecting a baby. With the help of her former showboat colleagues Ellie and Frank Schultz (Marge and Gower Champion) and a behind-the-scenes assist from the tragic Julie, Magnolia secures work as a Cabaret singer in Chicago. Her new year's eve debut threatens to be a bust until her father Captain Andy quells the rowdy crowd and guides his daughter through a lovely rendition of After the Ball (a Charles K. Harris tune that pops up in every stage version of Show Boat). Magnolia returns to her family, with her daughter Kim in tow. Upon learning from Julie that he has a daughter, Gaylord returns to Magnolia and Kim, setting the stage for a joyous ending.

Virtually all of the Kern-Hammerstein songs are retained for this version of Show Boat (though none of the songs specially written for the 1936 film version are heard). These cannot be faulted, nor can MGM's sumptuous production values. Still, the 1951 Show Boat leaves one a bit cold. Perhaps it was the removal of the racial themes that gave the original so much substance (as black stevedore Joe, William Warfield exists only to sing a toned-down version Ol' Man River while Joe's wife Queenie is virtually written out of the proceedings). Also, MGM reneged on its original decision to cast Lena Horne as Julie; the role was recast with Ava Gardner and rewritten with an excess of gooey sentiment). Or perhaps it was the production's factory-like slickness; typical of the film's smoothing out of the original property's rough edges was the casting of Marge and Gower Champion, who are just too darn good to be convincing as the doggedly mediocre entertainers Frank and Ellie. Even so, Show Boat does have Howard Keel and Kathryn Grayson at their peak, not to mention the peerless Joe E. Brown as Captain Andy. And the film was a financial success, enabling MGM to bankroll such future musical triumphs as Singin' in the Rain and Seven Brides for Seven Brothers. ~ Hal Erickson, All Movie Guide

While a man recuperates from a heart-attack, he obsesses with the thought that his wife and his doctor are having an affair, so decides to write a letter to the D.A. accusing the two of trying to kill him. After his wife mails the letter for him, he tells her of its contents which provokes his anger and he attacks her, dying on the spot from another heart attack. Though innocent, she is nevertheless desperate to somehow get the letter back. ~ Kristie Hassen, All Movie Guide

MGM's new musical screen team of Esther Williams and Howard Keel were given plenty to do in the pleasant if unambitious songfest Texas Carnival. Williams plays Debbie Telford, one-half of a carnival performing team. The other half is Corny Quinnell (Red Skelton), who breaks up the act when he is mistaken for Texas millionaire Dan Sabinas (Keenan Wynn). Living high on the hog in Sabinas' absence, Corny manages to smooth the romantic path for Debbie and ranch foreman Slim Shelby (Keel), while he dallies with the luscious Sunshine Jackson (Ann Miller). Red Skelton is given more opportunity to shine than usual, especially during a riotous poker game (this scene was a particular favorite of screenwriter Dorothy Kingsley, who felt it could have been even funnier had director Charles Walters "punched it up" cinematically). Esther Williams' particular highlight is a swimming sequence in a waterless hotel room, a bit of special-effects wizardry that only the MGM tech staff could have dreamed up. ~ Hal Erickson, All Movie Guide

The "badmen" of the title in this average western from Monogram are Waller (I. Stanford Jolley), a greedy express agent and Banker Jensen (Bill Kennedy, who conspire to separate Bob Bannon (Kenne Duncan) from the gold found on his property. Bob's brother Jim (Jim Bannon) and his two pals Whip Wilson and Texas (Fuzzy Knight) arrive too late to save Bob from the bad guys. Hoping to flush out the killer, Whip arranges to auction off the property. The ruse works and the hidden mine is handed over to Bob's lovely daughter, and heir, Carol (Phyllis Coates). ~ Hans J. Wollstein, All Movie Guide

William Elliot is the multitextured hero of the deluxe Republic western Savage Horde. Elliot plays a gunslinger named Ringo, who, though no paragon of virtue, is not a murderer. After killing a man in self-defense, Ringo takes it on the lam from the law. Hiding out in a remote frontier town, Ringo becomes involved in a range war between land baron Proctor (Grant Withers) and a group of honest ranchers. At the risk of his own capture, Ringo decides to stick around and join the ranchers in their battle against Proctor. Leading lady Adrian Booth plays Livvy Weston, who'd like to fall in love with Ringo but can't reconcile herself with his bad reputation. Featured in the cast are such western "regulars" as Noah Beery, Bob Steele, Roy Barcroft, Earle Hodgins and Hal Taliaferro (aka Wally Wales). ~ Hal Erickson, All Movie Guide

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, 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

The first of Monogram's "Father" series was Henry, the Rainmaker, assembled in a fast seven days. Raymond Walburn stars as Henry Latham, an average family man who is galvanized into entering a mayoral race over the issue of garbage disposal. When incumbent mayor Colton (played by Walburn's lifelong friend Walter Catlett) solves this issue himself, Henry turns his attentions to the current water shortage. His efforts to become a rainmaker prove cataclysmic, to say the least. Henry, the Rainmaker did well enough on the neighborhood-house circuit to warrant a sequel, Leave it to Henry. ~ Hal Erickson, All Movie Guide

John Farrow's movie adaptation of Kenneth Fearing's The Big Clock, based on a screenplay by Jonathan Latimer (and produced by future James Bond screenwriter Richard Maibaum), is a near-perfect match for the book, telling in generally superb visual style a tale set against the backdrop of upscale 1940s New York and offering an early (but accurate) depiction of the modern media industry. Told in the back-to-front fashion typical of film noir, it opens with George Stroud (Ray Milland) trapped, his life in danger, his survival measured in the minute-by-minute movements of the huge central clock of the office building where he's hiding. In flashback we learn that Stroud works for media baron Earl Janoth (Charles Laughton), loosely based on Henry Luce, as the editor of Crimeways magazine. Janoth is a manipulative, self-centered megalomaniac with various obsessions, including clocks; among other manifestations of the latter fixation, the skyscraper housing his empire's headquarters has as one of its central features a huge clock that reads out the time around the world down to the second.

Twenty-four hours earlier, on the eve of a combined honeymoon/vacation with his wife, Georgia (Maureen O'Sullivan), that has been put off for seven years, Stroud was ordered by Janoth to cancel the trip in order to work on a special project, and he resigned. As the narrative picks up speed, in his depression, Stroud misses the train his wife is on and crosses paths with Pauline York (Rita Johnson), a former model for Janoth's Styleways magazine, who is also Janoth's very unhappy mistress, and the two commiserate by getting drunk together in a night on the town. While hurriedly leaving Pauline's apartment, he glimpses Janoth entering. Janoth and York quarrel, and the publisher kills her in a jealous rage, using a sundial that she and Stroud picked up the night before while wandering around in their revels. Janoth and his general manager, Steve Hagen (George Macready), contrive to pin the murder on the man that Janoth glimpsed leaving York's apartment, whom he thinks was named Jefferson Randolph -- the name Stroud was drunkenly bandying about the night before. He gets Stroud back to Crimeways to lead the magazine's investigators in hunting down "Jefferson Randolph," never realizing that this was Stroud. And Stroud has no choice but to return, desperately trying to gather evidence against Janoth and, in turn, prevent the clues gathered by the Crimeways staff from leading back to him. The two play this clever, disjointed game of cat-and-mouse, Janoth and Hagen planting evidence that will hang "Randolph" (and justify his being shot while trying to escape), while Stroud, knowing what they don't about how close the man they seek to destroy is, arranges to obscure those clues and, in a comical twist, sends the least capable reporters and investigators to follow up on the most substantial clues.

Janoth sometimes seems to be unraveling at the frustrating pace and lack of conclusion to the hunt, but Stroud can't escape the inevitable, or the moments of weakness caused by fear and his own guilt over his near-unfaithfulness to his wife or the inscrutable gaze of Janoth's mute bodyguard Bill Womack (Harry Morgan), a stone-cold killer dedicated to protecting his employer. The trail of proof and guilt winds ever tighter around both men, taking some odd twists courtesy of the eccentric artist (Elsa Lanchester) who has seen the suspect. Milland is perfect in the role of the hapless Stroud, and Laughton is brilliant as the vain, self-centered Janoth, but George Macready is equally good as Hagen, his smooth, upper-crust Waspy smarminess making one's skin crawl. Also worth noting is Harry Morgan's sinister, silent performance as Womack, and sharp-eyed viewers will also recognize such performers as Douglas Spencer, Noel Neill (especially memorable as a tart-tongued elevator operator), Margaret Field (Sally's mother), Ruth Roman, and Lane Chandler in small roles. Additionally, the Janoth Publications building where most of the action takes place is almost a cast member in itself, an art deco wonder, especially the room housing the clock mechanism and the lobby and vestibules, all loosely inspired by such structures as the Empire State Building and the real-life Daily News headquarters on East 42nd Street. This film was later remade as No Way Out. ~ Bruce Eder, All Movie Guide

Chronic gambler Ellen Crane (Paulette Goddard) indulges in games of chance to compensate for the loss of her boyfriend during WW2. Heavily in debt to gambling czar Lonnie Burns (Fred Clark), Ellen promises to marry him to clear her financial slate, but in the cold light of day she rethinks her decision and takes it on the lam. The irascible Burns hires detective J. D. Storm (Macdonald Carey) to track Ellen down and bring her back. After a hectic cross-country pursuit, Ellen and Storm come to realize what the audience has predicted all along: they've fallen in love with each other. This very standard assembly-line comedy is redeemed by its character actors, notably squeaky-voiced Percy Helton as a "three time loser" jailbird. ~ Hal Erickson, All Movie Guide

Also known as California Outpost, Old Los Angeles stars Bill Elliot in one of his expanded-budget Republic "specials." The film is set during the early statehood days of California, with Elliot keeping the peace and warding off plunderers and marauders. As always, Elliot is a "peaceable man"--until he beats the tar out of those who rile him. The problem with Elliot's more expensive Republic vehicles is that action invariably took a back seat to plot, romance, costumes and decor. Within a year of Old Los Angeles, Elliot started a more austere, less prettified and far superior western series. ~ Hal Erickson, All Movie Guide