Taylor Holmes Movies

The little-known melodrama Wink of an Eye was given a brief American distribution by United Artists. Jonathan Kidd plays Atterbury, the apparently mild-mannered owner of a small perfume laboratory. No one suspects that Atterbury plans to murder his harridan of a wife (Jaclynne Greene) and run off to South America with his lovely lab assistant Myrna Duchane (Doris Dowling). Though the audience sees nothing, it is implied that Mrs. Atterbury has been chopped up in little peaces and stored in her husband's freezer. After leading us up the garden path for seven reels, Wink of an Eye offers an amusing twist just before the end. ~ Hal Erickson, Rovi

An elderly woman tells the police that her life savings, which she has stored in a candy box, has been stolen and replaced with strips of old newspaper. In their efforts to retrieve the money and catch the thief, Friday (Jack Webb) and Smith (Ben Alexander) run up against a disturbing number of contradictory clues. This 200th episode of the original black and white Dragnet was written especially for television, with no previous radio version. ~ Hal Erickson, Rovi

This "modern" western stars Rod Cameron as opportunistic Korean war veteran Tully Gibbs. Posing as a friend of the late son of mine owner Kevin Russel (Chill Wills), Tully intends to work the mine for all it's worth and then pull out. By and by, Tully slowly turns honest, but the same cannot be said of rival miner Ben Hodes (John Russell). Coming clean with Russell, Tully takes it upon himself to protect the mine from Hodes' evil schemes. The feminine angle is provided by Joan Leslie as Sarah Moffit, the sweetheart of Russel's deceased son, who eventually finds happiness in Tully's arms. Of interest are two supporting players, Jim Davis and Kristine Miller; both were concurrently starring on the weekly TV series Stories of the Century. ~ Hal Erickson, Rovi

A friendship is ripped apart by a greedy woman in this drama. The trouble begins when a horse trainer and a jockey, both long-time friends, fall for the same woman. ~ Sandra Brennan, Rovi

This children's sci-fi adventure chronicles the friendship between an 11-year-old and his grandfather's robot Tobor, who was designed to explore deep space. Tobor, unlike other machines, was endowed with human emotions. Trouble erupts when the communists kidnap him and try to make him do their evil bidding. Fortunately, Tobor is mind-linked to his creator and cannot be easily reprogrammed. The adventure begins when the boy and the scientists attempt to save the robot. ~ Sandra Brennan, Rovi

Second-billed Marilyn Monroe is the blonde in question in this second film version of Gentlemen Prefer Blondes: Miss Lorelei Lee, whose philosophy is "diamonds are a girl's best friend." Together with her best human friend Dorothy (top-billed Jane Russell), showgirl Lorelei embarks upon a boat trip to Paris, where she intends to marry millionaire Gus Esmond (Tommy Noonan). En route, the girls are bedeviled by private detective Malone (Elliot Reid), hired by Esmond's father (Taylor Holmes) to make certain that Lorelei isn't just another gold-digger. When Dorothy falls in love with the poverty-stricken Malone, Lorelei decides to find her pal a wealthier potential husband, and that's how she gets mixed up with flirtatious diamond merchant Sir Francis Beekman (Charles Coburn) and precocious youngster Henry Spofford III (George "Foghorn" Winslow). Most of the Leo Robin-Jule Styne songs from the Broadway show remain intact, including Marilyn Monroe's rendition of "Diamonds are a Girl's Best Friend," a production number later imitated by pop icon Madonna. ~ Hal Erickson, Rovi

Will Ballard (Rod Cameron) is the longtime foreman of the Hatcher ranch, a spread renowned for its size and the wealth it contains. When owner Phil Evarts dies suddenly, the speculation in the territory is that Hatcher will be broken up, especially since it was Evarts' determination coupled with Ballard's skills as a foreman and gunman that held it together -- but Ballard decides that the ranch is worth saving, even though the only help he really has is one top hand (Chill Wills, in a beautifully restrained performance) and a couple of young brothers (Al Caudebec, Roydon Clark) picked up on the trail. He figures it's worth saving for what it is, and also for Evarts' daughter, Celia (Ella Raines), who is engaged to marry neighboring rancher Sam Danfelser (Forrest Tucker). Ballard and Sam were once friends, but as the foreman discovers, there's been bad blood brewing on the other side of the friendship for a long time, mostly out of Sam's jealousy -- not only is Ballard a better rider and a better gun, but he's a better man than he is, and he can't abide the fact that Celia knows this deep in her heart, even though she and Sam are engaged. Then there's Bide Marriner (Brian Donlevy), a local "operator" who'd love to get a range war started and grab up some land and cattle, and immediately uses friends and intermediaries, plus a few hired guns, to start spreading the word, convincing the neighboring ranchers that Hatcher land is free and open. And then there's Lottie Priest, whom Ballard figured to marry soon -- is she more interested in what her greedy father can make from the breakup of Hatcher? Caught in the middle of it all is the county sheriff, Joe Kneen (J. Carrol Naish), who'd like to stay civil with all of those involved but soon finds out that he's going to have to choose sides, and that he's too good a man for that to be the "easy" choice. There's a lot of back-shooting in Ride the Man Down, as well as some brilliantly and cleverly designed action sequences, and a level of duplicity in the characters that makes this picture play at time almost more like a film noir of the period. ~ Bruce Eder, Rovi

Ruth Hussey stars in this big-budget Republic actioner. She plays Christine Powell, the grasping, conniving sister of Minnesota mining magnate David Powell (John Agar). Using her feminine wiles, Christine tries to undermine her brother's competition by romancing rival mine owner Kyle Ramlo (Rod Cameron). He falls for her ruse, deserting his loyal sweetheart Cathy Nordlund (Gale Storm) in the process. Christine then proceeds to strip Ramlo of his wealth and prestige on her brother's behalf. How long will it be before the thick-headed Ramlo finally wises up? As was always the case at Republic, Woman of the North Country is peopled by some of the best supporting players in the business, including J. Carroll Naish, Jay C. Flippen, Jim Davis and Barry Kelley. ~ Hal Erickson, Rovi

Adapted from the stage thriller The Man (itself based upon a half-hour radio drama), Beware My Lovely is a taut suspenser tailor-made for the talents of Ida Lupino and Robert Ryan. Lupino plays a pretty widow who impulsively hires handyman Ryan to look after her house. She soon learns Ryan is a dangerous schizophrenic, but by the time she comes to this realization she is unable to escape her house. The tension mounts apace, leading to an unexpected but quite logical finale. Produced by Lupino's then-husband Collier Young, Beware My Lovely was released by RKO Radio. ~ Hal Erickson, Rovi

Personally supervised by Howard R. Hughes, the RKO Technicolor musical Two Tickets to Broadway stars Janet Leigh as a small-town girl who hopes to make it big in the Big Apple. Moving into a Manhattan boarding house populated by such showbiz hopefuls as Ann Miller, Tony Martin, Gloria De Haven and Barbara Lawrence, Leigh aspires to appear on the popular TV variety program hosted by bandleader Bob Crosby. Two-bit agent Eddie Bracken promises to make her dreams come true, even though he doesn't know Crosby from Adam. Along the way, Leigh falls for Martin, though the course of true love seldom runs smooth--in fact, at one point it threatens to run all the way back to Leigh's home town. Injecting their time-honored routines into the proceedings are veteran vaudevillians Joe Smith and Charlie Dale, playing a couple of stagestruck deli owners (their roles were originally slated for Stan Laurel and Oliver Hardy, but Laurel's illness precluded any film work). Despite the creative input of choreographer Busby Berkeley, the film's best number is the simplest: Let's Make Comparisons, wherein Bob Crosby explains why he's not his brother Bing. Seemingly a surefire box-office hit, Two Tickets to Broadway inexplicably posted a loss of $1,150,000. ~ Hal Erickson, Rovi

Rhubarb is an amusing, if not entirely faithful, adaptation of the H. Allen Smith novel of the same name. When Thaddeus J. Banner (Gene Lockhart), multimillionaire owner of the Brooklyn baseball team, passes away, he wills the team -- and his $30 million estate -- to his pugnacious pet cat Rhubarb. Banner's press agent Eric Yeagar (Ray Milland) finds this hilarious, until he discovers that he's been appointed Rhubarb's guardian and business manager. One of the crosses Yeagar has to bear is the fact that his sweetheart Polly Sickles (Jan Sterling), the daughter of Brooklyn team manager Len Sickles (William Frawley), is deathly allergic to cats. Still, Yeagar must keep Rhubarb with him at all times, especially when the cat turns out to be a good-luck charm for the perennially basement-dwelling Brooklyn ballplayers. Thanks to Rhubarb's inspiration, the team makes it to the Pennant Race, whereupon the plot really thickens. The first two-thirds of Rhubarb adheres to the original Smith novel, culminating with a zany sanity hearing brought about by Banner's disgruntled relatives to prove that the cat is mentally unfit to control the old man's money. But the final reels abandon the novel in favor of a Guys and Dolls-inspired plot strand, wherein crooked gamblers kidnap the cat to prevent a Brooklyn pennant win. As a result, H. Allen Smith's satiric barbs are somewhat blunted in the final scenes -- which, however, is not to suggest that the film is any less funny than before. One of the better baseball comedies of the era, Rhubarb maintains its merriment right to the end, which is capped by a cameo appearance by a well-known actor who happened to be married to leading lady Jan Sterling. ~ Hal Erickson, Rovi

Mickey Rooney, with his kid roles and musicals behind him, went for a major change of image in this harrowing film noir. He gives what many consider to be the best performance of his career as Danny Brady, a well-meaning grease monkey whose life is destroyed in less than a week. Danny finds himself short of cash when he's supposed to take out Vera (Jeanne Cagney), a waitress whom he's just met who works at a hash-house. He borrows 20 dollars from the cash register, planning on paying it back with 20 dollars that a buddy owes him the next day, but the friend doesn't turn up. To get the 20 dollars, he buys a 100-dollar watch on a payment plan and then hocks it for the 20 dollars, but a detective picks up on the purchase and threatens to have him jailed if he doesn't pay the full 100 dollars immediately; desperate to raise the money, he robs a drunken bar patron of his bill-fold. His money problems seemingly behind him, Danny takes Vera out with the extra cash, but gets into a fight with her former boss, Nick (Peter Lorre), who picks up a clue that Danny did the robbery. Nick pressures Danny to provide him with a new car (a hard-to-get commodity in 1950) from the garage where he works, in return for keeping quiet. Danny steals the car and turns it over to Nick, but he and Vera decide to get even by robbing Nick's safe that night -- now they've got 3,600 dollars, which they split. But Danny's boss, Mackey, tells him he knows who stole the car, and wants either the car back or the full value, or he'll turn Danny in to the police. Vera has already blown her share on a mink coat, and he goes back to Mackey with what he has, 1,800 dollars. Mackey takes it and proceeds to call the police. Danny attacks him and leaves him for dead. Danny goes on the run, convinced he's wanted for Mackey's murder. Danny runs into Helen (Barbara Bates), a nice girl that he was dating and then dumped, and they end up fleeing together, hijacking a car and holding an innocent man at gunpoint. Impending tragedy seems to loom up even larger when they cross paths with police officers on a manhunt. Realizing that Helen has been good to him, he ends up on the run alone, with a gun in hand, as the law closes in. ~ Bruce Eder, Rovi