Esther Howard

Caged, considered the best woman's prison film ever made, represents a union between realistic socially conscious drama and the more stylized world of film noir. Marie, (Eleanor Parker), is sentenced to prison for helping her husband in a small robbery. The prison is run by the sadistic matron Evelyn (Hope Emerson) who is secure in her position due to corrupt political influence. The film shows Marie's slow disillusionment with society and her eventual decision to become a prostitute in order to gain parole after observing her friend and fellow inmate Kitty (Betty Garde) lose her sanity and murder their oppressor Evelyn. With this uncompromisingly pessimistic statement on human nature, John Cromwell reaches his peak as a director. Under his expert direction, Eleanor Parker gives the best performance of her career and creates a convincing metamorphosis from a innocent young girl to a hardened criminal. Her performance is nuanced, low-keyed and emotionally charged. Equally impressive is Cromwell's visual realization of the claustrophobia of prison life, aided by the high-contrast photography of Carl Guthrie. This excellent, grim drama is uncompromising in its refusal to sentimentalize the plight of Marie as a victim or to absolve her of her role in her fate, nor does it absolve society as it shows the results of desperation and brutalization on human dignity. ~ Linda Rasmussen, All Movie Guide

Preston Sturges' final American film was generally conceded to be a disaster in 1949; even star Betty Grable publicly bad-mouthed the finished product. When seen today, Beautiful Blonde from Bashful Bend, while no classic, seems a lot better than it did five decades ago. Grable plays a western dancehall girl named Freddie, who is forced to take it on the lam after accidentally shooting a judge (she'd been aiming at her faithless boyfriend Blackie Jobero, played by Cesar Romero). Arriving in the tiny burg of Bashful Bend, Freddie is mistaken for the schoolmarm whom the town elders have recently hired. Taking advantage of this mistaken-identity situation, Freddie puts the make on wealthy banker Charles Hingelman (Rudy Vallee, a Sturges "regular"), who owns a valuable gold mine. Before the film's 77 minutes are over, Freddie finds herself smack dab in the middle of a shootout between the Good Guys and a family of dimwitted outlaws. As was always the case in a Preston Sturges production, Beautiful Blonde of Bashful Bend is chock full of colorful supporting players, including Hugh Herbert (hilarious as a myopic dentist), El Brendel, Sterling Holloway, and Margaret Hamilton. Also on hand are stalwart Sturges stock company players Porter Hall, Alan Bridge, J. Farrell McDonald, Georgia Caine, Esther Howard, Torben Meyer, Dewey Robinson, and Harry Hayden--many of whom, in keeping with 20th Century-Fox's curious billing policy, are denied on-screen credit. ~ Hal Erickson, All Movie Guide

British actor Robert Douglas stars in the Warner Bros. crime melodrama Homicide. Douglas plays police lieutenant Michael Landers, whose suspicions are aroused when the only witness to an accidental killing is found dead, an apparent suicide. Though the case is officially closed, Landers investigates in his off-hours. He soon uncovers evidence of an illegal wire-service gang, operated by an outwardly affable fellow named Andy (Robert Alda). Landers finds an unexpected ally in the shapely form of cigarette girl Jo Ann Rice (Helen Westcott). Old-timer Monte Blue has a juicy supporting role as a desert sheriff. Writer William Sackheim based his Homicide screenplay on his own story "Night Beat." ~ Hal Erickson, All Movie Guide

While far from the only good film on boxing, Champion is perhaps the best drama ever based on the fight game. It is remarkable for a number of things: the unrelenting, grinding logic that leads to the hero's tragic fate; the beautiful cinematography and editing that make it a masterpiece of light and shadow; near-perfect performances by everyone, from Kirk Douglas as Midge Kelly, down to the actor who plays a sleazy small-time ring manager; and the boost it gave to the budding careers of Douglas and others. The basic story has been told many times, but never so powerfully: a poor, ambitious boy accidentally learns that he is a "natural" boxer, and that he might "go all the way." He wins his early fights with ease and, at last, in the big one, he becomes champion of the world. Then rot sets in. He lives it up, deserts his loved ones and best friends, and loses his physical and moral advantages. Near the end -- out of condition, demoralized -- the champion loses (or almost loses) his boxing crown. Finally, he grits his teeth, returns to rigorous training and to people he really likes, and he regains (or holds onto) the championship.

Part of Champion's dramatic superiority is in its brilliant revealing of the boxer through the eyes of other people in his life. There are good guys: Midge's brother Connie (Arthur Kennedy); his tough but honest trainer (Paul Stewart); his wife, Emma (Ruth Roman); and Johnny Dunne, the up-and-coming contender he eventually beats. There are bad guys: the manager who cheats him in his first, amateurish fight; two successive "owners," of the diner where Midge and Connie try to be entrepreneurs and end up as dishwashers; the blonde siren (Marilyn Maxwell) who abandons Johnny Dunne and helps corrupt Midge; and the mob-connected promoter Harris, who gets Midge his championship bout. There are ambiguous in-betweens, like Palmer (Lola Albright) who is Harris' wife, but who loves Midge and is, perhaps, loved in return. Then there is Midge himself. Unlike Charlie in Body and Soul (John Garfield, 1947) or the hero of the Rocky quintuplets (Sylvester Stallone, 1976-1990), Midge is not a basically nice guy who's been led astray. His ambition, arrogance, and stubbornness make him at once villain and hero. These "fatal flaws" contain, as surely as in Macbeth or Othello, the seeds of the champ's ultimate dissolution. Midge is dealt his share of life's unfairness and bad luck. Yet it is not the events themselves, but his bitter, violent responses to each blow that seal his doom. The final irony comes when he makes his comeback. In the last round of the last fight, his most manly virtues -- bull-like strength and stubborn stamina -- bring about both victory and defeat.

Too bad that this wonderful film -- nominated for six Oscars including Best Actor -- won only an Academy Award for Film Editing (Harry Gerstad) and a Golden Globe Award for Best Cinematography (Franz Planer). All the acting performances are superb: Champion was the breakthrough role for Douglas; his Oscar nomination led to many later starring vehicles. Champion also launched the careers of actresses Roman and Albright, and has what is probably Marilyn Maxwell's finest performance as the unforgettable gold digger Grace Diamond. And all that terrific acting certainly implies some credit for director Mark Robson, who went on to do award winners like Bright Victory and The Inn of the Sixth Happiness. Regardless of what Oscars it won or didn't win, Champion is a landmark film that should be on everyone's must-see list. ~ Michael P. Rogers, All Movie Guide

June Bride is based on Feature for June, a play by Eileen Tighe and Graeme Lorimer. Bette Davis plays the businesslike editor of a fashionable woman's magazine, who plans a feature on a "typical" midwestern marriage. She assigns her aide (and former fiance) Robert Montgomery to cover the story, a task he feels is beneath him. Even so, Montgomery keeps his mouth shut as Davis and her assistants Fay Bainter and Mary Wickes descend upon the hapless family of the bride and re-arrange the household so that it will be more "appealing" to the magazine's devoted readers. Unable to stand any more of this, Montgomery devilishly upsets the apple cart: he convinces the younger sister (Betty Lynn) of the bride (Barbara Bates) to elope with the groom (Raymond Roe), for whom the sister carries a torch. Infuriated by Montgomery's intervention, Davis fires him on the spot. She later relents, realizing that the change in marital plans will make an even better story than her original concept. In so doing, Davis finally admits that she's still in love with the cheeky Montgomery. One of the better Bette Davis vehicles of the late 1940s, June Bride is chock full of brisk, bright dialogue and appealing characters. Debbie Reynolds makes her film debut in the teeny-tiny part of a friend of the bride. ~ Hal Erickson, All Movie Guide

Somehow the titles of the films of hardcase actor Lawrence Tierney seemed to be extensions of the man's personality, as witness such films as The Devil Thumbs a Ride and Born to Kill. In the latter picture, Tierney starts the ball rolling by committing a double murder in a jealous pique. Claire Trevor discovers the bodies, but says nothing to the police; she's leaving town and doesn't want to be impeded. Trevor and Tierney meet and fall in love on the train to San Francisco. Unfortunately, Trevor is married, so Tierney shifts his affections to her sister, Audrey Long (later the wife of director Billy Wilder). He marries Long, though he keeps up his illicit affair with Trevor. When detectives investigating the murders come snooping, they are bought off by Tierney's pal Elisha Cook Jr.--who is then murdered by Tierney, who suspects that Cook is carrying on with Trevor (Cook seldom survived to the end of any of his films). When Tierney finally does face arrest, it's at the instigation of the jealous Trevor, who is shot full of holes for her trouble. Born to Kill was based on James Gunn's novel Deadlier Than the Male. ~ Hal Erickson, All Movie Guide

A loose remake of 1941's The Gay Falcon, The Falcon's Alibi is one of the better entries in RKO's "Falcon" series, and one of the few that can stand on its own merits as a "film noir." This time, amateur detective Tom Lawrence (Tom Conway), aka the Falcon, endeavors to protect wealthy journalist Henryette Alcott (Ann Richards) lobbies to bring Law and Order into Quinto. As it turns out, the villain of the piece is ruthlessly ambitious marshal Bill Hampton (Morgan Conway), who hopes to foment trouble between the outlaws and the peaceable settlers for his own political gain. ~ Hal Erickson, All Movie Guide

Without Reservations has to be the least typical John Wayne picture of the postwar era. Top billing is bestowed upon Claudette Colbert as Kit, a best-selling novelist heading westward to oversee the film version of her latest novel. Taking it upon herself to select the man who should portray the hero of her novel, Kit chooses war hero Rusty (John Wayne), whom she meets during her train trip to Hollywood. Unaware of Kit's true identity, Rusty and his pal Dink (Don DeFore) rail against the factual errors in her book. One thing leads to another, and before long Kit, Rusty and Dink have all been thrown off the train for annoying the other passengers. After a hectic stopover at a New Mexico farm, Kit reveals who she really is to Rusty and Dink, who are understandably put out. All is forgiven in the end, of course, with Kit and Rusty altar-bound at fadeout time. The Hollywood scenes feature such guest celebrities as Cary Grant, Louella Parsons and Jack Benny; and yes, that is an unbilled Raymond Burr as Claudette Colbert's dancing partner. Without Reservations was based on Jane Allen and May Livingston's novel Thanks, God, I'll Take it From Here (too bad they couldn't use that title!) ~ Hal Erickson, All Movie Guide

This ambitious independent production was packaged by producer W. Lee Wilder, brother of Billy Wilder, and distributed by Republic. The title character, played with relish (and a bit of mustard) by Erich Von Stroheim, is an arrogant vaudeville artiste specializing in a trick-gunshot act. A dyed-in-the-wool misogynist, Flamarion at first pays little attention to his beautiful assistant Connie (Mary Beth Hughes)-just as well, since Connie is already married to Flamarion's other assistant, Al Wallace (Dan Duryea). Bored with marriage, Connie begins playing up to her boss, the result being the "accidental" death of Al during Flamarion's act. Having committed murder for Connie's sake, Flamarion fully expects to be sexually compensated-but he doesn't know the treacherous Connie as well as the late Al did. Future cult favorite Anthony Mann's direction is rather perfunctory, suggesting perhaps that he was somewhat intimidated in the presence of the flamboyant Von Stroheim. ~ Hal Erickson, All Movie Guide

Filmed extensively on location, The Falcon in San Francisco is one of the best of RKO Radio's "Falcon" series. This time around, amateur sleuth Tom Lawrence (Tom Conway), aka The Falcon, comes to the aid of 10-year-old Annie Marshall (Sharyn Moffet). While trying to solve the murder of Annie's nurse, Lawrence is accused of kidnapping the kid. Several beatings, warnings and murders later, Lawrence discovers that the solution of the mystery is tied in with a gang of silk smugglers, headed by none other than?.Oh, no! The surprise ending isn't going to be tipped off here! Director Joseph H. Lewis' occasional utilization of "cinema verite" techniques would later develop full-blown into such noir classics as Gun Crazy. ~ Hal Erickson, All Movie Guide

It took nerve for writer/director Preston Sturges to lampoon the whole concept of hero worship in the middle of World War II, but once more Sturges' oddball sense of taste and propriety paid off at the box office in Hail the Conquering Hero. Eddie Bracken plays the son of a World War I Marine hero who is the first in his small town to sign up for military service. When Bracken is discharged from the Marines for hay fever, he hasn't the nerve to go home and tell his mother and the rest of the townsfolk. Fortunately, he is befriended by a bunch of good-hearted Marines, led by sergeant William Demarest. Bracken's new buddies decide to help him save face by accompanying him to his home and telling one and all that Bracken has served valiantly in the Pacific. Lauded as a hero thanks to this subterfuge, the hapless Bracken finds himself being coerced into running for mayor! When he finally does confess the truth, the townspeople decide that only a real hero would own up to his lies in public. As always, Preston Sturges' richly varied supporting cast makes the most of every scene they're in, especially Raymond Walburn as a blustering politico and Franklin Pangborn as a persnickety councilman. Special mention must be made of Ella Raines as a refreshingly non-cliched heroine, and ex-boxer Freddie Steele as a morose Marine with a Mother complex. While Eddie Bracken's nerdish mannerisms can wear on the viewer, he is kept marvelously in check throughout Hail the Conquering Hero. ~ Hal Erickson, All Movie Guide

Based on Norman Corwin's satirical radio play My Client Curley, Once Upon a Time is an engaging bit of whimsy, completely dominated by the personality of star Cary Grant. It all begins when fly-by-night Broadway producer Jerry Flynn (Grant) learns of a trained caterpillar (!) that dances to the tune of "Yes, Sir, That's My Baby." In short order, Jerry has promoted Curly the Caterpillar to international stardom-and in the process he alienates both Pinky Thompson (Ted Donaldson), the impressionable 9-year-old who owns Curley, and Pinky's attractive older sister Jeanne (Janet Blair). Eventually, Flynn comes to his senses and regains his essential decency-though it's too late to continue capitalizing on Curley, who has turned into a non-dancing butterfly! Full of delightful contemporary references and "cameo appearances" by such celebrities as producer Walt Disney and radio commentator Gabriel Heatter (both played by uncredited impressionists), Once Upon a Time proved an agreeable diversion for wartime audiences. ~ Hal Erickson, All Movie Guide