Olin Howland Movies

This retelling of one of Charles Lindbergh's most famous feats stars Jimmy Stewart as the legendary flier, and was directed by Billy Wilder. The story, adapted from Lindbergh's autobiography, begins when the aviator is working as an airmail pilot, but has much loftier goals in mind for himself. He begins to envision a nonstop solo flight across the Atlantic - something that no one has ever done before - and finds a group in St. Louis, Missouri willing to provide the necessary financial backing; he then has a special plane built in honor of the funders. Later, as Lindbergh sits in his cockpit, waiting to take off, he thinks back over his days as a circus flier, stunt flier and aimail pilot. The journey itself presents a series of hazards, but Lindbergh perseveres, using the stars for navigation when his compass disappears and overcoming other obstacles such as ice on the wings. ~ Nathan Southern, Rovi

A little girl is found wandering in the desert, in a state of complete shock. When she finally revives, she can scream out only one word: "Them!" Any aficionado of 1950s horror films can readily tell you that "Them" are giant ants, a byproduct of the radiation attending the atomic bomb tests of the era. Extremely well organized, these deadly eight-to-twenty-foot mutations converge on the storm drains of Los Angeles in the finale. Forming a united front against the oncoming ant battalions are New Mexico police sergeant James Whitmore, FBI representative James Arness, and father-and-daughter entomologists Edmund Gwenn and Joan Weldon. Since the details of Them are fairly common knowledge today, the mystery-thriller structure of the film's first half tends to drag a bit. Things liven up considerably during the search-and-destroy final reels, as the audience is barraged with convincing special effects and miniature work-not to mention that eerie ant-induced sound effect, so often imitated by subsequent lesser films. Fess Parker appears in a starmaking cameo as a pilot driven to the booby hatch after witnessing the ants in action, while an uncredited Leonard Nimoy is seen pulling info out of IBM machine. Definitely the high point in the careers of director Gordon Douglas and scenarists Ted Sherdeman and George Worthing Yates, Them is also one of the handful of vintage science-fiction thrillers that holds up as well today as it did when first released. (Sidebar: Though filmed in black-and-white, Them is alleged to have been released with a Technicolor opening title, the word THEM! hurtling towards the audience in a vibrant red). ~ Hal Erickson, Rovi

The Coast Guard is highlighted in this propaganda drama set during WW II. In addition to the usual blend of romance and military adventure, the film also features an interesting glimpse in to the training of the young Guards as they prepare for war. The story centers around a crew of shipyard workers who, upon learning of the attack on Pearl Harbor, immediately sign up for the Coast Guard's officer training program. The crew also dupes their shipyard boss into joining. After their training they are sent into the South Pacific to fight. The film contains actual battle footage. ~ Sandra Brennan, Rovi

A Ticket to Tomahawk has sometimes been described as a musical western satire, but in fact is more "straight" western than anything else--not that there's anything wrong with that, of course. Dan Dailey plays a travelling medicine show entrepreneur who comes to the aid of fast-shootin' Anne Baxter, daughter of a railroad man. Stagecoach line representative Rory Calhoun is doing everything he can to prevent a new train service from winning a Colorado territory franchise. The whole affair boils down to a race between the train and Calhoun's coaches. The film's never-take-a-breath action scenes are played out against some of the most gorgeous Colorado scenery ever captured on Technicolor. A Ticket to Tomahawk has achieved latter-day fame due to the unbilled presence of Marilyn Monroe as one of Dan Dailey's chorus gals. ~ Hal Erickson, Rovi

Those westerns produced by the team of star Randolph Scott and producer Harry Joe Brown tended to be several notches above the norm, and The Nevadan is no exception. Scott is cast as U.S. marshal Andrew Barkeley, who goes undercover in a federal pen to get a line on $250,000 in stolen money. Barkeley arranges for chief suspect Tom Tanner (Forrest Tucker) to escape from jail, the better to trail Tanner to the hiding place for the loot. If it were that easy, of course, the film would be over in 15 minutes. Complicating matters is avaricious rancher Edward Galt (George Macready), who also covets the stolen cash. Dorothy Malone adds "heart interest" as Galt's daughter. The chase and fistfight scenes are well-integrated into the suspenseful screenplay. The director was Gordon Douglas, an efficient craftsman who nonetheless wasn't nearly as skilled as Randy Scott's future collaborator Budd Boetticher. ~ Hal Erickson, Rovi

In this comedy, a local citizen, miffed by the mayor's new milk tax, buys his own cow. ~ Sandra Brennan, Rovi

When bucolic character comic Grady Sutton shows up as a pistol packin' Westerner in Grand Canyon, your suspicions are confirmed; this oater is supposed to be a spoof. A movie company comes to the Grand Canyon area to shoot a B-western. Pompous leading man James Millican breaks his leg and is replaced by local mule jockey Richard Arlen. The novice actor has to be literally led by the hand by leading lady Mary Beth Hughes (no Oscar prospect himself), but everything is roses by fadeout time. Reed Hadley, steadfast narrator/star of such TV crime series as Racket Squad and Public Defender, is given a rare opportunity to make funny as the western's director. ~ Hal Erickson, Rovi

By the none-too-exacting standards of Screen Guild Productions, Last of the Wild Horses is practically an "A" picture. James Ellison plays Duke Barnum, an innocent soul who is set up as the fall guy for duplicitious horse-ranch foreman Riley (Reed Hadley). When ranch owner Charlie Cooper (Douglass Dumbrille) discovers that Riley has been raiding the neighboring ranchers' stock, he confronts the foreman with the evidence. Riley responds by killing Cooper and placing the blame on Barnum, leading to a deadly climactic confrontation between the two. Filmed on location in Southern Oregon, Last of the Wild Horses was directed by Robert L. Lippert, who'd later assume control of Screen Guild and rename the studio after himself. ~ Hal Erickson, Rovi

Director Kurt Neumann, more closely associated with science fiction and mystery programmers, delivers a powerhouse of a pocket western in Bad Men of Tombstone. Barry Sullivan and Broderick Crawford head the cast as a pair of gunslingers who hold no regrets and evidently harbor no consciences. They ride into a mining camp during the Gold Rush days and set about staking a claim--and woe be unto him who gets in the way. A blood-splattered gunfight is the logical conclusion when the two gunfighters have their final falling out. Screenwriters Philip Yordan and Arthur Strawn clearly hold their leading characters in contempt, but can't help imbuing them with a certain degree of fascination. ~ Hal Erickson, Rovi

The second entry in Monogram's "Father" series was 1949's Leave It to Henry. Raymond Walburn returns as small-town blowhard Henry Latham, while Walter Catlett reprises his portrayal of bombastic Mayor Colton. Preparing for their town's Centennial celebration, Henry and the Mayor stage a reenactment of a famous steamboat fire. Things get out of hand, and the upshot of this is a stiff jail term for poor Henry. The supporting cast includes such never-fail character players as Ida Moore, Olin Howlin and Harry Harvey. But the principal attraction of Leave it to Henry is the comic rapport between Raymond Walburn and Walter Catlett (who, offscreen, had been close friends since boyhood). ~ Hal Erickson, Rovi

The fifth entry in Columbia Pictures' "Rusty" series, about a boy and his dog, My Dog Rusty returns to the focus of the first three entries, tensions within the Mitchell family between young Danny (Ted Donaldson) and his father Hugh (John Litel). Danny's constant lies, each told for a good purpose but found out at the worst possible time, have already caused stress between father and son, and Hugh's campaign for mayor of Lawtonville doesn't make their relationship any less strained. In order to prove he can handle responsibility, Danny takes a job assisting the new doctor, Antonia Cordell (Mona Barrie). When several of Danny's friends fall ill, Dr. Cordell takes water samples from around town, trying to determine the source of the apparent contamination; but an accident in the lab, caused by Rusty and covered up by Danny, soon results a panic that intrudes on Danny's father's campaign for mayor. And when the truth comes out -- an event with tragic consequences for Danny's good friend Joshua Michael Tucker (Whitford Kane) -- Danny realizes that he has damaged the reputations of both Dr. Cordell and his own father, as well as doing terrible harm to his friend. He feels he has no choice but to leave home, but Rusty won't let the boy run away that easily, and follows him. ~ Bruce Eder, Rovi

On the run from the cops, bootleggers Frankie Madison (Burt Lancaster) and Noll Turner (Kirk Douglas), find themselves racing up to an enormous roadblock. The two split up, agreeing that if one was caught, the other would operate their nightclub and save half the profits for his partner. The unlucky Madison is caught and when released from prison 14 years later, he returns to claim his money. Turner, never intending to split the money, tries to distract Madison by offering him the affections of his girlfriend Kay (Lizabeth Scott). Madison's brother Dave (Wendell Corey), Turner's accountant, help's Turner by doctoring the books to hide the lucrative profits of the club. Madison is enraged that he has been swindled by his friend and his brother, and Dave finally helps Madison get his revenge and Kay's love. Byron Haskin, in his directorial debut, brings a post-war idealism into the ordinarily cynical noir sensibility. Wendell Corey is particularly fine as Madison's cowardly brother, who manages to redeem himself, and Lizabeth Scott is touching as the vulnerable, romantic Kay. ~ Linda Rasmussen, Rovi