Brian G. Hutton Movies

O'Malley (Tom Selleck) is a heavy-drinking, tough biplane pilot flying the skies of China for fun and profit when Eve (Bess Armstrong) seeks him out to help her find her father before he is declared dead and she loses an inheritance to the evil Bentik (Robert Morley). O'Malley does not really want Eve around, but adventure and the challenge beckon. If only their journey together had been sparked by a little excitement, clever humor, snappy dialogue, and seductive romantic chemistry, this bland film would be a different trip altogether. ~ Eleanor Mannikka, All Movie Guide

Night Watch a suspenseful, under-rated thriller tells the story of a lonely, unhappily married woman who believes that she sees a murder committed in the deserted house across her courtyard. Ellen Wheeler (Elizabeth Taylor) spends her nights alone, drinking, wandering around her living room, and looking out the window. One night she witnesses a murder. She calls the police, who investigate, but find nothing. Her husband John (Laurence Harvey) believes that she has imagined the entire thing, but her friend Sarah (Billie Whitelaw), while skeptical, is sympathetic to her deeply troubled friend. Director Brian G. Hutton fills the film with a number of distracting red-herrings and directs with a leisurely pace which tends to lessen the suspense. However, Taylor is splendid in the central role of a woman who seems to be on the verge of a nervous breakdown, and she creates a sympathetic believable character. Laurence Harvey, in his final performance, is less effective but is believable as the neglectful, emotionally abusive husband. Night Watch has a bloody, surprise ending, which while stretching credibility, is perfectly in keeping with the melodramatic intensity created by Taylor. Night Watch, reminiscent in some respect of Gaslight will be of interest to fans of Elizabeth Taylor and should entertain any fan of psychological thrillers. ~ Linda Rasmussen, All Movie Guide

Like M*A*S*H and Catch-22, both released the same year, this military comedy takes place in an earlier war but is really a thinly disguised treatise on the modern-day insanity and avariciousness then unfolding in Vietnam. Clint Eastwood stars as Kelly, a former lieutenant whose illusions about the glory of war, if he has any, are lost when he is busted in rank for following some poorly considered orders in World War II France. After capturing a friendly German officer, Kelly learns the whereabouts of millions of dollars in gold bars, earmarked to finance a military payroll. Taking advantage of a three-day liberty, Kelly assembles a motley trio of fellow soldiers to help him sneak behind enemy lines and retrieve the booty. They include Big Joe (Telly Savalas), a gruff sergeant; Crapgame (Don Rickles), a supply sergeant already enriching himself as a black marketer and con man; and the hippie-like tank commander Oddball (Donald Sutherland). Since crossing into enemy-held territory means heading in the opposite direction of the retreating Allies, Kelly and his men encounter armed resistance. Receiving word of their campaign, the vain General Colt (Carroll O'Connor) mistakes the quartet of freelancing scam artists for all-American heroes. ~ Karl Williams, All Movie Guide

Sol Madrid isn't a western, as might be gathered, but a drug-ring melodrama. David McCallum shows up early in the film as a spaced-out junkie. But Man From UNCLE fans need not worry: McCallum is actually an undercover agent, looking for the source of heroin being trafficked by the Mafia. The top man in the Mexican-based narcotics operation is the man you'd least likely expect -- especially when one remembers the sort of roles the guilty party had previously played in his long career. Based on Robert Wilder's novel Fruit of the Poppy, this went out to British moviehouses under the title The Heroin Gang. ~ Hal Erickson, All Movie Guide

Wild Seed was produced by Universal as part of the studio's short-lived "new talent" policy, which permitted untried actors and/or directors a low-cost opportunity to prove themselves with a theatrical feature. Director Brian G. Hutton was no newcomer, having been a TV actor and director for several years, but Wild Seed was his first big-screen directorial effort. Michael Parks plays a young drifter who forms an alliance with runaway girl Celia Kaye. Parks helps guide the girl on her trek to California, falling in love along the way. The plotline is wafer thin, but Wild Seed was a particular favorite of cinematographer Conrad Hall, who welcomed the opportunity given him by director Hutton to tell most of the story through imagery and visual juxtapositions rather than dialogue (the film was also Hall's first major studio credit). ~ Hal Erickson, All Movie Guide

Using a technique that involves the kind of ensemble acting seen in later long-running, large-cast television programs, director David Swift has tried to tie together the stories of five young interns in this routine drama. One of the interns is a woman who is at odds with the chief surgeon (Telly Savalas), another is involved in an ill-advised abortion simply because he has fallen in love with the patient, a glamorous model (also in real life, played by Suzy Parker). Other stories involve romances that turn out well or ill, depending on the case. ~ Eleanor Mannikka, All Movie Guide

The lush romanticism of director Frank Borzage (Seventh Heaven, Street Angel) is subsumed by the plodding reverence of producer Rowland V. Lee's screenplay (co-written with Howard Estabrook), based on the best-selling novel by Lloyd C. Douglas. Howard Keel stars as a stalwart Simon-Peter, the apostle of Christ called "the fisher of men" and the "Rock" upon whom the Christian Church was founded. The film, on the surface, deals with Simon-Peter's conversion from a self-sufficient fisherman to a believer in the inspirational teachings of Christianity. Simon-Peter also serves the needs of the real story: how Simon-Peter succeeds in joining together two lovers from the other side of the tracks. John Saxon is Voldi, an Arab prince who wants to follow in his father's footsteps as the chief of an Arab tribe and marry his beloved, Fara (Susan Kohner). But Fara, wants to see her father, Herod Antipas (Herbert Lom), dead for the misery he has inflicted upon her mother -- abandoning her for the lustful Herodias (Martha Hyer). When Voldi and Fara hear the teachings of Christ, they realize that their love must be put in abeyance to their Christian beliefs. ~ Paul Brenner, All Movie Guide

Just outside the small town of Pauley, a Native American woman is attacked by two riders on horseback, raped, and killed. Her husband, Matt Morgan (Kirk Douglas), the town marshal, has only two clues to their identity, a fancy saddle with the initials "C.B." that one of the men left behind, and the fact that his wife cut one of the two men deep across the cheek with a buggy whip. Morgan traces the saddle to Craig Belden (Anthony Quinn), an old friend and now a wealthy rancher in the town of Gun Hill, but he knows Belden well enough to know that he couldn't have had anything to do with attacking his wife. Morgan's arrival with Belden's saddle sets off ugly rumblings in Gun Hill, and when he confronts the rancher, he discovers that it was his son Rick (Earl Holliman) who had his horse and the saddle, and rode out with a cowhand friend of his, Lee (Brian G. Hutton) -- but they claim their horses were stolen. Belden tries to convince Morgan, and wants to believe himself that whoever stole the horses must have killed his wife, but when Morgan mentions the cut that one of the killers will have on his face, they both know the truth. He vows to take Rick and Lee back to Pauley to stand trial, while Belden swears he'll do anything it takes to protect his son. Belden is virtually all the law there is in Gun Hill -- the sheriff (Walter Sande) won't help Morgan serve his arrest warrants on the two men, or even let him use the jail to hold them until the last train that night; there's not a working man, a shopkeeper, or even a prostitute in the whole town that will go against the rancher, and Belden's foreman Beero (Brad Dexter) and his men will strongarm anyone who might start feeling brave. Only Linda (Carolyn Jones), a woman who has been both romanced and abused by Belden, will lift a finger on Morgan's behalf. The marshal is nothing if not resourceful, however, and Rick Belden is also too stupid for his own good, and manages to fall into Morgan's hands in short order. Very quickly, a standoff ensues, with Morgan holding Rick in one of Belden's buildings against virtually the entire town, while the deadline -- the last train out of Gun Hill that night -- approaches. People die and a chunk of Belden's holdings are destroyed, but Morgan is about to get Rick onto the train and off to trial when suddenly, one sudden act of violence destroys father and son in a matter of seconds. ~ Bruce Eder, All Movie Guide

Elvis Presley delivers one of his finest early performances in King Creole. Elvis plays a teenager named Danny Fisher, who is forced to drop out of school to help support his ineffective father (Dean Jagger). Drawn to trouble like a magnet, Danny is saved from a jail term by New Orleans salloonkeeper Charlie Le Grand (Paul Stewart), who gives the boy a job as a singer. It isn't long, however, before local gang boss Maxie Fields (Walter Matthau), a shadowy figure from Danny's criminal past, puts the muscle on the boy, insisting that Danny sing at his establishment. To lure Danny to his side of the fence, Maxie relies upon the seductive charms of his gun moll Ronnie (Carolyn Jones), while Danny's true love Nellie (Dolores Hart) suffers on the sidelines. In addition to the expected musical numbers (which are cleverly integrated into the storyline), the film's highlight is a brief exchange of fisticuffs between Elvis and Walter Matthau. Together with Jailhouse Rock, King Creole is one of the best filmed examples of the untamed, pre-army Elvis Presley. The picture was adapted from Harold Robbins' novel A Stone for Danny Fisher. ~ Hal Erickson, All Movie Guide

Of the many filmed versions of the October 26, 1881, O.K. Corral shootout in Tombstone, Arizona, Gunfight at the O.K. Corral was one of the most elaborate and star-studded. Burt Lancaster plays Wyatt Earp, the renowned lawman, while Kirk Douglas is consumptive gambler (and gunfighter) Doc Holliday -- the two meet in difficult circumstances, as Earp discovers that Holiday, for whom he initially feels little but loathing, is being held on a trumped up murder charge and being set up for a lynching, and intercedes on his behalf. The action shifts to Dodge City, Kansas, where Earp is marshal and Holiday, hardly grateful for the good turn, shows up right in the middle of all kinds of trouble, this time mostly on Earp's side of the ledger. And, finally, the two turn up in Tombstone, Arizona, where Wyatt's brother Virgil is city marshal, and where Wyatt finally gets to confront the Clanton/McLowery outlaw gang (led by Lyle Bettger as Ike Clanton). Since the time-span of the actual gunfight was at most 90 seconds, the bulk of the film concerns the tensions across many months leading up to the famous battle. As scripted by Leon Uris (from a magazine story by George Scullin), the story involves two unrelated but parallel plot-lines -- a long-standing vendetta against Holliday and the efforts of Earp to bring the Clanton/McLowery gang to justice -- that are eventually drawn together on the streets of Tombstone. Woven into these proceedings are Earp's and Holliday's romantic dalliances with lady gambler Laura Denbow (Rhonda Fleming) and Kate Fisher (Jo Van Fleet), whose switch in affections from Holiday to outlaw fast-gun Johnny Ringo (John Ireland) only rachets up gambler's rage and the reasons behind the bloody climax. There are plenty of bribery attempts, terse dialogue exchanges and "Mexican standoffs" before the inevitable gunfight takes place. Director John Sturges takes some dramatic license with this confrontation, as well, stretching things out to nearly six minutes, but this is after all an "A" production, and a minute-and-a-half of gunfire just wouldn't cut it. The huge cast of western veterans includes Earl Holliman as Charles Bassett, Dennis Hopper as Billy Clanton, Kenneth Tobey as Bat Masterson, Lee Van Cleef as Ed Bailey, Jack Elam as Tom McLowery, and John Hudson, DeForest Kelley and Martin Milner as Virgil, Morgan, and James Earp, respectively. And there's that Dimitri Tiomkin score, pushing the movie's momentum as relentlessly as the two driven heroes, complete with a song (sung by Frankie Laine) underscoring the major transitions of scenes that's impossible to forget, once heard. Sturges himself would produce and direct a more fact-based and realistic version of the story -- focusing mostly on its aftermath -- a decade later, entitled Hour of the Gun, starring James Garner, Jason Robards, Jr., and Robert Ryan, which wasn't nearly as attractive or successful. But after Gunfight At The OK Corral, there would not be so impressive a lineup of talent at the OK Corral again until the twin Earp biopics of 1994, Wyatt Earp and Tombstone.
~ Hal Erickson, All Movie Guide

Anthony Perkins stars as troubled baseball great Jimmy Piersall in Fear Strikes Out. Based on Piersall's shattering tell-all autobiography, the film traces Jimmy's ascent from the sandlots of Waterbury, CT, to the Boston Red Sox, with his domineering father (Karl Malden) pushing the boy beyond all reasonable limits. Unable to withstand the pressure, Piersall suffers a nervous breakdown and is confined to a mental institution. Through a long period of therapy, Jimmy realizes that he has excelled in baseball not for his own gratification but to please his father. This film was preceded by a 1956 TV version starring Tab Hunter. ~ Hal Erickson, All Movie Guide

While rustling some cattle, Army deserter Joe Trimble (Brian G. Hutton) shoots and kills a rancher just outside of Dodge. Matt (James Arness) insists upon forcing Trimble to stand trial before a civilian jury, even though Major Banker (Keith Thibodeaux) demands that the killer be turned over to him for a military court-martial. Unfortunately, Trimble is found not guilty, and it looks like the killer will return to the Army without receiving any punishment at all. But there's an ironic twist at the tail end of this story, which was adapted from the Gunsmoke radio broadcast of November 23, 1953. ~ Hal Erickson, All Movie Guide