Charles Irwin Movies

The King and I, Richard Rodgers and Oscar Hammerstein's 1951 Broadway musical hit, was based on Margaret Landon's book Anna and the King of Siam. Since 20th-Century-Fox had made a film version of the Landon book in 1946, that studio had first dibs on the movie adaptation of The King and I. Deborah Kerr plays English widow Anna Leonowens, who comes to Siam in the 1860s to tutor the many wives and children of the country's progressive King (Yul Brynner, recreating his Broadway role-and winning an Oscar in the process). The culture clash between Anna and the King is but one aspect of their multilayered relationship. Through Anna, the King learns the refineries and responsibilities of "modern" western civilization; Anna meanwhile comes to realize how important it is for an Oriental ruler to maintain his pride and to uphold the customs of his people. After a successful evening entertaining foreign dignitaries, Anna and the King celebrate with an energetic dance, but this is cut short by a bitter quarrel over the cruel punishment of the King's new Burmese wife Tuptim (Rita Moreno), who has dared to fall in love with someone else. Despite the many rifts between them, Anna and the monarch come to respect and (to a degree) love one another. When the King dies, Anna agrees to stay on to offer help and advice to the new ruler of Siam, young Prince Chulalongkhorn (Patrick Adiarte). In general, The King and I tends to be somewhat stagey, with the notable exception of the matchless "Small House of Uncle Thomas" ballet, which utilizes the Cinemascope 55 format to best advantage (the process also does a nice job of "handling" Deborah Kerr's voluminous hoopskirts). Most of the Broadway version's best songs ("Getting to Know You", "Whistle a Happy Tune", "A Puzzlement", "Shall We Dance" etc.) are retained. None of the omissions are particularly regrettable, save for Anna's solo "Shall I Tell You What I Think of You?" This feisty attack on the King's chauvinism was specially written to suit the talents of Gertrude Lawrence, who played Anna in the original production; the song was cut from the film because it made Deborah Kerr seem "too bitchy" (Kerr's singing, incidentally, is dubbed for the most part by the ubiquitous Marni Nixon). When all is said and done, the principal attraction of The King and I is Yul Brynner, in the role that made him a star and with which he will forever be identified. ~ Hal Erickson, Rovi

Robert Stack stars with Ursula Theiss (the wife of Robert Taylor) in the Columbia costumer The Iron Glove. Stack, an 18th century Scots adventurer, swashes and buckles on behalf of self-styled Prince James (Richard Stapley). Our hero insinuates himself into the court of King George I, the better to install the man known as "The Old Pretender" into the British throne. Supporting actor Alan Hale Jr. goes through many of the motions of his late father in support of Errol Flynn wannabe Stack. The Iron Glove puts the lie to the rumor (perpetuated by The Untouchables) that Robert Stack was constitutionally incapable of smiling. ~ Hal Erickson, Rovi

Fort Vengeance starts out as a western and ends up as a "northern." Trouble-making brothers Dick (James Craig) and Carey (Keith Larsen) skeedaddle to Canada when things get too hot for them in the states. The brothers join the Royal Canadian Mounties, where their knowledge of Indian activities make them invaluable. But Carey's recklessness causes the Blackfeet Indians to almost go on the warpath--and also leads to Carey's becoming a reluctant murderer. To prevent a massacre, the heartbroken Dick must track down his own brother. The film's climax is both downbeat and upbeat, depending upon one's point of view. ~ Hal Erickson, Rovi

This above-average Louis Hayward swashbuckler was sumptuously produced by Columbia's resident western specialist Harry Joe Brown. Adapted from Rafael Sabatini's Captain Blood Returns, the film stars Hayward as physician-turned-buccaneer Peter Blood. Now respectably retired in the West Indies, Blood is shaken out of his complacency when he is accused of returning to piracy. Given a chance to clear his name, Blood reassembles his old crew to track down the villain who's pilfered his good name. The excellent cast includes John Sutton, George Givot, Ted de Corsia, and, in larger roles than usual, Charles Irwin and Rex Evans. And what would a Columbia pirate picture be without leading lady Patricia Medina? ~ Hal Erickson, Rovi

In this crime drama, an escaped convict is recaptured and charged with killing two people in a lonely waystation during a snowstorm. Fortunately, a novelist is around to prove him innocent. ~ Sandra Brennan, Rovi

Though usually associated with westerns, Columbia producer Harry Joe Brown proved to be up to the challenge of producing a satisfactory swashbuckler with Fortunes of Captain Blood. Based loosely on the same Rafael Sabatini novel which served as the inspiration for the 1935 Errol Flynn vehicle Captain Blood, the film stars Louis Hayward as Irish doctor Peter Blood, who is exiled from England after treating the wounds of an enemy to the crown. Blood and several other outcasts turn to piracy, terrorizing merchant vessels of all nationalities. Dogging Captain Blood's trail is the heavy of the piece, the Marquis de Riconete (George Macready). Also appearing are Patricia Medina (Columbia's stock costume-drama heroine) as the marquis' niece, and Alfonso Bedoya (immortalized as the Mexican bandit Gold Hat in Treasure of the Sierra Madre) as a sadistic prison overseer. The battle scenes in Fortunes of Captain Blood would be cannibalized time and again over the next few years by quickie-flick producer Sam Katzman. ~ Hal Erickson, Rovi

Bomba on Panther Island was the second in Monogram's series based on Roy Rockwood's "Bomba the Jungle Boy" adventure stories. The plot is set in motion when agriculturist Robert Maitland (Henry Lewis) accidentally stirs up restlessness within the native population. The locals assume that Maitland is responsible for the recent spate of vicious attacks by a black panther, who is regarded as the Devil Incarnate. Bomba (Johnny Sheffield) proves that the panther is just another overgrown kitty-cat in a climactic human vs. animal battle. For those not interested in the plot or the papier-mache sets, Bomba on Panther Island offers two comely leading ladies, Lita Baron and Allene Roberts. ~ Hal Erickson, Rovi

A semi-fantasy with sociological overtones, The Luck of the Irish stars Tyrone Power as an American journalist named Stephen Fitzgerald visiting the home of his ancestors in Ireland. Power encounters a jolly old man (Cecil Kellaway) who claims to be a leprechaun -- and proves it to the journalist's satisfaction. The leprechaun trails Stephen to New York, smooths the path of romance between Stephen and lovely Nora (Anne Baxter), and watches in dismay as Stephen becomes the tool of a quasi-fascistic publisher. The journalist comes to his senses thanks to the leprechaun's intervention and goes to work for a more liberal publication. He heads back to Ireland with new wife, Nora, and the beneficent leprechaun. The Luck of the Irish was based on a novel by Guy and Constance Jones, who probably would have been blacklisted when the political winds of Hollywood shifted a few years later. ~ Hal Erickson, Rovi

The Warner Bros. musical My Wild Irish Rose purports to tell the life story of popular 19th century balladeer Chauncey Olcott-or at least, the version set down by Olcott's daughter Rita. Starting his career in minstrel shows, Olcott (Dennis Morgan) is given his first break by stage luminary Lillian Russell (Andrea King), who casts him as her Broadway leading man. Though their relationship is platonic so far as Russell is concerned, the newspapers have a field day concocting an imaginary romance, driving a wedge between Olcott and his hometown sweetheart Rose Donovan (Arlene Dahl). No matter what his personal problems, Olcott rises to heretofore unimagined show-biz heights with his sentimental Irish ballads, including "A Little Bit of Heaven", "Mother Macree" and, of course, the title tune. I Love Lucy fans will be amused by the casting of a generously toupeed William Frawley as famed Irish tenor William Scanlan, who after his voice fails him generously passes the torch of celebrity to Olcott. ~ Hal Erickson, Rovi

Danny Kaye plays the first of his cinematic dual roles in Goldwyn's Wonder Man. Kaye appears as timid librarian Edwin Dingle and Edwin's extroverted twin brother, nightclub entertainer Buzzy Bellew. When Buzzy witnesses a gangland shooting, he himself is rubbed out by mob boss Ten-Grand Jackson (Steve Cochran, in his movie debut). Before long, Edwin is visited by Buzzy's ghost, who persuades his bookish brother to help bring Jackson to justice. For the rest of the film, poor Edwin is possessed by his brother's sportive spirit, causing no end of confusion for Edwin's demure lady friend Ellen Shanley (Virginia Mayo) and Buzzy's more outgoing girlfriend, dancer Midge Mallon (Vera-Ellen, also making her first film appearance). Done up in splashy Technicolor, Wonder Man is perhaps Kaye's best Goldwyn-produced vehicle, permitting him to play a character (or characters) rather than a caricature. Highlights include an opera spoof (a variation of which showed up in Kaye's 1954 feature Knock on Wood), Danny's allergic rendition of "Otchi Chornya," and a wonderful vignette wherein Kaye imitates all the "inhabitants" of a pet shop. ~ Hal Erickson, Rovi

Set in turn-of-the century London, this period thriller stars Laird Cregar as George Harvey Bone, a composer who suffers from a rather severe case of artistic temperament. Driven to distraction by the discordant sounds of the city, the usually sensitive Bone occasionally snaps when exposed to undue stress, and the results can be deadly; he sometimes blacks out and commits murders that he can't quite recall the next morning. Working on a major concerto, Bone is at his wit's end, and when an antique dealer tries to cheat him, the salesman turns up dead. Dr. Allen Middleton (George Sanders), a psychologist with Scotland Yard, questions Bone about the crime; he claims to know nothing about it, but the perceptive doctor suggests that Bone needs to relax more. Taking Middleton's advice, Bone visits a music hall that evening and sees Netta London (Linda Darnell), a singer with whom Bone immediately becomes entranced. This makes the composer even less patient with his sweetheart Barbara Chapman (Faye Marlowe), whose father, the wealthy Sir Henry Chapman (Alan Napier), has commissioned Bone's latest work. When Barbara tells Bone that his concerto is not up to snuff, she only narrowly escapes with her life, and while Bone believes that he's found true love with the beautiful Netta, the singer finds herself in danger when Bone suspects her of infidelity. Hangover Square gave character actor Laird Cregar his first starring role. Sadly, it was also his last film; Cregar, who struggled with weight problems all his life, tipped the scales at nearly 300 pounds when he made this film. Eager for more starring roles, Cregar went on a dangerous crash diet, and while he soon lost 100 pounds, it put his health into serious disarray, and the actor died of a heart attack at the age of 28, shortly before the release of his first starring vehicle. ~ Mark Deming, Rovi

Brad Taylor, Republic's newest leading man (after a long tenure at Columbia as "Stanley Brown"), heads the cast of the bucolic musical Sing, Neighbor, Sing. Taylor plays wolf-in-sheep's-clothing Bob Reed, who poses as an elderly English psychologist in order to fleece the populace of a backwoods community and woo the pretty young ladies. When the genuine psychologist (Charles Irwin), shows up, Reed is in deep you-know-what, but heroine Virginia Blake (Ruth Terry) loves him anyway. Featured country-western performers include Roy Acuff and His Smoky Mountain Boys, Lulubelle and Scotty, the Milo Twins and Carolina Cotton. Republic specialized in this sort of cornpone fare throughout the 1930s and 1940s, thrilling the hinterlands while aggravating the so-called sophisticates. ~ Hal Erickson, Rovi