Gordon Jones Movies
Tall, muscular Gordon Jones played heroes, villains, comic-relief second bananas, and just about everything in between, in a screen career lasting almost 30 years -- not bad for a fellow who, eight years into that career, admitted to a reporter that he was still learning about acting. Born in 1911, Jones came to movies in his early twenties, not out of any aspirations as an actor but on the basis of his good looks and athletic build. The brawny Iowa-born Jones was well known as a top student athlete and star football guard ("Bull" Jones) at U.C.L.A., and had also played a few seasons of professional football. Jones started doing movie work for the easy money, and got serious about acting when he found that he liked it; he soon began downplaying his football background so that casting agents would take him more seriously. Jones started out playing small roles in Wesley Ruggles' and Ernest B. Schoedsack's The Monkey's Paw and Sidney Lanfield's Red Salute, and by 1937, he had moved on to a contract at RKO. His biggest screen role in terms of billing came in 1940, in the Universal serial The Green Hornet, where he portrayed publisher Britt Reid, the alter ego of the masked hero of the title; Jones also played the Hornet, but when he was in that guise, he was redubbed with the voice of the era's more familiar radio Green Hornet, Al Hodge. Jones had gained some stage experience, particularly in comedy, during the late '30s, and this stood him in good stead when he auditioned for a role in Max Gordon's Broadway adaptation My Sister Eileen while on a visit to New York; the "rambling wreck from Georgia Tech" (billed as the Wreck in the original program) was the role of a lifetime, giving Jones the chance to play exactly what he was, a lovable big lug. He was good enough in the part to repeat it in Alexander Hall's 1942 movie version, produced by Columbia Pictures. Jones wasn't able to follow up on his success in the film, however, due to the outbreak of the Second World War. The actor held a reserve commission in the army and he was called into the service very soon after finishing work on the movie. In contrast to some actors, however (such as Ronald Reagan, who felt war service had damaged his career and resented it deeply), Jones never complained and, indeed, was very active for the next 20 years of his life in encouraging college students to consider the Reserve Officers Training Corps (ROTC). One of his other key roles during 1942 was as Alabama Smith, John Carroll's slightly dim-witted but good-natured sidekick, in Flying Tigers (1943), a John Wayne-starring vehicle that was one of the most popular action films of the war. This picture began Jones' 20-year onscreen association with Wayne, who was also (perhaps not coincidentally) a former football player from U.C.L.A. After resuming his acting career in the late '40s, Jones appeared in prominent roles in the John Wayne features Big Jim McLain and Island in the Sky. By the end of the 1940s, Jones had aged into a somewhat beefier screen presence and into very physical character roles. He would no longer have been considered a leading man, even in serials, but he had developed a very good, slightly over-the-top comic villain persona, strongly reminiscent of Nat Pendleton, Joseph Sawyer, or William Bendix. All of these attributes meshed well with the work of the comedy team of Bud Abbott and Lou Costello; Jones' association with the duo began in The Wistful Widow of Wagon Gap (1947) with the role of the film's heavy, Jake Frame. During the early '50s, when they began their television series The Abbott & Costello Show, Jones was cast as Mike the cop, the hulking, loud-voiced antagonist to the roly-poly Costello (and, thus, succeeded Pendleton, Sawyer, and Bendix, who had played tough, burly foils to the duo in the movies Buck Privates, Buck Privates Come Home, The Naughty Nineties, and Who Done It). The program was only in production for two seasons, but was rerun regularly into the 1980s and became available on DVD in the 21st century, and, thus, has ensured Jones a permanent place in American popular culture. He remained busy in films and on television throughout the 1950s, in pictures as different as the sci-fi chiller The Monster That Challenged the World and the Tony Curtis/Janet Leigh sex comedy The Perfect Furlough, and on series ranging from The Real McCoys to The Rifleman. Jones also appeared in two very successful Disney movies during the early '60s, The Absent-Minded Professor and Son of Flubber, portraying harried school coaches in both pictures. He returned to the John Wayne stock company portraying Douglas, the bureaucrat antagonist to Wayne's G.W. McLintock in the Western comedy McLintock, in the spring of 1963. Jones succumbed to a heart attack on June 20, 1963, five months before the release of that movie. He is remembered, however, by millions of Abbott and Costello and John Wayne fans, and also for his work in serials, and he is given a special mention -- in connection with The Green Hornet -- on the home page of the town of his birth, Alden, IA. ~ Bruce Eder, All Movie Guide
- 1952
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The Abbott & Costello Show marked the last major commercial success for the comic team of Bud Abbott and Lou Costello. The duo, who had started out in burlesque in the 1930's (and each had long experience in entertainment and performing before they met), had been a veritable fixure on radio since 1938, when they'd appeared on The Kate Smith Hour, which led to work on Broadway and more radio work in 1940, initially on a summer replacement show for Fred Allen, and later with their own shows on NBC and, subsequently, on ABC. It was on the radio show that they assembled the core cast of performers, regulars and bit players, who would later work in their movies and the subsequent television series -- first and foremost among these was Sidney Fields, who would contribute to some of their early movies as a writer and bit-player, but the other important names were Iris Adrian and Elvia Allman, both of whom would later turn up on their television show. Their radio show continued into the start of the 1950's, and overlap with their film career, which began in 1941 -- up thru 1950, the films were immensely popular and profitable. But their film audience had begun to decline with the start of the new decade, and during this same period it became clear that radio had seen its day as the dominant broadcast entertainment medium. The duo began looking at television as the next stop for their careers, and made the jump to the small-screen in 1951, initially as guests on The Colgate Comedy Hour, which was successful enough so that a regular television series seemed a real possibility. That became a reality in 1952 with the first season of The Abbott & Costello Show, which went on the air on CBS in December of that year. Produced by Costello's brother Pat Costello, the rotund little comic had an ownership interest in the program, whereas Bud Abbott, unsure of the future of television, chose instead to take a larger straight salary, with no longterm interest or ownership stake in the show. The show was shot and produced at Hal Roach Studios in Los Angeles, using the same sets that were used (at the very same time period) for the Amos 'n Andy Show. The first season of The Abbott & Costello Show was formatted very loosely, and opened like a stage revue, with the two comic stepping out on stage and addressing the viewing audience, and doing some schtick, which might range anywhere from a few seconds to several minutes -- in the very first show, "The Drug Store", Costello tries to tell a fish-story to the audience in spite of Abbott's constant, brilliantly timed interruptions, which culminate with the little comic stalking off-stage, thwarted and dejected; in the very next scene, in the "story" proper, Costello is walking down a street when a woman approaches him, says, "How dare you remind me of somebody I hate!" and hits him on the head with an umbrella . . . and so it went, in 26 programs done that season in which the barest plot elements often gave way to screamingly funny digressions, leaving any semblance of story arc in the dust. Often scenes and plots were merely set-ups and excuses for the duo to do one of their classic burlesque, vaudeville, or radio routines, of which the most famous was "Who's On First," in which Abbott tries to tell an increasingly frustrated Costello the names of the member of a baseball team ("Who's on first, What's on second, and I Don't Know's on third . . . . ") -- others were "Niagara Falls" (aka "Slowly I Turned"), "Mustard," "Hertz U Drive," "Susquehanna Hat Company" (aka "Bagle Street," aka "Floogle Street," a sketch that veteran comic Joey Faye claimed authorship of), and "Jonah and the Whale." There were literally dozens of such routines, and they were all used liberally in that first season. Indeed, one episode, "Getting A Job", seems to have been assembled from random pieces of footage, without any continuing plot at all and none of the pieces of footage really relating in anyway to those around them -- and it is still immensely funny, mostly because that's the episode that has the "Susquehanna Hat Company" sketch in it. The basic premise of the first season presented Bud Abbott and Lou Costello -- using their own names -- as denizens of a Los Angeles rooming house owned by Sidney Fields (using his own name for his character), who also played other roles in various episodes, including innumerable Fields brothers and cousins, and lawyer Claude Melonhead, among others, and also wrote many of the shows -- the bald-headed Fields was excitable and blustery, and the perfect foil for both comedians. Gordon Jones, an athlete-turned-actor and veteran action film star, played Mike The Cop (aka Mike Kelly), a resident of the same rooming house and the constant nemesis of the two heroes, especially Costello. Joe Kirk, Costello's brother-in-law, played Mr. Bacciagalupe, who always seemed to be in businesses that were relevant to whatever the story-line or sketch required, as well as occasional other characters. And Hillary Brooke, a tall, glamorous, classically-trained actress who'd graced motion pictures for the previous decade, played a character of the same name, who also lived in the rooming house (though in the first episode, her character didn't have a name and didn't know Abbott or Costello) -- one running joke was Costello's crush on Hillary, and his occasional inept efforts to tell her how he felt, which frequently ended up with him stepping on her foot, covering her with water, soot, or some other unpleasant substance, or otherwise offending her. Another regular was Joe Besser, still a few years from joining the Three Stooges, who played Stinky, another resident of the rooming house -- he was surreal, a fat 40-year-old bald man in a Little Lord Fauntleroy outfit, acting like a bad-tempered seven-year-old and always fighting with Costello. And the duo's own resident comic "stooge" and de facto court jester, Bobby Barber, a bald-headed man with huge, expressive eyes and limbs seemingly made of rubber, played a multitude of roles (sometimes as many as three in the same episode!), usually in some slapstick interaction with Costello. The other bit players were Milt Bronson who, in addition to being an on-screen nemesis to Costello, also served as dialogue director for the show; veteran film actress Iris Adrian as a variety of excitable women; Robin Raymond in the same sorts of parts; Minerva Urecal, a veteran stage and screen actress, who was kind of this duo's answer to the Marx Brothers' Margaret Dumont; and Joan Shawlee (who could also play as many as three roles in the same show) as a frequent sharp-tongued female antagonist for Costello (most memorably as an uncooperative telephone operator who drives Costello to distraction as the latter tries to call the number ALexander 4444). And most surreal of all was the presence of Bingo the Chimp, a chimpanzee who was usually seen wearing a miniature version of Lou Costello's familiar checked jacket and derby hat. Jean Yarbrough, who'd made numerous low-budget films at Universal, directed the show. The first season was hugely successful, but following it up proved a problem. The sponsors wanted a more conventional comedy series, and the decision to go in that direction was probably a necessity in any case, as the team had used up most of their best routines in those first 26 shows. For the second season, the concept was changed significantly -- Abbott and Costello still lived at the Fields apartment house, Sidney Fields was still their landlord, and Gordon Jones's Mike the Cop was still there for some shows, but gone were Joe Kirk, Hillary Brooke, Joe Besser, and Bingo. Additionally, the shows were no longer structured to allow the easy inclusion of vaudeville routines, and there was no longer any opening and closing "set up" in which the two would address the audience -- plots were followed from beginning to end, and an extremely annoying laugh-track was utilized (the first season also had a laugh-track, but a much more realistic one -- the second season was filled with grotesque shrieking laughs, often in the wrong spots). For scripts, the second season also fell back on a lot of recycled humor in scripts that seem to have mostly been written by Clyde Bruckman, a gagman from the silent era, who shamelessly repeated bits he'd written for Harold Lloyd and Buster Keaton and, more recently, the Three Stooges et al, so closely that scenes were sometimes interchangeable between A&C and the Stooges. It was still a funny show, but not as consistently so by a longshot. It also marked the beginning of the end of the duo's popular culture impact; their new movies were sinking fast in quality and audience, and the reissue of their classic old films, plus the release of the movies they were making and the television series -- which ran to 52 shows -- led to the duo's being seriously over-exposed at the time. By 1955, the year after the series ended production, they were at the tail-end of their careers. The series continued to be popular, however, and actually found a larger audience in syndication -- it proved especially popular in late-afternoon time-slots, where young viewers who'd never seen the duo's earlier movies could discover them for the first time, much as they would do with the Three Stooges when their short films were licensed for broadcast. Costello's family, which inherited his ownership interest in the show following his death in 1959, reaped the benefits from those decades of syndicated telecasts or video and DVD sales. ~ Bruce Eder, All Movie Guide
- 1952
Ronald Reagan delivers one of his best screen performances as baseball great Grover Cleveland Alexander in The Winning Team. The title refers to the mutually supportive relationship between Alexander and his loving wife Aimee (top-billed Doris Day); with this in mind, is it any surprise that the real Aimee Alexander served as the film's technical advisor. While the basic milestones of Alexander's career are adhered to, the film is a typical Hollywood blend of fact and fancy-plenty of fancy. While playing in the minors, Alexander is is hit on the heat by a batted ball, resulting in the dizziness and double vision that would ever after plague him. After toting up a record of 28 wins with the Philadelphia Phillies, Alex is traded to the Cubs, but World War 1 intervenes. On the battlefield, Alex suffers a recurrence of his double vision; and when he plays his first postwar game with the Cubs, he collapses on the field. Warned that his seizures will persist if he doesn't retire, Alex swears the doctor to secrecy. When the dizzy spells continue, Alex turns to drink. Branded an "alky", he descends to the depths of a House of David-style team, thence to the humiliation of carnival side shows. With the help and support of both Aimee and his old pal Rogers Hornsby (Frank Lovejoy), Alex stages a spectacular comeback, striking out Yankee Tony Lazzeri during the 1926 World Series and leading his team to victory. The script rearranges the chronology of Alexander's life, suggests incorrectly that the Lazzeri strikeout was the last play in the deciding Series game, and-most amusingly-depicts the unloveable Rogers Hornsby as a 100 % sweetheart. Otherwise, The Winning Team provides an excellent showcase for Ronald Reagan-though in later years he expressed some reservations about the script, noting that, by adhering to Warner Bros' insistence that the word "epilepsy" never be spoken, the picture confused audiences as to the true nature of Alexander's affliction. ~ Hal Erickson, All Movie Guide
- Starring:
- Doris Day, Ronald Reagan, (more)
- 1952
Sound Off stars Mickey Rooney as Mike Donnelly, a brash, obnoxious nightclub entertainer who is taken down a peg or two when he's drafted into the army. When not crossing swords with tough sergeant Crockett (Gordon Jones), Mike has to contend with the poison-pen vitriol of columnist Barney Fisher (Arthur Space). Out of love for pretty WAC lieutenant Colleen Rafferty (Anne James), Mike tries to straighten himself out and adhere to army protocol, but not before a riotous climactic tank chase. Though Sound Off covers familiar comic territory, star Mickey Rooney delivers the laughs with freshness and gusto. The most appealing aspect of the film is the characterization of the clichéd drill sergeant: Gordon Jones is almost lovable as he struggles manfully to get the recalcitrant Rooney to cooperate with Uncle Sam. ~ Hal Erickson, All Movie Guide
- Starring:
- Mickey Rooney, Anne James, (more)
- 1952
The fraternal comedy team of George and Bert Bernard gained fame in the 1950s with their "record act," wherein they pantomimed to the popular recordings of the day (other aspiring comics who labored in this peculiar brand of humor included Jerry Lewis and Dick Van Dyke). Republic Pictures decided that the time was ripe to turn the Bernard Brothers into movie stars, and so it came to pass that Gobs and Gals were born. George and Bert play a couple of sailors stationed at a remote South Sea weather station. To keep themselves well stocked with cookies, candy and the like, the boys send out love letters to various stateside girls, enclosing photographs of their much handsomer commanding officer (Robert Hutton). Somehow this harmless subterfuge gets the Bernard boys mixed up with a nest of Soviet spies, headed by modern-day Mata Hari Sonya Dubois (Florence Marly). Some of the jokes at the expense of Stalinist communism are amusing, as is the film's zany slapstick finale. Otherwise, Gobs and Gals was proof positive that George and Bert Bernard posed no threat to Martin and Lewis. ~ Hal Erickson, All Movie Guide
- Starring:
- George Bernard, Bert Bernard, (more)
A master blend of comedy, domestic drama and sudden tragedy, The Marrying Kind remains one of the best collaborations between star Judy Holliday, screenwriters Garson Kanin and Ruth Gordon, and director George Cukor. The film begins at the end, with married couple Florence and Chet Keefer (Judy Holliday and Aldo Ray) seeking a divorce. Both parties state their cases before understanding judge Carroll (Madge Kennedy)--whereupon the story of their marriage unfolds in a series of revelatory flashbacks. After an amusing recap of their courtship days, the film details the many major and minor trials and tribulations of married life. In the film's most unforgettable sequence, one of the couple's children dies by drowning while Florence and Chet are obliviously engaged in one of their petty squabbles. Throughout the testimony, the Judge gives equal time to both parties, and in so doing demonstrates that all aspects of marriage work both ways. In the final scenes, the Judge allows the Keefers to reconsider their impending divorce, but not before offering a few understanding and unobtrusive words of advice. Judy Holliday is in top form, while Aldo Ray delivers what may be his finest performance. Featured in the cast as Ray's sister-in-law is Peggy Cass in her film debut. ~ Hal Erickson, All Movie Guide
- Starring:
- Judy Holliday, Aldo Ray, (more)
Of all the "kill the commies" cold war films of the 1950s, John Wayne's Big Jim McLain may well be the worst. Certainly it's the hardest one to sit through today. The Duke and his partner Jim Arness (Wayne's real-life protege) head to Hawaii to investigate a subversive pro-Red organization. Feigning love for suspect Nancy Olson, Wayne ferrets out the name of the Big Cheese, played by Gayne Whitman. After a long wild-goose chase, peopled by such oddball types as Hans Conried and Alan Napier, Wayne catches up with his quarry, who has--egad!--already murdered Arness. Wayne exacts vengeance, paving the way for a final clinch with Nancy Olson, who turns out to be true-blue and not red after all. To quote Spike Jones: "Peeeeee.....yewwwww." ~ Hal Erickson, All Movie Guide
- Starring:
- John Wayne, Nancy Olson, (more)
Roy Rogers and Trigger, "The Smartest Horse in the Movies," enjoy above-the-title billing in Heart of the Rockies. This time, Rogers (playing himself) is pitted against Andrew Willard, a crooked but very powerful landowner, played with relish by Ralph Morgan. Opposing the construction of a new highway, Willard dispatches his toughest henchmen, headed by Devery (Fred Graham, one of Hollywood's top stunt men), to prevent the road workers from completing their job. When not duking it out with Devery and his pals, Rogers is kept busy trying to rehabilitate a gang of tough street kids. Penny Edwards plays the heroine, who happens to be the niece of the head villain. The musical portion of the program is provided by the golden-throated Mr. Rogers, together with Foy Willing and the Riders of the Purple Sage. ~ Hal Erickson, All Movie Guide
- Starring:
- Roy Rogers, Penny Edwards, (more)
- 1951
Corky of Gasoline Alley was the second and last Columbia "B"-picture inspired by Frank King's popular comic strip Gasoline Alley. As in the first film, the emphasis is on young gas jockey Corky (Scotty Beckett), who must put up with Elwood Martin (Gordon Jones), the shiftless cousin of Corky's wife Hope (Susan Morrow). One of Elwood's get-rich-quick schemes involves gasoline pills, which all but destroy the service station managed by Walt Wallet (Don Beddoe) and his foster son Skeezix (Jimmy Lydon). When threatened with eviction, Elwood feigns a back injury, forcing everyone to wait on him hand-and-foot until his ruse is discovered. Director Edward Bernds handles his material in the slapsticky manner of his Columbia 2-reelers, which pays off in belly laughs even though this approach isn't altogether faithful to the spirit of the original comic strip. ~ Hal Erickson, All Movie Guide
- Starring:
- Scotty Beckett, Jimmy Lydon, (more)
- 1951
Wayne Morris was rapidly becoming Monogram's answer to John Wayne when he starred in Yellow Fin. Lensed on location in the Northern Pacific, the story concerns a group of rough-and-ready tuna fishermen. When he isn't fighting the elements, Mike (Wayne Morris) is trying to snap his father (Damian O'Flynn) out of a catatonic state, brought about by an accident on the high seas. A doctor suggests that Mike take his father out on his boat during bad weather, thereby recreating the events leading up to his mental condition as a means to bring him back to normal (does the AMA know about this brand of therapy?) A secondary plot strand involves a romantic triangle consisting of Mike, Jean (Adrian Booth) and Nina (Gloria Henry). ~ Hal Erickson, All Movie Guide
- Starring:
- Wayne Morris, Adrian Booth, (more)
Roy Rogers enters the atomic age with this sci-fi western directed by serial ace William Witney. Our hero runs a pipeline near a site where Dr. Manning (William Forrest) and his daughter Frankie (Penny Edwards) are experimenting with long-range weather forecasting by using rockets. Enter nasty Gregory Camwell (Ralph Withers) and his crew of thugs, who have in mind quite different uses for the missiles. Aided by Frankie, sidekick Splinters (Gordon Jones), Foy Willing and the Riders of the Purple Sage singing group and Bullet, the dog, Roy is soon knee-deep in a whole new kind of trouble that culminates with a blazing fight to the death on an oil derrick. ~ Hans J. Wollstein, All Movie Guide
- Starring:
- Roy Rogers, Penny Edwards, (more)
Filmed in eye-pleasing Trucolor, Republic's Trail of Robin Hood is one of the most entertaining and likable of Roy Rogers' starring films. Roy comes to the rescue of veteran cowboy star Jack Holt (playing himself) when the latter's Christmas-tree business is jeopardized by greedy rivals. With the aid of several other western stars, Roy thwarts main bad guy Clifton Young and allows misguided lumber baron Emory Parnell to see the error of his ways (it helps that Parnell's pretty daughter Penny Edwards is on Rogers' side). The film's best scene is the climactic rally of Republic's top cowboy heroes. After Rex Allen, Allan "Rocky" Lane, Monte Hale, Tom Tyler, Ray "Crash" Corrigan, Kermit Maynard, Tom Keene and William Farnum have ridden up and taken their bows, in gallops veteran western "heavy" George Cheseboro, who also wants to help Jack Holt but is shunned by the others. Cheseboro wins them over by explaining "After 20 years of being beaten up by Holt, he's reformed me." ~ Hal Erickson, All Movie Guide
- Starring:
- Roy Rogers, Penny Edwards, (more)
- 1950
Sunset in the West finds Roy Rogers playing a deputy sheriff in a wide-open town. Roy must contend with a vicious gun-smuggling ring, this time aided and abetted by a bloodhound (not Rogers' "wonder dog" Bullet). The climax, set aboard a moving freight-car festooned with cases of live ammunitions, is one of the more exciting in the entire Rogers canon. Though Penny Edwards plays the nominal heroine, Estelita Rodriguez dominates the proceedings as a peppery South American songstress. Also contributing to the musical portion of the program are Foy Willing and the Riders of the Purple Sage. ~ Hal Erickson, All Movie Guide
- Starring:
- Roy Rogers, Estelita Rodriguez, (more)
- 1950
The TV-generated popularity of professional wrestling in 1950 inspired a brief cycle of inexpensive films on the subject. Columbia's C-plus Bodyhold borrows the old Kid Galahad formula of a naive young man becoming a wrestler by accident, only to be exploited by crooked promoters. Willard Parker plays a plumber who is forced to subdue a champion grappler. Duplicitous manager Roy Roberts promotes Parker as the successor to the ex-champ, who has been sidelined by a suspicious injury. When Parker refuses to throw a match, Roberts sees to it that Our Hero is incapacitated in the same manner as his predecessor. Thanks to Parker's girlfriend Hillary Brooke, Roberts is caught in the act, and banned from wrestling for life. Of historical interest in Bodyhold is the presence in the cast of real-life wrestlers Henry Kulky, Wee Willie Davis and Ed "Strangler" Lewis. ~ Hal Erickson, All Movie Guide
- Starring:
- Willard Parker, Lola Albright, (more)
Roy Rogers goes "PC" in North of the Great Divide. In this one, Roy champions the cause of the Oseka Indians, whose supply of salmon has been cut off. The perpetrator is fish-cannery owner Banning (Roy Barcroft), who has been hogging the salmon for his own business. Not only that, Banning contrives to frame the Oseka chief for murder. No matter how many obstacles are thrown in the good guys' path, Roy Rogers still finds time to sing three tunes with Foy Willing and the Riders of the Purple Sage. The pro-conservation, pro-Native American stance of North of the Great Divide makes this one of the most prescient of Roy Rogers' feature films. ~ Hal Erickson, All Movie Guide
- Starring:
- Roy Rogers, Penny Edwards, (more)
- 1950
With The Palomino, Columbia Pictures inaugurated its policy of giving "class" to its medium-budget pictures by filming in Technicolor. Columbia stock player Jerome Courtland stars as Steve Norris, scion of a meat-packing family. Steve decides to go into another line of work when he meets Maria Guevara (Beverly Tyler), owner of an on-the-skids horse-breeding farm. Helping Maria put her operation back on its feet, Steve runs afoul of crooked horse-breeder Ben Lane (Roy Roberts), who has stolen the girl's prize palomino stallion for stud purposes. Palomino wisely contains elements that appeal to youngsters and grownups alike: and beside, one couldn't go wrong with a horse picture back in 1950. ~ Hal Erickson, All Movie Guide
- Starring:
- Jerome Courtland, Beverly Tyler, (more)
- 1950
After several supporting and guest appearances, Latino singer-actress Estelita Rodriguez was given her own Republic starring vehicle, Belle of Old Mexico. The plot wasn't new in 1950--for that matter it wasn't new in 1920. Wealthy Kip Artmitage III (Robert Rockwell) honors his late wartime friend's request to look after the friend's "little sister." Surprise! Sis turns out to be all-grown-up Rosita (Estelita), causing no end of difficulty for Armitage, who's engaged to marry the avaricious Deborah (Dorothy Patrick). Most of the film's best moments are delivered by Florence Bates as Deborah's eternally inebriated mother. The 70-minute running time affords Estelita Rodriguez plenty of room to perform four peppery musical numbers. ~ Hal Erickson, All Movie Guide
- Starring:
- Estelita Rodriguez, Robert Rockwell, (more)
- 1950
Big Timber was another in a series of medium-budget dramas co-produced by actor Roddy McDowall for Monogram. McDowall himself stars as Jimmy, a novice tree surgeon who takes a manual-labor job at a logging camp. Jimmy develops into a fairly competent logger, but his efforts are sabotaged by a jealous rival. Just when all seems lost, Jimmy redeems himself during a rousing climax, wherein the lumber camp is endangered by a "log avalanche". This time, Roddy McDowall has two leading ladies, Miss Jeff Donnell and Lyn Thomas. More than one reviewer has cited the resemblance between Timber and the earlier self-produced McDowall vehicle Tuna Clipper. ~ Hal Erickson, All Movie Guide
- Starring:
- Roddy McDowall, Jeff Donnell, (more)
According to Roy Rogers himself, this action-packed western remained one of his favorites. The manager of a traveling show, Rogers is wintering at a ranch belonging to wheelchair-bound Colonel Harkrider (George Cleveland), his daughter Kay (Dale Evans) and grandson Larry (Peter Miles). The latter, whose mother, a circus bareback rider, was killed during a performance, grows up with a paralyzing fear of horses. In contrast, Roy wants to purchase a wild stallion accused of being a killer but his bid is turned down and the stallion instead condemned to death. Unbeknownst to Roy, however, Monty Manson (Grant Withers), who heads a crooked "Range Patrol," saves the beast and uses it to terrorize the area's horse-breeders. Putting two and two together, Roy attempts to unmask Manson for the criminal he is but is ambushed by the patrol. The stallion, meanwhile, attacks both Colonel Harkrider and Roy's horse Trigger, Jr. but is chased off the property by Trigger himself. Overcoming his fears, Larry mounts Trigger, Jr. and joins the party searching for Roy. With Trigger's aid, Roy destroys the killer stallion in a final battle and Manson is brought to justice. Backed by Foy Willing, The Riders of the Purple Sage and Dale Evans, Roy Rogers takes time out to perform "May the Good Lord Take a Likin' to Ya", by Peter Tinturin; "The Big Rodeo", by Foy Willing; and "Stampede", by Willing and Carol Rice. ~ Hans J. Wollstein, All Movie Guide
- Starring:
- Dale Evans
One of the less famous Humphrey Bogart films is this 1949 drama about post-war guilt and remembrance. Bogart plays U.S. airman and war hero Joe Barrett. During the war, he believes, his wife Trina (Florence Marly) died in a Japanese concentration camp. But when Barrett returns to Tokyo and the bar named Tokyo Joe that he used to own, he discovers that Trina is not only alive, but she has married Mark Landis (Alexander Knox), an attorney, and they have a seven-year-old daughter Anya (Lora Lee Michel), whom he suspects is really his child. Baron Kimura (Sessue Hayakawa) forces Barrett into running an airborne smuggling operation by threatening to reveal publicly that Trina made wartime radio propaganda broadcasts. The shipment Barrett must fly includes three Japanese war criminals being brought back into the country, and Kimura insures that Barrett will comply by kidnapping Anya and holding her hostage. But the war criminals hijack the plane and are arrested. Barrett then tracks down Kimura and both die in a shoot-out which saves the life of Anya. ~ Michael Betzold, All Movie Guide
- Starring:
- Humphrey Bogart, Florence Marly, (more)
- 1949
No relation to the 1937 screwball comedy of the same name, Easy Living is a film about the world of professional sports. Victor Mature plays Pete Wilson, star halfback of the New York Chiefs. Well past his prime, Wilson would like to retire to a coaching job, but his rival Tim McCarr (Sonny Tufts) beats him to it. Financially, Wilson is really in no position to retire; unfortunately, he has learned that he suffers from a potentially deadly heart condition. To make matters worse, he's on the outs with his wife Liza (Lizabeth Scott), who has become disillusioned with the status of "team wife." A brief dalliance with team secretary Anne (an excellent performance from Lucille Ball) results in Anne's selfless efforts to help Wilson put his marriage -- and his life -- back together. Though he was ignored by contemporary reviewers, future talk-show host Jack Paar has an amusing supporting role. Most of the football players seen in Easy Living were drawn from the ranks of the real-life L.A. Rams. The film was based on a story by novelist Irwin Shaw. ~ Hal Erickson, All Movie Guide
- Starring:
- Victor Mature, Lizabeth Scott, (more)
So baseball pictures never make money, eh? Try telling that to MGM, which raked in a box office gross of $4 million on their 1949 baseball musical Take Me Out to the Ball Game. Set in 1906, the film concerns the adventures and misadventures of The Wolves, a champion ball club. The team's success is contingent upon the double-play combination of "O'Brien to Ryan to Goldberg." But while Goldberg (Jules Munshin) lives to play baseball, O'Brien (Gene Kelly) and Ryan (Frank Sinatra) would rather pursue their off-season vaudeville career. Both erstwhile song-and-dance men decide to stick around on the baseball diamond when they mutually fall in love with the Wolves' new owner, the lovely K.C. Higgins (Esther Williams). Though O'Brien wins K.C. for himself, Ryan is compensated with the aggressively affectionate Shirley Delwyn (Betty Garrett). Gambler Joe Lorgan (Edward Arnold), who has bet heavily against the Wolves in an upcoming Big Game, woos O'Brien away from the team with promises of a big role in an upcoming musical comedy. Having let down K.C. and the rest of the team, O'Brien vows to redeem himself by playing in the crucial game. Lorgan gets wind of this, and orders his henchmen to do away with O'Brien. Hoping to shield his buddy from harm, Ryan beans O'Brien with a pitched ball, thereby incapacitating the prodigal player. The crooks are vanquished, and K.C. forgives O'Brien. But upon learning that Ryan had knocked him out, O'Brien charges onto the diamond, thirsting for revenge. Believe it or not, this action results in no fewer than two winning home runs! We offer you this detailed synopsis because it's likely that you'll be too entertained by the film's musical numbers to pay any attention to the story. Outside of the title number and Gene Kelly's solo "The Hat My Father Wore on St. Patrick's Day," the picture's best songs are contributed by Betty Comden, Adolf Green and Roger Edens. Take Me Out to the Ball Game is so delightful as it stands that one can only wonder what the film would have looked like had MGM's first choice Kathryn Grayson--or the studio's second choice, Judy Garland--played the Esther Williams role (In a similar vein, the Frank Sinatra character was originally to have been played by real-life Brooklyn Dodgers manager Leo Durocher!) ~ Hal Erickson, All Movie Guide
- Starring:
- Frank Sinatra, Esther Williams, (more)
- 1949
Returning from WW II, gambler Joe Miracle (Glenn Ford) discovers that his partner is dead, his gaming house has been sold, and his fortune has been claimed by others. Forced to steal back money which is rightfully his, Joe takes refuge in a settlement house run by social worker Jenny Jones (Evelyn Keyes). The girl hopes to reform Joe; he plays along, intending to skedaddle when the heat is off. Not unexpectedly, Joe begins to mellow as he learns the satisfaction of doing good for others. Meanwhile, investigative reporter "Early" Byrd (John Ireland) bides his time, hoping to expose Joe as a wanted fugitive and thus attain a big scoop. Two directors were credited for Mr. Soft Touch, though it's hard to discern where one ended and the other began. The film was released in England as House of Settlement. ~ Hal Erickson, All Movie Guide
- Starring:
- Glenn Ford, Evelyn Keyes, (more)
- 1949
Marking the screen debut of Rex Allen, the last of the Singing Cowboys, The Arizona Cowboy featured a mildly entertaining though hardly innovative story of a rodeo cowboy who learns that his father (John Elliott) is falsely accused of stealing 50,000 dollars from his employer, the Dusty Acres Irrigation Company. Rex goes undercover as Arizona Jones -- with the assistance of I.Q. Barton (comedy relief Gordon Jones) and the irrepressible "Cactus" Kate (Minerva Urecal) -- and soon unmasks the villain who first framed then kidnapped his dad. In-between rescuing his father and romancing leading lady Teala Loring, Allen found time to sing "Arizona Waltz" and "I Was Born in Arizona," both of which he had written himself. A star performer on the famous National Barn Dance radio program from 1945 to 1949, Arizona-born Rex Allen was Republic Pictures' final musical Western star. Allen, in fact, arrived at a time when B-Westerns in general and Singing Cowboys in particular were becoming a losing proposition due to the competition from television. As Allen himself remembered to writer Samuel M. Sherman: "I came in late. They forgot to tell me the whole thing was over when I started." Despite this handicap, Allen managed to stay afloat until 1954. He later starred in the TV series Frontier Doctor and narrated for Walt Disney. ~ Hans J. Wollstein, All Movie Guide
- Starring:
- Rex Allen, Teala Loring, (more)
- 1949
A sequel to 1947's Dear Ruth, this movie has William Holden and Joan Caulfield portraying a young married couple with some definite in-law problems. When Caulfield's younger sister gets Holden to run for the State senate, a whole new kettle of worms is opened--his opponent is his Father-in-law. In spite of former suitors trying to break up their relationship and the obvious stress caused by the campaign, everything works out Hollywood-style. This was followed by a sequel for the younger sister, entitled Dear Brat. ~ Tana Hobart, All Movie Guide
- Starring:
- William Holden, Joan Caulfield, (more)
- 1949
Black Midnight was the fourth of six Monogram films co-produced by actor Roddy McDowall. The film stars McDowall as Scott Jordan, whose mission in life is to train a wild stallion named Black Midnight. Subplots include a romance between Jordan and pretty Cindy Baxter (Lynn Thomas), and the apparently crooked activities of Scott's wastrel cousin Daniel (Rand Brooks). Future Sky King star Kirby Grant is most effective in the supporting role of the local sheriff. Black Midnight was directed by Oscar Boetticher, who as "Budd" Boetticher went on to movie-cultist fame as the helmsman of several above-average Randolph Scott westerns of the 1950s. ~ Hal Erickson, All Movie Guide
- Starring:
- Roddy McDowall, Damian O'Flynn, (more)
