Shirley Jones Movies

Investigating the strange noises coming from her garage, widow Shirley Partridge (Shirley Jones) discovers her five children -- Keith (David Cassidy), Laurie (Susan Dey), Danny (Danny Bonaduce), Chris (Jeremy Gelbwaks), and Tracy (Suzanne Crough) -- performing an impromptu rock concert, complete with instruments. Spontaneously joining her kids' makeshift band as lead vocalist, Shirley has a lot of fun, but never imagines that this little performance could lead anywhere. But thanks to the machinations of agent Reuben Kinkaid (Dave Madden) -- whose love of money supersedes his hatred of children -- the Patridges' recording of "I Think I Love You" is soon topping the charts, leading to the "official" formation of that celebrated traveling singing aggregation, the Partridge Family. Thus begins season one of the ABC sitcom bearing the name of that selfsame singing group. Piling into the family's dilapidated, brightly painted bus, the Partridges embark on a steady progression of adventures in a variety of locales, never failing to deliver at least one tune per episode.

Several guest stars grace The Partridge Family during its inaugural season, beginning with a young Farrah Fawcett in the second episode. In subsequent weeks, Ray Bolger and Rosemary DeCamp make their first joint appearance as Shirley's lively parents; Pat Harrington Jr. plays a gangster who puts the muscle on wheeler-dealer Danny Partridge when the ten-year-old starts giving stock tips to the gangster's fiancée; Morey Amsterdam is cast to type as a gag writer brought in to "juice up" the Partridge's act; Dick Clark shows up as himself in another episode, while in a story centering around Keith Partridge, Keith's prom date is played by Annette O'Toole. Other first-season highlights include the classic episode in which Danny is mistakenly drafted, and the one in which Keith arranges for his family to perform in front of a controversial feminist group, just so he can score points with his latest sweetheart. On two separate occasions, episodes of The Partridge Family did double duty as the pilot episodes for potential spin-off series. The first, starring no less than Richard Pryor and Louis Gossett Jr. as a pair of Detroit nightclub owners, failed to yield a series of its own; the second, in which teen idols David Cassidy and Bobby Sherman meet face to face, had better luck, resulting in the weekly half-hour sitcom Getting Together. ~ Hal Erickson, All Movie Guide

In this made-for-TV movie, a New England hotel is the meeting place for two lonely, unhappy people (Lloyd Bridges and Shirley Jones), as they spend Christmas Eve together and find comfort in one another. ~ Iotis Erlewine, All Movie Guide

Fluffy the lion is featured in this comedy. He plays the subject of an ambitious experiment done by Daniel Potter (Tony Randall) -- a scientist trying to prove that even a wild animal like a lion can be made into a pet with proper training. Wherever he goes, Potter's ponderous pet incites mayhem amongst the region's fearful residents. To escape his panicky neighbors, Potter and Fluffy hide out in a hotel. There the owner's plucky daughter (Shirley Jones) falls for the unlikely duo. ~ Sandra Brennan, All Movie Guide

An Italian count is willing to do almost anything to win the hand of a beautiful woman in this drama. The trouble begins after he invites the woman, an art appraiser, and her partner to his villa on the Italian Riviera to examine some art treasures. The count immediately tries to seduce the woman, but she is not interested in him. To convince her to marry her, he then tries to tell her that his crazy wife is really his daughter. A murder ensues. ~ Sandra Brennan, All Movie Guide

An exercise in "black humor" bordering on the tasteless, Bedtime Story stars Marlon Brando and David Niven as a pair of womanizing confidence tricksters, operating up and down the Riviera. Pooling their talents, Brando and Niven pull off several scams, many of these requiring Brando to pose as a mental or physical defective. Their current "mark" is soap heiress Shirley Jones, who isn't quite as gullible as she seems. The film's highlights-or low points, depending on one's point of view-feature Brando pretending to be a mentally challenged man with a Napoleon complex, and a paraplegic who is "cured" by Jones' love (remember that this is the same actor who so sensitively portrayed a genuine paraplegic in The Men). Created by the same folks who brought you such TV favorites as Green Acres and Beverly Hillbillies, Bedtime Story was remade in 1988 as Dirty Rotten Scoundrels, with Steve Martin, Michael Caine, and Glenne Headley in the roles originally filled by Brando, Niven and Jones. ~ Hal Erickson, All Movie Guide

Meredith Wilson's hit 1957 Broadway musical was transferred to the screen in larger-than-life fashion in 1962. Robert Preston repeats his legendary stage performance as fast-talking con man Harold Hill, who goes from town to town selling citizens on starting a "boy's band," then extracts money from them by ordering instruments and uniforms, with the promise that he'll teach the kids how to be musicians. Once he's collected his bankroll, Hill skips town, leaving the kids in the lurch. Looking for new suckers in Iowa, Hill arrives in River City, where he declares that the only way to save the youth of River City from the lure of the poolroom is to organize a boy's band. He charms the mayor's wife Eulalie (Hermione Gingold) into forming a "ladies' dance committee" and sets his sights on winning over local music teacher Marian Paroo (Shirley Jones). Marian rightly considers Hill a fraud, especially when he espouses the "Think System" of learning music: if you think a tune, he claims, you can play it. But Marian becomes Hill's staunchest ally when her young brother Winthrop (Ronny Howard), sullen and withdrawn since the death of his father, exuberantly comes out of his shell at the prospect of joining Hill's band; and Marian's budding romance with the charming but unreliable Hill ultimately brings her out of her own shell as well. Marion Hargrove's script uses most of the original play, with a handful of amusing expansions, especially in the roles played by Gingold and by Buddy Hackett as Hill's comic sidekick. ~ Hal Erickson, All Movie Guide

Popular Mexican comedian Cantinflas (Mario Moreno) plays the title character in this star-studded, amusing comedy drama by George Sidney. Pepe is the same sort of impoverished stereotype Cantinflas made famous in several of his comedies; in this case he is a hired hand on a ranch who chases down a horse for his employer. A boozing Hollywood director buys a white stallion belonging to Pepe's boss and the determined ranch hand decides to take off for Hollywood to get the horse back. Once in this new and strange environment -- where a lot of cameos by the likes of Jimmy Durante, Frank Sinatra, Zsa Zsa Gabor, Bing Crosby, Maurice Chevalier, and many others enliven the action -- Pepe becomes a friend to the alcoholic director. Unfortunately, what is missing here is "Cantinfletico." That is the nickname for the rambling non-sequitur characteristic of Cantinflas that no one else could master. The film was originally released at 195 minutes, then edited down to 157. ~ Eleanor Mannikka, All Movie Guide

A full thirty years before Look Who's Talking would hit the screens with its verbose little infant, Max Bygraves and Shirley Jones starred in this routine comedy about a talking baby. Little Bobbikins (Steven Stocker) is the 14-month-old son of Benjamin and Betty (Bygraves and Jones) who is perfectly normal until his father comes home from his stint in the Navy and decides to reprise a career in show business. When nothing seems to go right for him, little Bobbikins decides to give Dad a few helpful hints. He never talks to anyone else, and this leads others to think his father is hearing things. Soon the baby gives some hot tips when his Dad becomes friends with the Chancellor of the Exchequer, leading to a killing on the stock market. Now rich and definitely affected by it, this new Dad has baby wondering if there is something he could do to bring him back down to earth again. ~ Eleanor Mannikka, All Movie Guide

April Love is a musicalized remake of 1944's Home in Indiana. Pat Boone stars as a potential juvenile delinquent who is sent to work on a Kentucky farm. When he meets apple-cheeked local girl Shirley Jones, Boone decides that mending his ways might be an option. Before long, he is devoting himself to the task of training a horse to become a winning trotter. Nominated for an Academy Award, the film's title song proved to be one of Pat Boone's most durable hits. April Love benefits from its actual Lexington, Kentucky locations, lovingly photographed in CinemaScope and Deluxe Color by Wilfred Cline. ~ Hal Erickson, All Movie Guide

For its first broadcast of the 1956-57 season, the monthly CBS variety anthology Ford-Star Jubilee offered a full-color salute to composer Cole Porter. Opening with (what else?) "Another Opening, Another Show (from Porter's Kiss Me Kate), the 90-minute special featured an all-star cast performing a veritable cornucopia of the songwriter's hits. Highlights included Dorothy Dandridge's renditions of "You Do Something to Me" and "My Heart Belongs to Daddy"; Oklahoma costars Gordon MacRae and Shirley Jones, dueting on a medley of Porter love songs; dancers Sally Forrest and George Chakiris (still five years away from his Oscar win for West Side Story performing to the tune of "Night and Day"; trumpeter Louis Armstrong, belting out "Blow Gabriel Blow"; and a few Porter comedy numbers, sung by Peter Lynd Hayes and Mary Healy. Also appearing in this live telecast were singer Dolores Gray, actor George Sanders and Cole Porter himself, with a filmed segment featuring Bing Crosby, who was then starring in a movie version of Porter's 1934 Broadway musical Anything Goes. David Rose conducted the orchestra for You're the Top, which currently exists in black-and-white kinescope form. ~ Hal Erickson, All Movie Guide

Rodgers and Hammerstein's 1943 Broadway musical was considered revolutionary for a multitude of reasons, not least of which were the play's intricate integration of song and storyline, and the simplicity and austerity of its production design. The 1955 film version of Oklahoma! retains the songs (except for Lonely Room and It's a Scandal!, which are usually cut from most stage presentations anyway) and the story, but the simplicity is sacrificed to the spectacle of Technicolor, Todd-AO, and Stereophonic Sound. The story can be boiled down to a single sentence: a girl must decide between the two suitors who want to take her to a social. In her movie debut, 19-year-old Shirley Jones plays Laurie, an Oklahoma farm gal who is courted by boisterous cowboy Curley (Gordon MacRae) and by menacing, obsessive farm hand Jud Frye (Rod Steiger). Fearing that Jud will do something terrible to Curley, Laurie accepts Jud's invitation to the box social. But it's Curley who rescues Laurie from Jud's unwanted advances, and in so doing wins her hand. On the eve of their wedding, Laurie and Curley are menaced by the drunken Jud. During a fight with Curley, Jud falls on his own knife and is killed (this sudden-death motif was curiously commonplace in the Rodgers and Hammerstein ouevre). The local deputy insists that Curley be arrested and stand trial, but he is outvoted by Curley's friends, and the newlyweds are permitted to ride off on their honeymoon. Counterpointing the serious elements of the story is a comic subplot involving innocently promiscuous Ado Annie (Gloria Grahame), her erstwhile sweetheart Will Parker (Gene Nelson) and lascivious travelling salesman Ali Hakim (Eddie Albert). None of the Broadway cast of Oklahoma! was engaged for the film version, though Charlotte Greenwood is finally able to essay the role of Auntie Eller that had been written for her but she'd been unable to play back in 1943. The evergreen songs include Oh, What a Beautiful Mornin', Surrey with the Fringe on Top, People Will Say We're In Love, I Cain't Say No, and the rousing title song. Two versions of Oklahoma! currently exist: the Todd-AO version, filmed on 65-millimeter stock, and the simultaneously shot CinemaScope version, shipped out to the theaters not equipped for the wider-screen Todd-AO process. Both versions have been issued in "letterbox" form on laser disc, and the subtle differences in performance style and camera angles in each and every scene are quite fascinating. ~ Hal Erickson, All Movie Guide