Edward Keane Movies

In this 1955 Otto Preminger film, Gary Cooper stars as World War I hero Brigadier General Billy Mitchell. The film recounts Mitchell's efforts to prove the viability of a strong air force. The hidebound military higher-ups refuse to finance aviation any further, figuring that the strength of the United States lies in its navy. When a friend is killed by flying a faulty plane, Mitchell charges the War and Navy department with incompetence and criminal negligence. When the brass tries to quietly court-martial Mitchell, they are forced into the open by the strength of public opinion, largely in Mitchell's favor. Subjected to the grilling of prosecutor Alan Guillon (Rod Steiger) during his trial, Mitchell sticks to his guns, even outlining a potential Japanese attack on Pearl Harbor unless the military wises up and strengthens its air power. Elizabeth Montgomery makes her film debut in the role of Margaret Landsdowne. ~ Hal Erickson, All Movie Guide

The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat falls just short of greatness but is still a whale of a show. Howard Keel and Kathryn Grayson are in fine fettle as irresponsible gambler Gaylord Ravenal and showboat ingenue Magnolia Hawks. The plot adheres closely to the Broadway original making several welcome improvements in the final act (which was always a bit shaky). Magnolia, daughter of showboat impresario Captain Andy (Joe E. Brown) and Parthy Hawkes (Agnes Moorehead), falls head over heels in love with the raffish Ravenal. When the show's leading lady, Julie (Ava Gardner), and leading man, Steve (Robert Sterling), are forced to leave when Julie's mulatto heritage is revealed by disgruntled suitor Pete (Leif Erickson), Magnolia and Gaylord step into the vacant stage roles and score a hit. Eventually, the two are married and for several months are quite happy. After incurring serious gambling losses, however, Gaylord walks out of Magnolia's life never realizing that his wife is expecting a baby. With the help of her former showboat colleagues Ellie and Frank Schultz (Marge and Gower Champion) and a behind-the-scenes assist from the tragic Julie, Magnolia secures work as a Cabaret singer in Chicago. Her new year's eve debut threatens to be a bust until her father Captain Andy quells the rowdy crowd and guides his daughter through a lovely rendition of After the Ball (a Charles K. Harris tune that pops up in every stage version of Show Boat). Magnolia returns to her family, with her daughter Kim in tow. Upon learning from Julie that he has a daughter, Gaylord returns to Magnolia and Kim, setting the stage for a joyous ending.

Virtually all of the Kern-Hammerstein songs are retained for this version of Show Boat (though none of the songs specially written for the 1936 film version are heard). These cannot be faulted, nor can MGM's sumptuous production values. Still, the 1951 Show Boat leaves one a bit cold. Perhaps it was the removal of the racial themes that gave the original so much substance (as black stevedore Joe, William Warfield exists only to sing a toned-down version Ol' Man River while Joe's wife Queenie is virtually written out of the proceedings). Also, MGM reneged on its original decision to cast Lena Horne as Julie; the role was recast with Ava Gardner and rewritten with an excess of gooey sentiment). Or perhaps it was the production's factory-like slickness; typical of the film's smoothing out of the original property's rough edges was the casting of Marge and Gower Champion, who are just too darn good to be convincing as the doggedly mediocre entertainers Frank and Ellie. Even so, Show Boat does have Howard Keel and Kathryn Grayson at their peak, not to mention the peerless Joe E. Brown as Captain Andy. And the film was a financial success, enabling MGM to bankroll such future musical triumphs as Singin' in the Rain and Seven Brides for Seven Brothers. ~ Hal Erickson, All Movie Guide

The King of the Cowboys and the Queen of the West perform their noublesse oblige in Twilight in the Sierras. Roy Rogers plays a US marshal, pursuing a vicious gang of counterfeiters. Dale Evans (not yet Mrs. Rogers) hasn't got much to do but provide love interest, warble a few tunes, and display jealousy when co-star Estelitta Rodriguez sashays into view. The story is motivated by the kidnapping of an ex-counterfeiter who's gone straight. Filmed in the restful Trucolor process, Twilight in the Sierras was designed and marketed as a "special," aiming beyond its usual small-town and regional audiences. ~ Hal Erickson, All Movie Guide

A Woman of Distinction serves as a tailor-made vehicle for Rosalind Russell. The star is cast as Susan Middlecott, a highly respected college dean. As can be expected, Susan is too busy for romance -- at least until handsome professor Alec Stevenson (Ray Milland) enters the picture. At first, the dean and the prof are thrown together by the overzealous machinations of a press agent, and they're none too pleased about it. No matter how hard they try to keep their distance from each other, Susan and Alec constantly find themselves in embarrassing situations in full view of the public. It takes the behind-the-scenes maneuvers of Susan's puckish papa (Edmund Gwenn) to straighten things out. Appearing in unbilled cameos are Lucille Ball as herself, and Ball's future TV cohort Gale Gordon as a railroad ticket agent. ~ Hal Erickson, All Movie Guide

Lloyd Bacon's baseball comedy stars Ray Milland as Vernon Simpson, a chemist who develops a product which repels wood. Signing on with a major league team as a pitcher, he throws screwballs doctored with his solution, becoming a sensation who strikes out every batter he faces. ~ Jason Ankeny, All Movie Guide

George Seaton's 1948 comedy Chicken Every Sunday was based on the play by Julius J. Epstein and Philip G. Epstein as well as the original memoirs of Rosemary Taylor. Set during the turn of the century on the American frontier, Emily Heffernan (eleste Holm) is the practical wife of foolish would-be businessman Jim Heffernan (Dan Dailey). While Emily struggles to keep the household together by renting out rooms to boarders, Jim wastes the family's earnings on get-rich-quick schemes. Told in flashback, Emily recalls her 20-year marriage before filing for divorce. Emily has had enough and wants to leave, but their friends try to get them back together. Also starring Colleen Townsend, Alan Young, and a ten-year-old Natalie Wood. ~ Andrea LeVasseur, All Movie Guide

Gene Autry is back near the saddle, trying to help out a crippled jockey. Gene is certain that the jockey can ride in the Big Race if the lad can regain his self-confidence. Meanwhile, Gene and comical sidekick Sterling Holloway have another problem on their hands: A rogue stallion has "kidnapped" Gene's prize mare. Piloting a plane, Autry seeks out and locates the stallion. The jockey and mare enter the race, and win. Director John English keeps Trail to San Antone constantly on the move, resulting in one of the better postwar Gene Autry vehicles for Republic Studios. ~ Hal Erickson, All Movie Guide

Marise Aubert (Greer Garson) has begun seeing a psychiatrist to treat her overwhelming guilt. It seems that Marise was married to Paul (Robert Mitchum), who was sent overseas in World War II. She loved Paul deeply and remained faithful to him. She then receives tragic news that Paul died in action, and months later is visited by Jean Renaud (Richard Hart), one of Paul's friends from the Army. Jean tells Marise that he and Paul were captured by enemy troops, and Paul died in the midst of a heroic attempt to escape. Marise senses that Jean is as lonely and heartbroken as she is, and she allows him to stay at her house. They fall in love, but the situation becomes complicated when a letter arrives from Paul. Jean hides it from Marise, hoping that she will not discover that her husband is still alive. He tries to convince her to sell her home and move away from her troubling memories, but before the sale can go through, Paul appears at the doorstep. While Paul can forgive Marise for betraying him, she is unable to forgive herself. Desire Me was released without a director's credit; the bulk of the principal photography was supervised by George Cukor, but by all accounts it was a troubled shoot, and eventually Mervyn LeRoy] and Jack Conway both worked to finish the picture. Garson nearly drowned while filming one scene, and Mitchum claimed that Cukor put Garson through 125 takes of another scene before she could say the word "No" to his satisfaction. ~ Mark Deming, All Movie Guide

Inspired by the radio program of the same name, Night Editor features Charles D. Brown as the editor of the New York Star. In flashback, the editor tells the tale of police lieutenant William Gargan, who forsakes his happy home life for the love of no-good society dame Janis Carter. Both Gargan and Carter begin cheating on their respective spouses, and while on a romantic rendezvous the couple witnesses a murder. They can't report the crime without revealing their own infidelities, a dilemma which leads to blackmail, double-crossing and a second murder attempt. A twist ending caps this snappy little 65-minute morality play. The script of Night Editor was based on the story "Inside Story" by Scott Littleton, previously dramatized on the Night Editor radio series. ~ Hal Erickson, All Movie Guide

The second of Perry Como's two starring vehicles for 20th Century-Fox, If I'm Lucky is an easygoing remake of 1937's Thanks a Million. Como plays the old Dick Powell role as Allan Clark, an entertainer who is maneuvered into politics by conniving manager Wally (Phil Silvers, in the role originated by Fred Allen). It all begins when Clark, hired to appear at a political rally for bibulous gubernatorial candidate Magonnagie (Edgar Buchanan), wins the hearts of the voters. One thing leads to another, and before long Clark himself is on the way to the governor's chair. With a newly acquired set of scruples, the singer-politico publicly reveals that his backers are crooks, but wins the election all the same! Though the satirical edge of Thanks a Million is muted in the remake, the musical numbers by Perry Como and costar Vivian Blaine help to take up the slack. ~ Hal Erickson, All Movie Guide

Surprisingly, leading lady Marjorie Weaver isn't the Fashion Model in this tongue-in-cheek Monogram meller. When two employees of a clothing factory are murdered, the shadow of suspicion falls upon lowly stock boy Robert Lowery. One of the victims (Lorna Gray) was the titular model, whom Lowery may or may not have been romancing. The hero's loyal girlfriend (Weaver) sleuths around until she comes face to face with the real killer. Fashion Model was co-written by Tim Ryan, who plays the irascible detective assigned to the case. ~ Hal Erickson, All Movie Guide

The bland performance of star George Raft is the only drawback of this splashy 20th Century-Fox musical. Set in turn-of-the-century San Francisco, the film casts Raft as Barbary Coast saloonkeeper Tony Angel, who endears himself to patrons and pedestrians alike by tossing out silver dollars at the slightest provocation. Though Tony is loved by saloon singer Sally Templeton (Vivian Blaine), he only has eyes for Nob Hill socialite Harriet Carruthers (Joan Bennett). Upon marrying Harriet, Tony realizes he is sorely outclassed, and turns to the bottle as the result. It's up to "Little Miss Fixit" Katie Flanagan (Peggy Ann Garner) to bring Tony and Sally back together. Ample comedy relief is provided by Alan Reed and B. S. Pully, while the largely uncredited supporting cast includes such familiar faces as J. Farrell McDonald, Nestor Paiva, Bud Jamieson, and Frank McCown, who rose to fame under the new moniker of Rory Calhoun. ~ Hal Erickson, All Movie Guide