Paul Keast Movies

Vicki Gaye (Cyd Charisse) is a dancer at a night club in early 1930's Chicago. A healthy cynic who still possesses some ideals, she entertains no illusions about the "invitation" (or the $100 that goes with it) that she gets to a party hosted by mob kingpin Rico Angelo (Lee J. Cobb) -- but she still won't let Angelo's head torpedo Louis Canetto (John Ireland) get near her. Angelo's attorney Thomas Farrell (Robert Taylor) is another story -- he's a more complicated than the men he defends, and still enough of an idealist so that when he and Vicki cross swords about who is the worse hypocrite, it actually affects him. Farrell, whose right leg has been crippled from birth and getting worse, took the easy way to success by pursuing a criminal practice, including getting Canetto off a murder rap -- but after meeting Vicki he starts to see another path to take, and also embarks on a year of surgical procedures to cure the worst of the pain in his leg. And he comes out a new man, with a new plan in life, including starting over in a practice that doesn't involve criminal law. But Angelo plans on having Farrell fight an old friend, prosecutor Jeffrey Stewart (Kent Smith), who is trying to indict Angelo's associate Cooky La Motte (Corey Allen). Farrell resists, until Angelo threatens to harm Vicki -- and when the case and the trail blow up in both sides' faces, he finds himself caught between the mob and the law, with Vicki urging him to do the right thing. ~ Bruce Eder, All Movie Guide

From the folks who brought you I Was a Teenage Werewolf comes this relentlessly shlocky variation on the Frankenstein legend. Whit Bissell stars as Professor Frankenstein, descendant of you-know-who, who harbors a few radical theories about limb transplantation. Laughed at by students and colleagues alike, the good professor intends to prove the efficacy of his theories in his own lab at home--keeping an alligator as a "pet" to dispose of discarded body parts. When a carful of teenagers crashes near his home, Frankenstein and his assistant Carlton (Robert Burton) gather up the bodies and begin stitching up the fragments, adding a few chunks of flesh recovered from a convenient plane wreck. The result is a teenaged monster (Gary Conway) with a bad attitude. Already a bit off in the coop to begin with, Professor Frankenstein goes completely bonkers, using the monster to dispose of such awkward witnesses as the professor's fiancee Margaret (Phyllis Coates). The film's final burst of violence is filmed in color, for no discernable reason. If for nothing else, I Was a Teenage Frankenstein would be memorable for Professor F's deathless line to his sullen creation: "Answer me! You have a civil tongue in your head! I know, I sewed it in there!" ~ Hal Erickson, All Movie Guide

High Society is a glossy Technicolor-and-VistaVision musical remake of Philip Barry's The Philadelphia Story (1940), decked out with million-watt star power and a Cole Porter score. Set amongst the rich and famous in Newport, RI, the story revolves around the wedding plans of socialite Tracy Lord (Grace Kelly). Tracy is all set to marry stuffy George Kittridge (John Lund), while magazine writer Mike Connor (Frank Sinatra) and photographer Liz Imbrie (Celeste Holm) intend to cover the ceremony. Meanwhile, Tracy's ex-husband C.K. Dexter-Haven (Bing Crosby) also comes calling, ostensibly to the attend the annual Newport Jazz Festival, but actually for the purpose of winning Tracy back. In the course of events, Mike falls in love with Tracy, and she with him. The Jazz Festival subplot allows scriptwriter John Patrick to bring Louis Armstrong into the proceedings, much to the delight of anyone who cares anything about music. The Cole Porter tunes include the Crosby-Sinatra duet "Well, Did You Evah?," the Crosby-Armstrong teaming "Now You Has Jazz," the Kelly-Crosby romantic ballad "True Love," and the Sinatra solo "You're Sensational." Though it lacks the satiric edge of the Philip Barry original (Barry, incidentally, is not given any screen credit), High Society succeeds on its own lighthearted terms. The film represents Grace Kelly's final acting assignment before her real-life wedding to Prince Rainier of Monaco. ~ Hal Erickson, All Movie Guide

One of director Douglas Sirk's best and most successful romantic soapers of the 1950s, All That Heaven Allows is predicated on a May-December romance. The difference here is that the woman, attractive widow Cary Scott (Jane Wyman), is considerably older than the man, handsome gardener-landscaper Ron Kirby (Rock Hudson). Sirk builds up sympathy for Cary by showing how empty her life has been since her husband's death, even suggesting that the marriage itself was no picnic. Throwing conventionial behavior to the winds and facing social ostracism, Cary pursues her romance with Ron, who is unjustly perceived as a fortune-hunter by Cary's friends and family--especially her priggish son Ned (William Reynolds). Amusingly, Conrad Nagel was to have had a much larger part as Harvey, an elderly widower who carries a torch for Cary, but his role was trimmed down during previews when audiences disapproved of an implicit romance between a sixtyish man and a fortysomething woman! All That Heaven Allows was remade by unabashed Douglas Sirk admirer Rainer Werner Fassbinder as Ali--Fear Eats the Soul (1974), in which the age gap between hero and heroine was even wider. ~ Hal Erickson, All Movie Guide

Another entry in the 3D sweepstakes, Hannah Lee is all but forgotten today. That's too bad, because the film at least has historical interest, representing one of the few forays into directing by actor John Ireland, who co-stars in the film with his then-wife Joanne Dru. MacDonald Carey heads the cast as vicious outlaw Bus Crow, who is paid a substantial sum to wipe out a group of homesteaders. Opposing Crow at every turn is U.S. marshal Rochelle (Ireland), who suspects that Crow is responsible for a recent rash of murders but who can prove nothing. Meanwhile, Crow's erstwhile lady friend Hallie (Dru) turns on the bandit when he guns down an innocent little boy. The title Hannah Lee has far less relevance to the plot than Wicked Water, the title of the MacKinlay Kantor novel upon which this film is based. Credited as co-director is the film's cinematographer, Oscar-winner Lee Garmes. ~ Hal Erickson, All Movie Guide