Victor Kilian Movies

Edith faces a crisis of conscience when she is assigned to care for Sunshine Home resident Mrs. Loretta Dillon (Angela Clarke), an 81-year-old woman who is dying of heart failure. Though the rest of the staff is determined to keep Mrs. Dillon alive, she is equally determined to die with dignity. When the old woman begs Edith to "hold my hand and don't let go" late one evening, Edith does so, whereupon Mrs. Dillon quietly passes into the next world. As a consequence of not summoning assistance, Edith is promptly fired, but she cannot convince herself that she did anything wrong. Written by Patt Shea and Harriet Weiss, "Edith Gets Fired" originally aired on February 25, 1979. ~ Hal Erickson, Rovi

This episode focuses on the Jeffersons' interracial neighbors, Tom and Helen Willis (Franklin Cover, Roxie Roker). It seems that Tom's prejudiced white father (Leon Ames) refuses to have anything to do with Helen's prejudiced black father (Fred Pinkard), and vice versa. The Willises join forces with Lionel Jefferson (Damon Evans) to remedy this racial standoff. ~ Hal Erickson, Rovi

The Tall Target is based on a true story: the attempted assassination of President-elect Abraham Lincoln, even before he was able to assume his duties in Washington. Dick Powell stars as New York detective John Kennedy, who learns of the assassination plot early on. When his superiors refuse to believe his wild tale, Kennedy quits the force and boards the Presidential train, hoping to prevent the killing on his own. The problem: who can he trust on board, and who can't be trusted? Ginny Beaufort (Paula Raymond), the sister of the would-be assassin, might be able to prevent the tragedy -- if she isn't in on the conspiracy, that is. The supporting cast includes Adolphe Menjou, Marshall Thompson, Will Geer, and, as a slave, a young Ruby Dee. The film's nail-biting climax is brilliantly handled by Anthony Mann, whose directorial expertise was becoming sharper with each successive film in the early 1950s. ~ Hal Erickson, Rovi

Return of Jesse James is an excellent example of how to get full value for money from an attenuated budget. John Ireland plays Johnny, a bank robber who closely resembles the late Jesse James. As Johnny's crime spree spreads, so do rumors that Jesse is still alive. This forces Jesse's brother Frank (Reed Hadley) to emerge from hiding to put an end to Johnny's activities once and for all. The faultless supporting cast includes Henry Hull as Ireland's partner in crime, and Ann Dvorak as Hull's enigmatic sister. Hard to believe that Lippert Films, a company generally associated with time-filling quickies, could turn out something as accomplished as Return of Jesse James. ~ Hal Erickson, Rovi

Long before she became a TV cosmetic-commercial spokeswoman, Barbara Britton essayed the title role in Bandit Queen. Britton plays Lola, daughter of a American father and Spanish-aristocrat mother. When her parents are murdered, Lola forms an outlaw band, dedicated to reclaiming those portions of California illegally seized from her fellow Spaniards. She is aided in this endeavor by dashing bandit Joaquin Murietta (Philip Reed). The film really comes to life whenever Lola settles an argument by wielding her bull-whip! Bandit Queen was Lippert Studios' final release for 1950. ~ Hal Erickson, Rovi

Breaking from the Republic tradition, cowboy star Monte Hale does not play a character named Monte Hale in The Old Frontier. Instead, Hale is cast as town marshal Barney Regan. It is Barney's formidable task to round up a gang of bank robbers and expose the "Mr. Big" behind all the robberies. Some novelty value is provided by comical sidekick Paul Hurst, here cast as a seafaring man named Skipper Horton, who insists upon imposing his nautical vernacular on every frontiersman he meets. The villainy is in the capable (if unwashed) hands of Tristam Coffin and William Haade. ~ Hal Erickson, Rovi

MGM circumvented the censorship that would otherwise have prevented a film version of Gustave Flaubert's Madame Bovary by adding a prologue and epilogue that assured any and all bluenoses that the story was strictly a work of fiction. James Mason appears as Flaubert, defending his inflammatory novel before a French jury. Thus, the tragedy of Emma Bovary (Jennifer Jones) is offered as a product of Flaubert's imagination, rather than a real-life story. The body of the film concerns Emma's attempt to escape the boredom of her bourgeois existence by marrying a doctor (Van Heflin). She finds life with the physician even more tiresome than her previous experiences, thus begins taking a series of wealthy lovers-all of whom prove to be two-dimensional cads. Unable to tolerate a lifetime of dead-end affairs, Emma eventually commits suicide. The best sequence-indeed, one of the finest set pieces ever directed by Vincente Minnelli-is the "Emma Bovary Waltz" sequence, a dazzling experience in dizzying camera movements. ~ Hal Erickson, Rovi

Bargain-budget Screen Guild Productions was in the process of metamorphosing into Lippert Studios when Rimfire was filmed in 1949. This "government vs. gold thieves" affair has all of the virtues of the eager-to-please Lippert production team and none of the shortcomings of the pinchpenny Screen Guild operation. James Millican heads the cast as a special agent tracking down a lost shipment of Army gold. This leads him to a superstition-laden village where the townsfolk are convinced that the ghost of a hanged gambler is wreaking all sorts of havoc. It doesn't take Millican long to get to the bottom of the occult activity-and to locate the gold robbers in the process. With bigger star names, Rimfire might have secured better bookings; still, it did respectable business under the circumstances. ~ Hal Erickson, Rovi

Though not acknowledged by contemporary reviewers, Colorado Territory is a westernized remake of the 1941 crime drama High Sierra. Raoul Walsh, director of the earlier film, returns to helm the remake, doing a grand job on both occasions. Joel McCrea stars in the Humphrey Bogart role, playing a veteran outlaw who hopes to pull off one last, spectacular heist. Virginia Mayo portrays the Ida Lupino counterpart, a "bad" dance-hall girl who proves to be the only person who genuinely cares about McCrea's well-being. As in the earlier film, the climax finds McCrea making a futile bid for escape in the mountains, with tragic consequences. High Sierra was good for at least one more remake, the 1955 Jack Palance-Shelley Winters starrer I Died a Thousand Times. ~ Hal Erickson, Rovi

In this romantic western, the real stars are a mustang and a police dog. The human aspect of the story centers on a rodeo rider whose late father bequeathed him a ranch in Calgary, Canada. The rider really tries to settle down to ranching, but finds himself pining for the rodeo. His forewoman, also a former rodeo performer, thinks her employer is shirking his duties and needs to forget about broncos, and bull-riding and settle down. Meanwhile, the fellow also longs to catch the white stallion running wild. The dog helps out. ~ Sandra Brennan, Rovi

Based on the novel by Marjorie Kinnan Rawlings, The Yearling is set in post-Civil War Florida. Claude Jarman Jr. plays Jody Baxter, the lonely son of just-getting-by farmers Pa and Ma Baxter (Gregory Peck and Jane Wyman). With all of his siblings dead and buried, Jody yearns to have a pet of some sort. When Pa is forced by circumstances to kill a doe, the animal's fawn-the yearling of the title-is adopted by Jody. The boy's love for the animal does not alter the fact that the fawn is eating all of the Baxters' crops. Sadly, Pa tells Jody that he must kill the yearling before all their crops are destroyed. Jody can't bring himself to do this, so he sets the animal free in the wilds. Time and again, however, the yearling returns to the farm. Finally, Ma Baxter, who'd been against having the fawn on the property in the first place, shoots and wounds the animal. Now, Jody has no choice: rather than see his beloved yearling writhe in agony, he kills it. Though this results in a rift between himself and his family, Jody at last realizes that, by taking the responsiblity of saving the farm at the expense of his own feelings, he has also taken the first step towards manhood. He himself is a "yearling" no more. MGM had intended to film The Yearling in 1941 with a different cast and director, but a series of personality clashes delayed production for five years. Watching the inspired performances of Gregory Peck, Jane Wyman and Claude Jarman Jr., it is nearly impossible to imagine the film with its originally intended cast of Spencer Tracy, Anne Revere and the unknown Gene Eckman. The studio had also intended to lens the film on location in Florida, but in the end it proved more practical and expedient to shoot in the studio and its environs. Oscars went to the Technicolor photography of Charles Rosher, Leonard Smith and Arthur Arling, and to the art direction/set decoration work of Cedric Gibbons, Paul Groesse and Edwin B. Willis. Originally released at 128 minutes, the film was reissued in a butchered 94 minute version; steer clear of this one and opt for the still-available original. ~ Hal Erickson, Rovi

In David O. Selznick's florid, overheated melodrama Duel in the Sun Jennifer Jones stars as half-Native American Pearl Chavez, who everyone has tagged as a "bad girl" foredoomed to an unhappy end. Her father is Scott Chavez (Herbert Marshall), an ill-fated fellow who kills his wife and her lover (Sidney Blackmer) and gets hung for it. Pearl is taken into the home of the greedy rancher McCanles (Lionel Barrymore) and his kindly wife Laura Belle (Lillian Gish), who'd once been Scott's sweetheart. McCanles's virtuous son Jesse (Joseph Cotten), befriends Pearl and ffeels some stirrings of attraction to her, though Jesse is far more taken by Helen Langford (Joan Tetzel), the daughter of a wealthy railroad tycoon (Otto Kruger). In the mean time, Pearl catches the eye of Jesse's evil brother, ne'er-do-well Lewt (Gregory Peck), who seduces her but refuses to marry her. Pearl falls for straw boss Sam Pierce (Charles Bickford), who proposes marriage, though the engagement is short-lived: Lewt learns of the couple's involvement and ends up killing Sam; then McCanles turns up and cautions Lewt to stay out of sight until things quiet down. Lewt indeed flees the premises and becomes an outlaw. Meanwhile, McCanles organizes his cattlemen into an enormous stand against Kruger and other railroad men; Jesse initially decides to aid his father but then switches sides at the last moment, and in response, McCanles disowns him. With this film, producer Selznick attempted to recreate the success of Gone with the Wind; it fell far short in terms of box office success, though Duel was critically acclaimed upon release. Many have often jokingly referred to the picture as 'Lust in the Dust,' which eventually became the actual title of a 1985 comedy western by Paul Bartel. ~ Hal Erickson, Rovi