Helen Kleeb Movies

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, All Movie Guide

Scott Harper (Ron Foster) is frustrated and angry as a police detective because he keeps getting passed over for a promotion to lieutenant. Meanwhile, he is assigned to gain the confidence of Holly Taylor (Patricia Blair), the girlfriend of a suspect in a robbery/homicide. Predictably, the two fall in love, conspire to kill Holly's boyfriend, and plan to run off with the proceeds. ~ Steve Press, All Movie Guide

Once again, Friday (Jack Webb) and Smith (Ben Alexander) must stop a violent teenage gang war before hostilities have a chance to begin. The two detectives really have their work cut out for them this time: the agitator behind the turf war is a young Hitler worshipper who wears a Nazi uniform in public and heads a gang called the Storm Troopers! This episode would seem to be the precursor to "The Big Explosion", one of the more memorable offerings from the 1967 Dragnet TV revival. ~ Hal Erickson, All Movie Guide

There's Always Tomorrow is a remake of a 1934 film of the same name. Fred MacMurray is a toy company executive whose wife (Joan Bennett) and kids (Gigi Perreau, William Reynolds and Judy Nugent) take him for granted. Barbara Stanwyck is Fred's former girlfriend, whose own business activities result in a surprise reunion. MacMurray falls back in love with Stanwyck and prepares to leave his family. MacMurray's children go to Stanwyck and politely ask her to back off. She does so, and MacMurray's wife Bennett, who's been out of town during all this, is none the wiser. In the original There's Always Tomorrow, the male and female leads (Frank Morgan and Binnie Barnes) were farther apart age-wise, making their brief encounter all the more poignant. ~ Hal Erickson, All Movie Guide

Adapted from the best-selling novel by Jessamyn West, Friendly Persuasion is set in Southern Indiana in the early days of the Civil War. Gary Cooper plays Jess Birdwell, patriarch of a Quaker family which does not believe in warfare. Birdwell's son Josh (Anthony Perkins) wishes to adhere to his family's pacifism, but is afraid that if he doesn't sign up for military service, he'll prove to be a coward. Josh joins the Home Guard, which disturbs his mother Eliza (Dorothy McGuire). But Jess Birdwell realizes that his son must follow the dictates of his own conscience. Josh proves his courage to himself when he is wounded during a Rebel raid, while the elder Birdwell is able to stay faithful to his religious calling by not killing a Southern soldier when given both a chance and a good reason to do so. Allegedly, writer Jessamyn West nearly scotched her deal with producer/director William Wyler and distributor Allied Artists when Gary Cooper, taking his fans into consideration, insisted upon including a scene in which he forsakes his pacifism and takes arms against the Rebels. If true, then wiser heads prevailed, since no such scene exists in the final release print. Though uncredited due to his status as a blacklistee, Michael Wilson wrote the screenplay for Friendly Persuasion--and even won an Oscar nomination. Also nominated was the film's chart-busting theme song, "Thee I Love" (by Dmitri Tiomkin and Paul Francis Webster). The story was remade as a 2-hour TV pilot film in 1975. ~ Hal Erickson, All Movie Guide

With her husband, Ricky (Desi Arnaz), between pictures, Lucy (Lucille Ball) disguises herself as Ricky's high-pressure agent "Lucille McGillicuddy," then storms the offices of MGM, demanding that the studio arrange a movie appearance for her "client." In her misguided zeal, Lucy insists that virtually every big-time producer in Hollywood and New York is clamoring for Ricky's services, and that MGM better act fast or they'll lose their star. Alas, the scheme blows up in Lucy's face when the MGM executives magnanimously release Ricky from his contract so that they won't impede his career! ~ All Movie Guide

This second film version of Lloyd C. Douglas' spiritual novel Magnificent Obsession is in its own way as successful as the first (filmed in 1935) in glossing over the plot holes and logic gaps in the original novel. Rock Hudson plays Bob Merrick, a reckless playboy who is indirectly responsible for the death of a kindly and much-beloved doctor. The dead man's wife, Helen Phillips (Jane Wyman), refuses to accept Bob's apologies. When Helen is accidentally blinded, Bob decides to "do right" by her anonymously, illustrating author Douglas' curious edict that the best sort of good deed is the one for which you're not rewarded. In record time, Bob becomes a brilliant physician, and it is he who performs the sight-restoring surgery on Helen. Rather than fade into the woodwork unheralded, Bob is at last forgiven by Helen, who has fallen in love with him during her sightless months without even knowing it. Luxuriously produced by Ross Hunter and directed con brio by Douglas Sirk, Magnificent Obsession was one of the most successful of Universal's big-budget "weepers" of the 1950s. ~ Hal Erickson, All Movie Guide

An unidentified woman has been found strangled to death in a hotel room. The only clue to go on is the obvious that that the killer had extremely large hands. Investigating, Friday (Jack Webb) and Smith (Ben Alexander) end up asking several probing questions of elderly circus owner Al Morgan (played by Cliff Arquette of "Charley Weaver" fame). This episode was adapted from the Dragnet radio broadcast of November 21, 1951. ~ Hal Erickson, All Movie Guide

Working undercover, Friday (Jack Webb) poses as a hit man, hired by Charles Stone (Vic Perrin) to kill Stone's wife (Helen Kleeb). Not unexpectedly, the killing doesn't take place and Stone is arrested--but there's a surprise in store for Friday, courtesy of the incredibly forgiving Mrs. Stone. Based on a radio episode of Dragnet which originally aired on September 28, 1950, this TV version features Ken Peters as Friday's temporary partner Sgt. Bill Cummings, replacing the late Barton Yarborough as Ben Romero (Romero's absence is explained away as "A pretty bad case of the virus.") ~ Hal Erickson, All Movie Guide

Kansas City Confidential, Phil Karlson's low (low) budget, B-grade film noir, opens on a Kansas City armored-car robbery perpetrated by cynical, corrupt ex-policeman Timothy Foster (Preston S. Foster). Foster devises an outrageous scheme: he will recruit three of the most vicious and unrelenting criminals he can find (screen heavies Lee Van Cleef, Jack Elam and Neville Brand) to undertake a robbery, blackmailing them into the heist with incriminating evidence from other "jobs." As an eccentric and clever conceit, Foster forces each of the perpetrators to wear masks, thus concealing their identities from one another and preventing the old pitfall of the men squealing and backstabbing. The heist comes off without a scratch, but a complication arises when the ignorant cops pick up an unrelated fellow, Joe Rolfe (John Payne) for his ownership of a van similar to the one used in the caper. In time, Rolfe is cleared, but he grows irate over the accusations and sets off to find Foster and co. and teach them a lesson. He finally happens upon one of the perpetrators in Mexico, beats him nearly to death, and assumes the victim's identity - and that's when things really get complicated. Though produced under the Hays Code censorship regulations, Kansas City Confidential constituted one of the most brutal and violent crime pictures made up through that time; as such, it retains historical significance. It also claims a strong cult following. ~ Nathan Southern, All Movie Guide