Jay Adler Movies

This dark, violent British production stars Michael Pataki as a brutish vampire apparently lacking in Dracula's powers of seduction, since he finds it necessary to brutally rape a young woman (Kitty Vallacher) in order to sire a child. The product of this unholy mating is a half-human, half-vampire baby boy, bottle-fed on the blood of his now-insane mother (a truly sickening sight) until her eventual death from anemia. Later as a young man, the son (William Smith) is able to spend short periods in daylight, and his bloodlust is considerably lesser than that of his father. Tormented nevertheless by his evil condition, he curses his bloodline and defies his vampire heritage, tracking his father down to the university where he teaches occult sciences. Aside from Pataki's coarse but imposing performance, this low-budget film is a fairly routine genre entry, but the climactic, bloody duel between father and son vampires is quite gripping. ~ Cavett Binion, All Movie Guide

A toy manufacturer bequeaths his company, and his fortune, to his unattractive daughter Alice (Anne Whitfield)--on condition that she be married or at least engaged within a year's time. Miraculously, a handsome artist claims to be in love with Alice, proving his ardor by painting her as a beauty. Alas, it turns out that the romance is a sham, engineered by Alice's Uncle Harry (Ford Rainey) as part of a scheme to gain full control of the company. When Harry turns up murdered, Alice is convinced that she killed him during an argument, and so are the police--but Perry Mason (Raymond Burr) has his doubts. This is the final episode of Perry Mason's seventh season. ~ Hal Erickson, All Movie Guide

Posing as "Harry Carson", Kimble (David Janssen) witnesses an accidental homicide committed by wealthy Martin Rowland (Leslie Nielsen). When a drifter named Arthur Tibbets (Jay Adler) is arrested for the killing, Kimble worries that if he comes forward to exonerate Tibbets, he is almost certain to be exposed as a fugitive from justice. Then there's the matter of Martin Rowland, whose entire life could be irrevocably destroyed because of a tragic mishap. ~ Hal Erickson, All Movie Guide

Elliot Ness (Robert Stack) heads to Boston to locate the source for the bootleg champagne that is flooding into Chicago's speakeasies. Ness is convinced that Ira Bauer (Richard Conte), a blind fishing magnate who enjoys such "exercises of the mind" as reading, playing chess, and outwitting the Feds, is the mastermind behind the illegal booze. But how does Bauer manage to ship out his product without arousing suspicion? The answer turns out to be a chilling one--in every sense of the word. This Season Four episode was originally filmed for Untouchables' third season. ~ Hal Erickson, All Movie Guide

Ruth Roman proves the old adage about "the female of the species" in the role of ruthless mob wife Georgie Drake. A clever businesswoman, Georgie is the real brains behind the heroin-trafficking racket overseen by her husband Nick Dolov (Grant Richards); all she asks in return is Nick's total and unquestioning fidelity. Alas, Dolov has a yen for sexy showgirl Marian Keyes (Anne Helm), prompting Georgie to take out a contract on her own husband. But though she is able to keep Elliot Ness (Robert Stack) off her trail, Georgie hadn't figured on the vengeful determination of her rival Marian--nor the eleventh-hour treachery of her hired torpedo Maxie (Jay Adler). ~ Hal Erickson, All Movie Guide

Racketeer Larry Fay (Sam Levene) gains control of New York's dairy industry, forcing the price of milk to an astronomical (for 1933) price of 13 cents a quart. Hoping to put Fay out of business, Elliot Ness (Robert Stack) appeals to the better nature of singer Sally Kansas (Claire Trevor), star attraction of Fay's popular nightclub (Sally is a thinly disguised caricature of real-life entertainment Texas Guinan, of "Hello, suckers!" fame ). Though she has managed to steer clear of her boss' criminal activities, Sally isn't about to bite the hand that feeds her--until Larry goes one step too far and orders the murder of Sally's kid brother Tommy (Tommy Cook). ~ Hal Erickson, All Movie Guide

Dracula straps on a side-arm and goes West in this combination horror-Western movie. After a western town is terrorized by the gunslinging vampire, a brave preacher decides he must destroy him. The vampire has picked out an especially juicy victim, the woman rancher who hired him. The preacher shoots the vampire with a bullet engraved with a cross in the nick of time. The hapless bloodsucker turns into so much dust. ~ Sandra Brennan, All Movie Guide

A routine stagecoach ride becomes a terrifying experience when it is ambushed by desperadoes who hold the passengers hostage while trying to figure out how to rob a shipment of gold. Rootin' tootin' western action ensues. ~ Sandra Brennan, All Movie Guide

Sam Peckinpah, future auteur of such classic cinematic shoot-em-ups as Major Dundee and The Wild Bunch, was coscripter of this wickedly ironic episode. Paladin (Richard Boone) is hired by Rod Blakely (Richard Long), an idealistic young man who was recently jilted by his fiancee, professional singer Faye Hollister (Joan Weldon). Insisting that Faye has been forced to marry ruthless rancher Peter Hollister (Denver Pyle) against her will, Blakely wants Paladin to fend off Hollister's hired guns so that he can have a brief heart-to-heart talk with Faye. As it turns out, however, Blakely and Hollister have fallen for a woman who is unworthy of both of them! ~ Hal Erickson, All Movie Guide

Kathy Ferguson (Barbara Stanwyck) is a cynical newspaper columnist in San Francisco, handling women's advice -- by chance one day, the paper's city editor assigns her to cover the woman's angle on the arrival of a pair of L.A. police detectives, Capt. Manny Alidos (Royal Dano) and Lt. Bill Doyle (Sterling Hayden), on the hunt for a murder suspect known to be hiding somewhere in the city. They're both pretty button-down types and seem like fish-out-of-water in the more easy-going Frisco, and Kathy quickly clashes with them both, especially when her column appealing to the missing suspect as a woman yields serious dual results -- not only does Kathy boost her profile and readership, but the missing suspect makes contact and is ultimately brought in; in the process, Kathy goes from journalistic back-bencher to media star. That would be the end of the issue, except that Kathy and Bill have become attracted to each other amid their clashes, parries, and thrusts, and decide to get married -- she spurns the offer of a job in New York to move to Los Angeles and settle down to the life of a wife and homemaker. But that proves impossible -- Kathy quickly chafes at what she regards as the empty vacuous chatter of her fellow detective wives' lives and social interactions, and also her place in their pecking order as determined by their husbands' ranks and assignments (and Bill just doesn't rate high enough). Her own life suddenly cut off from career and ambition, and an ability to act on either, she becomes fixated on Bill's career and advancing it and him as a substitute. She contrives to cross paths socially with Alice Pope (Fay Wray), the wife of Inspector Tony Pope (Raymond Burr), who is both the head of an elite detective unit and the top man in her husband's division, and is soon not only getting Bill invited to parties with Pope and the police commissioner, but also cutting her husband's boss Manny Alidos and his wife Sara (Virginia Grey), to whom she's taken a special dislike, out of those same events.
It's not quite enough, however, and Kathy starts socializing on her own with Tony Pope, on Bill's behalf, and the two soon have their own relationship. Bill is still too much of a nice guy, and not careerist enough or assertive enough -- until she feigns distress at receiving poison-pen letters accusing her of having an affair with Pope, and blames Manny and Sara. This drives Bill to confront and assault Alidos, leading to a hearing in Pope's office where the chief of the division -- now very much beholden to Bill for Kathy's sake -- comes down on Bill's side. When the smoke clears, Manny is bounced back into uniform and Bill is made acting captain and put in charge of the homicide unit that Alidos formerly headed. Bill is on his way, and so is Kathy and Pope's relationship. But Pope proves to be a distressingly honorable and loyal man -- when his wife's health takes a turn for the worse, he decides to put in for retirement, and Kathy wants him to recommend Bill as his replacement. He considers it but decides that regardless of what he's done outside of his marriage, the department is too important to compromise the detective division, and that Bill just doesn't have what it takes to head it. Kathy is too deep in her strategy to back off, and also feels betrayed by Pope; now pushed over the edge, she contrives to threaten him with a gun, and is prepared to make good on her threat. Ironically enough, Bill may get his shot yet at heading the division, as he's head of homicide and takes personal charge of the biggest case the department has seen in years -- bringing in Tony Pope's killer. The only question is if and how he can put together the clues and pieces of the puzzle leading back to Kathy. ~ Bruce Eder, All Movie Guide

Another American-International opus which managed to attain top bookings on the strength of an exploitational titles, Runaway Daughters concentrates on the misadventures of a trio of teenaged girls. Audrey Barton (Marla English) wants something more out of life than her parents' money can buy; Dixie (Mary Ellen Kaye) wants to escape the tyranny of her misogynistic father; and Angela Forrest (Gloria Castillo) is a child of divorce, left to fend for herself in a hostile world. Not surprisingly, our three heroines end up in a heap of trouble in their pursuit of happiness; also not surprisingly, the film promises far more than it delivers. Of interest is the presence in the cast of 1930s film star Anna Sten. Runaway Daughters was originally released on a double bill with A-I's Shake, Rattle and Rock; it was remade for cable TV in 1994, as part of Showtime's "Rebel Highway" series. ~ Hal Erickson, All Movie Guide

The Killing was director Stanley Kubrick's first major film effort -- though, like Kubrick's earlier films, it was economically produced with an inexpensive cast. In a variation of his Asphalt Jungle role, Sterling Hayden plays veteran criminal Johnny Clay, planning one last big heist before settling down to a respectable marriage with Fay (Colleen Gray). Teaming with several cohorts, Johnny masterminds a racetrack robbery. The basic flaw is that all the crooks involved are losers and small-timers who find themselves in way over their heads despite their supposed cleverness. None of the participants is more pathetic than George Peatty (Elisha Cook Jr.), who is goaded into the robbery by his covetous and far-from-faithful wife (Marie Windsor). As in a Greek tragedy, Johnny's best-laid schemes go awry. Prominently featured in the cast of The Killing are offbeat character actors Tim Carey and Joe Turkel, who'd show up with equally showy roles in future Kubrick productions. The Killing is based on the novel Clean Break by Lionel White. ~ Hal Erickson, All Movie Guide