Lucille Barkley Movies

When Gloria Grahame signed her contract at Columbia Pictures, she had no idea the studio would require her to appear in anything available. Rather than go on suspension, she consented to star in the "Arabian nights" fiasco Prisoners of the Casbah, but her discomfort with the assignment is obvious in every scene. Grahame plays a Moroccan Princess, while Turhan Bey is the lowborn thief who loves her. The plot decrees that Grahame must marry Turhan to escape death at the hands of her enemies, and the script has a lot of fun with the custom of a groom being able to wed or cast away his bride simply by saying "I Marry You" or "I Divorce You" three times. Cesar Romero, playing the villain, is the only actor who looks like he's enjoying himself. Prisoners of the Casbah was another tarnished gem from anything-for-a-buck producer Sam Katzman. ~ Hal Erickson, All Movie Guide

Arizona Manhunt was the second entry in Republic's "Rough Ridin' Kids" series. Michael Chapin returns as Red, the precocious grandson of Sheriff White (James Bell), while Eilene Janssen likewise reappears as Red's best friend Judy. Once again, the two kids get involved with grown-up western desperadoes, in this case the outlaw gang formerly controlled by Judy's foster father. When the crooks (led by the inevitable Roy Barcroft) ride into town loaded for bear, it is Red and Judy who bring them to justice. Somehow or other, Arizona Manhunt manages to accommodate a xylophone solo by young Eilene Janssen. ~ Hal Erickson, All Movie Guide

Forget what you've been led to believe: Bedtime for Bonzo is a most enjoyable film, and Ronald Reagan is not outacted by the chimpanzee. Reagan is cast as psychology professor whose reputation is sullied by the fact that his father was a convict. To prove that environment rather than heredity dictates a man's personality, Reagan uses Bonzo the chimp to test out his theories. The hairy little guy seems to be responding to the kindnesses lavished upon him--and then he is accused of robbery. Reagan nearly goes to jail in Bonzo's stead, but everything turns out all right in the end (we're not giving anything away; after all, everybody knows that there was a Bonzo Goes to College in 1952). While it's an uphill climb, Ronald Reagan and his able costars Diana Lynn and Walter Slezak manage to keep Bonzo from running away with the picture. And yes, director Fred DeCordova is the same guy who produced Johnny Carson's late-night show in the 1980s and 1990s. ~ Hal Erickson, All Movie Guide

There's stock footage galore in The Golden Horde, a second-feature recreation of the Arabian Nights era. Sir Guy (David Farrar) defends Christianity by lopping off heads in Samarkand. Ann Blyth is the non-distressed princess who uses strategy to save her city from invasion--and to keep Sir Guy at arm's length, at least until the fade-out. Among the Mongols, one can glimpse such veteran villains as Henry Brandon and Marvin Miller, the latter as Genghis Khan Himself. The Golden Horde was run on TV on a near-hourly basis in the 1960s thanks to its garish Technicolor photography. ~ Hal Erickson, All Movie Guide

The second of Universal's "Ma and Pa Kettle" series, Ma and Pa Kettle Go to Town stars, as ever, Marjorie Main and Percy Kilbride. This time, the Kettles win a letter-writing contest, which offers as first prize an all-expense-paid trip to New York City. Once in Manhattan, the huge Kettle brood raises all sorts of Holy Ned, culminating in an episode involving stolen bank money. Somehow this all ends with a riotous, slapstick-laden square dance. The film's romantic subplot is handled by Richard Long as oldest son Tom Kettle and Meg Randall as his high-society wife Kim. Also carried over from the first Kettle entry are Ray Collins and Barbara Brown as the Kettle's wealthy in-laws. A winner at the box-office, Ma and Pa Kettle Go to Town helped pay for many of Universal's "prestige" releases of 1950. ~ Hal Erickson, All Movie Guide

Peggy Brookfield (Diana Lynn) is one of many aspirants for the position of Queen of the annual Tournament of Roses in Pasadena, Calfornia. Also competing is Peggy's sister Susan (Barbara Lawrence). Both girls make the trek from Ohio to Pasadena in the company of their father (Charles Coburn), a retired professor. Peggy would seem to have the advantage in the contest, save for one small drawback: she is secretly married to Johnny Higgins (Rock Hudson), and the rules clearly stipulate that the Rose Queen must be single. And that's just one of the many comic complications packed into Peggy's chucklesome 77 minutes. ~ Hal Erickson, All Movie Guide

Though the title role of Frenchie goes to Shelley Winters, top billing in this period actioner is bestowed upon Joel McCrea as sheriff Tom Banning. Hoping to find her father's murderers, New Orleans gambling-house proprietress Frenchie Fontaine (Shelley Winters) sets up shop in the Wild West. With the help of sheriff Banning, Frenchie is able to locate one of the two killers. But after tracking down the second culprit, Banning finds himself facing a murder charge. Though it isn't readily obvious, Frenchie is actually a reworking of 1939's Destry Rides Again, with Joel McCrea and Shelley Winters playing variations of the characters originally essayed by James Stewart and Marlene Dietrich. ~ Hal Erickson, All Movie Guide

John Farrow's movie adaptation of Kenneth Fearing's The Big Clock, based on a screenplay by Jonathan Latimer (and produced by future James Bond screenwriter Richard Maibaum), is a near-perfect match for the book, telling in generally superb visual style a tale set against the backdrop of upscale 1940s New York and offering an early (but accurate) depiction of the modern media industry. Told in the back-to-front fashion typical of film noir, it opens with George Stroud (Ray Milland) trapped, his life in danger, his survival measured in the minute-by-minute movements of the huge central clock of the office building where he's hiding. In flashback we learn that Stroud works for media baron Earl Janoth (Charles Laughton), loosely based on Henry Luce, as the editor of Crimeways magazine. Janoth is a manipulative, self-centered megalomaniac with various obsessions, including clocks; among other manifestations of the latter fixation, the skyscraper housing his empire's headquarters has as one of its central features a huge clock that reads out the time around the world down to the second.

Twenty-four hours earlier, on the eve of a combined honeymoon/vacation with his wife, Georgia (Maureen O'Sullivan), that has been put off for seven years, Stroud was ordered by Janoth to cancel the trip in order to work on a special project, and he resigned. As the narrative picks up speed, in his depression, Stroud misses the train his wife is on and crosses paths with Pauline York (Rita Johnson), a former model for Janoth's Styleways magazine, who is also Janoth's very unhappy mistress, and the two commiserate by getting drunk together in a night on the town. While hurriedly leaving Pauline's apartment, he glimpses Janoth entering. Janoth and York quarrel, and the publisher kills her in a jealous rage, using a sundial that she and Stroud picked up the night before while wandering around in their revels. Janoth and his general manager, Steve Hagen (George Macready), contrive to pin the murder on the man that Janoth glimpsed leaving York's apartment, whom he thinks was named Jefferson Randolph -- the name Stroud was drunkenly bandying about the night before. He gets Stroud back to Crimeways to lead the magazine's investigators in hunting down "Jefferson Randolph," never realizing that this was Stroud. And Stroud has no choice but to return, desperately trying to gather evidence against Janoth and, in turn, prevent the clues gathered by the Crimeways staff from leading back to him. The two play this clever, disjointed game of cat-and-mouse, Janoth and Hagen planting evidence that will hang "Randolph" (and justify his being shot while trying to escape), while Stroud, knowing what they don't about how close the man they seek to destroy is, arranges to obscure those clues and, in a comical twist, sends the least capable reporters and investigators to follow up on the most substantial clues.

Janoth sometimes seems to be unraveling at the frustrating pace and lack of conclusion to the hunt, but Stroud can't escape the inevitable, or the moments of weakness caused by fear and his own guilt over his near-unfaithfulness to his wife or the inscrutable gaze of Janoth's mute bodyguard Bill Womack (Harry Morgan), a stone-cold killer dedicated to protecting his employer. The trail of proof and guilt winds ever tighter around both men, taking some odd twists courtesy of the eccentric artist (Elsa Lanchester) who has seen the suspect. Milland is perfect in the role of the hapless Stroud, and Laughton is brilliant as the vain, self-centered Janoth, but George Macready is equally good as Hagen, his smooth, upper-crust Waspy smarminess making one's skin crawl. Also worth noting is Harry Morgan's sinister, silent performance as Womack, and sharp-eyed viewers will also recognize such performers as Douglas Spencer, Noel Neill (especially memorable as a tart-tongued elevator operator), Margaret Field (Sally's mother), Ruth Roman, and Lane Chandler in small roles. Additionally, the Janoth Publications building where most of the action takes place is almost a cast member in itself, an art deco wonder, especially the room housing the clock mechanism and the lobby and vestibules, all loosely inspired by such structures as the Empire State Building and the real-life Daily News headquarters on East 42nd Street. This film was later remade as No Way Out. ~ Bruce Eder, All Movie Guide

This story of two young hopefuls who come to Hollywood is merely a thin device to feature almost every star working for Paramount Studios in 1947. Mary Hatcher plays Catherine Brown, a woman of humble origins who arrives in Hollywood, where she meets another wanna-be movie star, Amber La Vonne (Olga San Juan). They work their way through the Paramount studios, trying to impress every important person. Mostly, the film is a cavalcade of songs by various stars that take place at several studio and Hollywood locations, including the famous Brown Derby restaurant. Many of the film's songs were written by Frank Loesser. Dorothy Lamour and Alan Ladd sing "Tallahassee"; Bing Crosby and Bob Hope play golf and sing a duet, "Harmony"; the Original Dixieland Jazz Band plays "Tiger Rag"; and a host of other top performers of the era appear in brief cameos. ~ Michael Betzold, All Movie Guide