Henri Letondal Movies

A communist spy plots the abduction of an important American atomic scientist in this espionage drama. To do his evil deed, he coerces a notorious gangster to do the kidnapping. Meanwhile a G-man is hot on the spy's trail and is determined to protect the endangered scientist. Unfortunately, the spy is on to the detective and plans to bump him off first. The spy does not count on the fact that he has chosen a patriotic gangster to do his deeds and when the crook learns the spy's true alignment he takes action. Between him and the G-man, the world ends up safe for democracy once again. ~ Sandra Brennan, All Movie Guide

Gambler From Natchez is one of a group on non-Cinemascope films released by 20th Century-Fox's Panorama Pictures subsidiary. Dale Robertson stars as a 19th century adventurer who returns to his home town of New Orleans, only to find that his father has been killed for allegedly cheating at cards. The father's disgrace trickles down to Robertson, and soon he, too, is an outcast. Grimly determined to clear his name, our hero methodically tracks down the three reprobates responsible for his father's death, intending to ruin them by any means available. Gambler From Natchez boasts two leading ladies: Debra Paget plays a spitfire swamp girl, while Lisa Daniels is a more socially respectable heroine. ~ Hal Erickson, All Movie Guide

Bing Crosby heads this heart-tugging post war drama of a grieving widower who is duped into forming an unbreakable bond with the French orphan he believes is his long-lost son. Crosby lost his beloved when the Nazis killed her for participating in the French resistance. Much later, Crosby is told that his son, who bears striking resemblance to his wife, is in a Paris orphanage. Despite the head nun's insistence that 8-year-old Fourcade is his boy, Crosby is skeptical and so tries to test the lad. When the boy fails the test, Crosby confronts the duplicitous sister who 'fesses up to her scheme and determination to see that her charges get good homes and happy lives. Though Crosby has come to love little Fourcade, he cannot get over his grief until he receives wise counsel from a very good friend. ~ Sandra Brennan, All Movie Guide

Burt Lancaster and Virginia Mayo, the stars of 1950's Flame and the Arrow, are reteamed in the lusty adventure romp South Sea Woman. It all begins at the military trial of Marine sergeant O'Hearn (Burt Lancaster), facing a court-martial for desertion. In flashback, O'Hearn recalls how he was stranded in Shanghai while trying to break up the impending marriage between his pal David White (Chuck Connors) and brassy nightclub photographer Ginger Martin (Virginia Mayo). The two marines try to make it back to Pearl Harbor, but they undergo several hair-raising adventures along the way, including a sticky involvement with a group of French resistance fighters. The upshot of all this is that O'Hearn arrives in Pearl after the Japanese attack, and as such is branded as a coward. It is up to Ginger Martin to provide the evidence that will clear our hero -- but she isn't too fond of O'Hearn at the moment. ~ Hal Erickson, All Movie Guide

The Big Sky is based on a popular novel by A.B. Guthrie. Kirk Douglas and Dewey Martin play a pair of Kentucky frontiersmen who embark upon the first keelboat trip up the Missouri River way back in 1830. Joining Douglas and Martin are Martin's grizzled old uncle Arthur Hunnicutt and garrulous Frenchman Steven Geray. Running afoul of various Indian tribes, Douglas nonetheless romances Sioux princess Elizabeth Threatt (their off-screen relationship was on the kinky side, as an embarrassed Douglas reveals in his autobiography). Director Howard Hawks leavens the Boys' Own Adventure atmosphere of the film with a few isolated comic sequences, including a sidesplitting scene in which Douglas' gangrenous finger is cut off. Produced for RKO Radio by Hawks' own Winchester Pictures, The Big Sky was released at 141 minutes, though the TV print runs 122 minutes. ~ Hal Erickson, All Movie Guide

James Cagney signed on to play Captain Flagg in 20th Century Fox's 1952 remake of the 1926 classic What Price Glory after being told that the old property was being converted into a musical. By the time Cagney learned that Fox had no intention of adding songs and dances to the venerable Maxwell Anderson/Laurence Stallings stage piece, it was too late to pull out, so he decided to grin (sometimes) and bear it. Under the direction of John Ford, the potent anti-war message of the original play is blunted, while the drunken rowdiness of Capt. Flagg and his friendly enemy Sergeant Quirt (Dan Dailey) was played for all it was worth and then some. Much of the brawling is over the affections of vivacious barmaid Charmaine, played by Corinne Calvet. Contrasting the rough-hewn hijinks of Flagg, Quirt and their fellow Marines on the fields and in the villages of World War I-era France is the doomed romance between private Robert Wagner and French lass Marisa Pavan. (Why does Wagner get to sing, while Cagney and Dailey do not?) Barry Norton, who played Wagner's role in the original What Price Glory? appears in the remake as a priest. Norton is unbilled, as are such familiar faces as Harry Morgan, Paul Fix, Henry Kulky, and John Ford "regulars" Dan Borzage and Bill Henry. Falling well short of classic status, the Technicolor remake of What Price Glory? is kept alive by the marvelous roughneck rapport between James Cagney and Dan Dailey. ~ Hal Erickson, All Movie Guide

For his initial effort from his own Norma Productions, Burt Lancaster picked a winner in Ten Tall Men. Lancaster stars as "Sergeant Mike," a two-fisted Foreign Legionnaire presiding over a lovable band of mercenaries, sneak thieves and cutthroats. While sitting in the stockade for the umpteenth time, Mike learns of a Riff plan to attack his fort. He and his men break jail and embark on their own attack of the Riffian encampment. Part of their strategy (much of which is improvised on the spot) is to kidnap Mahia (Jody Lawrence), the toothsome daughter of the Riffian sheik. Understandably, Mahia despises her captors until she realizes that the film's real villain is the covetous Caid Hussan (Gerald Mohr). This one's got everything, from a campy reenactment of a key scene in Beau Geste to the old reliable threat of a red-hot iron upon female flesh. Mari Blanchard, fully clothed for a change, shows up early in the film as a coquettish French mademoiselle who foments an all-out donnybrook among Mike and his fellow legionnaires. With the exceptions of Jody Lawrence and Gerald Mohr, no one in Ten Tall Men takes the proceedings too seriously; the film has some of the cheeky insouciance of Lancaster's subsequent swashbuckler The Crimson Pirate. ~ Hal Erickson, All Movie Guide

Two real-life events were incorporated into the plot of the 1951 MGM musical Royal Wedding. One, the marriage of Fred Astaire's sister Adele to a British nobleman had occurred years earlier; the other, the wedding of England's Princess Elizabeth and Prince Philip was only four years in the past. MGM would probably have gotten Royal Wedding out closer to the Elizabeth-Philip nuptials, but the picture had leading-lady problems; every girl who was cast either became pregnant, ill, or otherwise unavailable. Finally, Jane Powell was cast as the sister and partner of American-entertainer Fred Astaire. The plot has Astaire and Powell heading to Merrie Olde England to perform at the palace. Once they've arrived, Powell breaks up the act when she falls in love with blueblooded Peter Lawford. Astaire himself finds romance in the form of Sarah Churchill (daughter of Sir Winston), and the four happy campers gleefully attend the titular Windsor Castle wedding. Also in the cast is Albert Sharpe, fresh from his Broadway triumph in Finian's Rainbow, and Keenan Wynn, hilarious as twin cousins. The plot is so light that it threatens to float away at times, but Royal Wedding sticks in the memory thanks to its first-rate musical numbers. The Astaire/Powell duets are entertaining enough; the real magic, however, occurs in Astaire's two solos: the hat-rack duet and the now-legendary tap-dance on the ceiling (even knowing how this cinematic legerdemain was accomplished does not detract from its brilliance and virtuosity). Because it has slipped into public domain, Royal Wedding is one of the most easily accessible of all the Fred Astaire musicals. ~ Hal Erickson, All Movie Guide

This remake of the 1935 version is considered far superior to the original. It is the harrowing story of a kindly old British woman with a love of art who is tricked into allowing an artist, his wife, and another couple into staying in her house. They then begin holding her prisoner in her home while they ransack her art collection. Eventually she is able to escape and facilitate the crooks' capture. ~ Sandra Brennan, All Movie Guide

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 wealthy 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, All Movie Guide

A Christmastime TV perennial, Come to the Stable is the gentle saga of two French nuns (Celeste Holm with accent, Loretta Young without) who come to America in hopes of raising funds for a children's hospital. Travelling to a small New England town presciently named Bethlehem, the nuns befriend eccentric painter Elsa Lanchester, who allows them to use her studio (actually a stable) for their base of operations. Utterly ingenuous when it comes to American mores and customs (they tear up a parking ticket, assuming it to be an advertisement), the sisters raise money in a variety of amusing fashions. One of their "agents" is outwardly tough gambler Mike Mazurki, who gets his equally raffish pals to invest in the hospital. And towards the end, the nuns even play a little professional tennis to raise money. Careful not to overwhelm the viewer with sentiment and religiosity, Come to the Stable (based on a story by Clare Booth Luce) is ideal holiday film fare. ~ 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

Frank Yerby's Foxes of Harrow was one of those long historical novels so popular in the 1940s. 20th Century-Fox boiled the novel down into 118 minutes' worth of essentials for this film version. In antebellum New Orleans, roguish Irish gambler Rex Harrison buys his way into society--something he couldn't do in his homeland because he is illegitimate. Sequestering himself in a mansion won in a card game, Harrison courts Southern belle Maureen O'Hara, but their subsequent marriage is befouled by Rex's incessant womanizing. Though tempted to walk out for good, O'Hara stays by her husband's side after he loses his fortune, hoping that the impoverished Harrison will now behave more responsibly. ~ Hal Erickson, All Movie Guide