Weaver Levy Movies

A William Diehl novel was the source of the noirish nailbiter Sharky's Machine. Sharky (Burt Reynolds) is an undercover cop who fouls up an assignment and is kicked downstairs to the vice squad -- a rough-shod bunch of hellraisers who make life miserable. Soon, however, Sharky's life does a 180 when he encounters Dominoe (Rachel Ward) a prostitute seemingly in danger from her interaction with a number of very seedy thugs. To protect her, Sharky lines the high-rise apartment across from her residence with security cameras and surveillance equipment -- which only makes matters sticky as Sharky begins to fall in love with her. The film opened to a very warm critical reception (Janet Maslin observed that "Burt Reynolds establishes himself as yet another movie star who is as valuable behind the camera as he is in front of it"). It also features one of the most dangerous stunts on film, wherein the late stuntman Dar Robinson free falls from 16 stories off the ground. The "machine" of the title refers to Sharky's fellow cops, played by heavyweights Brian Keith, Charles Durning, Bernie Casey, and others. ~ Hal Erickson, All Movie Guide

Cahiers du Cinema favorite Phil Karlson may have directed the "Matt Helm" extravaganza The Wrecking Crew, but the only "auteur" around these parts is star Dean Martin, coasting through yet another sexy spy romp. This time, secret agent Helm must prevent a billion-dollar gold hijacking, masterminded by the unspeakable Count Massimo Contini (Nigel Green). Aiding and abetting our hero is all-thumbs Scandinavian spy Freya Carlson (a brilliant comic turn by the late Sharon Tate). Sidebar: future action-star Chuck Norris plays a minor role, while Bruce Lee served as the film's martial-arts advisor. The last of the Matt Helm films, The Wrecking Crew was sort of based on a novel by Donald Hamilton; like the other films in the series, the title bears precisely no relation to the plot. ~ Hal Erickson, All Movie Guide

The only Rodgers and Hammerstein cinemadaptation to be produced by Universal Pictures, Flower Drum Song was, alas, also the only Rogers and Hammerstein film to lose money at the box office. It looks far better now than it did back in 1961, if only because of the paucity of musical films in the 1990s. Essentially a comedy about the culture clash between old-world Chinese and assimilated Chinese-Americans, the film begins when Mei Li (Miyoshi Umeki) and her grandfather (Kam Tong) smuggle themselves into San Francisco. It seems that Mei Li has arrived to honor an arranged marriage between herself and Runyonesque nightclub owner Sammy Fong (the incomparable Jack Soo). This might prove delicate, since Sammy is in love with flashy cabaret entertainer Linda Low (Nancy Kwan). Meanwhile, Linda is romancing Wang Ta (James Shigeta), the son of a wealthy Chinatown merchant (Benson Fong). Soon, however, Mei Li and Wang Ta have fallen in love.......It's a complex plot, to be sure, but comedy and music manage to predominate. The songs include "I Enjoy Being a Girl" (a tour de force for the special effects department, and for Nancy Kwan), "A Hundred Million Miracles," "The Other Generation," "Love Look Away," "I Am Going to Like It Here," "Don't Marry Me," "You Are Beautiful," "Grant Avenue" and "Chop Suey." Flower Drum Song is attractively produced and consummately acted; while no classic along the lines of King and I or Sound of Music, it deserves a second look. ~ Hal Erickson, All Movie Guide

Denied a big budget, Jet Attack scores dramatic points by concentrating on the human side of warfare. Shot down behind enemy lines in North Korea, jet jockeys Tom (John Agar), Bill (Gregory Walcott) and Chick (Nicky Blair) link up with Russian nurse Tanya (Audrey Totter). She insists that she's on their side, and that she wants to help a captured atomic scientist escape the clutches of the Communists. Bill and Chick don't buy her story, but Tom is more flexible. After numerous narrow escapes, the survivors of the ordeal streak back to South Korea in a hijacked MIG jet. Jet Attack was originally released on a double bill with Suicide Battalion. ~ Hal Erickson, All Movie Guide

A locked-in-the-fifties science fiction film, The 27th Day begins with five different people from five different countries suddenly disappearing from view. They have been gently abducted by the agent (Arnold Moss) of a faraway dying planet, who gives each of the five earthlings a "killing capsule" that will destroy everything on Earth and allow the residents of the alien planet to re-colonize the planet--but which will be ineffective if not used after 27 days. In typical Cold War fashion, the representatives of the "good" countries (including Gene Barry) refuse to utilize the capsules, while the Soviets, (personified by Azemat Janti and Stefan Schnabel) intend to deploy the capsules for their own nefarious purposes. Their perfidy only results in the utter decimation of the USSR. ~ Hal Erickson, All Movie Guide

The King and I, Richard Rodgers and Oscar Hammerstein's 1951 Broadway musical hit, was based on Margaret Landon's book Anna and the King of Siam. Since 20th-Century-Fox had made a film version of the Landon book in 1946, that studio had first dibs on the movie adaptation of The King and I. Deborah Kerr plays English widow Anna Leonowens, who comes to Siam in the 1860s to tutor the many wives and children of the country's progressive King (Yul Brynner, recreating his Broadway role-and winning an Oscar in the process). The culture clash between Anna and the King is but one aspect of their multilayered relationship. Through Anna, the King learns the refineries and responsibilities of "modern" western civilization; Anna meanwhile comes to realize how important it is for an Oriental ruler to maintain his pride and to uphold the customs of his people. After a successful evening entertaining foreign dignitaries, Anna and the King celebrate with an energetic dance, but this is cut short by a bitter quarrel over the cruel punishment of the King's new Burmese wife Tuptim (Rita Moreno), who has dared to fall in love with someone else. Despite the many rifts between them, Anna and the monarch come to respect and (to a degree) love one another. When the King dies, Anna agrees to stay on to offer help and advice to the new ruler of Siam, young Prince Chulalongkhorn (Patrick Adiarte). In general, The King and I tends to be somewhat stagey, with the notable exception of the matchless "Small House of Uncle Thomas" ballet, which utilizes the Cinemascope 55 format to best advantage (the process also does a nice job of "handling" Deborah Kerr's voluminous hoopskirts). Most of the Broadway version's best songs ("Getting to Know You", "Whistle a Happy Tune", "A Puzzlement", "Shall We Dance" etc.) are retained. None of the omissions are particularly regrettable, save for Anna's solo "Shall I Tell You What I Think of You?" This feisty attack on the King's chauvinism was specially written to suit the talents of Gertrude Lawrence, who played Anna in the original production; the song was cut from the film because it made Deborah Kerr seem "too bitchy" (Kerr's singing, incidentally, is dubbed for the most part by the ubiquitous Marni Nixon). When all is said and done, the principal attraction of The King and I is Yul Brynner, in the role that made him a star and with which he will forever be identified. ~ Hal Erickson, All Movie Guide

Based on the autobiographical novel by Han Suyin, Love is a Many Splendored Thing was evocatively location-filmed in Hong Kong. Jennifer Jones plays Ms. Suyin, a Eurasian doctor and the widow of a Chinese general. She falls in love with American news correspondent Mark Elliot (William Holden), who unfortunately cannot obtain a divorce from his present wife. This, together with the disapproval of Dr. Suyin's tradition-bound relatives and Hong Kong's strict racial laws, forces the couple to carry on their romance in a clandestine fashion. The romance ends in tragedy, but with renewed hope for a happier future. The one lasting legacy of Love is a Many Splendored Thing is its Oscar-winning title song, written by Paul Fain and Sammy Webster; Oscars also went to Alfred Newman's musical score and Charles LeMaire's costume design. ~ Hal Erickson, All Movie Guide

American POWs struggle to escape from a North Korean camp. While this is basically a remake of Stalag 17, it does feature interesting scenes of a North Korean brainwashing. ~ Sandra Brennan, All Movie Guide

Forbidden bears traces of several earlier film noirs, with Tony Curtis filling the shoes vacated by the likes of Alan Ladd, Dick Powell and Robert Mitchum. Curtis acquits himself very nicely as a small-time hood sent to Macao by gangster Lyle Bettger to locate Joanne Dru, the widow of another gangster. It will not spoil the film to reveal here that Curtis and Dru fall in love as he escorts her back. Nor is there any surprise in the revelation that hero and heroine decide to dodge Bettger once they learn that they've both been set up for extermination. Forbidden was directed by Rudolph Mate, a former cinematographer who could probably find long, looming shadows in the Sahara Desert at high noon. ~ Hal Erickson, All Movie Guide

Filmmaker King Vidor does wonders with the unpromising material at hand in Japanese War Bride. Don Taylor stars as Jim Sterling, a Korean war officer who is wounded and hospitalized in Japan. Sterling falls in love with his Japanese nurse Tae Shimizu (Shirley Yamaguchi), eventually marrying her. Upon his return to the U.S., Sterling and his new bride face hostility, bigotry and uncertainty from all sides. Particularly venomous is his sister-in-law Fran (Marie Windsor), who conducts a vicious letter-writing campaign aimed at convincing Sterling that his wife is unfaithful. Produced independently by Joseph Bernhard, Japanese War Bride was released by 20th Century-Fox. ~ Hal Erickson, All Movie Guide

The tendency is to scoff at Macao as just another example of Josef von Sternberg's late-career exercises in exoticism; true, it has its problems, including a weak plot and a slightly hasty pace, but it is still an extraordinary film for its time and its personnel. The real sparkplug for the movie is Jane Russell as out-of-work singer Julie Benson, who inadvertently gets the plot rolling when she ends up in a cabin with a lout who won't take no for an answer. Her plight, and a flying shoe, brings in laconic, slightly mysterious traveler Nick Cochran (Robert Mitchum), who seems to have something to hide and manages to get his wallet (including passport) lifted by the opportunistic Julie. Crossing paths with them is Lawrence Trumble (William Bendix), a good-natured lunkhead salesman coming to Macao for the gambling. And gambling, among other less legal activities, is what local hood Halloran (Brad Dexter) is all about. He's just hot enough in international crime circles to attract the authorities, who can't touch him in Macao; he's already had one New York detective killed and expects another to arrive, and he's keeping an eye on any suspicious, unfamiliar Westerners arriving, which leads him to Julie, Cochran, and Trumble. Halloran has other, obvious plans for Julie, especially when obliging corrupt police chief Thomas Gomez points her to a singing job at his club, much to the distress of his one-time girlfriend (Gloria Grahame); he dismisses Trumble as a lovable clown. But Nick has cop written all over him and is hiding something. All of the pieces fit together neatly in the end, and everyone is keeping at least one secret that will surprise viewers.

What makes Macao truly special are the performances, beginning with Jane Russell, who, with the possible exception of Gentlemen Prefer Blondes, was never better. Her ample physical assets are on display as usual, but she also never gave a sharper, more naturalistic or purely sensual acting performance. Russell had clearly found her talent and her center with this film. Whether she's shooting a suspicious glance at larcenous police chief Thomas Gomez, singing a sultry torch song in a seductive white strapless outfit, or striding forward in an exquisite dolly-out shot, she commands every scene in which she appears. And it's not just her imposing physique that does it, but a boldness of nuance; Russell had learned a lot since The Outlaw. Brad Dexter, the odd man out in The Magnificent Seven, makes an excellent villain, like a more pathological version of Steve Cochran. Meanwhile, Robert Mitchum, in his portrayal of a neurotic, perhaps shell-shocked veteran, shows a vulnerable side that seldom came out so convincingly or touchingly in his RKO movies; and even William Bendix found a new wrinkle to his screen persona as the seemingly larcenous commercial traveler. The audience will be beguiled and surprised throughout this movie -- an underrated noir classic -- and not just by the stories that unravel. The last line and wrap shot create an amazingly lusty, censor-challenging denouement for an early '50s film. ~ Bruce Eder, All Movie Guide

Peking Express was the second remake of Josef vonSternberg's Shanghai Express. In the original film, a group of railroad passengers escaping war-torn China are overtaken by Chinese; in the first remake, Night Plane to Chungking, a plane is forced down in a jungle surrounded by Japanese troops. In Peking Express, the chief villains are Chinese again, but the passengers are now refugees of the Communists. Joseph Cotten (as a doctor) and Corinne Calvet (as a "woman of the world") are among the pilgrims threatened by Oriental outlaw Marvin Miller and his gang. The elements of social and religious hypocrisy in the original Shanghai Express are downplayed in the 1951 version, as is the shady past of leading lady Calvet (who inadequately fills the role originated by Marlene Dietrich). Peking Express is not the classic that the vonSternberg film had been, but on its own is a snappy little melodrama. ~ Hal Erickson, All Movie Guide

Spencer Tracy and James Stewart team up for this World War II adventure, based on an supposedly true incident from World War II. Stewart plays John Royer, an ex-newspaper reporter with a backhand knowledge of Malaya, and Tracy plays a criminal named Carnaghan, doing time in Alcatraz for smuggling. They are brought together for an undercover assignment -- to smuggle a large shipment of rubber out of Japanese-held territory in Malaya and deliver the tonnage to awaiting U.S. ships. Carnaghan and Royer plod through the jungles and have to deal with several unscrupulous contacts including a man calling himself The Dutchman (Sydney Greenstreet), a helpful FBI agent named Kellar (John Hodiak), and a sneaky Japanese officer by the name of Colonel Tomura (Richard Loo). ~ Paul Brenner, All Movie Guide