Edgar Barrier Movies

Danny Kaye headlines this lively WW II-era comedy. He plays a foot soldier who with his fellow troop is preparing for D-day. Trouble begins when he is caught pretending to be the most important generals in England, a man he closely resembles. The two look so much alike that military intelligence assign him to keep on impersonating the general so as to keep the Nazis on their toes. He is good at his job and fools many of the general's staff. He does not, however, fool the general's estranged wife. Still in order to protect her country, she goes along with the ruse. Things get really sticky when the real general is killed and Army intelligence asks Kaye to continue with the deception. ~ Sandra Brennan, Rovi

In this family-oriented comedy, Snow White is taken to the woods to be killed at the behest of her evil stepmother and ends up abandoned and alone. Fortunately she stumbles across a charming cottage inhabited by the Three Stooges, and comical fairy-tale chaos ensues. ~ Iotis Erlewine, Rovi

Scientist Mitch McAfee (Jeff Morrow) cannot convince anyone that an enormous bird, evidently here from outer space, has arrived on Earth and is grabbing planes from the sky, gobbling up the passengers and crew. However, the bird (The Claw) eventually makes its presence more that adequately known, as it begins to attack people more openly. But the giant bird is surrounded by a kind of force field, making all weapons useless on it. Mitch finds its nest and blows holes in its colossal egg, infuriating The Claw, which heads south, destroying the United Nations building on its way. Mitch struggles to find a way to penetrate the anti-matter shield around The Claw. This would have been an ordinarily bad movie of its type, with a good performance by Jeff Morrow, if the special effects had been industry standard for the time. That, however, is not what happened. The Claw is not just badly rendered, it is hilariously rendered, resembling nothing so much as Warner Bros. cartoon-character Beaky Buzzard. Once seen, you will never forget this awesomely silly creation. ~ Bill Warren, Rovi

This tense tale of waterfront corruption was clearly inspired by the success of On the Waterfront; there's even a character named Joe Brindo, played by Michael Granger. Newcomer James Darren plays Jimmy Smigelski, a budding juvenile delinquent who is hired as a "muscle man" for corrupt union leader Brindo. Kicked out of his house by his father, who despises all forms of gangsterism, Smigelski begins regarding Brindo as a surrogate dad. Thus, it takes a lot out of him when Jimmy discovers that his father-figure is a no-good louse. Agreeing to testify before an investigating committee, Jimmy is marked for death by his former benefactor. Once again, producer Sam Katzman uses a timely topic and lurid title to turn a quick profit. ~ Hal Erickson, Rovi

Next to Slightly Scarlet, Silver Lode is the best of the many 1950s collaborations between producer Benedict Bogaeus and director Allan Dwan. Clearly inspired by High Noon, the story covers three hours in the lives of a group of westerners. As the townsfolk prepare for the Fourth of July celebration, stranger Dan Duryea rides into view, followed by three tough-looking hombres. Duryea claims to be as US marshal, and further claims that he has a warrant for the arrest of the town popular sheriff, John Payne. A few hours away from his marriage to Lizabeth Scott, Payne assumes that no one will believe the troublemaking Duryea, and that his spotless record will speak for itself. But since it is impossible to confirm or deny Duryea's allegations, the seeds of doubt are planted in the minds of the townspeople, and before long virtually all of Payne's "friends" have turned against him. It soon becomes clear to the movie audience that Duryea is lying, especially after he guns down one of his own men. But Duryea is able to pin the blame of the killing on Payne, and in a twinkling the sheriff is a hunted man. The only person willing to give Payne the benefit of the doubt is town trollop Dolores Moran (Mrs. Benedict Bogeaus), who hides the sheriff while telegrapher Frank Sully tries to find out if Duryea is telling the truth. Building slowly and methodically to a slam-bang climax, Silver Lode is an above-average psychological western--and, like many "guilt by supsicion" films of the 1950s, a thinly veiled attack on McCarthyism. Best line: when Duryea bursts into Dolores' boudoir to see if Payne is hiding under the bed, she moans "Oh, what is this? A French farce?" ~ Hal Erickson, Rovi

H.G. Wells's War of the Worlds had been on the Paramount Pictures docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles's infamous 1938 radio adaptation, the film eschews Wells's original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrate their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, Rovi

Director Don Siegel keeps the events in Count the Hours moving so quickly that no one has time to ponder the film's huge lapses in logic. MacDonald Carey stars as a defense attorney Doug Madison who races against time to save migrant ranchhand George Braden (John Craven) from execution. While Madison tells himself that his motives are altruistic, there are those who believe that the lawyer has designs on Braden's wife, Ellen (Teresa Wright). Sacrificing everything in the pursuit of justice, Madison finally finds the crucial evidence that will free his client--if he can deliver the goods, and the actual murderer, before the switch is thrown in the death house. Produced by Benedict Bogeaus, whose wife Dolores Moran plays a supporting role, Count the Hours was somewhat pointlessly retitled Every Hour Counts when released in England. ~ Hal Erickson, Rovi

Prince of Pirates is fairly elaborate for a Sam Katzman production, though its low budget does betray itself in the closing scenes. Utilizing plenty of stock footage from Joan of Arc (as he'd previously done in Thief of Damascus), producer Katzman offers the viewer a 16th-century swashbuckler, with John Derek as Robin Hood-like buccaneer Prince Roland. Having lost his throne to his evil older brother Stephan (Whitfield Connor), Roland forms a band of volunteers to oust Stephan and bring peace and harmony to his land (by busting several heads along the way). Barbara Rush co-stars as Nita, the daughter of a deposed count and a fine swordswoman in her own right. The film's best line is unintentionally funny: After being fetchingly attired in form-fitting blouse and slacks during most of the film, Nita is garbed in hoop-skirted feminine finery, whereupon Roland snickers "At last, you look more like a woman!" Far from a classic, Prince of Pirates is an agreeable time-passer. ~ Hal Erickson, Rovi

In this anti-Communist film, a journalist goes on vacation to a small town and is surprised by the coldness of the residents. This makes him curious. His resulting investigation reveals the commies are planning to use the town as the launch pad for a biological warfare campaign. ~ Sandra Brennan, Rovi

Recreating his stage role, Jose Ferrer stars as Edmond Rostand's Cyrano, a 17th-century French cavalier, poet and swordsman whose prominent proboscis is the subject of many a duel. Cyrano is madly in love with the beautiful Roxanne (Mala Powers), but assumes that she'd never love him back due to his cathedral of a nose. Roxanne is also loved by the handsome Christian (William Prince), who unfortunately can't put two consecutive words together when it comes to pitching woo. Cyrano agrees to help Christian win Roxanne by feeding him the right words for his midnight courtships and love letters; in this way, Cyrano can vicariously express his own ardor for the fair lady. Years later, Cyrano's deception is revealed, and he dies happily in the arms of his beloved Roxanne, who realizes that she has really loved Cyrano all along--by way of Christian. Cyrano de Bergerac wasn't seen by many paying moviegoers upon its original showing, but its relative box-office failure resulted in an early release to television, where it has remained a perennial attraction for the past forty years. ~ Hal Erickson, Rovi

Generous amounts of stock footage from 1950's Fortunes of Captain Blood made its way into the Sam Katzman production Last of the Buccaneers. Paul Henreid plays famed buccaneer Jean Lafitte, who, after being chased out of Louisiana following the Battle of New Orleans, sets up shop on the island of Galveston. The American authorities leave Lafitte alone, so long as he confines his raids to Spanish vessels. But when one of Lafitte's lieutenants attacks an American ship, it's open season on the handsome pirate. Though Karin Booth is the nominal leading lady, second billing in The Last of the Buccaneers is bestowed upon Jack Oakie, who makes the most of the few comic opportunities he is given. ~ Hal Erickson, Rovi