John Litel Movies

Henry Hathaway's film is based on a character from Harold Robbins' The Carpetbaggers, who, in turn, based it on cowboy actor Ken Maynard. Set in the West of the 1890s, the film opens with the torture and murder of the parents of Max Sand (Steve McQueen) by a trio of gunslingers seemingly motivated by their hostility toward the mixed nature of the marriage, since the wife is a Native American. Swearing revenge, the young cowhand enlists the help of itinerant gunsmith Jonas Cord Brian Keith, who teaches him how to shoot while counseling against revenge. Nonetheless, Sand doggedly scours one town after the other before finally running up against one of the murderers, Jesse Coe (Martin Landau). He finally kills Coe in a vicious knife fight, but is severely wounded himself and has to be nursed back to health by Neesa (Janet Margolin), a young Kiowa woman. He next heads for Louisiana where another of the murderous trio, Bill Bowdre (Arthur Kennedy), is serving a prison sentence in a remote swamp. In order to get close to the man, Sand stages a robbery, and is soon among the prison inmates. This was the only film on which McQueen worked with Landau, the only other person admitted to the Actor's Studio out of thousands of applicants in 1957. ~ Michael Costello, All Movie Guide

Henry Hathaway directs the 1965 psychological Western The Sons of Katie Elder. Four sons reunite in their Texas hometown to attend their mother's funeral. John (John Wayne) is the gunfighter, Tom (Dean Martin) is the gambler, Matt (Earl Holliman) is the quiet one, and Bud (Michael Anderson Jr.) is the youngest. They soon learn that their father gambled away the family ranch, leading to his own murder. The brothers decide to find their father's killer and get back the ranch, even though they are discouraged to do so by local Sheriff Billy Wilson (Paul Fix). When the sheriff turns up dead, the Elder boys are blamed for the murder. Deputy Sheriff Ben Latta (Jeremy Slate) joins forces with the only witnesses of the murder: Morgan Hastings (James Gregory) and his son Dave (Dennis Hopper). A gunfight breaks out between the Hastings gang and the Elder gang. After his brother Matt is killed, John decides to settle the ranch dispute in a court of law with a judge (Sheldon Allman). However, Tom decides to take matters into his own hands by kidnapping Dave. After the final climactic gunfight, John and the wounded Bud retreat to a rooming house owned by Mary Gordon (Martha Hyer). ~ Andrea LeVasseur, All Movie Guide

Wilma Gregson (Kathryn Givney), imperious owner of the Gregson Cannery Company, is outraged when details of a secret merger with Super Brand Foods is made public. It turns out that the information was accidentally leaked by Wilma's little granddaughter Sandra (Chrystine Jordan) while corresponding to her pen-pal. Refusing to take Sandra's age and innocence into consideration, Wilma threatens dire conseuqences to the girl and her parents--thus setting herself up as a perfect candidate for murder. Accused of the crime is family friend Karen Ross, whereupon Sandra begs Perry Mason to defend Karen in court. Inasmuch as the hearing takes place in San Francisco, Mason's usual nemesis Hamilton Burger is supplanted by the local DA, played by Everett Sloane. ~ Hal Erickson, All Movie Guide

Walter Pidgeon is the nominal star of Voyage to the Bottom of the Sea, portraying Admiral Harriman Nelson, the designer of the submarine Seaview, a glass-nosed research submarine. The sub embarks on her shakedown cruise under the polar ice cap as the movie begins. Upon surfacing, however, the crew discovers that the entire sky is on fire -- the Van Allen radiation belt has been ignited by a freak meteor shower, and the Earth is being slowly burnt to a cinder. Nelson and his colleague, Commodore Lucius Emery (Peter Lorre), devise a plan to extinguish the belt using one of the Seaview's nuclear missiles, but they are denounced at an emergency meeting of the United Nations. Disregarding the UN vote against him, Nelson decides to go forward with his plan before the Earth is destroyed, hoping to get the approval of the president of the United States while his ship races from New York to the Marianas in the Pacific to launch its missile on time and target, with the world's navies hunting her down and communication with Washington impossible because of the fire in the sky. Nelson must combat not only the threats from other ships but also the doubts of his own protégé, Commander Lee Crane (Robert Sterling), the captain of the Seaview, about his plan and his methods, and the growing suspicion -- being spread by Dr. Susan Hiller (Joan Fontaine), a psychiatrist who was visiting the vessel -- about his sanity, as well as the growing discontent of the crew, who would like to see their families before the end of the world, and the presence of one religious fanatic (Michael Ansara) who thinks the fire in the sky is God's will. Worse still, there appears to be a saboteur -- and possibly more than one -- aboard. The plot is episodic in pacing and features elements that were clearly derived in inspiration from Disney's 1954 production of Twenty Thousand Leagues Under the Sea, such as Nelson's eccentricity and the "outlaw" status of his ship; but the undersea maneuvers to tap the trans-Atlantic telephone cable (in order to reach Washington), the battle with a giant squid, a duel with an attack submarine, and a harrowing tangle with a WWII mine field would become standard elements of the series of the same name that followed this movie two years later. Pidgeon brings dignity if not a huge amount of energy to the role of the admiral, and Lorre, Fontaine, Ansara, and Henry Daniell (playing Nelson's scientific nemesis) add some colorful performances, and Barbara Eden, as Nelson's secretary, is pretty to look at; and there are some excellent supporting performances by Delbert Monroe (aka Del Monroe, who appeared later in the series, as Kowalsky), Mark Slade, John Litel, Howard McNear, and Robert Easton. The real "star" of the movie, however, is the submarine Seaview and the special effects by L.B. Abbott, which, to be fully appreciated, should be seen in a letterboxed presentation of the movie. ~ Bruce Eder, All Movie Guide

Director Frank Capra's last feature film, Pocketful of Miracles is a Technicolor remake of his 1933 film Lady for a Day. A barely recognizable Bette Davis plays Apple Annie, the besotted, unkempt, rag-clad street vendor who controls the activities of all the beggars on Broadway. Apple Annie is the pet of Dave the Dude (Glenn Ford), a tough but basically kind-hearted gangster who believes that Annie's apples bring him luck. One morning, Annie fails to show up at her usual corner. That's because she is sitting disconsolate in her squalid shack, contemplating suicide. The reason: Annie has received a letter from her daughter Louise (Ann-Margret, in her screen debut). Annie has been supporting Louise's high-priced European education, leading the girl to believe that she, Annie, is a high-society dowager. Now Louise is returning home with her wealthy fiance Carlos Romero (Peter Mann) in tow, and it looks as though Annie's cover will be blown to bits. Partly out of sympathy, but mostly because of his superstitious belief in the power of Annie's apples, Dave the Dude arranges with his Broadway cohorts to "doll up" Annie so that she can pass as a woman of means, then stage-manages a huge, expensive reception for Louise and her beau. The complications that ensued in the original 1933 version of Lady for a Day exercise their prerogative once more, with a few added plot twists to pad out Glenn Ford's screen time. Cutting through the sentimental goo like a machete is Peter Falk, who is hilarious as Dave the Dude's sarcastic bodyguard. Evidently, Falk was one of the few actors on the set of Pocketful of Miracles with which Capra remained sympatico throughout shooting. In his autobiography (a not altogether reliable tome), Capra insisted that Pocketful of Miracles was ruined by Glenn Ford's autocratic and self-serving on-set behavior, and by Ford's demand that his current lady friend Hope Lange be (mis)cast as brash nightclub chirp Queenie Martin. As usual, Capra was not telling the whole story: at 63, he was beginning to lose his grip on his movie-making skills, allowing every scene to run well past its value and concentrating on cute isolated "bits" rather than the story at hand. Way too long at 136 minutes (Lady for a Day ran but 90), Pocketful of Miracles still has a lot going for it, especially the glowing performance of Bette Davis and the basic, foolproof Damon Runyon story on which it is based. While it disappointed at the box office, Miracles has since its release become a Christmastime TV perennial, seldom failing to draw big ratings numbers. ~ Hal Erickson, All Movie Guide

Anticipating the real-life political career of Maverick star Jack Kelly, who would serve two terms as mayor of Huntington Beach, California, in the 1980s, this episode finds Bart Maverick (Kelly) running for a State Senate seat on the Reform Party ticket. He has agreed to throw his hat in the ring to help Penelope Greeley (Merry Anders), daughter of the actual candidate Ellsworth Greeley (R.G. Armstrong), who has been shot and wounded by an unknown assailant. Well, maybe "unknown" is a poor choice of words: Bart's opponent Wellington Cosgrove (R.G. Armstrong) has made no secret of his plans to kill Mr. Maverick should he win the election. ~ Hal Erickson, All Movie Guide

Cary Grant scored still another box-office smash with his 1958 vehicle Houseboat. Grant plays a widowed father who packs himself and his spoiled kiddies off to a ramshackle houseboat. Enter Sophia Loren, who is attempting to break loose from her tyrannical father's (Eduardo Cianelli) iron grip. She hires on as Grant's housekeeper and his children's governess. Though Grant struggles valiantly to maintain a "hands off" policy, he and Loren are billing and cooing by fadeout time--but not before plenty of reversals, recriminations and sitcom-style mishaps. As a bonus, the kids end up behaving like little angels (not surprising, since Loren has threatened from time to time to turn them into genuine angels if they don't toe the line). According to most sources, the on-screen romance between Cary Grant and Sophia Loren in Houseboat spilled over into their private lives as well, though Sophia put an end to this dalliance when she married Italian movie mogul Carlo Ponti. ~ Hal Erickson, All Movie Guide

Decision at Sundown was one of several felicitous collaborations between star Randolph Scott and director Budd Boetticher. Scott plays a flint-eyed gunman who rides into a sleepy town to drive out local tough guy John Carroll by sundown. Scott is motivated not by justice but by revenge; years earlier, Carroll had stolen Scott's wife. The woman subsequently killed herself, and the fact that she had left Scott willingly is torturing both men, each of whom feels partially responsible for her death. As sundown approaches, the "angst" suffered by both hero and villain spreads to the rest of the townspeople, who do a lot of soul-searching while waiting for the final confrontation. Decision at Sundown truly lives up to the label "psychological western". ~ Hal Erickson, 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 fraternal filmmaking team of produced Sigmund Neufeld and director Sam Newfield once again joined forces on The Wild Dakotas. Made some two years after the "official" demise of the "B" western, the film attempts to revive the genre with a new cowboy star, one Will Williams. In keeping with the "adult western" trend of the period, the so-called hero, a wagonmaster, is something of a psychotic. He attempts to foment a war between the settlers and the local Indian tribe. A surprise is in store for the wagonmaster-and the audience. The veteran cast includes Coleen Gray, Jim Davis, John Litel, John Miljan and the indestructible Iron Eyes Cody. ~ Hal Erickson, All Movie Guide

Comanche is one of several 1950s westerns sympathetic to the Indian point of view. Dana Andrews stars as a frontier scout who hopes to shield his Native American friends from the genocidal machinations of bigoted Cavalry officer John Litel. Comanche chief Kent Smith likewise wants to keep the peace, and likewise is plagued by a xenophobic colleague, hotheaded Indian brave Henry Brandon. Linda Cristal provides the romantic interest, while Nestor Paiva is there for laughs. Purportedly based on fact (at least that's what the producers claim in the opening titles), Comanche is just as entertaining as any fictional film on the subject. ~ Hal Erickson, All Movie Guide

This western offers one of Hollywood's more historically accurate accounts of the Battle of Little Big Horn. The story centers on a major in the cavalry who believes the Indians have the same rights as other Americans. Despite his efforts to stop Custer from embarking on his ill-fated mission, the general carries on. Later the major is court-marshaled for being a traitor and ends up sentenced to die. Fortunately, Sitting Bull sends a petition to the President and pleads for the good major's pardon. ~ Sandra Brennan, All Movie Guide

The psychological makeup of a dangerous gunman is probed in Jack Slade. Beginning with his childhood, Slade (Mark Stevens) is shown to be extremely unbalanced; in fact, he kills his first man at age 13. Growing up in the West, Slade comes to the conclusion that his gun is his only friend. At first, he is regarded as a hero because he does his killings on the side of the law; eventually, however, his homicidal tendencies overwhelm him, and he shoots without discretion or even reason. It is a tribute to actor Mark Stevens that he is able to make this character fascinating, rather than totally repellant. The only fault that can be found in Jack Slade is its length; the film would be twice as effective if shorn by 15 minutes or so. ~ Hal Erickson, All Movie Guide