Gene Barry Movies

H.G. Wells' War of the Worlds had been on 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' infamous 1938 radio adaptation, the film eschews Wells' 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 demonstrated 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, All Movie Guide

Because of its misleadingly sensual title and the participation of screenwriter/director F. Hugh Herbert (author of the once-notorious "The Moon is Blue"), Girls of Pleasure Island was ballyhooed in 1953 as the ultimate in sex and sin. In truth, the film is an innocent, inconsequential WW II comedy, designed to showcase Paramount's crop of "new faces." Leo Genn plays Roger Halyard, a stiff-upper-lip British gentleman who lives on a South Pacific Island with his three nubile, naïve daughters, Violet (Joan Elan), Hester (Audrey Dalton) and Gloria (Dorothy Bromiley). Hoping to shelter the girls from the lascivious advances of the opposite sex, Halyard is thwarted when 1500 Marines arrive to transform the island into an aircraft landing base. Despite the best efforts of Halyard, his housekeeper Thelma (Elsa Lanchester),and marine colonel Reade (Phil Ober), romance blossoms between the three girls and a trio of handsome leathernecks (one of whom is a young Gene Barry). Top billing in Girls of Pleasure of Island is bestowed upon Don Taylor as Lieutenant Gilmartin, whose warm relationship with Hester Halyard (Dalton) carries most of the plotline. ~ Hal Erickson, All Movie Guide

On paper, Red Garters sounds like a wonderful idea: a raucous spoof of westerns, done up in the stylized fashion of a Broadway musical. Rosemary Clooney and Guy Mitchell, both popular recording stars of the era, head the cast as Calaveras Kate and Reb Randall, while Jack Carson is on hand as wheeler-dealer frontier lawyer Jason Carberry. The plot, which hardly matters, concerns Reb Randall's efforts to find out who was responsible for his brother's death. The film's basic joke is that none of the traditional western cliches come to fruition: the bad guys outdraw the good guys, the damsel-in-distress isn't rescued in the nick of time, and so on. Also, this may well be the first sagebrush satire in which the male characters doff their hats respectfully when mentioning "The Code of the West" (it certainly wasn' t the last!) To emphasize the unreality of the entire project, the backgrounds are designed impressionistically, like an animated cartoon. Red Garters might have worked better as the closing production number on a TV variety program than a 91-minute feature film; even so, everyone involved (especially tunesmiths Jay Livingston and Ray Evans) deserves credit for trying something different. ~ Hal Erickson, All Movie Guide

The first of two Clark Gable films produced by 20th Century-Fox, Soldier of Fortune casts Gable as an American mercenary, running a successful smuggling operation in and out of Hong Kong. Gable is hired by Susan Hayward, who hopes to locate her missing husband, photographer Gene Barry. Upon discovering that Barry is being held by the Communists somewhere on the Chinese mainland, Gable risks his neck to rescue the man. Along the way, he falls in love with Hayward, which may or may not compromise his dedication to saving Barry's neck. Filmed largely on location, Soldier of Fortune deserves to be seen in its original CinemaScope form--or, at the very least, in the "letterboxed" version recently made available to cable television. ~ Hal Erickson, All Movie Guide

In a fleabitten Western town, gunslingers Dell Delaney (Gene Barry) and Red Hillman (Darren McGavin) challenge each other to a shootout. Local cook Maggie Flynn (Ellen Corby) does everything she can to talk the two cowpokes out of their challenge, but they are determined to slap leather the moment a clock on Maggie's mantle strikes the hour. Clearly, what Maggie needs to prevent bloodshed is something spectacular -- for example, a "Sign from God." And that is precisely what Maggie gets. ~ Hal Erickson, All Movie Guide

Director John Farrow's Back From Eternity is a virtual scene-for-scene remake of Farrow's 1939 film Five Came Back. The earlier film is the better of the two, if only because it is 22 minutes shorter. The plot concerns a small passenger plane that crashlands in South America, square in the heart of headhunter country. Pilot Robert Ryan is able to get the plane back into flying condition; unfortunately he discovers that the plane will only be able to carry five of its eleven passengers to safety. Who will have to be left behind: condemned murderer Rod Steiger, socialite Phyllis Kirk, her weak-willed fiance Gene Barry, copilot Keith Andes, elderly married couple Beulah Bondi and Cameron Prud'homme, songstress Anita Ekberg, foul-tempered cop Fred Clark, soft-hearted crook Jesse White, or tousle-haired kid Jon Provost? Rod Steiger is just fine in the role orginally played by Joseph Calleia, but Ekberg is no match for the original's Lucille Ball. ~ 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

Cult hero Samuel Fuller wrote and directed this visually inventive western, which didn't fare well with American audiences but earned a potent reputation with European cineastes. Jessica Drummond (Barbara Stanwyck) is a despotic landowner who, with a posse of hired guns, has made herself the law of Cochise County, Arizona, with the weak-willed sheriff Ned Logan (Dean Jagger) knuckling under to her demands. One day, Griff Bonnell (Barry Sullivan), a one-time gunfighter turned United States Marshall, arrives with his brothers Wes (Gene Barry) and Chico (Robert Dix) to restore democratic law and order to Cochise County. Griff soon tangles with Drummond's brother Brockie (John Ericson), though Jessica is attracted to the new lawman, and Griff finds love with female gunsmith Louvenia Spangler (Eve Brent). Griff and Louvenia marry, but on their wedding day, Brockie murders Wes, and Griff, who takes pride in the fact that he has never fired his gun since becoming a marshal, must now break his vow of non-violence. ~ Mark Deming, All Movie Guide

Director Edward L. Cahn always knew how to make lemonade from a lemon; his B pictures of the late 1950s displayed a raw energy that many of his higher-budgeted films of the 1930s lacked. Hong Kong Confidential is a backlot cheapie starring Gene Barry and second-feature stalwarts Beverly Tyler and Allison Hayes. Barry plays a secret agent, in Hong Kong to rescue an Arabian prince from his kidnappers. The villains, of course, are Soviet spies, easily recognizable by their baggy suits and flabby accents. Also in the cast of Hong Kong Confidential is Ed Kemmer, who'd once starred in that baby-boomer favorite Space Patrol. ~ Hal Erickson, All Movie Guide

Robert Mitchum (who also wrote the story and served as executive producer) stars in Thunder Road as Lucas Doolin, a Korean War veteran who returns home and promptly rejoins the family's bootlegging business. His father, Vernon (Trevor Bardette), runs the still and heads the family, while Lucas handles the driving and transporting of the moonshine (mostly to Memphis), and his younger brother, Robin (James Mitchum), takes care of the car he uses to outrun the competition and the Treasury agents; and their mother, Sarah (Frances Koon), keeps the home. Lucas is a better driver than anyone around, and he and Robin have rigged a few tricks on the car that surprise the Treasury men -- but Robin is nearly 17 and tired of just working under the hood; he wants to drive like Lucas. Lucas doesn't want his brother to become a transporter, though, preferring that the teenager stay in school and stay straight with the law. But Lucas is pretty easy to idolize, looked up to by most of their neighbors for his driving skills, among other attributes, and the object of affections of lots of women between Harlan and Memphis, most especially teenaged neighbor Rozanna Ledbetter (Sandra Knight). He appreciates her admiring and lustful gaze, though he has all the woman he can handle and wishes that she were that interested in Robin, who's her own age and just as attracted to her in his own awkward way. Lucas and his family have always been able to outrun the revenue agents, even with a new man, Troy Barrett (Gene Barry), assigned to the territory and out to get him -- they're dedicated and tough, but they're not killers. However, now they're hearing of a new threat in the guise of a Memphis-based gangster named Carl Kogan (Jacques Aubuchon), who wants to take over the Doolins' operation and all the other moonshining activity in Harlan County. He's already offered a lot of money, but the Doolins and most of their neighbors running stills are too independent for that, and now he's sending in muscle, and that gets a young neighbor of theirs (Jerry Hardin) killed. But Lucas was pretty tough before the war, and he learned a thing or two about combat in Korea, and is not about to let either revenue agents or a bunch of strong-arm men from the city get in his way, and he has the car and the firepower to back up those sentiments.

When Kogan goes too far and kills a Treasury man, Lucas also picks up an unintended ally in agent Barrett, whose highest priority becomes indicting Kogan. The problem is that indictments and prosecutions aren't what Lucas is about -- he means to meet shot-for-shot and take more personal action, especially when his family becomes involved in Kogan's machinations. One thing he always swore to any and all within hearing range was that he'd keep Robin from becoming a transporter, and kill anyone who tried to make him one. And when Kogan manipulates a situation where Robin is lured into driving, Lucas means to make good on that vow. Director Arthur Ripley (1895-1961), a music and dance student-turned-editor-turned-gagman and short-subject specialist and academic (whose preceding feature film, 12 years earlier, had been the eerie Cornell Woolrich-based thriller The Chase), working in tandem with second unit directors James Casey and Jack Lannan and second unit photographer Karl Malkames, keeps the action moving at a brisk pace. Robert Mitchum is the center of gravity to the movie, though, which contains the quintessential Mitchum performance, the actor making his work look so easy that he could almost seem lazy if he weren't so magnetic in the role. He helped make Thunder Road into a national success, but the movie always had an extra-special resonance in the South, where it was shot and set. Thunder Road continued to generate annual five- and six-figure ticket sales from drive-ins in the border and Southern states for 25 years after its original release, a factor that caused United Artists and its successor organizations to purposefully delay its release on home video until the end of the 1980s. ~ Bruce Eder, All Movie Guide