Julie London Movies

This documentary follows former Golden Gloves boxing champion Andy Minsker as he trains hopeful pugilists at the Mount Scott boxing club in Portland, Oregon. Those hoping to master the gentle art receive guidance and philosophical insight from the colorful Minsker. ~ Dan Pavlides, Rovi

Emergency: Survival on Charter No. 220 was a special 2-part, 2-hour installment of the weekly TV series Emergency. The emphasis is on paramedics Gage (Randolph Mantooth) and DeSoto (Kevin Tighe), who spring to action when a small private plane collides with a chartered jetliner. The enormity of the disaster requires Gage and DeSoto to work in tandem with medical personnel from Ramparts Hospital, as well as a team of municipal firefighters. Those familiar with Emergency should be able to determine that from this slim plot premise will blossom a multitude of major crises and minor irritations. Survival on Charter #220 was originally telecast on March 25, 1978. ~ Hal Erickson, Rovi

First telecast January 15, 1972, Emergency is of course the 2-hour pilot episode for the weekly series of the same name. Robert Fuller heads the cast as Dr. Kelly Brackett, head of the staff of LA's Ramparts General Hospital. Brackett oversees the activities of Paramedics Squad 51 of the Los Angeles Fire Department, peopled by such experts in their field as John Gage (Randolph Mantooth) and Roy DeSoto (Kevin Tighe). Also on hand are Dr. Joe Early and nurse Dixie McCall, played by real-life husband and wife Bobby Troup and Julie London (London was previously married to Emergency executive producer Jack Webb). The series proper debuted January 22, 1972, as a mid-season replacement for two failed NBC sitcoms; it survived several cancellation attempts, running until September 3, 1977. ~ Hal Erickson, Rovi

There has never been any love lost between handsome, dissolute playboy Ernest Mullett (Peter Lawford) and his homely, hardworking brother, Farnum (Roger C. Carmel). The sibling rivalry intensifies when Farnum manages to take over Ernest's money, his job, his wife, Judith (Martha Hyer), and even his mistress, Barbara (Julie London). What we have here is a classic "Cain and Abel" situation -- and Ernest intends to literalize this Biblical allusion by eliminating Farnum for good. ~ Hal Erickson, Rovi

Hubert Cornfield wrote, directed, and co-produced this standard suspense story about two people who commit both murder and fraud -- out of revenge on the one hand and materialistic gain on the other. Marian Forbes (Laraine Day) has been having an affair with her boss and when he drops her for another woman she sees green -- jealousy and greed take over. She convinces an acquaintance (Edmond O'Brien) to murder her former lover and then impersonate him just long enough to get their hands on a large sum of money. Everything comes off as she plans, but then as the two cover up their crime, the danger of being discovered looms larger at every turn. ~ Eleanor Mannikka, Rovi

Although a mood of melancholy or worse pervades this excellent western, it remains an honest and hard-hitting look at the realistic adventures of Martin Brady (Robert Mitchum -- who produced). Brady fled to Mexico while still quite young in order to avoid prison in the U.S. -- he had killed his father's murderer. After years spent working as a gunman for a wealthy "padron," he hates white Americans but has to go north to get weapons. Once on the wrong side of the border, he gets into trouble with U.S. Army for not helping them hunt down Apaches. But the people he meets in a small town, one a European immigrant, begin to change his black-and-white view of the world. Meanwhile, he and Ellen Colton (Julie London), the unhappy wife of an army major, begin to fall in love. Several more adventures and a tragedy or two affect the unlikely couple's future -- ultimately for the better. Baseball hero "Satchel" Paige shows up in a cameo role, leading an Afro-American unit of the U.S. army. Mexican star Pedro Armendariz is Brady's boss, Governor Castro. ~ Eleanor Mannikka, Rovi

Anthony Mann's final foray into the western genre is a disturbing examination of man's baser instincts, rising in intensity to the level of Shakespearean tragedy. The film begins as seemingly naive Link (Gary Cooper) leaves his family to take a train to Fort Worth. Also on the train is saloon singer Billie Ellis (Julie London), who is compelled by con man Sam Beasley (Arthur O'Connell) to cheat Link out of his money. But the con comes to naught when the nefarious Dock Tobin (Lee J. Cobb) and his gang rob the train. Link takes Billie and Beasley to Tobin's cabin, where it is revealed the mild-mannered Link is Tobin's nephew and a former member of his cutthroat gang. Dock Tobin draws up a plan to rob a bank which the outlaws find agreeable, but they're reluctant to have Link rejoin their group. Soon it becomes apparent why they feel this way; when Link rejoins his old gang, his shy demeanor falls away and his outlaw instincts rise to the surface. ~ Paul Brenner, Rovi

Rod Serling's first original screenplay for the Big Screen was the psychological western Saddle the Wind. In one of his best performances, Robert Taylor plays Steve Sinclair, a world-weary gunslinger. Hoping to become a rancher, Sinclair is given a plot of land by patriarchal Dr. Deneen (Donald Crisp), on the proviso that Steve tries to curb the violent tendencies of his younger brother Tony (John Cassavetes). Unfortunately, Tony is not so easily controlled; he not only seethes with sibling rivalry, but also takes near-orgasmic delight in his gunslinging skills. Determined to prove to Steve and to his saloon-girl paramour Joan Blake (Julie London) that his shooting prowess somehow makes him a superior being, Tony brings tragedy to all concerned. Elmer Bernstein's overemphatic musical score is ideally suited to the larger-than-life histrionics of Saddle the Wind. ~ Hal Erickson, Rovi

Based on a novel by television producer Al Morgan, The Great Man is a Citizen Kane-style look at the private life of a public figure. The Great Man is a beloved radio and television personality who dies suddenly. Jose Ferrer (who also directed) plays a writer/commentator who has a chance to break into the Big Time by preparing a eulogistic broadcast concerning the deceased celebrity. As he interviews the various people who knew the Great Man on the way up (including Julie London and Ed and Keenan Wynn) he learns that the "idol of millions" was actually a conniving, duplicitous scoundrel who stepped on everyone in his path and who took credit for the hard work of others. Warned by his boss (Dean Jagger) that his career will be ruined if he tells the truth, Ferrer nonetheless takes to the airwaves with a "warts and all" biography--and the results are surprising only to those with no cynicism in their souls. The Great Man stirred up a sensation in 1956 because it was perceived to be an a clef study of the enormously popular (and ruthlessly powerful) media star Arthur Godfrey. ~ Hal Erickson, Rovi

The inimitable writer-director Frank Tashlin once more aims his satiric barbs at modern culture (modern 1950s culture, that is) in The Girl Can't Help It. Much of the film is dominated by Edmond O'Brien as mob boss Murdock, who while serving a term in federal prison becomes a singing sensation with his hit tune "Rock Around the Rock Pile." Once he's sprung, Murdock hires impoverished agent Tom Miller (Tom Ewell), not to promote his own career, but to turn his curvaceous lady friend Jerri Jordan (Jayne Mansfield) into a star. Alas, Jerri has no singing or acting talent whatsoever, a fact that she's eager and willing to admit. A domestic type at heart, all Jerri really wants out of life is to marry Murdock, so that she can clean his house, cook his meals and raise his children. When Murdock refuses to grant her wishes, Jerri falls in love with Tom instead.

Every so often, director Tashlin takes time out from the plot to poke fun at such technical marvels as CinemaScope and Technicolor, and to lampoon the American male's fixation on female bosoms and bottoms (at one point, Jayne Mansfield leans towards the camera, her cleavage exposed as far as the censors will allow, and plaintively asks Tom Ewell if he believes that she's equipped for motherhood). While much of the humor in the film is dated, The Girl Can't Help It is an invaluable record of the pop-music scene of the 1950s, featuring such guest artists as Julie London (playing Tom Ewell's dream girl), Ray Anthony, Fats Domino, The Platters, Little Richard and his Band, Gene Vincent and his Blue Caps, the Treniers, Eddie Fontaine, Abbey Lincoln and Eddie Cochran. ~ Hal Erickson, Rovi

The popular radio detective series The Fat Man was brought to the screen in 1951, with the series' original star J. Scott Smart retained in the title role. Smart plays porcine sleuth Brad Runyon, who tackles the mystery surrounding the murder of a Los Angeles dentist. With the assistance of general factotum Bill Norton (Clinton Sundberg), Runyon follows the trail of clues all the way to a three-ring circus. Famed Barnum & Bailey clown Emmett Kelly makes his screen debut as one of the suspects; others essential to the action are such up-and-comers as Rock Hudson, Julie London and Jayne Meadows. The film's flashback-within-flashback structure helps to enliven its more verbose passages. For the most part, The Fat Man plays more like a radio show than a movie--at least until the exciting climax, inventively staged by director William Castle. ~ Hal Erickson, Rovi

In pageant-like fashion, Warner Bros.' Task Force traces the history of the American aircraft carrier, as experienced by a group of naval air aces. Gary Cooper plays Admiral Jonathan L. Scott, who on the verge of retirement remembers his struggle to win recognition of the importance of aircraft carriers. The story begins in 1921, when Scott and his friend Pete Richard (Walter Brennan) were making dangerous landings on the primitive 65-foot carrier Langley. Scott's outspokenness wins him few friends among the brass, and after he publicly insults a Japanese diplomat on the subject of his beloved carriers, he is shunted away to a desk job. Naturally, once Pearl Harbor is attacked, Scott is vindicated. While his wife Mary (Jane Wyatt) waits patiently at home, Scott serves in World War II with distinction, guiding his carrier through a maze of Japanese artillery and kamikazes. Filmed in Technicolor, Task Force makes good use of actual color battle footage filmed by the Signal Corps. A brief clip from Task Force shows up in the drive-in movie scene in James Cagney's White Heat (1949). ~ Hal Erickson, Rovi

Delmer Daves directs the noirish thriller The Red House, based on the novel by George Agnew Chamberlain. Edward G. Robinson plays Pete Morgan, a farmer who harbors dark secrets and refuses to let anyone near the red house in the woods behind the house. In order to fend off trespassers, he hires Teller (Rory Calhoun) to stand guard. He lives with his sister, Ellen (Judith Anderson), and his adopted daughter, Meg (Allene Roberts). When they hire Meg's friend, Nath Storm (Lon McCallister), to help out on the farm, the two kids start to wonder about the mysterious red house. The film features an eerie original score by Miklós Rózsa. ~ Andrea LeVasseur, Rovi