George Lynn Movies

Republic Studios' B pictures were generally more exciting than their As, as was certainly the case with Girl in the Woods. The eponymous heroine is Bell Cory, played by Maggie Hayes. Bell is the wife of restless lumberman Steve Cory (Forrest Tucker), who'd been in constant trouble with the authorities if his wife weren't around to provide a calming influence. It is also Bell who saves the day when Steve is ostracized by the lumber community for supposedly casting his lot with crooked land baron Whitlock (Murvyn Vye). Perennial "dumb blonde" Joyce Compton makes her final film appearance in Girl in the Woods as Bell's pragmatic Aunt. The film was based on Blood on the Branches, a novel by Oliver Crawford. ~ Hal Erickson, Rovi

The secret to immortality is thus: to rejuvenate tired bones and muscles and retain that youthful feeling forever, simply place nubile young women in a vat filled with chemicals, attach wires to their heads and suck out their life forces Warning: If after the first dosage subsequent treatments are not promptly administered, irreversible petrification will occur in all cases. These side-effects create the dilemma faced by the scientists who invented the process and this sci-fi horror movie tells how they solved their problem. Fortunately for the women involved, a hero shows up, saves them, and leaves the evil professors stoned for life. ~ Sandra Brennan, Rovi

It's "Freud on the Frontier" time in the tension-filled western The Halliday Brand. Ward Bond plays Big Dan, the despotic head of the Halliday clan, while Joseph Cotten and Betsy Blair costar as Halliday's offspring Daniel and Martha. Intensely anti-Indian, Big Dan encourages a mob to lynch Jivaro (Christopher Dark), Martha's half-breed sweetheart. Despising his father's complicity in Jivaro's death, Daniel breaks off his relationship with the elder Halliday, casting his lot with Jivaro's father (Jay C. Flippen) and sister (Viveca Lindfors). The climactic showdown between father and son is superbly and innovatively handled by director Joseph H. Lewis. ~ Hal Erickson, Rovi

Columbia's The Werewolf is not nearly as generic as its title would suggest: in fact, it is one of the better films of its kind. Steven Ritch plays Duncan Marsh, who after being seriously injured in a car wreck is used as a guinea pig by a pair of none too scrupulous scientists (S. John Launer and George M. Lynn). Seeking a cure for radiation poisoning, the scientists inject Marsh with wolf serum (what this has to do with radiation poisioning is never fully explained). Before long, Marsh is a full-fledged lycanthrope, wreaking havoc in the Big Bear Lake region. Some truly startling vignettes--including one lulu of a sequence in a jail cell--lift this Sam Katzman production well above the norm. ~ Hal Erickson, Rovi

The city of the title is Los Alamos, where nuclear physicist Gene Barry lives and works. Terrorists kidnap Barry's son and demand that the physicist turn over the H-bomb formula. It's cat-and-mouse for a while, but when the FBI gets on the case, the criminals haven't got a chance. Outdated almost before its release, The Atomic City is still effective on a purely melodramatic level. There's a particularly tense climax played out along the mountain mesas surrounding Los Alamos. ~ Hal Erickson, Rovi

Something to Live For is the last of director George Stevens' "small" films, before he concentrated full-time on such blockbusters as Shane and Giant. Joan Fontaine plays a popular actress who descends into alcoholism. Ray Milland, in an unofficial extension of his Lost Weekend role, plays a reformed drunkard who comes to Fontaine's rescue. He encourages her to join Alcoholics Anonymous--one of the first times that this organization was given any kind of screen treatment. Milland's concern strains his relationship with his wife (Teresa Wright), who doubts that Ray's interest in Fontaine is merely humanitarian. But Milland refuses to endanger his marriage no matter how strong his feelings towards Fontaine--nor how much the audience wants him to. ~ Hal Erickson, Rovi

Bob Hope is up to his famous nose in danger in this espionage comedy. Second-rate burlesque comic Peanuts White (Hope) is approached by federal agents who think that he's international spy Eric Augustine, to whom Peanuts bears a striking resemblance. When they realize that Peanuts and Eric are two different people, the FBI persuades him to travel to Africa posing as Eric and fetch a batch of microfilm that could prove vital to national security. With reluctance, Peanuts flies to Tangiers and arranges a rendezvous with Lily Dalbray (Hedy Lamarr), Eric's beautiful girlfriend and an agent of shifting alliances herself. However, Lily's superior Karl Brubaker (Francis L. Sullivan) wants the microfilm, and he will stop at nothing to get it. As Peanuts tries to rescue the microfilm, make time with Lily, and avoid Karl, things become even more confused when Eric escapes from hiding and re-enters the picture. Both Bob Hope and Hedy Lamarr contribute songs to the soundtrack, though unlike Bob, Hedy's vocals were dubbed in by a studio vocalist. ~ Mark Deming, Rovi

Union Station is a tense crime thriller in the tradition of The Naked City that unfolds in Los Angeles. William Holden plays railroad worker Lt. William Calhoun. Calhoun goes into action when Lorna Murchison (Allene Roberts), the sightless daughter of millionaire Henry Murchison (Herbert Heyes), is kidnapped by ruthless Joe Beacon (Lyle Bettger). The abduction is witnessed by Joyce Willecombe (Nancy Olson), Murchison's secretary. Using the handful of clues provided by Joyce, Calhoun and his associate, Inspector Donnelly (Barry Fitzgerald) do their best to second-guess the kidnapper. The film's most harrowing scene finds Beacon abandoning the blind and helpless Lorna in a deserted car barn in the deepest recesses of the titular station. Jan Sterling co-stars as Marge, Beacon's conscience-stricken moll. Former cinematographer Rudolph Mate does a nice, neat job as director, seamlessly matching location shots with studio mockups. ~ Hal Erickson, Rovi

William Powell stars in Take One False Step as a happily married college professor who foolishly agrees to a reunion supper with old flame Shelley Winters. Winters later disappears, and the evidence points to murder. To allay suspicion--and to avoid losing an important financial grant to his university--Powell starts his own investigation. The trail leads him to San Francisco, where poor Powell becomes mired in a confusing crime plot. Fortunately, Winters is still alive; unfortunately, Powell may not be for long. Adapted from the Irwin Shaw novel Night Call, Take One False Step is saved from tawdriness by the innate dignity of William Powell. Also, the film is leavened by unexpected moments of humor, notably the relaxed banter between Powell and Shelley Winters. ~ Hal Erickson, Rovi

Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City." ~ Bruce Eder, Rovi

Edgar Buchanan stars as a man who abruptly leaves his wife (Anna Lee) to "find himself". When he returns, he discovers that wifey has divorced him and has married stuffy Robert Shayne (later "Inspector Henderson" on the Superman TV series). Buchanan and Lee's son Gary Gray helps reunite the couple, which is bad news for those in the audience who've warmed up to Shayne. Question: How could The Best Man Wins be adapted (as it says in the credits) from Mark Twain's "Celebrated Jumping Frog of Calaveras County?" Answer: Because frog-jumping was what Edgar Buchanan was up to when he was off finding himself. One wonders if director John Sturges ever looked fondly back to the complex profundities of The Best Man Wins while he was directing such trifles as Bad Day at Black Rock (54) and The Great Escape (63). ~ Hal Erickson, Rovi

Robert Lowery stars as Paul Kimberly, a former newspaperman who takes on a particularly noxious form of corruption. The villains are crooked housing administrators who prey upon returning GIs and their families. Just when it appears that one of the administrators is going to tell all to Kimberly, the man is murdered at the behest of "top man" Vincent Arnold (Charles Evans). It helps Kimberly's objectivity not at all when he himself falls in love with Arnold's innocent daughter Anne (Anabel Shaw). With the advantage of a topical storyline, Killer at Large is one of the better PRC releases from this period. ~ Hal Erickson, Rovi

A would-be nightclub entertainer finds her life jeopardized after she inadvertently witnesses a gangland murder while heading for an audition. Fortunately, a brave photographer is there to save her and this crime drama ends on a happy note. ~ Sandra Brennan, Rovi