Moyna MacGill Movies

At one time the longest-running Broadway musical, My Fair Lady was adapted by Alan Jay Lerner and Frederick Loewe from the George Bernard Shaw comedy Pygmalion. Outside Covent Garden on a rainy evening in 1912, dishevelled cockney flower girl Eliza Doolittle (Audrey Hepburn) meets linguistic expert Henry Higgins (Rex Harrison). After delivering a musical tirade against "verbal class distinction," Higgins tells his companion Colonel Pickering (Wilfred Hyde-White) that, within six months, he could transform Eliza into a proper lady, simply by teaching her proper English. The next morning, face and hands freshly scrubbed, Eliza presents herself on Higgins' doorstep, offering to pay him to teach her to be a lady. "It's almost irresistable," clucks Higgins. "She's so deliciously low. So horribly dirty." He turns his mission into a sporting proposition, making a bet with Pickering that he can accomplish his six-month miracle to turn Eliza into a lady. This is one of the all-time great movie musicals, featuring classic songs and the legendary performances of Harrison, repeating his stage role after Cary Grant wisely turned down the movie job, and Stanley Holloway as Eliza's dustman father. Julie Andrews originated the role of Eliza on Broadway but producer Jack Warner felt that Andrews, at the time unknown beyond Broadway, wasn't bankable; Hepburn's singing was dubbed by Marni Nixon, who also dubbed Natalie Wood in West Side Story (1961). Andrews instead made Mary Poppins, for which she was given the Best Actress Oscar, beating out Hepburn. The movie, however, won Best Picture, Best Director, Best Actor for Harrison, and five other Oscars, and it remains one of the all-time best movie musicals. ~ Hal Erickson, Rovi

Rod Serling adapted the teleplay for this Twilight Zone episode from a short story by Price Day, which first appeared in Alfred Hitchcock's Mystery Magazine. Decked out in coke-bottle glasses and greased-down hair, Theodore Bikel is malevolence personified as Oliver Crangle, a self-appointed "social conscience" who spends all his waking hours persecuting innocent people whom he has designated as evil. After casually ruining several lives, this Crangle declares that he has in his possession the means to shrink all evil people in the world to a height of two feet -- and that this metamorphosis will occur exactly at Four O'Clock. Appearing as Crangle's landlady is Moyna McGill, the actress mother of Angela Lansbury. "Four O'Clock" was first telecast on April 6, 1962. ~ Hal Erickson, Rovi

This remake of the 1935 version is considered far superior to the original. It is the harrowing story of a kindly old British woman with a love of art who is tricked into allowing an artist, his wife, and another couple into staying in her house. They then begin holding her prisoner in her home while they ransack her art collection. Eventually she is able to escape and facilitate the crooks' capture. ~ Sandra Brennan, Rovi

Peter Ustinov co-produced, wrote and co-directed the quietly effective Private Angelo. Set during
WW II, the film stars Ustinov as a tremulous Italian army private who does his best to avoid getting shot at. Trouble is, the more he tries to run away from danger, the more dangerous his life becomes. Private Angelo's cowardice provides an endless source of embarrassment for his nobleman father (Conway Tearle); it also offers his fiancee Lucrezia (Maria Denis) an excuse to be unfaithful. Like most of Ustinov's written works, Private Angelo aims at quiet chuckles rather than belly laughs; also, there are no real heroes and villains, just ordinary folks in extraordinary circumstances. ~ Hal Erickson, Rovi

Texas, Brooklyn and Heaven deserves a historical footnote as director William Castle's only comedy western. Future Wild Bill Hickok star Guy Madison plays Eddie Taylor, a lonesome cowboy who falls in love with city-gal Perry Dunkin (Diana Lynn). The couple "meets cute" in Brooklyn, where the two have migrated to seek their fortunes. The plot veers into Runyonesque territory as Eddie tries to write the Great American Play, while Perry "adopts" pickpocket Mandy (Florence Bates) to pose as her mother. The loosely structured storyline permits several entertaining diversions, including a trip to Coney Island and a wild episode at a Brooklyn riding academy which hero and heroine have been conned into purchasing. Audie Murphy makes his second film appearance in a near-microscopic role. Based on a Saturday Evening Post story by Barry Benefield, Texas, Brooklyn and Heaven was released in England as The Girl From Texas. ~ Hal Erickson, Rovi

Black Beauty, Anna Sewell's classic tale of a beautiful horse is adapted in a disappointingly flat fashion by independent producer Edward L. Alperson. Unlike the novel, which is told from the horse's point of view, the film concentrates on the animal's first owner, a young English girl (Mona Freeman). Raising the horse into a prize-winner called "Black Beauty," the motherless girl is thrown into a panic when Beauty disappears. She locates the horse in a barn that is about to catch fire; knocked unconscious, the girl is saved by the valiant Beauty. The film's script utilizes only one of the many episodes in Sewell's 1879 novel, and not the most fascinating one at that. Had Black Beauty been produced by 20th Century-Fox instead of merely being released by the studio, the film might have had the saving grace of Technicolor photography. ~ Hal Erickson, Rovi

Fabric designer Harry Quincey (George Sanders) has the unhappy task of caring for his tiresome unmarried sisters, Lettie (Geraldine Fitzgerald) and Hester (Moyna MacGill). When Harry falls in love with Deborah Brown (Ella Raines), Hester is delighted, but Lettie smolders with jealousy. Upset at Lettie 's opposition, Harry would like nothing better than to do her in. Does he? And what has really happened here? When originally presented on Broadway, Thomas Job's play Uncle Harry utilized a complex flashback technique in unfolding its story, which was capped by a grimly ironic ending. Stephen Longstreet's screenplay not only takes a more linear approach, but also radically alters the ending to conform with the censorship strictures then in effect. The Strange Affair of Uncle Harry was one of several Universal film noirs of the 1940s produced by longtime Alfred Hitchcock associate Joan Harrison. ~ Hal Erickson, Rovi

Although National Velvet was the first starring role for 11-year-old Elizabeth Taylor, the early part of the film belongs to Mickey Rooney in the showier role of Mike Taylor, a headstrong English ex-jockey. Soured on life by a serious accident, Mike plans to steal from the country family that has taken him in, but his resolve is weakened by the kindness of young Velvet (Taylor). The two find a common bond in their love of horses. Velvet wins an "unbreakable" horse in a raffle, and enters the animal in the Grand National Sweepstakes. Though Mike is unable to ride the horse, he aids Velvet in her plan to disguise herself as a jockey; she wins the race...but the story isn't over quite yet. Co-starring as Velvet's mother is Anne Revere, who won a Best Supporting Actress Oscar for her performance. National Velvet is based on the novel by Enid Bagnold. ~ Hal Erickson, Rovi

The Uninvited is one of the rare Hollywood ghost stories that does not cop out with a "logical" ending. In fact, the film has more in common with British ghost tales of the period, in that the characters calmly accept spectral visitations as though they were everyday occurrences. Roderick Fitzgerald (Ray Milland) and his sister, Pamela (Ruth Hussey), buy a house on the Cornish seacoast, never suspecting that it is a "bad" house, subject to haunting. Before long, Roderick and Pamela are visited by Stella Meredith (Gail Russell), whose late mother, it is said, is the house ghost. It is further supposed that the ghost means to do Stella harm. Stella's grandfather Commander Beech (Donald Crisp) is close-mouthed on the issue, but it is clear he knows something that he isn't telling. Sure enough, there is a secret to the manor: it is inhabited by not one but two ghosts, one of whom is merely trying to shield Stella from harm. Once the film's deep dark secret is revealed (courtesy of a virtuoso "mad speech" by supporting actress Cornelia Otis Skinner), Roderick is able to single-handedly exorcise the estate and claim Stella as his bride. Based on the novel by Dorothy Macardle (with a few uncredited "lifts" from Daphne du Maurier's Rebecca), The Uninvited remains one of the spookiest "old dark house" films ever made, even after years of inundation by computer-generated special effects. Less effective was the 1945 sequel, The Unseen, which starts well but degenerates into a substandard murder mystery. ~ Hal Erickson, Rovi

Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner). ~ Hal Erickson, Rovi