Barry Macollum Movies

The trouble with Harry is that he's dead. The scene is a autumnal Vermont village, where a pre-Leave It to Beaver Jerry Mathers stumbles upon Harry's corpse in the woods. Mathers alerts his mother Shirley MacLaine (making her film debut), who recognizes Harry as her ex-husband. Later on, retired sea captain Edmund Gwenn likewise comes across the moribund Harry. Both MacLaine and Gwenn have reason to believe that they're responsible for Harry's demise; MacLaine thinks that she killed Harry by clobbering him with a bottle, while Gwenn is certain that he shot the poor fellow while hunting. As the day draws to a close, seemingly every person in town is convinced that he or she has had some hand in Harry's death, thus they conspire to hide the body from the authorities. Visiting artist John Forsythe, dumbfounded at the calm, collected reactions of the villagers regarding Harry (whose ubiquitous body pops up at the most inopportune moments), solves the "mystery." Though not his most successful film, The Trouble with Harry was one of director Alfred Hitchcock's favorites. The story's whimsical black-comedy elements are perfectly complemented by Bernard Herrmann's playful music score. Best bit: Mildred Natwick, coming upon Gwenn as the latter is strenuously dragging away Harry's corpse, asking offhandedly "What seems to be the trouble, Captain?" The Trouble With Harry was adapted by John Michael Hayes from the novel by John Trevor. ~ Hal Erickson, Rovi

Ronald Colman won an Academy Award for his portrayal of an off-the-beam actor in A Double Life. A beloved stage star, Anthony John (Colman), has problems with his private life due to his unpredictable outbursts of temper. This trait has already cost him his wife, Brita (Signe Hasso), and threatens to sabotage his career. Nonetheless, Anthony makes his peace with Brita, and the two actors star in a new Broadway staging of Othello. The play is a hit, running over 300 performances, but the pressures of portraying a man moved to murder by jealousy takes its toll on Anthony. In a fit of delirium, he strangles his casual mistress, Pat (Shelley Winters), but retains no memory of the awful crime. Press agent Bill Friend (Edmond O'Brien), unaware that Anthony is the killer, uses Pat's murder as publicity for Othello. Anthony becomes enraged at this cheap ploy, and attacks Friend. At this point, Anthony realizes that he has been living "a double life" and is in fact Pat's murderer. A Double Life was written for the screen by Ruth Gordon and Garson Kanin, who occasionally digress from the melodramatic plotline to include a few backstage inside jokes. ~ 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

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

In this wartime propaganda film, two Marine officers and their company go on leave when the Army takes over during the Guadalcanal invasion. Their leave is spent in Australia where one of the officers falls in love with a woman. His pal, afraid that there will be no turning back for his buddy, receives orders that send them both back to the US to train recruits. Naturally, his enamored friend is quite upset by this sudden turn and refuses to talk to his pal until a subsequent mission gives them the chance to stop briefly in Australia. There the lovers are finally wed, just before he goes to battle. ~ Sandra Brennan, Rovi

The down-home Weaver family stars in this countrified drama set in Peaceful Valley where if things went any slower they'd be going backwards. Things pick up a bit when someone steals $50 from a widow. The townsfolk are outraged and Judge Weaver finds himself accusing the widow's cleaning lady of the crime. Unfortunately, the judge is very wrong. ~ Sandra Brennan, Rovi

This second of three movie versions of P.C. Wren's adventure novel Beau Geste is a virtual scene-for-scene remake of the 1927 silent version. We open on the now-famous scenes of a remote, burning desert fort, manned by the dead Foreign Legionnaires, then flash back to the early lives of the Geste brothers. As children, the Gestes swear eternal loyalty to one another and to their family. One of the boys, young Beau (played as a youth by Donald O'Connor), witnesses his beloved aunt (Heather Thatcher) apparently stealing a valuable family jewel in order to finance the Geste home; Beau chooses to remain silent rather than disgrace his aunt. Years later, the grown Beau (Gary Cooper) again protects his aunt by confessing to the theft and running off to join the Foreign Legion. He is joined in uniform by faithful brothers John (Ray Milland) and Digby (Robert Preston), who in turn are pursued by a slimy thief (J. Carroll Naish). The crook is in cahoots with sadistic Legion Sgt. Markov (Brian Donlevy, in one of the most hateful portrayals ever captured on celluloid), who is later put in charge of Fort Zinderneuf, where Beau and John are stationed. When the Arabs attack, Markov proves himself a valiant soldier; it is he who hits upon the idea of convincing the Arabs that the fort is still fully manned by propping up the corpses of the casualties at the guard posts. Beau is seriously wounded, and while the greedy Markov searches for the jewel supposedly hidden on Beau's person, he is held at bay by loyal John. The suddenly enervated Beau kills Markov, then dies himself--but not before entrusting two notes to John, one of which requests that John give Beau the "Viking funeral" he'd always wanted (this is why the fort is in flames at the beginning of the film). After the battle, Digby Geste, a bugler with the relief troops, comes upon Beau's dead body, and appropriates the notes. As it turns out, John Geste is the only one who survives to return to England. He gives his aunt Beau's letter, which explains why Beau had confessed and run off--"a 'beau geste', indeed" comments his tearful aunt. No one missed nominal leading lady Susan Hayward in this essentially all-male entertainment. For years available only in muddily processed or truncated versions, Beau Geste was restored to its pristine glory by the American Film Institute in the late 1980s. ~ Hal Erickson, Rovi

If I Were King is a delightful costume adventure tale set in 14th century France, during the reign of Louis XI, and inspired by the legend of the rebel poet François Villon, whose exploits were filmed earlier as The Beloved Rogue (1927) with John Barrymore, and later transformed into the musical The Vagabond King on Broadway and onscreen. The movie opens with Paris surrounded by the forces of the Duke of Burgundy, whose armies have laid siege to the city in hopes of starving out King Louis XI (Basil Rathbone, in a riveting performance), a wily, cruel monarch who distrusts all around him -- mostly, however, Burgundy has succeeded in forcing Louis to hunker down and in starving the common people of Paris, whose well-being their king can't be bothered about.

The one man in Paris with the courage to raise a hand to ease the suffering is François Villon (Ronald Colman), a gifted poet and glib orator who understands the common people far better than Louis. We first meet him leading a raid on the king's storehouse for sorely needed food and wine. Pursued by the king's guards, he accidentally crosses paths with Louis himself -- trying to uncover a nest of traitors -- at a tavern, and is captured. Louis would normally have Villon put to death without a second thought, but the rebel poet has done him the service of killing a treasonous officer, and has also piqued the king's interest with his notion of inspiring loyalty rather than fear in his subjects. The king also wishes to show Villon that it isn't always easy, even with all of the power of the crown on one's side, to rule a kingdom, or even the capitol city of a kingdom. Louis appoints Villon to the post of Constable of France, in command of all military and police authorities, and nominally in charge of the army, and leaves it to him to do his job -- with the provision that, at the end of a week in so powerful a position, Villon will, indeed, hang. Villon does a very good job of dispensing justice in a way that makes his followers love the king, and even turns one traitor into a loyalist. He is less successful at getting the titled nobility on his side, or the generals to rally their armies for the task at hand, breaking the siege, and is further distracted from his task by his romantic entanglements, with Ellen Drew as the girl of the streets who loves Villon and Frances Dee as the lady-in-waiting to the queen who has stolen his heart.

Director Frank Lloyd uses the same sure hand that propelled his Oscar-nominated Mutiny on the Bounty (1935) to weave together the telling of this lusty and witty tale (from a clever screenplay by Preston Sturges, who added his own translations of Villon's poetry to the original script); but the real interest for most viewers will reside with the sparks that fly from the performances of Colman and Rathbone as the two equally matched antagonists, each toying with the other's perceived weaknesses (especially their vanity) while, in his way, secretly admiring elements of the other's character. In the end, Sturges' script cleverly interweaves their common interests, Villon realizing that he must save Paris in order to keep from losing his head. ~ Bruce Eder, Rovi

Pulp fiction writer Max Brand's 1936 creation Dr. Kildare made his screen debut in the amiable person of Joel McCrea in this well-received Paramount production. Aided by Janet (Barbara Stanwyck, young Dr. Kildare saves the life of gangster boss Hanlon (Lloyd Nolan), who awards the intern $1,000 for his troubles. Janet, who is being blackmailed by Innes (Stanley Ridges), one of Hanlon's rivals, attempts to steal the money but Kildare catches her and, disillusioned, returns the loot to Hanlon. But when Janet agrees to Innes' lascivious terms, Kildare thinks better of his decision and arranges for Hanlon to take care of the matter. M-G-M later starred Lew Ayres in a series of 17 "Dr. Kildare" programmers and the character resurfaced in the early 1960s in a television series featuring Richard Chamberlain. ~ Hans J. Wollstein, Rovi

Henry King directed this Richard Barthelmess vehicle concerning Boy Leyton (Richard Barthelmess), a child raised sternly by his embittered father, Captain Leyton (Tyrone Power). The Captain is a harsh taskmaster who trains Boy to be perfect. When Boy defends the honor of his sweetheart Minnie (Dorothy Gish), a scullery maid in a waterfront flophouse, The Captain is so overcome with joy that he suffers a heart attack. With his dying breath, The Captain tells Boy to avenge his misery by seeking out Boy's mother, who deserted The Captain for another man. Although Boy had planned on marrying Minnie, the wedding plans are put on hold as Boy goes forth to seek out his mother and thrash the man who wrecked his happy home. ~ Paul Brenner, Rovi