Robert Malcolm Movies

Friday (Jack Webb) and Smith (Ben Alexander) are puzzled when two different women report that their husbands are missing. The descriptions of the missing men are remarkably similar, leading the detectives to one of two conclusions: Either the husbands were twin brothers, or there's a bigamist on the loose. Guess which conclusion proves to be true. This is one of a handful of black and white Dragnet episodes written directly for television, with no previous radio version. ~ Hal Erickson, All Movie Guide

Jeff Chandler plays big-city lawyer James Gordon Blane, who heads to a small Nevada town to defend a playboy (Phillip Reed) accused of murder. Blane wins the case, but is then himself charged with accepting bribes. The man behind this accusation is vindictive town sheriff Nick Hoak (Jack Carson), who controls all illegal activities in the area. When Blane's legman Billy Giles ends up dead, the lawyer deduces that Hoak was also behind the killing for which the playboy was blamed. Blane struggles to defend his reputation in court while his wife (Jeanne Crain) attempts to mount evidence against Sheriff Hoak. Despite its stellar cast and slick direction (by Jack Arnold), The Tattered Dress comes across as cheap and tawdry -- befitting its seedy subject matter. ~ Hal Erickson, All Movie Guide

One of the gutsiest movie musicals of the 1950s, Love Me or Leave Me is the true story of 1930s torch-singer Ruth Etting, here played by Doris Day. While working in a dime-a-dance joint, Ruth is discovered by Chicago racketeer Martin "The Gimp" Snyder (fascinatingly played with nary a redeeming quality by James Cagney). The smitten Snyder exerts pressure on his show-biz connections, and before long Ruth is a star of nightclubs, stage and films. Ruth continues to string Snyder along to get ahead, but she can't help falling in love with musician Johnny Alderman (Cameron Mitchell). After sinking his fortune into a nightclub for Ruth's benefit, Snyder is rather understandably put out when he finds her in the arms of Alderman. Snyder shoots the musician (but not fatally) and is carted away to prison. Upon his release, Snyder finds that Ruth is still in love with Alderman; he is mollified by her act of largesse in keeping her promise to perform in his nightclub at a fraction of her normal salary. No one comes off particularly nobly in Love Me or Leave Me, even though the still-living Ruth Etting, Martin Snyder and Johnny Alderman were offered full script approval. The fact that we are seeing flesh-and-blood opportunists rather than the usual sugary-sweet MGM musical stick figures naturally makes for a more powerful film. In his autobiography, James Cagney had nothing but praise for his co-star Doris Day, and bemoaned the fact that she would soon turn her back on dramatic roles to star in a series of fluffy domestic comedies. ~ Hal Erickson, All Movie Guide

Previously filmed in 1931 under its original title, Theodore Dreiser's bulky but brilliant novel An American Tragedy was remade in 1951 by George Stevens as A Place in the Sun. Montgomery Clift stars as George Eastman, a handsome and charming but basically aimless young man who goes to work in a factory run by a distant, wealthy relative. Feeling lonely one evening, he has a brief rendezvous with assembly-line worker Alice Tripp (Shelley Winters), but he forgets all about her when he falls for dazzling socialite Angela Vickers (Elizabeth Taylor). Alice can't forget about him, though: she is pregnant with his child. Just when George's personal and professional futures seem assured, Alice demands that he marry her or she'll expose him to his society friends. This predicament sets in motion a chain of events that will ultimately include George's arrest and numerous other tragedies, including a vicious cross-examination by a D.A. played by future Perry Mason Raymond Burr. A huge improvement over the 1931 An American Tragedy, directed by Josef von Sternberg, A Place in the Sun softens some of the rough edges of Dreiser's naturalism, most notably in the passages pertaining to George's and Angela's romance. Even those 1951 bobbysoxers who wouldn't have been caught dead poring through the Dreiser original were mesmerized by the loving, near-erotic full facial closeups of Clift and Taylor as they pledge eternal devotion. A Place in the Sun won six Oscars, including Best Director, Best Adapted Screenplay, and Best Cinematography, although it lost Best Picture to An American in Paris. ~ Hal Erickson, All Movie Guide

Mickey Rooney returned to his "home" studio MGM, after a three-year absence, in the location-filmed melodrama The Strip. Rooney is cast as Stanley Maxton, an aspiring drummer who has the misfortune to fall within the orbit of bookie Sunny Johnson (James Craig). Out of the goodness of his heart, Stanley introduces aspiring actress June Tafford (Sally Forrest) to Johnson, hoping that the latter's Hollywood connections will help the girl find success. Stanley also quits the rackets to play drums at a nightclub owned by his pal Fluff (William Demarest). Things take a sorry turn when Johnson decides to make a play for June; Stanley interferes and gets beaten up by the bookie's goons. June's response to this outrage results in tragedy for everyone. The Strip is a surprisingly downbeat effort for producer Joe Pasternak, a man usually associated with happy, wholesome Technicolor musicals. The film is highlighted by jazz performances from Louis Armstrong, Jack Teagarden, Earl "Fatha" Hines and Barney Bigard. ~ Hal Erickson, All Movie Guide

Louis Calhern repeats his Broadway role as Chief Justice Oliver Wendell Holmes in this 1950 cinemazation of Emmet Lavery's stage play The Magnificent Yankee. The film is for the most part confined to the Holmes home in Washington, where the good gray judge parries affectionately with his level-headed wife Fanny (Ann Harding). A steady stream of historical personages parade through the Holmes manse, including jurist Louis Brandeis (Eduard Franz) and novelist Owen Wister (Philip Ober). The death of his wife devastates Holmes, but only briefly; he ends up serving his country for nearly forty years. The British title of Magnificent Yankee was The Man With Thirty Sons, a somewhat misleading reference to the Harvard Law graduates whom Oliver Wendell Holmes sponsored. Also available on videocassette is a 1965 TV production of Magnificent Yankee, starring Alfred Lunt and Lynn Fontanne. ~ Hal Erickson, All Movie Guide

A Woman of Distinction serves as a tailor-made vehicle for Rosalind Russell. The star is cast as Susan Middlecott, a highly respected college dean. As can be expected, Susan is too busy for romance -- at least until handsome professor Alec Stevenson (Ray Milland) enters the picture. At first, the dean and the prof are thrown together by the overzealous machinations of a press agent, and they're none too pleased about it. No matter how hard they try to keep their distance from each other, Susan and Alec constantly find themselves in embarrassing situations in full view of the public. It takes the behind-the-scenes maneuvers of Susan's puckish papa (Edmund Gwenn) to straighten things out. Appearing in unbilled cameos are Lucille Ball as herself, and Ball's future TV cohort Gale Gordon as a railroad ticket agent. ~ Hal Erickson, All Movie Guide

Eliot Ness may have gotten lots of publicity (especially long after the fact) for breaking the Capone mob, but as Joseph H. Lewis' The Undercover Man reminds us, it was the accountants and the numbers-crunchers that brought down Capone and his mob. Frank Warren (Glenn Ford) started out as an accountant, but now serves as an investigator for the Treasury Department. His job has frequently required him to go undercover, masquerading as a criminal to get the goods on the top-level tax-law violators that his unit targets. But now his assignment is to gather evidence on the operations of the nation's number-one crime boss and get proof of the income that he and his lieutenants are not declaring, and this proves not only frustrating but dangerous. Potential stoolies are murdered and witnesses intimidated, and when one otherwise "respectable" lawyer (Barry Kelley) starts mentioning Warren's wife (Nina Foch) in casual conversation, he takes the hint. He's ready to quit until the mother (Esther Minciotti) of a witness-turned-victim tells him about what life was like in Italy under the Black Hand, and why she came to America to raise her sons. Warren and his men (James Whitmore, David Wolfe) make one last attempt to get the proof they need, tracing signatures and handwriting to get evidence implicating a small man in the operation, using it to turn him and going for bigger fish. Finally, even the shyster lawyer who has been dogging Warren every step of the way ends up in the sights of the feds, and the mob turns its attention to getting rid of this new "liability" and taking care of Warren as well. ~ Bruce Eder, All Movie Guide

Though she may have won an Oscar in 1948, Jane Wyman still had a Warner Bros. contract to fulfill, even if it meant appearing in frivolities like The Lady Takes a Sailor. It all begins when Jennifer (Wyman), the head of an oceanographic research institute, claims to have made a fascinating underwater discovery. It is suspected that she's made this claim so that her funding will be continued, so the money-men send Bill Craig (Dennis Morgan) to investigate. Disguised as a sailor, Bill accompanies Jennifer on her next expedition, just to see if her story was true. Jennifer falls in love with Bill, neglecting her work in the process. When Bill is revealed to be a fake, things look bleak--but not for long. Eve Arden has all the best lines as Jane Wyman's sarcastic best friend (the sort of role Wyman used to play in her blonde-ingenue days). ~ Hal Erickson, All Movie Guide

Screenwriter Herman J. Mankiewicz adopts the same prismatic-flashback technique he'd used so well in Citizen Kane for the 1949 filmic soap opera A Woman's Secret. Based on a novel by Vicki (Grand Hotel) Baum, the film begins with the shooting of nightclub singer Susan Caldwell (Gloria Grahame). Marian Washburn (Maureen O'Hara), who'd coached Susan into the Big Time, confesses to the shooting. Neither Marian's piano-player friend Luke Jordan (Melvyn Douglas) nor police inspector Fowler (Jay C. Flippen) completely buy her story, and it is their probing investigation of the facts that sparks the flashback parade. The film details in sometimes clever, sometimes maudlin fashion the perils of living one's life vicariously through the accomplishments of others. Though filmed before director Nicholas Ray's "official" debut feature They Live by Night, A Woman's Secret was released afterward. ~ Hal Erickson, All Movie Guide

The relatively relaxed movie censorship in the postwar years enabled Columbia to produce To the Ends of the Earth, a film which dealt with the previously taboo subject of drug smuggling. T-man Dick Powell is sent to several foreign locales to track down an Opium ring. The villains are subversives (Red? Fascist?) who plan to take over the world by hooking everyone on the "hard stuff." The film is chock full of mysterious European and Oriental types like Vladimir Sokoloff, Ludwig Donath and Fritz Leiber; even leading lady Signe Hasso speaks with an accent, which in 1948 was enough to immediately put her under suspicion. Lending credence to this sprawling adventure yarn is the presence of several actual treasury agents in bit parts, including commissioner Harry J. Anslinger. ~ Hal Erickson, All Movie Guide

Usually associated with erudite, urbane comedies, the legendary screen team of Katharine Hepburn and Spencer Tracy goes intensely dramatic in the expensive western Sea of Grass. Tracy plays cattle baron Colonel James Brewton, who staunchly opposes opening the western frontier to homesteaders. Standing steadfastly beside Brewton-at least at the beginning--is his headstrong wife Lutie (Hepburn). Eventually disillusioned by the stern implacability of her husband, Lutie leaves Brewton and goes off to Denver, where she falls in love with liberal attorney Brice Chamberlain (Melvyn Douglas), the champion of the homesteaders' cause. Upon giving birth to Chamberlain's son, Lutie confesses her indiscretion to Brewton, who takes the news with commendable restraint, even offering to accept the baby as his own. Unfortunately, the Brewtons' standing in the community is weakened by the revelation of Lutie's infidelity, causing her to leave her husband for a second time. Years later, Lutie's grown-up boy Brock (Robert Walker) drifts to the wrong side of the law, leading to his death at the hands of a posse. Though it hardly seems possible under the circumstances, Brewton and Lutie are at long last reconciled through the intervention of their daughter Sara Beth (Phyllis Thaxter). Elaborately produced in the traditional MGM manner and adroitly directed by Elia Kazan, Sea of Grass is still one of the lesser Tracy-Hepburns. ~ Hal Erickson, All Movie Guide