E.G. Marshall Movies

An extended documentary that covers the incomparable Sixties. Includes a look at the JFK assassination, Martin Luther King's famous speech, Sports, the Democratic Convention in Chicago and much more. ~ All Movie Guide

Though Busby Berkeley is the director of I Live for Love, there isn't a dancer or dance number anywhere to be seen. Dolores Del Rio stars as hot-tempered South American stage favorite Donna Alvarez, who is brought to America to headline a Broadway show. The film details the backstage romance between Donna and her handsome co-star Roger Kerry (played by Everett Marshall, an opera star who'd last been seen on-screen in 1930's Dixiana). They fight, make up, fight again, make up again, and fight and make up again. And that's all, folks. The film's singular highlight is the barbershop-quartet lampoon "A Man Must Shave". ~ Hal Erickson, All Movie Guide

This film is not only a revealing glimpse into the workings of the O.S.S. (Office of Strategic Services) during WW II, but it is also a full-fledged spy thriller. An excellent cast includes James Cagney, Karl Malden, E.G. Marshall, and Red Buttons. Cagney stars as an O.S.S. training officer, bent upon discovering a German traitor within his ranks while at the same time completing highly dangerous espionage assignments. The risks increase when one of his men is murdered from within, and Cagney, convinced he knows who the murdering infiltrator is, vows revenge. Authentic O.S.S. film footage make this film historically significant as well as entertaining. ~ All Movie Guide

When undercover secret agent Tyrone Power is thwarted in his efforts to obtain a vital document with details of the Russian invasion of Yugoslavia by the death of the courier at the hands of two Russian agents, played by Mario Siletti and Charles Buchinski (aka Charles Bronson), it becomes his duty to go after the murderers and retrieve the papers. With more loops and turnabouts than a snake, the plot has surprises with agents, double agents, mistaken information and is, all in all, a surprisingly exciting spy vehicle. Michael Ansara and Lee Marvin also make brief appearances in this early cold war story. A script with a lot of holes in it is pulled off by the fine performances and tight direction given in this film. ~ Tana Hobart, All Movie Guide

Robert Francis is at the center of the story as Willis Keith, a newly-minted ensign assigned to the destroyer/minesweeper U.S.S. Caine during World War II. Soon after his arrival, the ship gets a new captain, Lt. Comdr. Philip Francis Queeg Humphrey Bogart, a tough, no-nonsense veteran officer who tries to turns the crew into proper sailors and the Caine into a tight ship, engendering resentment from some of the men and several of his officers. A veteran of difficult years of service for too long, Queeg has insecurities about himself, his command, and his career that begin to manifest themselves as spells of temper over small details that cause him to make mistakes. Lt.Keefer (Fred MacMurray), the glib-tongued communications officer, begins making suggestions to the ship's sincere but overburdened first officer, Lt. Steve Maryk (Van Johnson), that Queeg may have mental problems. Maryk initially rejects these suggestions, and tries to support the captain, but conditions deteriorate to the point where Maryk is forced to relieve Queeg of command, and is charged -- along with Keith, who supported him -- with mutiny. Enter Lt. Barney Greenwald (Jose Ferrer), a lawyer in civilian life, who reluctantly agrees to help them, mostly out of sympathy for the impossible predicament in which Maryk has found himself trapped. ~ Bruce Eder, All Movie Guide

American POWs struggle to escape from a North Korean camp. While this is basically a remake of Stalag 17, it does feature interesting scenes of a North Korean brainwashing. ~ Sandra Brennan, All Movie Guide

The Scarlet Hour was a relatively bold experiment for a mid-1950s Paramount release. The studio expended a great deal of money on the project and enlisted the services of top-flight director Michael Curtiz -- then populated the cast with young unknowns. Carol Ohmart and Tom Tryon (yes, the future novelist) star as Paulie and Marsh, respectively the film's villainess and protagonist. Knowing that Marsh is hopelessly in love with her, Paulie uses him as a dupe in an upcoming jewelry heist. Only after a killing has occurred does Marsh come to his senses. Jody Lawrance, whose previous career as a Columbia contract player had led nowhere, is "introduced" as the good girl to whom Marsh eventually retreats. Other comparative newcomers in the cast include Elaine Stritch, James Gregory and Edward Binns. ~ Hal Erickson, All Movie Guide

To fully enjoy the rugged outdoors adventure The Mountain, one must accept the notion that 55-year-old Spencer Tracy and 25-year-old Robert Wagner are brothers. Tracy plays veteran mountain guide Zachary Wheeler, who is coaxed out of retirement when a passenger plane crashes on high mountain. He decides it isn't worth risking his life to recover the bodies of the passengers, but hot-headed younger brother Chris (Robert Wagner), hoping to claim the victims' valuables, talks Zachary into accompanying him to the mountaintop. After their treacherous upward journey, the brothers discover that one of the passengers, a Hindu girl (Anna Kashfi), is still alive. Zachary wants to bring her back to safety, but the greedy Chris would rather abandon her and make off with the valuables. It is, inevitable, then, that not everyone involved is going to get off the mountain alive. A worthwhile character study enhanced by superb location photography, The Mountain is compromised by its overreliance on phony-looking studio "exteriors". ~ Hal Erickson, All Movie Guide

Mousy clerk Ronald Grimes (E.G. Marshall) begins receiving written predictions from a mail-order prophet named Christiani. Impulsively acting upon these predictions, Grimes discovers to his amazement that they all become true, and he ends up accumulating a great deal of wealth. Alas, the price that Grimes must pay for this streak of luck proves to be a daunting one indeed. This episode marks a reunion of sorts for E.G. Marshall and Jack Klugman, both of whom had previously co-starred in the 1957 film Twelve Angry Men. ~ Hal Erickson, All Movie Guide

A Puerto Rican youth is on trial for murder, accused of knifing his father to death. The twelve jurors retire to the jury room, having been admonished that the defendant is innocent until proven guilty beyond a reasonable doubt. Eleven of the jurors vote for conviction, each for reasons of his own. The sole holdout is Juror #8, played by Henry Fonda. As Fonda persuades the weary jurors to re-examine the evidence, we learn the backstory of each man. Juror #3 (Lee J. Cobb), a bullying self-made man, has estranged himself from his own son. Juror #7 (Jack Warden) has an ingrained mistrust of foreigners; so, to a lesser extent, does Juror #6 (Edward Binns). Jurors #10 (Ed Begley) and #11 (George Voskovec), so certain of the infallibility of the Law, assume that if the boy was arrested, he must be guilty. Juror #4 (E.G. Marshall) is an advocate of dispassionate deductive reasoning. Juror #5 (Jack Klugman), like the defendant a product of "the streets," hopes that his guilty vote will distance himself from his past. Juror #12 (Robert Webber), an advertising man, doesn't understand anything that he can't package and market. And Jurors #1 (Martin Balsam), #2 (John Fiedler) and #9 (Joseph Sweeney), anxious not to make waves, "go with the flow." The excruciatingly hot day drags into an even hotter night; still, Fonda chips away at the guilty verdict, insisting that his fellow jurors bear in mind those words "reasonable doubt." A pet project of Henry Fonda's, Twelve Angry Men was his only foray into film production; the actor's partner in this venture was Reginald Rose, who wrote the 1954 television play on which the film was based. Carried over from the TV version was director Sidney Lumet, here making his feature-film debut. A flop when it first came out (surprisingly, since it cost almost nothing to make), Twelve Angry Men holds up beautifully when seen today. It was remade for television in 1997 by director William Friedkin with Jack Lemmon and George C. Scott. ~ Hal Erickson, All Movie Guide