Lester Matthews Movies

A frantic mother places a call to Rampart headquarters, telling the officers that her child is missing. Officers Jim Reed (Kent McCord) and Pete Malloy (Martin Milner) do their best to locate the child, despite a number of other assignments on their case log. In addition to the job at hand, the two cops must also haul in a young man who has burlarized his uncle's house, investigate a self-defense killing, and mollify a lonely old lady. ~ Hal Erickson, Rovi

Touted by 20th Century-Fox as a follow-up to their enormously successful The Sound of Music, Star! reteams that earlier film's leading lady Julie Andrews and director Robert Wise. Andrews plays legendary musical comedy star Gertrude Lawrence, while Daniel Massey appears as Lawrence's friend, co-worker and severest critic Noel Coward (Massey's real-life godfather). The film jumps back and forth in continuity at times, its transitions bridged by fabricated newsreel footage; essentially, however, William Fairchild's script traces Lawrence's progress from ambitious bit actress to the toast of London and Broadway. Her success is offset by a stormy private life, which is given some ballast when she falls in love with an American financier (Richard Crenna). The film is way too long for its own good, though the musical set pieces -- especially the Andrews-Massey duets -- are superb. Julie Andrews welcomed the chance of playing a character as far removed from her goody-two-shoes heroine in Sound of Music as possible; Gertrude Lawrence was temperamental, sarcastic, profane and at times self-destructive, and Andrews makes a meal of the role. Unfortunately, Andrews' fans, conditioned by the Fox publicity machine to expect a continuation of Sound of Music, rejected her outright in this "new" characterization. Star! was a huge box-office bomb, so much so that Fox desperately attempted a shortened re-release under a misleading new title, Those Were The Happy Times. They weren't: it remained a financial disaster, though it has developed a loyal cult following in recent years. ~ Hal Erickson, Rovi

Assault on a Queen is a complex, exciting crime-caper film in which a gang of clever mercenaries try to rob the famous luxury liner, the Queen Mary. Mark Brittain (Frank Sinatra) is hired by wealthy Italian adventuress Rosa Lucchesi (Verna Lisi) and her German partner-in-crime, Eric Laufftiauer (Alf Kjellin) to refurbish a WWII German U-Boat and use it to hold the entire ship hostage while it is robbed. Scriptwriter Rod Serling does his best with an interesting, but rather implausible premise, and director Jack Donohue gets above-average performances from his cast of veteran character actors, including Richard Conte and Reginald Denny, but Frank Sinatra is not particularly believable as an action hero. The true star of the show is the terrific color photography of the magnificent ocean liner by William Daniels and a musical score by Duke Ellington. While Assault on a Queen fails to generate much suspense, fans of Frank Sinatra should enjoy this, although it fails to reach the level of fun and excitement of his excellent Ocean's 11. ~ Linda Rasmussen, Rovi

Returning to town after a four-week (and four-episode) absence, Viv (Vivian Vance) is introduced to Lucy's old school chum Rosie Hannigan (Ann Sothern), now known as the Countess Framboise. No sooner has this happened than Viv is embroiled in a plan concocted by Lucy (Lucille Ball) to help the Countess impress some visiting royalty. That plan involves a crumbling old mansion which Lucy intends to "fix up" for a fancy party--and we all know what happens whenever Lucy tries to fix up anything! ~ Hal Erickson, Rovi

The wacky world of "insider trading" is roundly spoofed in this episode. When Jed Clampett announces that he'd like to share his crawdad shipment from back home with banker Drysdale, a pair of stock investors overhear the conversation and assume that J.D. Clampett has cornered a "hot stock" called Crawdad. Veteran character actors Lester Matthews and Addison Richards play misguided investors Pendleton and Lucus. "The Great Crawdad Hunt" originally aired on April 15, 1964. ~ Hal Erickson, Rovi

Long resistant to film adaptations of her Mary Poppins books, P.L. Travers finally succumbed to the entreaties of Walt Disney, and the result is often considered the finest of Disney's personally supervised films. The Travers stories are bundled together to tell the story of the Edwardian-era British Banks family: the banker father (David Tomlinson), suffragette mother (Glynis Johns), and the two "impossible" children (Karen Dotrice and Matthew Garber). The kids get the attention of their all-business father by bedevilling every new nanny in the Banks household. Whem Mr. Banks advertises conventionally for another nanny, the kids compose their own ad, asking for someone with a little kindness and imagination. Mary Poppins (Julie Andrews in her screen debut) answers the children's ad by arriving at the Banks home from the skies, parachuting downward with her umbrella. She immediately endears herself to the children. The next day they meet Mary's old chum Bert (Dick Van Dyke), currently employed as a sidewalk artist. Mary, Bert, and the children hop into one of Bert's chalk drawings and learn the nonsense song "Supercalifragilisticexpialidocious" in a cartoon countryside. Later, they pay a visit to Bert's Uncle Albert (Ed Wynn), who laughs so hard that he floats to the ceiling. Mr. Banks is pleased that his children are behaving better, but he's not happy with their fantastic stories. To show the children what the real world is like, he takes them to his bank. A series of disasters follow which result in his being fired from his job. Mary Poppins' role in all this leads to some moments when it is possible to fear that all her good work will be undone, but like the magical being she is, all her "mistakes" lead to a happy result by the end of the film. In 2001, Mary Poppins was rereleased in a special "sing-along" edition with subtitles added to the musical numbers so audiences could join in with the onscreen vocalists. ~ Hal Erickson, Rovi

In this comedy, the head of a United Nations department suddenly becomes a father when he stumbles across an abandoned baby in one of the halls. He tries to find a home for the darling and suddenly finds himself surrounded by assorted exotic beauties all trying to win the baby for their country. In the end, though, the bachelor takes the babe for his own. Songs include: "So Wide the World," "Fais Do Do," and "A Global Affair." ~ Sandra Brennan, Rovi

Whatever the "miracle" is in this story, set back in the 19th century, it tends to be buried underneath the multiple romances of the heroine Teresa (Carroll Baker), a woman who leaves the convent to find one specific man. Teresa falls in love with Michael (Roger Moore) a dashing Englishman in the British army that is fighting Napoleon in Spain. She opts for leaving the cloister to find her love. Meanwhile, during her absence, a statue of the Virgin Mary comes to life and takes her place in the convent, hence the "miracle" of the title. Along her journey, Teresa meets and eventually marries a handsome gypsy (Vittorio Gassman) who comes to an unhappy end. Widowed and grieving, young Teresa next becomes enamored of a bullfighter (Gustavo Rojo) whose luck in the ring ends tragically one day. At this point, it would seem the cloister was a better offer, but Teresa continues in her journey to find Michael. ~ Eleanor Mannikka, Rovi

The literalism of writer-director Richard Brooks serves him well in this meticulously faithful adaptation of the Robert Ruark novel Something of Value. Filmed on location in Africa, this is the story of the Mau Mau uprising in Kenya, as seen through the eyes of a handful of protagonists. Virtually alone in a sea of racist British colonialism, gentleman farmer Peter McKenzie (Rock Hudson) strives to understand the demands of freedom and equality made by Kenya's black population in particular and his childhood friend Kimani (Sidney Poitier) in particular. Ultimately, however, McKenzie and Kimani find themselves on opposite sides of the fence when the latter aligns himself with the Mau Mau. Without advocating the terrorism of this controversial movement, the screenplay is careful to deal the ongoing iniquities and frustrations that forced men like Kimani to take arms against their white brethren. There were a few theatres in the American south who, feeling that the racial tensions inherent in Something of Value hit too close to home, refused to book this fascinating, thought-provoking, often startlingly brutal film. ~ Hal Erickson, Rovi

The Untamed West is the reissue title of the Pine-Thomas production The Far Horizons. This romanticized retelling of the Lewis and Clark expedition of 1803-06 stars Fred MacMurray as Meriwether Lewis and Charlton Heston as Bill Clark. The film doesn't delve much into the real-life animosity between the two, though it's clear that there's little love lost between the cerebral Lewis and the two-fisted Clark. Aiding the men in their expedition is Indian maiden Sacajawea, played with fist-in-the-air defiance by Donna Reed. Since interracial romances were still largely taboo in American films of the early 1950s, Sacajawea can only pine and sigh as Lewis and Clark square off over the affections of white-woman Julia Hancock (Barbara Hale). This Technicolor-and-Vistavision film works best as an outdoor adventure; its dramatic scenes tend to bog down in an excess of verbiage. The Far Horizons was based on Sacajawea of the Shoshones, a novel by Della Gould Edmonds. ~ Hal Erickson, Rovi

With his movie career fading in 1955, Bob Hope was amenable to writer/director Mel Shavelson's suggestion that Hope try something different. The Seven Little Foys was the first of Hope's two "straight" biopics (the second was 1956's Beau James). Though not completely abandoning his patented persona, Hope does an admirable job of impersonating legendary Broadway song-and-dance man Eddie Foy, right down to the soft-shoe shuffle and affected lisp. A successful "single" in vaudeville, Foy meets and marries lovely Italian songstress Madeleine Morando (Milly Vitale). The union results in seven children, moving the Foys' priest to comment "we're running out of Holy water" after the seventh baptism. Hardly an ideal family man, Foy leaves Madeleine and her sister Clara (Angela Clarke) behind in their Connecticut home to raise the kids, while he rises to spectacular career height. Returning home after attending a testimonial for George M. Cohan (James Cagney, who played this unbilled cameo on the proviso that Hope turn over Cagney's salary to charity), Foy discovers that his wife has died of pneumonia. Months pass: Foy sulks in his rambling house, while his seven kids run roughshod. Foy's manager (George Tobias) suggests that the entire family be assembled into a vaudeville troupe called The Seven Little Foys. Though the kids are profoundly bereft of talent, the act gets by on its charm, and before long Foy is a bigger success than ever. But when Foy and the kids are booked into the Palace on Christmas Day, Aunt Clara decides that the kids are being cruelly exploited, and arranges for the authorities to arrest the act on charges of violating a state law barring children from singing and dancing. The authorities decide to drop the charges when the kids rally around their father, declaring their genuine love for him--but the deciding factor is a quick demonstration that the kids can't sing or dance to save their lives! The Seven Little Foys is a standard Hollywood whitewash job, emphasizing Eddie Foy's virtues (including his on-stage heroism during the infamous Iroquois Theatre fire of 1903) and soft-pedaling or ignoring his faults (e.g. his capacity for alcohol). Wisely, the scenes between Bob Hope and the seven children playing the Little Foys (including Father Knows Best's Billy Gray, The Real McCoys' Lydia Reed and Leave It to Beaver's Jerry Mathers) are refreshingly free of cloying sentiment. Also, Hope is a good enough natural actor to convince us that he deeply cares for his children without gooey effusions of emotion. The film's hands-down highlight is the "challenge dance" between Foy (Bob Hope) and Cohan (James Cagney)--a lasting testament of the superb terpsichorean talents of both men. The Seven Little Foys was narrated by Eddie's son Charley Foy, a fine comedian in his own right. ~ Hal Erickson, Rovi

Roundly panned when it was first released, this CinemaScope film version of Sir Walter Scott's The Talisman can now be enjoyed on a "high camp" level. George Sanders plays King Richard the Lionhearted, while his arch-foe Saladin is over-acted by Rex Harrison. One of Richard's objectives during the Crusades is to reclaim the Holy Grail from Saladin's Mohammedan hordes. On the home front, Richard must contend with a group of conspirators dedicated to toppling him from his throne. In the middle of all this is the fictional Lady Edith,a British noblewoman played by Virginia Mayo in a manner that can best be described as overbaked. It is Ms. Mayo who delivers the film's classic line "Oh, fight, fight, fight! That's all you ever think of, Dickie Plantagenet!" In his American film debut, Laurence Harvey is as hammy as the rest of the cast as Sir Kenneth, Richard's right-hand man. ~ Hal Erickson, Rovi

Jungle Man-Eaters was #13 in Columbia's "Jungle Jim" series. On this occasion, Jim (Johnny Weissmuller) takes on a vicious smuggler named Latour (Gregory Gaye), who intends to corner the world's diamond trade. Assisting our hero is Scotland Yard inspector Bernard (Richard Stapley) and erudite tribal chieftan Zuwaba (Bernie Hamilton). A touch of feminity is added by Karin Booth as Bonnie, Inspector Bernard's lady friend. A fierce battle with a crocodile is but one of the many perils facing Jungle Jim as he tracks down his quarry. After Jungle Man-Eaters, Johnny Weissmuller elected to use his own name on-screen in all future "Jungle Jim" endeavors. ~ Hal Erickson, Rovi