Virginia Mayo Movies

Though its title would seem to indicate a medieval swashbuckler, The Iron Mistress is actually based on the life of American frontiersman Jim Bowie. Alan Ladd stars as the fearless, knife-wielding Bowie, who is first seen arriving in New Orleans to sell a supply of lumber. Bowie falls in love with duplicitous Creole lass Judalon de Bornay (a brunette Virginia Mayo), who inspires him to increase his riches and political power. When Bowie doesn't move up the ladder of success fast enough to suit her, the fickle Judalon weds another. Bowie eventually finds happiness in the arms of Ursula de Veremendi (Phyllis Kirk), the daughter of Texas' vice-governor. The film tactfully ends long before Bowie's rendezvous with destiny at the Alamo. The Iron Mistress is based on the novel by Paul I. Wellman; the highlight of the novel, a fierce knife-and-rapier duel, is faithfully recreated here. ~ Hal Erickson, All Movie Guide

Starlift was Warner Bros' attempt to revive the "all-star patriotic musical" format which had worked so well during WW II. The wisp of a plot concerns Mike Nolan (Dick Wesson) and Rick Williams (Ron Hagherty), San Francisco-based airmen who serve as crew members on a shuttle to Korea. To impress a group of movie starlets making a personal appearance, Mike and Rick claim that they're due to be sent into combat. Actress Nell Wayne (Janice Rule) falls in love with Rick, leading to a major publicity blitz and culminating with a special USO presentation for all the Korea-bound servicemen in Frisco, starring virtually everyone on the Warners' contract roster. Among the stars making personal appearances (and sometimes delivering songs, whether they can sing or not!) include Gordon MacRae, James Cagney, Ruth Roman, Doris Day, Gary Cooper, Frank Lovejoy, Phil Harris, Randolph Scott and Jane Wyman. Reportedly, the comedy team of Tommy Noonan and Peter Marshall made its movie debut in Starlift, though they don't appear in the currently available prints. ~ Hal Erickson, All Movie Guide

Painting the Clouds with Sunshine was a remake of the 1929 musical Gold Diggers of Broadway, which no longer exists for comparison (though its first remake, Gold Diggers of 1933, has been safely preserved). Carol (Virginia Mayo), Abby (Lucille Norman) and June (Virginia Gibson) arrive in Las Vegas for the express purpose of landing millionaire husbands. Securing work as a singing trio, the girls do their best to cozy up to potential wealthy mates, but always seem to end up with the "wrong" kind of guy. Abby falls for impecunious gambler Vince Nichols (Dennis Morgan). The girls decide to use Vince's resources to save hotelier Felix Hoff (S.Z. Sakall) from bankruptcy. Enter Vince's tight-lipped Boston-banker cousin Bennington (Tom Conway), determined to rescue his relative from gold-diggers, and on and on the plot rolls, occasionally interrupted by splashy, Technicolorful musical numbers emphasizing the physical attributes of the three heroines. Like MGM's Singin' in the Rain, Painting the Clouds with Sunshine was designed primarily to showcase Warner Bros' backlog of songs from its early-talkie musicals. ~ Hal Erickson, All Movie Guide

The first of actor Burt Lancaster's filmic associations with partner Harold Hecht, The Flame and the Arrow finds Lancaster cast as Dardo, an Italian Robin Hood battling the occupying Hessian troops. Dardo's stake in the matter becomes personal when his former wife Francesca (Lynne Baggett) moves in with Hessian leader Allenby (Robert Douglas). Francesca demands that the Hessians reclaim her son from Dardo; in retaliation, Dardo kidnaps Anne (Virginia Mayo), Allenby's niece. Allenby responds to this by taking several locals as hostages. This can't go on forever, so Dardo surrenders to Allenby and resigns himself to be hanged. Dardo's cronies, an acrobatic troupe headed by Nick Cravat (Lancaster's former circus partner and lifelong crony), rescue all the good people and wipe out the bad. ~ Hal Erickson, All Movie Guide

When he's discharged from a military hospital, ex-GI Bob Corey (Gordon MacRae) goes on a search for his army buddy Steve Connolly (Edmond O'Brien). A reformed crook, Connolly is on the lam from a trumped-up murder rap, and Corey hopes to clear his pal. Tagging along is Army nurse Julie Benson (Virginia Mayo), who has fallen for Corey. The rest of the film emulates the 1946 noir exercise The Killers, with Julie and Corey interviewing various people with whom Connolly has come in contact. One of those people, of course, is the actual killer, who now adds the GI and the nurse to the "hit list." Warner Bros. used Backfire to test the dramatic potential of singing star Gordon MacRae, who passes that test with flying colors. ~ Hal Erickson, All Movie Guide

Virginia Mayo is Flaxy Martin in this complicated Warner Bros. melodrama. Flaxy is a bad girl but good company, especially when she's around criminal attorney Walter Colby (Zachary Scott). When Colby begins to have second thoughts about his gangster cohorts, Flaxy arranges a murder frame, forcing the attorney to go on the run. The bulk of the film is a thrill-packed chase teaming Colby with the film's resident Good Girl, Nora Carson (Dorothy Malone). Also figuring into the proceedings is Elisha Cook Jr., playing his usual shifty little creep. Director Richard L. Bare had only recently moved up from the "Joe McDoakes" comedy shorts to features when he guided Flaxy Martin with skill and aplomb. ~ Hal Erickson, All Movie Guide

Though not acknowledged by contemporary reviewers, Colorado Territory is a westernized remake of the 1941 crime drama High Sierra. Raoul Walsh, director of the earlier film, returns to helm the remake, doing a grand job on both occasions. Joel McCrea stars in the Humphrey Bogart role, playing a veteran outlaw who hopes to pull off one last, spectacular heist. Virginia Mayo portrays the Ida Lupino counterpart, a "bad" dance-hall girl who proves to be the only person who genuinely cares about McCrea's well-being. As in the earlier film, the climax finds McCrea making a futile bid for escape in the mountains, with tragic consequences. High Sierra was good for at least one more remake, the 1955 Jack Palance-Shelley Winters starrer I Died a Thousand Times. ~ Hal Erickson, All Movie Guide

In later years, James Cagney regarded White Heat with a combination of pride and regret; while satisfied with his own performance, he tended to dismiss the picture as a "cheap melodrama." Seen today, White Heat stands as one of the classic crime films of the 1940s, containing perhaps Cagney's best bad-guy portrayal. The star plays criminal mastermind Cody Jarrett, a mother-dominated psychotic who dreams of being on "top of the world." Inadvertently leaving clues behind after a railroad heist, Jarrett becomes the target of the feds, who send an undercover agent (played by Edmond O'Brien) to infiltrate the Jarrett gang. While Jarrett sits in prison on a deliberately trumped-up charge (he confesses to one crime to provide himself an alibi for the railroad robbery), he befriends O'Brien, who poses as a hero-worshipping hood who's always wanted to work with Jarrett. Busting out of prison with O'Brien, Jarrett regroups his gang to mastermind a "Trojan horse" armored-car robbery. ~ Hal Erickson, All Movie Guide

Despite the film's title, socialite Linda Vickers (Virginia Mayo) isn't smart enough to steer clear of the gambling den operated by gangster Marty Fain (Bruce Bennett). Forced to join Fain's operation, Linda gets mixed up with duplicity and murder-not to mention a torrid romance with the gangster chief. Interestingly enough, Fain is the more sympathetic of the two leading characters. He seems like a basically nice guy stuck with not-so-nice associates, while Linda comes off as surfacey and selfish. In the end, however, it must be proven to the satisfaction of the censors that crime doesn't pay, especially when the life of Linda's brother "Doc" (Robert Hutton) is at stake. ~ Hal Erickson, All Movie Guide

James Thurber wasn't too happy with the Sam Goldwyn film adaptation of his 1939 short story The Secret Life of Walter Mitty, but the Technicolor musical comedy proved to be a cash cow at the box office. Danny Kaye stars as Walter, a milquetoast proofreader for a magazine publishing firm. Walter is constitutionally incapable of standing up for himself, which is why his mother (Fay Bainter) has been able to arrange a frightful marriage between her son and the beautiful but overbearing Gertrude Griswold (Ann Rutherford). As he muses over the lurid covers of the magazines put out by his firm, Walter retreats into his fantasy world, where he is heroic, poised, self-assured, and the master of his fate. Glancing at the cover of a western periodical, Walter fancies himself the two-gun "Perth Amboy Kid"; a war magazine prompts Walter to envision himself as a fearless RAF pilot; and so on. Throughout all his imaginary adventures, a gorgeous mystery woman weaves in an out of the proceedings. Imagine Walter's surprise when his dream girl shows up in the flesh in the person of Rosalind van Horn (Virginia Mayo). The girl is being pursued by a gang of jewel thieves headed by Dr. Hugo Hollingshead (Boris Karloff), a clever psychiatrist who manages to convince Walter that he's simply imagining things again, and that Rosalind never existed. At long last, Walter vows to live his life in the "now" rather than in the recesses of his mind: he rescues Rosalind from the gang's clutches, tells his mother and Gertrude where to get off, and fast-talks his way into a better position with the publishing firm. Substituting the usual Danny Kaye zaniness for James Thurber's whimsy, Secret Life of Walter Mitty works best during the production numbers, especially Kaye's signature tune "Anatole of Paris." ~ Hal Erickson, All Movie Guide

Danny Kaye's The Kid From Brooklyn is a virtual scene-for-scene remake of Harold Lloyd's The Milky Way (1936), with music and Technicolor added to the proceedings. Kaye is cast as timid milkman Burleigh Sullivan, who through a fluke knocks out prizefighting champion Speed McFarlane (Steve Cochran). Sensing a swell publicity angle, McFarlane's manager Gabby Sloan (Walter Abel) promotes Burleigh as the next middleweight champ-and to insure this victory, Gabby fixes several pre-title bouts. Unaware that his fighting prowess is a sham, Burleigh develops a swelled head, which alienates him from everyone he cares about, including his sweetheart Polly Pringle (Virginia Mayo). The truth comes out during the climactic title fight, but a chastened Burleigh emerges victorious thanks to a series of incredible plot twists. The strong supporting cast includes Vera-Ellen as Burleigh's sister Susie, Eve Arden as Gabby's wisecracking girl friday Ann Westley, and, repeating his role from Milky Way, Lionel Stander as Speed's lamebrained trainer Spider Schultz. Danny Kaye does his best to play Burleigh Sullivan rather than Danny Kaye, though his efforts are undermined by the interpolated "specialty" number "Pavlova," which just plain doesn't belong in this picture. Like The Milky Way, The Kid From Brooklyn was adapted from the Broadway play by Lynn Root. ~ Hal Erickson, All Movie Guide

Ostensibly a vehicle for RKO Radio's new comedy duo Wally Brown and Alan Carney, Seven Days Ashore actually casts Brown & Carney in subordinate roles. The plotline is carried by furloughed sailor Dan Arland (Gordon Oliver), who while docked in San Francisco gets mixed up with three amorous females. Hoping to avoid breach-of-promise suits from two of the girls, Arland palms them off to his pals Monty (Brown) and Orville (Carney), while he devotes his time to debutante Annabelle (played by future news journalist Elaine Shepard). One of the "castaway" girls is portrayed by Virginia Mayo, on the verge of stardom. Musical relief is provided by Dooley Wilson ("Sam" in Casablanca), Freddie Slack and His Orchestra, and the zany "corn aggregation" led by Freddie "Schnickelfritz" Fisher. ~ Hal Erickson, All Movie Guide

It is said that producer Sam Goldwyn had a habit of addressing his new star of the 1940s, Danny Kaye, as "Eddie", confusing Kaye with Eddie Cantor. If true, it may be because Kaye's first starring film for Goldwyn, Up in Arms, was a remake of Cantor's Whoopee--which in turn was a musical version of that old theatrical chestnut The Nervous Wreck. Kaye plays Danny Weems, a hopeless hypochondriac who finds himself drafted into the army. While a passenger on an overseas transport ship, Danny is obliged to hide his girl friend Mary Morgan (Constance Dowling), who has stowed away on board, from the authorities. The plot (what there is of it) contrives to have Danny and Mary, together with Virginia (Dinah Shore), who's in love with Danny, and Joe (Dana Andrews), who's in love with Mary, arrive simultaneously on the same South Sea island. After numerous comic and romantic complications, Danny emerges as the hero of the hour by capturing a whole bunch of Japanese soldiers. The film shows signs of post-production tampering-an offscreen narration, an abrupt ending-indicating that, as yet, Sam Goldwyn wasn't quite sure how to package Danny Kaye for the screen. Despite its erratic editing and uneven scenario, Up in Arms contains some priceless moments, including Kaye's rapid-patter songs "The Lobby Number" and "Melody in 4F", both written by Sylvia Fine (Mrs. Kaye) and Max Liebman. There are also a few cute "inside" jokes referring to the illogical nature of the plotline and such esoterica as the out-of-nowhere appearances of the Goldwyn Girls (one of whom was Kaye's future leading lady Virginia Mayo). ~ Hal Erickson, All Movie Guide