Victor McLaglen Movies

In one of his final performances, Oscar-winning character actor Victor McLaglen is cast as Mike O'Hare, the two-fisted engineer overseeing the construction of a new dam. Insisting that the dam will seriously endanger the local water supply, wealthy landowner Henry Ritchie (Herbert Rudley) hires Paladin (Richard Boone) to put a stop to the project. But after a lively fistfight with the indomitable O'Hare, Boone becomes quite fond of the big lug--and begins to suspect that Ritchie's opposition to the dam is not borne of good intentions. This episode was one of several directed by Andrew V. McLaglen, who happened to be Victor McLaglen's son. ~ Hal Erickson, All Movie Guide

Riding into town with a corpse in the back of his wagon, Sam Rickers (Don Keefer) claims to have killed fugitive outlaw Bob Hulbert, and demands the $1000 reward. When Matt (James Arness) examines the body, he notices two things: the dead man was shot in the back--and he doesn't look anything like Hulbert. Facing a murder charge, Sam insists that he shot in self defense, and his wife Letty (Catherine McLeod) backs him up. The plot thickens when a man named Caitlin (Robert Griffin) confronts Dillon, telling him that the picture on Hulbert's wanted poster is actually someone else. The fact that guest stars Don Keefer and Catherine McLeod were married in real life adds an extra dimension to the startling finale of this episode, which is based on the Gunsmoke radio broadcast of November 13, 1954. ~ Hal Erickson, All Movie Guide

Andrew V. McLaglen directs his actor father Victor McLaglen in The Abductors. The elder McLaglen plays a 19th century ex-convict, who hopes to spring a master counterfeiter from jail. To this end, McLaglen and his partner George MacReady kidnap the daughter (Fay Spain) of the prison warden, but this schemes comes acropper. Ultimately, the crooks abduct the body of Abraham Lincoln from its tomb in Springfield, holding it for ransom until their confederate is freed. It says here that The Abductors is based on a true story. ~ Hal Erickson, All Movie Guide

Richard Conte plays the obligatory Man With a Past in RKO's Bengazi. Joining up with disreputable Irishman Victor McLaglen and army deserter Richard Erdman, Conte heads into the African desert in search of hidden Arab gold. They in turn are pursued by British police inspector Richard Carlson and by McLaglen's daughter Mala Powers. When the raffish trio find the gold, they must defend themselves against hostile Arab tribesmen. The remainder of the film evolves into a reworking of the 1934 RKO film The Lost Patrol, which also costarred Victor McLaglen. Bengazi was filmed almost entirely out-of-doors, on location in Arizona's Yuma Desert. ~ Hal Erickson, All Movie Guide

After several years of supporting parts, Victor McLaglen once more landed a leading role in Republic's City of Shadows. McLaglen plays Big Tim Channing, an ageing but powerful gangster who raises young newsboy Dan Mason as his own son. Upon reaching adulthood, Mason (John Baer) becomes a law student, with the covert (and illegal) help of Channing. Despite his checkered past, Mason opts for honesty when he falls in love with Fern Fellows (Kathleen Crowley). This decision ultimately spells the doom for Mason's mentor Big Tim. The all-character actor cast includes such familiar faces as Anthony Caruso, Paul Maxey, Frank Ferguson, Richard Travis, and Kay E. Kuter. ~ Hal Erickson, All Movie Guide

Trouble in the Glen was one of several felicitous collaborations between Hollywood's Republic Pictures and England's Herbert Wilcox-Anna Neagle productions. Curiously, Ms. Neagle does not appear--just as well, since the film is dominated by Orson Welles. Introducing himself with a typically self-indulgent monologue, the porcine Mr. Welles plays a South American resident who returns to his ancestral home in Scotland to become "Laird of the Glen". He immediately alienates the local populace by closing down the highway that runs through his estate. Hoping to make peace between Welles and the locals is former US air force officer Forrest Tucker, who developed an affection for the community while being stationed there during WWII. Violence threatens to erupt when evicted tinker Victor McLaglen rounds up a gang of toughs to lay siege on Welles' castle. The scenes involving Tucker's polio-crippled daughter (Margaret McCourt) run the risk of sloppy sentiment, but are deftly handled by producer-director Wilcox. Margaret Lockwood costars as Welles' daughter, who adheres to Hollywood formula by falling in love with the handsome Tucker. ~ Hal Erickson, All Movie Guide

Returning to the Ireland of his birth, director John Ford fashions a irresistable valentine to the "Auld Sod" in The Quiet Man. Irish-American boxer John Wayne, recovering from the trauma of having accidentally killed a man in the ring, arrives in the Irish village where he was born. Hoping to bury his past and settle down to a life of tranquility, Wayne has purchased the home of his birth from wealthy local widow Mildred Natwick, a transaction that has incurred the wrath of pugnacious squire Victor McLaglen, who coveted the property for himself. By and by, Wayne falls in love with McLaglen's beautiful, high-spirited sister Maureen O'Hara. Her insistence that Wayne conduct his courtship in a proper Irish manner-with puckish matchmaker Barry Fitzgerald along for the ride as "chaperone"--is but one obstacle to their future happiness: the other is McLaglen, who spitefully refuses to give his consent to his sister's marriage, or to honor the tradition of paying a dowry to Wayne. Wayne could care less about dowries, but the tradition-bound Maureen refuses to consummate her marriage until McLaglen pays up. Under any other circumstances, Wayne would have punched out the bullying McLaglen long ago, but ever since his tragedy in the ring he has been reluctant to fight. Local priest Ward Bond conspires with several locals to trick McLaglen into paying his due. They intimate that widow Natwick, for whom McLaglen carries a torch, will marry the old brute if he'll give his consent to the marriage and fork over the dowry. But McLaglen finds he's been tricked and the situation remains at a standoff, with the frustrated Wayne locked out of his wife's bedroom. When Maureen accuses him of being a coward and walks out on him, our hero can stand no more. He marches Maureen to McLaglen's home, indicating that he plans to whale the tar out of both brother and sister. As a huge and appreciative crowd gathers the cornered McLaglen truculently tosses the money in Wayne's direction. Big John hands the bills to Maureen, just as she knew he would, and she ceremoniously destroys the money, just as he knew je would. Having proven their love for each other, there is nothing left for Wayne and Maureen to do but head home and perform their nuptual duties. But first there's the matter of giving McLaglen the thrashing he deserves....and it is this spectacular donnybrook, which covers several acres of land and at least two "pit stops" so that the combatants can quench their thirst, which convinces Natwick that the defeated McLaglen is truly worthy of her love (her logic is on a par with everyone else's in the film!) Though it tends to perpetuate the myth that all true Irishmen live only to fight, drink and make love, The Quiet Man is grand and glorious fun, enacted with gusto by a largely Hibernian cast and directed with loving care by a master of his craft. Written by Frank Nugent and graced with a lilting musical score by Victor Young, the film won Oscars for Archie Stout's Technicolor photography and for John Ford's direction-a real coup for "poverty row" Republic Pictures. If you haven't already luxuriated in this wonderful film, be sure to catch in on the tube next St. Patrick's Day. ~ Hal Erickson, All Movie Guide

In this Republic musical, all heck breaks loose when the girlfriend of an aspiring composer becomes a model for the starving artist who lives next door. The story takes place at the turn of the 19th century and is set in Miss Rich's boardinghouse, the temporary home of many young artists and performers hoping to make it big in New York. Songs include "Have I Told You Lately?" and "A Bluebird Is Singing to Me." ~ Sandra Brennan, All Movie Guide

Frank Yerby's Foxes of Harrow was one of those long historical novels so popular in the 1940s. 20th Century-Fox boiled the novel down into 118 minutes' worth of essentials for this film version. In antebellum New Orleans, roguish Irish gambler Rex Harrison buys his way into society--something he couldn't do in his homeland because he is illegitimate. Sequestering himself in a mansion won in a card game, Harrison courts Southern belle Maureen O'Hara, but their subsequent marriage is befouled by Rex's incessant womanizing. Though tempted to walk out for good, O'Hara stays by her husband's side after he loses his fortune, hoping that the impoverished Harrison will now behave more responsibly. ~ Hal Erickson, All Movie Guide

In this drama, Mary (Ava Gardner) returns to her small town after she becomes a success in the city. Meeting up with her old love, Kenny (George Raft), she discovers that he is still the unambitious, lazy man he was when she left, and she begins an affair with nightclub owner Lew Lentz (Tom Conway). When a jealous rivalry arises between Lew and Kenny, the results could be deadly. ~ Iotis Erlewine, All Movie Guide

The trouble begins when glamorous Broadway actress Roberta Baxter (Virginia Bruce) signs for her latest play. She proceeds to spend far too much time at rehearsals, and far too little time with her attorney husband William (Edward Ashley). Even so, it is Roberta who eventually walks out on William, claiming that he's been neglecting her! The nonplussed William gives Roberta's room to an unemployed tatoo artist named Terry (Victor McLaglen) and Terry's preteen ward Sally (Jacqueline Moore). Hoping to get grounds for divorce, Roberta returns to her apartment, posing as a French governness for Sally. The fact that William doesn't seem to recognize Roberta when she starts to flirt with him should be indication enough of the film's credibility level. ~ Hal Erickson, All Movie Guide

In his second film for producer Sam Goldwyn, Bob Hope is felicitously teamed with luscious Goldwyn contractee Virginia Mayo. Hope plays Sylvester the Great, a two-bit entertainer "touring" the West Indies in the 18th century. Mayo is Princess Margaret, who is kidnapped by a rough, tough buccaneer known only as The Hook (Victor McLaglen). Through a series of unbelievable circumstances, Sylvester rescues Margaret, and the two of them pose as travelling troubadors in a treacherous Pirate colony, where people are stabbed and dumped in the ocean for nonpayment of rent and other such offenses. Disguising himself as The Hook, Sylvester is befriended by corrupt colonial governor La Roche (Walter Slesak), but only until the real Hook shows up. Things look bleak for Sylvester and Margaret, but salvation is on the way-as well as a surprising romantic denoument, when a "bit player from Paramount" (guess who?) shows up to steal the Princess away from Sylvester ("Boy, this is the last picture I make for Goldwyn!") No fewer than six writers teamed up for this Technicolor extravaganza, which though not as consistently hilarious as other Hope farces still holds up beautifully. The best performance is offered by Walter Brennan as an addled pirate named Featherhead, a character right out of a Tex Avery cartoon! ~ Hal Erickson, All Movie Guide

The 80-star cast of Forever and a Day would certainly not have been feasible had not most of the actors and production people turned over their salaries to British war relief -- a point driven home during the lengthy opening credits by an unseen narrator. The true star of the film is a stately old manor house in London, built in 1804 by a British admiral (C. Aubrey Smith) and blitzed in 1940 by one Adolf Hitler. Through the portals of this house pass a vast array of Britons, from high-born to low. The earliest scenes involve gay blade Lt. William Trimble (Ray Milland), wronged country-girl Susan (Anna Neagle), and wicked landowner Ambrose Pomfret (Claude Rains). We move on to a comic interlude involving dotty Mr. Simpson (Reginald Owen), eternally drunken butler Bellamy (Charles Laughton), and cockney plumbers Mr. Dabb (Cedric Hardwicke) and Wilkins (Buster Keaton). Maidservant Jenny (Ida Lupino) takes over the plot during the Boer War era, while the World War I sequence finds the house converted into a way-station for soldiers (including Robert Cummings) and anxious families (including Roland Young and Gladys Cooper). Finally we arrive in 1940, with American Gates Pomfret (Kent Smith) and lady-of-the-house Lesley Trimble (Ruth Warrick) surveying the bombed-out manor, and exulting over the fact that the portrait of the home's founder, Adm. Eustace Trimble (Smith), has remained intact -- symbolic proof of England's durability in its darkest hours. The huge cast includes Dame May Whitty, Edward Everett Horton, Wendy Barrie, Merle Oberon, Nigel Bruce, Richard Haydn, Donald Crisp, and a host of others -- some appearing in sizeable roles, others (like Arthur Treacher and Patric Knowles) willingly accepting one-scene bits, simply to participate in the undertaking. Seven directors and 21 writers were also swept up in the project. Forever and a Day was supposed to have been withdrawn from circulation after the war and its prints destroyed so that no one could profit from what was supposed to have been an act of industry charity. Happily for future generations, prints have survived and are now safely preserved. ~ Hal Erickson, All Movie Guide