Tony Merrill Movies

This dynamic and commanding adaptation of Tennessee Williams' Pulitzer Prize-winning play focuses on a troubled Southern family and the discord over their dying father's millions. Wealthy plantation owner Big Daddy Pollitt (Burl Ives), celebrating his 65th birthday, is visited by his sons, Brick (Paul Newman) and Gooper (Jack Carson). He has cancer, but a doctor has deliberately and falsely declared it in remission. Seemingly perfect son Gooper and his wife, Mae (Madeleine Sherwood), have several children and are anxiously expecting to inherit Daddy's millions. By contrast, Big Daddy's "favorite," Brick, is a has-been football star who's taken to drinking his days away since the suicide of his "best friend" a year earlier. He resents his wife, Maggie (Elizabeth Taylor), because he believes that she had an affair with his deceased friend. As a result, he refuses to sleep with her, although she remains devoted to him. Since Brick and Maggie have failed to produce any grandchildren, Big Daddy is inclined to leave his estate to Gooper, but Maggie attempts to prevent that by telling him that she is pregnant. Big Daddy knows better, yet he recognizes that Maggie loves Brick so much that she would be willing to do anything for him. Although Brick is self-destructive and resentful, unable to come to terms with his losses, it takes Big Daddy's recognition of his own mortality to make Brick change his perspective. Brick's struggle with his sexual identity, and the nature of his relationship with his "friend," had to be toned down for mass consumption, although this intelligently written and acted film covers such topics as infertility, adultery, and alcoholism that were still considered taboo in the 1950s. Newman brings depth and feeling to the role as Brick, while Taylor succeeds brilliantly in portraying Maggie as a passionate and understanding woman despite her own real-life emotional turmoil over the death of her husband at the time, producer Mike Todd. ~ Don Kaye, Rovi

Of the many filmed versions of the October 26, 1881, O.K. Corral shootout in Tombstone, Arizona, Gunfight at the O.K. Corral was one of the most elaborate and star-studded. Burt Lancaster plays Wyatt Earp, the renowned lawman, while Kirk Douglas is consumptive gambler (and gunfighter) Doc Holliday -- the two meet in difficult circumstances, as Earp discovers that Holiday, for whom he initially feels little but loathing, is being held on a trumped up murder charge and being set up for a lynching, and intercedes on his behalf. The action shifts to Dodge City, Kansas, where Earp is marshal and Holiday, hardly grateful for the good turn, shows up right in the middle of all kinds of trouble, this time mostly on Earp's side of the ledger. And, finally, the two turn up in Tombstone, Arizona, where Wyatt's brother Virgil is city marshal, and where Wyatt finally gets to confront the Clanton/McLowery outlaw gang (led by Lyle Bettger as Ike Clanton). Since the time-span of the actual gunfight was at most 90 seconds, the bulk of the film concerns the tensions across many months leading up to the famous battle. As scripted by Leon Uris (from a magazine story by George Scullin), the story involves two unrelated but parallel plot-lines -- a long-standing vendetta against Holliday and the efforts of Earp to bring the Clanton/McLowery gang to justice -- that are eventually drawn together on the streets of Tombstone. Woven into these proceedings are Earp's and Holliday's romantic dalliances with lady gambler Laura Denbow (Rhonda Fleming) and Kate Fisher (Jo Van Fleet), whose switch in affections from Holiday to outlaw fast-gun Johnny Ringo (John Ireland) only rachets up gambler's rage and the reasons behind the bloody climax. There are plenty of bribery attempts, terse dialogue exchanges and "Mexican standoffs" before the inevitable gunfight takes place. Director John Sturges takes some dramatic license with this confrontation, as well, stretching things out to nearly six minutes, but this is after all an "A" production, and a minute-and-a-half of gunfire just wouldn't cut it. The huge cast of western veterans includes Earl Holliman as Charles Bassett, Dennis Hopper as Billy Clanton, Kenneth Tobey as Bat Masterson, Lee Van Cleef as Ed Bailey, Jack Elam as Tom McLowery, and John Hudson, DeForest Kelley and Martin Milner as Virgil, Morgan, and James Earp, respectively. And there's that Dimitri Tiomkin score, pushing the movie's momentum as relentlessly as the two driven heroes, complete with a song (sung by Frankie Laine) underscoring the major transitions of scenes that's impossible to forget, once heard. Sturges himself would produce and direct a more fact-based and realistic version of the story -- focusing mostly on its aftermath -- a decade later, entitled Hour of the Gun, starring James Garner, Jason Robards, Jr., and Robert Ryan, which wasn't nearly as attractive or successful. But after Gunfight At The OK Corral, there would not be so impressive a lineup of talent at the OK Corral again until the twin Earp biopics of 1994, Wyatt Earp and Tombstone.
~ Hal Erickson, Rovi

My Friend Irma was supposed to be a straightforward adaptation of the popular radio sitcom of the same name. The film's focus therefore was supposed to be on air-headed Irma Peterson (Marie Wilson), her levelheaded roommate, Jane Stacy (Diana Lynn, taking over from the radio series' Cathy Lewis), and their various romantic misadventures. But the audience tended to ignore Irma, Jane, and the others in favor of two movie newcomers: Dean Martin and Jerry Lewis, cast respectively as would-be singer Steve Laird and dumb-dumb restaurant employee Seymour. Having risen to the top of the heap in the nightclub world, Martin and Lewis were discovered for films by producer Hal Wallis, who decided to test the boys out in secondary roles in an established property. Wallis felt that while Martin had potential as a singing star, Lewis was hopelessly inept as an actor. As the whole world knows by now, it was Lewis who ended up as the team's main attraction with his own inimitable brand of wacko humor. Even as early as Irma, Lewis manages to dominate every scene he's in, often by sheer force of will. Pretty soon, the viewer has forgotten the gossamer-thin plot (Irma's Runyonesque boyfriend, Al, played by John Lund, tries to promote Dino into stardom) and is waiting anxiously to get back to Jerry. When time came for the 1950 sequel, My Friend Irma Goes West, virtually the entire plot revolved around Martin and Lewis, with the official "stars" relegated to supporting roles. Like Marie Wilson, several of the My Friend Irma cast members were holdovers from the radio series, including Hans Conried as Professor Kropotkin. Felix Bressart had originally been slated to play Kropotkin on film, but when he died during shooting, Conried was brought in to complete his scenes (Bressart can still be glimpsed in a few medium and long shots). ~ Hal Erickson, Rovi

The Dore Schary regime at MGM brought a much-needed dose of stark realism to the venerable studio. Van Johnson sheds his boy-next-door image to play L.A. plainclothes lieutenant Mike Conovan. Determined to bring a cop killer to justice, Conovan will let no man stand in his way -- not even his level-headed superiors. The detective's single-purposed pursuit causes a rift in his marriage to wife Gloria (Arlene Dahl). The film comes very close to the Dragnet school of unadorned, unglamorized police procedure: it adheres to standard MGM formula only in the final reconciliation scene. Officially a Harry Rapf production, Scene of the Crime was completed by another producer when Rapf died during filming. ~ Hal Erickson, Rovi

An unofficial remake of The Champ, The Clown concerns Dodo Delwyn (Red Skelton), a down-and-out performer with abundant and obvious talent, but also a self-destructive tendency to overindulge his drinking and gambling habits. Once a Ziegfeld headliner, Dodo is now lucky to get jobs playing a clown at cheap amusement parks and even cheaper burlesque. Dodo's addictions cost him his marriage, but he somehow is able to maintain custody of his son Dink (Tim Considine), whose love for and faith in his father knows no bounds. Dink and Dodo's desperate need for each other is threatened when Dink's mother -- married again and capable of providing him with a better life -- reappears and explains that she wants to take care of the boy herself. Dink goes behind his father's back to locate his old agent, and begs him to help Dodo; but the agent cannot do anything. Dink goes away with his mother, but is miserable and runs back to his father. The agent, meanwhile, has managed to wrangle a TV show for Dodo -- and now that his son is back and needs him, Dodo resolves to find the courage to take up this offer and make a success of it. ~ Craig Butler, Rovi

Ronald Reagan plays a George Petty-type magazine illustrator who creates a "perfect girl" from a composite of the features of several models. While relaxing at the beach, Reagan meets a lovely young schoolteacher (Virginia Mayo) who is the living image of his imaginary girl. Sensing a terrific promotional angle, Reagan ingratiates himself with the girl and attempts to secure her services for a series of cheesecake poses. The film leads to a courtroom conclusion wherein Mayo must strut around in a bathing suit to win her case. Girl from Jones Beach is worth the admission price alone just to hear Ronald Reagan pose as a Czechoslovakian immigrant--complete with accent. ~ Hal Erickson, Rovi

The Narrow Margin is generally considered a "model" B picture; some film buffs go farther than that, labelling this 1952 RKO suspenser as the best low-budget studio production ever made. Nail-hard detective Walter Brown (Charles McGraw) is assigned to protect gangster's widow Mrs. Neall (Marie Windsor) as she rides the train from Chicago to LA, en route to testifying at a grand jury. There's no love lost between the ill-tempered Neall and Brown, especially since Brown's partner (Don Beddoe) was killed by mobsters while shielding Neall from harm. On the train, Brown makes the acquaintance of a likeable woman (Jacqueline White) and her playful young son. He also comes in contact with a rather secretive fat man (Paul Maxey), who may well be a mob assassin. Not long before the train pulls into California, Brown is approached by small-time crook (Peter Brocco), who offers the detective a great deal of money if he'll permit Neall to be silenced. Brown appears to be tempted, but this is only a smokescreen to throw the crooks off the trail. The Narrow Margin was remade (and unnecessarily padded and attenuated) in 1990. ~ Hal Erickson, Rovi

In his second solo starring film after breaking with Dean Martin, Jerry Lewis plays cartoonist George Baker's classic GI misfit The Sad Sack. Lewis' constitutional inability to do anything right brings him under the scrutiny of gorgeous Army psychiatrist Phyllis Kirk. She discovers that Lewis possesses a photographic memory, making him valuable enough to be transferred to a top secret assignment in Morocco. Assigned along with buddies David Wayne and Joe Mantell to guard a new weapon, Lewis deviates from his task when he falls in love with sexy nightclub performer Lilliane Montevecchi. She spurns him, so the heartbroken Lewis deserts the army and joins the Foreign Legion. When enemy spy Peter Lorre discovers that Lewis has memorized the assembly instructions for the secret weapon, he and his minions kidnap Lewis, Wayne and Mantell. With the help of Montevecchi, Lewis thwarts the baddies and becomes a hero--but within minutes, he's fouled up again, so it's back to permanent KP duty. Jerry Lewis still needed a straight-man foil at the time of The Sad Sack so Paramount provided him with David Wayne and Joe Mantell. By the time Geisha Boy rolled around in 1958, Lewis was finally able to carry a picture by himself. ~ Hal Erickson, Rovi

Two Latins From Manhattan was Columbia's 1941 contribution to the "Good Neighbor Policy" towards South America. Joan Davis heads the cast as pushy nightclub press agent Joan Daley, while Jinx Falkenberg and Joan Woodbury are costarred as Joan's roommates, aspiring showgirls Jinx Terry and Lois Morgan. Having heavily promoted the upcoming nightclub appearance of a famous Cuban singing-sister team, Joan is left in the lurch when the sisters fail to show up. But not to worry: our heroine gives Jinx and Lois a crash course in Cuban dialects, and in a twinkling the two Manhattanites are successfully posing as the Cubanos. The fun begins when the real Cubans show up unannounced. Evidently, Columbia was so enamored with this plotline that the studio used it again, with only minimal changes, as Two Senoritas From Chicago (1942), which also featured Joan Davis and Jinx Falkenberg. ~ Hal Erickson, Rovi