Torben Meyer

Tony (Larry Hagman) wants to buy a boat with Roger (Bill Daily), but the bank turns down his request for a loan. Hoping to help out, Jeannie magically deposits a huge sum in Tony's bank account--six million dollars, to be exact! Will this financial windfall finally give Dr. Bellows (Hayden Rorke) positive proof that there's something mighty strange going on in the Nelson household? ~ Hal Erickson, All Movie Guide

Based on the novel The Cup and the Sword by Alice Tisdale Hobart, this drama examines the trials and tribulations of three generations of French-American California vineyard owners. It's set during the Prohibition era, when wine makers were financially challenged and had to decide whether or not they wanted to cooperate with bootleggers to survive. Claude Rains plays Philippe Rambeau, an older grower in the Napa Valley who approaches his work like a craftsman. His grandson John (Rock Hudson) wants to make money by getting the family a cut of the bootleg market for wine. John's cousin Elizabeth (Jean Simmons) arrives from England summoned by Philippe, who hopes that she will bring stability to the business. John and Elizabeth fall in love, but Elizabeth soon finds that her cousin is reprehensible. The ruthless John sends raiding parties to damage his competitors -- and rapes and impregnates a field worker. ~ Michael Betzold, All Movie Guide

Thornton Wilder's 1938 stage play The Merchant of Yonkers was based on an old British stage farce by John Oxenford (which in turn served as the basis of an Austrian farce by Johann Nestroy). Merchant of Yonkers was a bomb, but Wilder was quite fond of the piece, so he revised it as the considerably more successful The Matchmaker in 1955. The 1958 film version stars Shirley Booth as 19th-century matchmaker Dolly Gallagher Levi (a character not found in the Oxenford or Nestroy versions; Wilder "borrowed" Dolly from Moliere's The Miser). Dolly is currently trying to arrange a marriage between Yonkers dry-goods merchant Horace Vandergelder (Paul Ford) and hatmaker Irene Molloy (Shirley MacLaine)-though she secretly harbors a desire to march Horace to the altar herself. Meanwhile, Vandergelder's chief clerk Cornelius (Anthony Perkins), celebrating a recent promotion, decides to head to New York for a "good time". Though he's supposed to be minding the store, Cornelius abandons the shop, with fellow-clerk Barnaby (Robert Morse, repeating his stage role) in tow. Inevitably, Cornelius and Barnaby wind up escorting Irene Molloy and her co-worker Minnie Fay (Perry Wilson) to a fancy restaurant, where Horace and Dolly are also dining. As the many plot twists wend their way through the proceedings, the camera occasionally pauses to allow the character to speak directly to the audience, expressing their innermost desires and philosophies; this purely theatrical device works quite well on screen, especially the monologue about honesty delivered by handyman Malachi Stack (played with alcoholic whimsy by Wallace Ford). While the name "Malachi Stack"may not be familiar to you, the other characters-and the basic plot-will be instantly recognizable to fans of Hello Dolly, the 1964 musical comedy version of The Matchmaker. ~ Hal Erickson, All Movie Guide

Arriving in Switzerland as part of Ricky's professional tour of Europe, the Ricardos and the Mertzes find they have shown up in the wrong town -- and worse, the only local musicians available are members of a polka band. To mollify the angry Ricky (Desi Arnaz), Lucy (Lucille Ball) suggests that they accompany Fred (William Frawley) and Ethel (Vivian Vance) on a hike in the Alps. Unfortunately, an avalanche traps the two couples in a deserted mountain cabin. Certain that they are doomed to death by starvation, the hapless hikers begin making confessions to one another -- hilarious and heartbreaking all at once. Happily, rescue is at hand -- and you'll never guess who the rescuers are. ~ Hal Erickson, All Movie Guide

Deep in My Heart is the MGM-ified biography of composer Sigmund Romberg, here played by José Ferrer. Evidently the scripters didn't feel that the life of Romberg (as set down by author Elliott Arnold, whose book was used as the film's basis) had enough drama to fill out two hours and ten minutes. As a result, the film is overstocked with guest stars, performing such Romberg standards as "One Alone," "Lover Come Back to Me," "When I Grow Too Old to Dream," "Will You Remember," and "Stout-Hearted Men." Among these celebrities are Ann Miller, Vic Damone, Jane Powell, Tony Martin, Cyd Charisse, Rosemary Clooney, and Gene Kelly, the latter performing a dance duet with his seldom-seen brother, Fred. For all the heady competition, it is José Ferrer who renders the most memorable production number: a one-man presentation of the Romberg musical comedy Jazzboat, in which Ferrer assumes all the roles, from star Al Jolson's to the entire female chorus! ~ Hal Erickson, All Movie Guide

Ethel Merman reprised her role as a socialite turned diplomat in this screen adaptation of Irving Berlin's hit Broadway musical. Sally Adams (Merman) has made it her business to know everyone worth knowing in Washington D.C., and her penchant for parties pays off when she's appointed United States Ambassador to Lichtenburg. Once she is installed in her new position, she falls in love with suave Foreign Minister Cosmo Constantine (George Sanders), while Princess Maria (Vera-Ellen) has her head turned by Sally's press attaché, Kenneth (Donand O'Connor). Call Me Madam is a showcase for Merman's roof-raising musical comedy style, and here she gets to sing a handful of Berlin tunes, including "You're Just In Love," "Can You Use Any Money Today?" and "Hostess With The Mostes' on the Ball." Vera-Ellen's singing was dubbed by Carol Richards. ~ Mark Deming, All Movie Guide

This highly fanciful but immensely entertaining biopic stars Tony Curtis as legendary magician/escape-artist Harry Houdini. Janet Leigh, Mrs. Tony Curtis at the time, co-stars as Houdini's wife Bess, while Angela Clarke is seen as Houdini's mother. The film follows Houdini's progress from sideshow entertainer to high-priced prestidigitator, and also touches upon his fascination with the occult--and his efforts to expose phony mediums. Philip Yordan's script (based on a book by Harold Kellock) suggests that virtually every portentous occasion in Houdini's life occurred on Halloween day, including his death from peritonitis in 1926. The facts of Houdini's life seldom get in the way of Yordan's story; while general audiences won't spot too many discrepancies, professional magicians tend to howl with laughter at some of the film's intentional boners. Example: In real life, Houdini's appendix was fatally ruptured by a punch to the stomach; in the film, he injures himself by accidentally bumping into one of his props, the sword-studded "Temple of Benares" trick--which hadn't yet been invented in 1926! Still, it's fun to watch Tony Curtis wriggle his way out of some of Houdini's most baffling escape routines (both Curtis and Janet Leigh were carefully instructed on the set by professional magicians, who swore the stars to secrecy concerning the tricks of the trade). For a more accurate slant on Houdini's life, see the 1976 TV movie The Great Houdinis, starring Paul Michael Glaser and Sally Struthers. ~ Hal Erickson, All Movie Guide

James Cagney plays a once great newspaper reporter ruined by liquor. Thanks to the help of reformed alcoholic James Gleason, Cagney pulls himself out of the gutter and restores his journalistic reputation. Because of his own redemption, Cagney is asked by his editor to straighten out the editor's nephew (Gig Young), a drunken wastrel. The task is made dicey by the fact that the nephew's wife (Phyllis Thaxter) is Cagney's former girlfriend. The nephew's involvement in gangsters results in the death of Cagney's old friend Gleason, but Cagney swallows his rage, vanquishes the crooks, and puts the nephew on the right track. Come Fill the Cup was a little too melodramatic to succeed as an anti-alcohol tract, but it was well acted throughout, especially by Gig Young, who received an Oscar nomination for his efforts. ~ Hal Erickson, All Movie Guide

Jimmy Durante plays the patriarch of a down-on-their-luck family of acrobats, who suddenly finds a great deal of money hidden in his house amid the depths of the Great Depression. The authorities suspect Durante of being a thief, but in fact the culprit is a benevolent little squirrel named Rupert. This clever critter has been pilfering money from the obnoxious, wealthy miser who lives in the adjoining house and who decided to stash most of his funds in the wall separating the two residences. The stop-motion animation is the handiwork of George Pal. ~ Hal Erickson, All Movie Guide

Hold That Baby! was the 14th entry in Monogram's money-spinning "Bowery Boys" series. Ever in search of spare change, the Bowery Boys, headed by Slip Mahoney (Leo Gorcey) go into the laundromat business. While unfolding some linen, Sach (Huntz Hall) comes across a seemingly abandoned baby. The infant turns out to be their heir to a huge fortune. Hoping to return the baby to its mother (Anabel Shaw), who has been wrongfully committed to a mental institution, Slip, Sach and the boys must contend with the child's avaricious aunts (Florence Auer and Ida Moore) and a bunch of gangsters. The best scene finds Slip posing as a Viennese psychiatrist; almost as good is a vignette involving Sach and a hospital supply room. ~ Hal Erickson, All Movie Guide

After suffering nobly in several heavyweight MGM dramas, Greer Garson and Walter Pidgeon begged the studio to cast them together in a comedy. Though not an all-out laff riot, Julia Misbehaves strives hard to please. Garson plays an ever-in-debt British music-hall performer who relies on the largess of her friends to keep the wolf from the door. Pidgeon portrays Garson's ex-husband, who for the past 20 years has lived in Paris with their daughter Elizabeth Taylor. When Taylor becomes engaged, she sends Garson a wedding invitation. Broke again, Garson hastily joins an acrobatic act to earn steerage money, and charms British nobleman Nigel Bruce into giving her enough cash for a wedding present. Once she arrives in Paris, Garson sticks her nose into everyone's affairs, much to the dismay of the uptight Pidgeon. Garson even advises daughter Taylor to marry someone other than her betrothed. Despite her screwball behavior, Pidgeon can't help falling in love with Garson all over again--but it takes a zany sequence in and around a mountain chalet to knot together the many loose plotlines. Julia Misbehaves was adapted from The Nutmeg Tree, a novel by Margery Sharp. ~ Hal Erickson, All Movie Guide

Preston Sturges' Unfaithfully Yours is a typically witty and wild screwball comedy starring Rex Harrison as a symphony conductor named Alfred de Carter who is convinced his wife (Linda Darnell) is having an affair. During one of his concerts, Alfred begins planning three different ways of solving the problem -- including murder -- setting each to a different classical piece. Sturges' script and direction are lively and the actors are perfectly cast, capable of wringing all the humor, both physical and verbal, out of the story. Despite the artistic success of the film, Unfaithfully Yours was unsuccessful at the time of its release, yet it was well-regarded by critics and film buffs. It was remade in 1984, featuring Dudley Moore in the lead role. ~ Stephen Thomas Erlewine, All Movie Guide

Absent from films since 1938 (except as producer of a brace of RKO Radio features), silent-screen comedy favorite Harold Lloyd returned before the cameras in The Sin of Harold Diddlebock. The project began as a labor of love between Lloyd and the brilliant, innovative producer/writer/director Preston Sturges. Though these two comedy geniuses eventually had a stylistic falling out, resulting in an uneven, spasmodically dreary film, on the whole Harold Diddlebock is well worth having. Sturges cleverly opens the picture with the final reel of Lloyd's silent classic The Freshman(1925), in which the drudge of the college football team makes good and scores the winning touchdown. The story proper begins in the locker room, where football hero Harold Diddlebock (Lloyd, looking three decades younger than his 53 years) is impulsively offered a job by banker J.E. Wagglebury (Raymond Walburn). Taking his place at his new desk and festooning his walls with inspirational homilies, Harold starts to work, supremely confident that he's poised on the brink of bigger things. Twenty-three years pass: In 1946, a weary, stoop-shouldered Harold is still at the same desk at the same job, his dreams of success but a dim memory. Summarily fired by the pompous Wagglebury ("You have not only ceased to go forward, you have gone backward"), Harold collects his final paycheck, cleans out his desk, and bids farewell to office girl Miss Otis (Frances Ramsden), all of whose older sisters had previously been Harold's sweethearts. Wandering aimlessly on the street with his severance pay in hand, Harold is spotted by a dessicated street hustler named Wormy (Jimmy Conlin), who inveigles the newly fired clerk to join him at a nearby bar. Informed that Harold has never taken a drink in his life, the bartender (Edgar Kennedy) lights up and declares, "Sir, you rouse the artist in me!" With great ceremonial flourish, the bartender concocts a potent beverage called the Diddlebock. Harold takes one sip of the brew, lets out a yell, and immediately loses all the inhibitions that have kept him from advancing himself in the past two decades. With Wormy in tow, Harold goes on a wild spending and carousing spree, totally losing track of an entire day-and-a-half.

At the end of his revelry, the hung-over Harold is awakened by his sister (Margaret Hamilton), who informs him that he's bought a garish new wardrobe, a ten-gallon hat, and goodness knows what else. He soon finds out what else when he ventures into the street and is informed that he's bought a horse-drawn cab (with driver!) -- and a circus, complete with hungry lions. Quickly formulating a plan to get rid of the circus at a substantial profit, Harold decides to elicit bids from the town's various bankers, bringing Jackie the Lion along with him so that the bank guards won't stop him at the door. All of this leads to a wild recreation of Lloyd's skyscraper-teetering gags from his silent days, a noisy episode at the local jail, and a romantic tête-à-tête with Miss Otis, who reveals at the very end how Harold really spent his "missing" Wednesday! Though it tested well upon its first release, Sin of Harold Diddlebock was abruptly withdrawn from circulation by its co-producer Howard R. Hughes, who spent four years reediting and sometimes reshooting the film before finally releasing it through RKO as Mad Wednesday. Both this version and the original Sin of Harold Diddlebock still exist; while the earlier version is undeniably richer in comic invention and characterization, the shortened Mad Wednesday works better in front of an audience. Neither version completely fulfills the potential of its premise, however. Though not to be missed, this final Harold Lloyd vehicle pales in comparison with his vintage silent comedies. ~ Hal Erickson, All Movie Guide