Vera Miles Movies

The 87-minute running time of Plainsman and the Lady was evidence aplenty that this was no mere Republic B western. William Elliot (formerly and latterly "Wild Bill" Elliot) stars as cattleman Sam Cotten, who offers his services-and his six-guns-to the newly formed Pony Express. Erudite villain Peter Marquette (Joseph Schildkraut) is a rival stagecoach owner who'll stop at nothing to keep the mail from going through. Ordering his minions to disguise themselves as Indians, Marquette masterminds a series of bloody raids on the pony express riders. But Cotton, aided and abetted by grizzled sidekick Dringo (Andy Clyde) proves to be more than a match for the bad guy. The lady of the title is high-born Ann Arnesen, played by Queen of Republic Vera Ralston; she's decorative enough, but no match for her talented costar Gail Patrick, cast as Ann's sister and the despicable Marquette's wife. ~ Hal Erickson, All Movie Guide

Personally supervised by Howard R. Hughes, the RKO Technicolor musical Two Tickets to Broadway stars Janet Leigh as a small-town girl who hopes to make it big in the Big Apple. Moving into a Manhattan boarding house populated by such showbiz hopefuls as Ann Miller, Tony Martin, Gloria De Haven and Barbara Lawrence, Leigh aspires to appear on the popular TV variety program hosted by bandleader Bob Crosby. Two-bit agent Eddie Bracken promises to make her dreams come true, even though he doesn't know Crosby from Adam. Along the way, Leigh falls for Martin, though the course of true love seldom runs smooth--in fact, at one point it threatens to run all the way back to Leigh's home town. Injecting their time-honored routines into the proceedings are veteran vaudevillians Joe Smith and Charlie Dale, playing a couple of stagestruck deli owners (their roles were originally slated for Stan Laurel and Oliver Hardy, but Laurel's illness precluded any film work). Despite the creative input of choreographer Busby Berkeley, the film's best number is the simplest: Let's Make Comparisons, wherein Bob Crosby explains why he's not his brother Bing. Seemingly a surefire box-office hit, Two Tickets to Broadway inexplicably posted a loss of $1,150,000. ~ Hal Erickson, All Movie Guide

Also known as The Tall Lie, For Men Only was a hard-hitting if somewhat gratuitous expose of college fraternity "hazing." A young man is rushed by a popular and well-established frat, only to discover that part of the initiation ceremony requires him to kill a puppy. He drops out of the fraternity and tells the world its "secrets". The fraternity leader, played by Russell Johnson, organizes a campaign to drive the pledge off the campus--which results in the pledge's death. Professor Paul Henried investigates, and learns that the fraternity's ties to the business community are so strong that he can do nothing to stop the cruelty of the hazing process. Henried's only recourse is to expose arrogant frat leader Johnson as a coward with feet of clay--which he does, in a breast-beating scene that will surprise those who know Russell Johnson only as the mild-mannered "Professor" on Gilligan's Island. Made inexpensively, For Men Only is competently directed by star Paul Henried. The only question is: Why should the non-collegiates in the audience care anything about the iniquities of fraternity life? ~ Hal Erickson, All Movie Guide

With all those flaming arrows being aimed directly at the audience, it is fairly obvious that Charge of Feather River was originally released in 3D. Fresh from his TV success as Wild Bill Hickok, Guy Madison stars as frontiersman Miles Archer (his character name will be amusing to fans of The Maltese Falcon). In the company of cavalry sergeant Baker (Frank Lovejoy) and a column of troops, Archer heads into Indian country to rescue a pair of white female captives. One of the two girls, Ann McKeever (Helen Westcott), is reluctant to return because she's been despoiled by her Indian captors; the other girl, Ann's sister Jennie (Vera Miles), is in love with the tribal chief and intends to betray her rescuers at the first opportunity. The rescue has been staged to divert the Indians' attention away from the railroad that is being constructed across their territory. The trick now is for Archer, the soldiers and the women to return to Cavalry headquarters in one piece. The film ends with the eponymous charge, excitingly staged by director Gordon Douglas. ~ Hal Erickson, All Movie Guide

A young woman is diagnosed with breast cancer and must undergo immediate surgery. She's a week away from her wedding day, so both her disease and her depression must be treated by her team of physicians. ~ John Bush, All Movie Guide

When equestrian Linda (Vera Miles) talks her trainer, Jim (Lloyd Bridges), into taking care of Gypsy Prince, her horse, Jim decides to enter the steed in an upcoming race. Tragically, the horse falls mid-race and breaks a leg. Though prospects look bleak, Linda (Miles) refuses to give up on her horse, and will not allow the animal to be destroyed. Rather, she chooses to focus on physical therapy and personal faith. Her loyalty is rewarded tenfold when Gypsy Prince, successfully retrained, makes a killing a the track. Directed by William Beaudine, Pride of the Bluegrass is based on a story by Harold Shumate, and also features Margaret Sheridan, Arthur Shields, and Michael Chapin. ~ Tracie Cooper, All Movie Guide

Filmed around the same time as Gunfight at the OK Corral, Wichita is a more modest--and to some, more entertaining--slant on the Wyatt Earp legend. Joel McCrea does his usual smooth, underplayed job as Earp, who aims to bring law and order to the wide-open cow town of Wichita. His least popular move is to take away the guns of everyone in town, no matter how important. Only when town banker McCoy (Walter Coy) is hit with a personal tragedy does Earp's no-guns edict begin to make sense. Linking the episodic storyline is an offscreen ballad, sung High Noon style by Tex Ritter. Interestingly, Joel McCrea would later star in the 1959 TV western Wichita Town--though not, of course, as Wyatt Earp (Hugh O'Brien was busy with that character on another network!) ~ Hal Erickson, All Movie Guide

Alfred Hitchcock himself directed the first half-hour episode of his long-running suspense anthology. Heading the cast of Revenge is Ralph Meeker as aircraft worker Carl Spann and Vera Miles (The Wrong Man, Psycho) as Carl's ballerina wife Elsa. Having given up his job to care for Elsa after she suffers a nervous breakdown, Carl comes home one day to find all the furniture overturned and his wife in a state of near-shock. She tells Carl that a man had broken into their home and assaulted her, but cannot remember any other details. Later on, while out on a drive with Carl, Elsa stares at a passing pedestrian and whispers, "That's him! That's the man!" -- whereupon the vengeful Carl prepares to take the law into his own hands. "Revenge" was re-filmed as part of the 1985 Alfred Hitchcock Presents revival, featuring Linda Purl in the Vera Miles role. ~ Hal Erickson, All Movie Guide

If John Ford is the greatest Western director, The Searchers is arguably his greatest film, at once a grand outdoor spectacle like such Ford classics as She Wore a Yellow Ribbon (1949) and Rio Grande (1950) and a film about one man's troubling moral codes, a big-screen adventure of the 1950s that anticipated the complex themes and characters that would dominate the 1970s. John Wayne plays Ethan Edwards, a former Confederate soldier who returns to his brother Aaron's frontier cabin three years after the end of the Civil War. Ethan still has his rebel uniform and weapons, a large stash of Yankee gold, and no explanations as to where he's been since Lee's surrender. A loner not comfortable in the bosom of his family, Ethan also harbors a bitter hatred of Indians (though he knows their lore and language well) and trusts no one but himself. Ethan and Martin Pawley (Jeffrey Hunter), Aaron's adopted son, join a makeshift band of Texas Rangers fending off an assault by renegade Comanches. Before they can run off the Indians, several homes are attacked, and Ethan returns to discover his brother and sister-in-law dead and their two daughters kidnapped. While they soon learn that one of the girls is dead, the other, Debbie, is still alive, and with obsessive determination, Ethan and Martin spend the next five years in a relentless search for Debbie -- and for Scar (Henry Brandon), the fearsome Comanche chief who abducted her. But while Martin wants to save his sister and bring her home, Ethan seems primarily motivated by his hatred of the Comanches; it's hard to say if he wants to rescue Debbie or murder the girl who has lived with Indians too long to be considered "white." John Wayne gives perhaps his finest performance in a role that predated screen antiheroes of the 1970s; by the film's conclusion, his single-minded obsession seems less like heroism and more like madness. Wayne bravely refuses to soft-pedal Ethan's ugly side, and the result is a remarkable portrait of a man incapable of answering to anyone but himself, who ultimately has more in common with his despised Indians than with his more "civilized" brethren. Natalie Wood is striking in her brief role as the 16-year-old Debbie, lost between two worlds, and Winton C. Hoch's Technicolor photography captures Monument Valley's savage beauty with subtle grace. The Searchers paved the way for such revisionist Westerns as The Wild Bunch (1969) and McCabe & Mrs. Miller (1971), and its influence on movies from Taxi Driver (1976) to Close Encounters of the Third Kind (1977) and Star Wars (1977) testifies to its lasting importance. ~ Mark Deming, All Movie Guide

Director Alfred Hitchcock lets us know from the outset that The Wrong Man is a painfully true story and not one of his customary fabricated suspense yarns, through the simple expedient of walking before the camera and telling us as much (this introductory appearance replaced his planned cameo role as a nightclub patron). The real-life protagonist, musican Christopher Emmanuel Balestrero, is played by Henry Fonda. Happily married and gainfully employed at the Stork Club, Balestrero's life takes a disastrous turn when he goes to an insurance office, hoping to borrow on his wife's (Vera Miles) life insurance policy in order to pay her dental bills. One of the girls in the office spots Balestrero, identifying him as the man who robbed the office a day or so earlier. This, and a few scattered bits of circumstantial evidence, lead to Balestrero's arrest. Though he's absolutely innocent, he can offer no proof of his whereabouts the day of the crime. Lawyer Frank O'Connor (Anthony Quayle) does his best to help his client, but he's up against an indifferent judicial system that isn't set up to benefit the "little man". Meanwhile, Balestrero's wife becomes emotionally unhinged, leading to a complete nervous breakdown. As Balestrero prays in his cell, his image is juxtaposed onto the face of the actual criminal-who looks nothing like the accused man! Utilizing one of his favorite themes-the helplessness of the innocent individual when confronted by the faceless bureaucracy of the Law-Hitchcock weaves a nightmarish tale, all the more frightening because it really happened (the film's best moment: Fonda looking around the nearly empty courtroom during his arraignment, realizing that the rest of the world cares precisely nothing about his inner torment). Hitch enhances the film's versimilitude by shooting in the actual locations where the real story occured. His only concession to Hollywood formula was the half-hearted coda, assuring us that Mrs. Balestrero eventually recovered from her mental collapse (she sure doesn't look any too healthy the last time we see her!) Watch for uncredited appearances by Harry Dean Stanton, Bonnie Franklin, Tuesday Weld and Charles Aidman. ~ Hal Erickson, All Movie Guide

New York City is known for choosing colorful characters for its mayors. One its most illustrious was the wisecracking, dancing and singing Mayor James J. Walker (as played by Bob Hope in a rare, serious role) who helmed the Big Apple in the 1920s. This biopic chronicles his surprising rise to power and is adapted from a book by Gene Fowler. Walker owed his mayoral post to Tammany, a powerful political organization that used its tremendous clout to get him installed. Walker, who never takes his job seriously, then becomes a figurehead for Tammany, and while he is in power, corruption in the police force and other city offices runs rampant. Meanwhile Walker wrangles with his lover, dancer Betty Compton, and his jealous wife, from whom he is separated. ~ Sandra Brennan, All Movie Guide

Beyond This Place is a tame murder mystery based on a novel by A. J. Cronin. Van Johnson is cast as an American citizen whose British father has supposedly been dead for years. On a visit to London, Johnson discovers that his father is very much alive, serving a life sentence for murder. Johnson inaugurates his own investigation, retraces the trail of circumstantial evidence, and unearths the real culprit. Director Jack Cardiff was not happy with his work on Beyond This Place, possibly because he was obliged for box office purposes to use an American star in an essentially British story. The film was released in the US as Web of Evidence. ~ Hal Erickson, All Movie Guide

In this British comedy, a formerly rakish submarine captain is transferred to a desk job. His reputation as a hero and playboy precedes him. He meets an old comrade and his gorgeous fiancee, a Yankee widow. His buddy is quite wealthy and the retired captain realizes that he too must make plenty of dough to steal the woman away. He immediately engineers an elaborate quick money scheme. First he makes it seem as if he has become a traitor in order to get the newspapers to write bad things about him. He then plans to sue them all for libel. He leaves his phony trail and then maroons himself on a desert island. He is later rescued and interrogated by the Special Branch. Fortunately, he convinces them of his innocence and continues with his plan. He then goes to the woman's home and is there discovered by his buddy. The friend sees that the two really are in love and gallantly bows out. ~ Sandra Brennan, All Movie Guide