Carl Milletaire Movies

Edmond O'Brien plays a telephone repairman whose electronic savvy earns him a job with a bookmaking concern. O'Brien's bookie boss Barry Kelly wants to get instant results from the nation's racetracks, and to this end O'Brien illicitly plugs into several communication centers. The wealthier O'Brien becomes, the more scruples he sheds. Eventually he runs afoul of the Big Boss of an Eastern bookie syndicate (Otto Kruger) and vainly attempts to escape with his life in a slam-bang final at Boulder Dam. 711 Ocean Drive was made to cash in on a then-current national newspaper expose of bookmaking operations. ~ Hal Erickson, All Movie Guide

The famed Bal Tabarin cabaret in Paris is the gathering spot for this swiftly paced crime melodrama. It all begins when singer Judy Allen (Muriel Lawrence) scampers away to the City of Light to escape the clutches of the villains who murdered her boss. The bad guys not only want to silence Judy, but also want to retrieve the cache of jewels that she has hidden somewhere. She takes a singing job at the Bal Tabarin, where head crook Joe Goheen (Steve Brodie) inevitably comes calling one evening. Three new songs are performed in the course of events, as are several terpsichorean routines by the fetchingly underdressed "French Can Can Girls" (that's how they're billed). ~ Hal Erickson, All Movie Guide

In this entry in the "Henry Latham" series, set during WW II, an independent young woman takes control of a flying school after the owner is called for military duty. She is assisted by her father, his friend, and the mayor who were all fliers during WW I. They all have a rip-roarin' time until a bank robber hijacks the mayor's plane with the mayor in it. Trouble ensues when the plane runs out of gas and crashes. The police capture the crooks. ~ Sandra Brennan, All Movie Guide

A rare foray into straight action-adventure by comedy director Edward Bernds, Hot News stars Stanley Clements as ex-pugilist Mark Miller. Now working as a sports columnist at the newspaper run by Al Bragg (James Flavin), Miller takes it upon himself to expose the fight-fixing racket masterminded by gambler Rizzo (Ted De Corsia). Naturally, this puts Miller at the top of Rizzo's hit list, but one feels that virtue will triumph when the film's 61 minutes have run their course. Myron Healey, usually cast as a villain, essays the relatively sympathetic role of a boxer victimized by the ruthless Rizzo. Stanley Clements' leading lady is Gloria Henry, six years removed from her TV stint as Dennis the Menace's mom. ~ Hal Erickson, All Movie Guide

One of the best of Elvis Presley's pre-Army films, Jailhouse Rock offers us the sensual, "dangerous" Elvis that had won the hearts of the kids and earned the animosity of their elders. Presley plays a young buck who accidentally kills a man while protecting the honor of a woman. Thrown into prison, Elvis strikes up a friendship with visionary fellow-con Mickey Shaughnessy. Shaughnessy suggests that Elvis perform in the upcoming prison show. Ol' swivel-hips scores a hit, and decides to stay in showbiz after his release. Together with pretty Judy Tyler (the former Princess Summerfall Winterspring on Howdy Doody, who would die in a horrible traffic accident shortly after completing this film), Elvis sets up his own record company. Alas, success goes to his head, and soon Elvis plans to ditch Tyler in favor of signing with a big-time label. Shaughnessy shows up long enough to punch out Elvis for his disloyalty; as a result, Elvis' vocal chords are damaged and he is unable to sing. Deserted by his flunkeys and hangers-on, Elvis learns the value of friendship and fidelity when Tyler and Shaughnessy stay by his side in his darkest hours. His voice restored, Elvis climbs back up the charts--but this time, he's a much nicer fellow, and a lot more committed to Tyler. Usually the musical numbers in a Presley picture (this one has a doozy, complete with chorus boys dressed as convicts!) are more compelling than the plot. Jailhouse Rock is a perfect balance of song and story from beginning to end; seldom would Elvis be so well showcased in the future. ~ Hal Erickson, All Movie Guide

With the exception of the brilliant The Court Jester, Knock on Wood must rank as the best of Danny Kaye's movie vehicles. Capitalizing on the star's recent successful engagement in London, the film casts Kaye as a neurotic American ventriloquist performing in England and Europe. In a parody of the 1946 thriller Dead of Night, Kaye is unable to control the words coming out of his dummy, resulting in a near-nervous breakdown. On the advice of his manager (David Burns), Kaye seeks out the help of a psychiatrist, who turns out to be beautiful Mai Zetterling. But first, he heads to a local repair shop to pick up one of his dummies. What Kaye doesn't know is that a set of stolen blueprints for a top-secret weapon have been secreted into his dummy's head. Before he knows what's happening, our hero is up to his ears in spies, counterspies, and corpses. Falsely accused of murder, Kaye spends the rest of the film adopting one disguise after another to elude both the authorities and the various enemy agents roaming about. Filled to overflowing with musical and comedy highlights, Knock on Wood includes the famous "under the table" bit wherein Kaye finds himself literally between two warring spy factions, and a climactic ballet sequence reminiscent of (and superior to) the comic-opera finale of Kaye's Wonder Man (1945). And of course, the audience is treated to the tongue-twisting patter songs written for Kaye by his wife Sylvia Fine. ~ Hal Erickson, All Movie Guide

Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City." ~ Bruce Eder, All Movie Guide

While having lunch at the Plaza Hotel in New York, advertising executive Roger O. Thornhill (Cary Grant) has the bad luck to call for a messenger just as a page goes out for a "George Kaplan." From that moment, Thornhill finds that he has stepped into a nightmare -- he is quietly abducted by a pair of armed men out of the hotel's famous Oak Room and transported to a Long Island estate; there, he is interrogated by a mysterious man (James Mason) who, believing that Roger is George Kaplan, demands to know what he knows about his business and how he has come to acquire this knowledge. Roger, who knows nothing about who any of these people are, can do nothing but deny that he is Kaplan or that he knows what they're talking about. Finally, his captors force a bottle of bourbon into Roger and put him behind the wheel of a car on a dangerous downhill stretch. Through sheer luck and the intervention of a police patrol car and its driver (John Beradino), Roger survives the ride and evades his captors, and is booked for drunk driving. He's unable to persuade the court, the county detectives, or even his own mother (Jesse Royce Landis) of the truth of his story, however -- Thornhill returns with them to the mansion where he was held, only to find any incriminating evidence cleaned up and to learn that the owner of the house is a diplomat, Lester Townsend (Philip Ober), assigned to the United Nations. He backtracks to the hotel to find the room of the real George Kaplan, only to discover that no one at the hotel has ever actually seen the man. With his kidnappers once again pursuing him, Thornhill decides to confront Townsend at the United Nations, only to discover that he knows nothing of the events on Long Island, or his house being occupied -- but before he can learn more, Townsend gets a knife in his back in full view of 50 witnesses who believe that Roger did it. Now on the run from a murder charge, complete with a photograph of him holding the weapon plastered on the front page of every newspaper in the country, Thornhill tries to escape via train -- there he meets the cooly beautiful Eve Kendall (Eva Marie Saint), who twice hides him from the police, once spontaneously and a second time in a more calculated rendezvous in her compartment that gets the two of them together romantically, at least for the night. By the next day, he's off following a clue to a remote rural highway, where he is attacked by an armed crop-dusting plane, one of the most famous scenes in Hitchcock's entire film output. Thornhill barely survives, but he does manage to learn that his mysterious tormentor/interrogator is named Phillip Vandamm, and that he goes under the cover of being an art dealer and importer/exporter, and that Eve is in bed with him in every sense of the phrase -- or is she? ~ Bruce Eder, All Movie Guide

Hollywood, 1927: the silent-film romantic team of Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) is the toast of Tinseltown. While Lockwood and Lamont personify smoldering passions onscreen, in real life the down-to-earth Lockwood can't stand the egotistical, brainless Lina. He prefers the company of aspiring actress Kathy Selden (Debbie Reynolds), whom he met while escaping his screaming fans. Watching these intrigues from the sidelines is Cosmo Brown (Donald O'Connor), Don's best pal and on-set pianist. Cosmo is promoted to musical director of Monumental Pictures by studio head R.F. Simpson (Millard Mitchell) when the talking-picture revolution commences. That's all right for Cosmo, but how will talkies affect the upcoming Lockwood-Lamont vehicle "The Dueling Cavalier"? Don, an accomplished song-and-dance man, should have no trouble adapting to the microphone. Lina, however, is another matter; put as charitably as possible, she has a voice that sounds like fingernails on a blackboard. The disastrous preview of the team's first talkie has the audience howling with derisive laughter. On the strength of the plot alone, concocted by the matchless writing team of Betty Comden and Adolph Green, Singin' in the Rain is a delight. But with the addition of MGM's catalog of Arthur Freed-Nacio Herb Brown songs -- "You Were Meant for Me," "You Are My Lucky Star," "The Broadway Melody," and of course the title song -- the film becomes one of the greatest Hollywood musicals ever made. ~ Hal Erickson, All Movie Guide

Roger Quain (Howard Duff) arrives in Europe to look after the welfare of two zoo-bound black panthers. Catherine Ulven (Marta Toren), a secret agent for an unnamed country, decides to smuggle a valuable piece of film to America by hiding it in the collar of one of the big cats. If it were this easy, the film would be over in ten minutes. Instead, enemy agents Denson (Philip Friend), Paradou (Robert Douglas) and Kopel (Dorn) target Roger, Catherine, and the panthers for extermination. Thus the stage is set for a thrill-packed pursuit through the mountains of Switzerland. Spy Hunt is based on the somewhat more credible novel Panther's Moon by Victor Canning. ~ Hal Erickson, All Movie Guide

Gene Kelly as an Italian-American attorney? Once you get past this, the rest of Black Hand ought to go down easy. This expose of organized crime is set in New York's "Little Italy" the late 19th century. The various Italian immigrant merchants find themselves at the mercy of the Black Hand, a group which extorts money upon threat of death. Seeking vengeance for the mob-dictated murder of his father, Kelly tries to gather evidence against the Black Hand. He is frustrated in his efforts until he teams with Italian/American police inspector J. Carroll Naish. Though Naish is eventually murdered while assembling evidence, he is able to mail his findings to Kelly, who, after beating crime boss Marc Lawrence to a bloody pulp, delivers the guilty parties to the authorities. In the real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Even in 1950, however, Hollywood had to tread gingerly whenever dealing with big-time crime; it was easier (and safer) to go after a "dead" criminal organization than a "live" one. ~ Hal Erickson, All Movie Guide

The film traces Naples-born Caruso's ascension from adolescent choir singer to the uppermost ranks of the opera world. Caruso is brought to America, getting off to a bad start by inadvertently insulting the impresario (Carl Benton Reid) responsible for his Metropolitan debut. This complication has a happy outcome when Caruso marries his benefactor's daughter (Ann Blyth). Refusing to spare himself or to hold back his talents from his fans, Caruso's health fails him, and he dies in 1921 at the age of 47. Featuring no fewer than 27 musical numbers, Great Caruso also stars Mario Lanza as Caruso, as well as such operatic superstars as Dorothy Kirsten and Jarmila Novotna. ~ Hal Erickson, All Movie Guide

Tony Curtis was by 1955 an accomplished enough actor to get through the costumed derring-do of The Purple Mask minus the awkwardness he'd displayed in his earlier swashbucklers. Curtis is cast as Rene, a foppish 18th century French nobleman who doubles as the Purple Mask, a Royalist supporter who kidnaps officers of the Republic and ransoms them back to Napoleon (Stefan Bekassy) for a hefty fee. Managing to elude Napoleon's minions through most of the picture, Rene gives himself up only when the love of his life, the beautiful Laurette (Colleen Miller), is placed in danger. Even when facing the guillotine, however, Rene has a few tricks up his lacey, perfumed sleeve. The Purple Mask was based on La Chevalier au Masque, a play by Paul Armont and Jean Manouissi. ~ Hal Erickson, All Movie Guide