James Millican Movies

Strong acting and direction overcomes the more cliched aspects of Red Sundown. It all begins when gunslinger Alec Longmire (Rory Calhoun), weary of living up to his reputation, decides to hang up his firearms and start life anew as a cowpuncher. Before long, however, Alec is obliged to strap on his shooting irons as the deputy of sheriff Jade Murphy (Dean Jagger). It's for a good cause, of course: Murphy hopes to avoid a violent range war with a nonviolent show of force. Will Longmire be able to keep the peace without resorting to his six-guns, or will his hand be forced by crooked land baron Rufus Henshaw (Robert Middleton) and Henshaw's menacing hired gun Chet Swann (Robert Middleton)? ~ Hal Erickson, All Movie Guide

A TV telethon is the "gimmick" in Allied Artists' The Big Tipoff. Richard Conte plays two-bit newspaper columnist Johnny Denton, who gains notoreity by printing tips on upcoming gangland activities. Denton heightens his fame by refusing to reveal the source of his information; the audience knows, however, that Denton's tip-off man is crime kingpin Bob Gilmore (Bruce Bennett), who is in the process of staging a phony telethon to scam the public. This plot element is mainly an excuse to offer a series of unrelated variety acts featuring such LA TV personalities as Spade Cooley, April Stevens, Chuy Reyes, and Ginny Jackson. The two male protagonists are given a chance for redemption through the auspices of Sister Joan (Cathy Downs), but an apparent murder muddies the proceedings. ~ Hal Erickson, All Movie Guide

I Died a Thousand Times is a scene-by-scene remake of the 1941 crime-drama classic High Sierra. Jack Palance steps into the old Humphrey Bogart role as Roy "Mad Dog" Earle, the ageing bank robber who intends to pull off one last heist before retiring. Sprung from prison by likeable crime boss Big Mac (Lon Chaney Jr.), Earle is commissioned to mastermind the robbery of a resort hotel. His partners in crime include the hotheaded, immature Babe (Lee Marvin) and Red (Earl Holliman), as well as "inside man" Mendoza (Perry Lopez). Also along for the ride is Marie (Shelley Winters), a dance-hall girl whom Babe has picked up. Marie falls in love with Earle, but he has eyes only for Velma (Lori Nelson), the club-footed daughter of a farmer (Ralph Moody) whom Earle had earlier befriended. Intending to use his share of the loot to finance Velma's operation, Earle goes through with the robbery, only to be thwarted by the ineptitude of his partners, the treachery of the late Big Mac's successors, and, finally, the fickle Velma. With the faithful Marie by his side, Earle makes a desperate escape into the High Sierras, but fate is still against him. Essentially an itinerary of what has previously "clicked" in High Sierra, I Died a Thousand Times makes a few concessions to changing tastes and mores; the stereotype comedy-relief character played by black actor Willie Best in the original film, for example, has been replaced by the more "acceptable" (at least by 1950s terms) stereotyped Mexican played by Gonzales-Gonzales. While the 1955 film cannot match the excellence of its 1941 role model, I Died a Thousand Times works pretty well on its own terms. ~ Hal Erickson, All Movie Guide

Anthony Mann directed this brilliant psychological Western reminiscent of Shakespeare's King Lear. James Stewart plays Will Lockhart, who is obsessed with finding the man who sold automatic rifles to the Apaches, resulting in the death of his brother. Will enters the town of Coronado, NM, ruled by the blind and aging patriarch Alec Waggoman (Donald Crisp). Unaware that he is trespassing on Waggoman's land, he finds himself accosted by Alec's sociopathic son, Dave (Alex Nicol), who brutally beats Will and is ready to kill him. But Will is rescued at the last minute by Waggoman's adopted son, Vic Hansbro (Arthur Kennedy). Will finds that Waggoman has become increasingly concerned over who will inherit his vast empire. ~ Paul Brenner, All Movie Guide

The oft-filmed Zane Grey yarn The Vanishing American is given respectful treatment in this Republic "A" production. Eliminating Grey's premise that the American Indian's downfall was all part of Nature's scheme of things, the film begins in the late 19th century, with Scott Brady starring as Navajo protagonist Blandy. Embittered not only by deceitful whites but also by renegade Apaches, Blandy hopes to prevent further decimation of his people by stemming the activities of crooked Indian agent Blucher (Gene Lockhart) and duplicitious trader Morgan (Forrest Tucker). Blandy's allies include white landowner Marian Warner (Audrey Totter), whose open rangeland is dearly coveted by the nefarious Blucher and Morgan. Among the genuine Native Americans making cameo appearances are Jay "Tonto" Silverheels and Charles Stevens. ~ Hal Erickson, All Movie Guide

In this western, a shotgun rider on a stagecoach must clear his reputation after some outlaws accuse him of being a crook. Gunplay ensues. ~ Sandra Brennan, All Movie Guide

Based on a novel by Mickey Spillane, The Long Wait stars Anthony Quinn as an amnesiac who may or may not have committed a murder. Picking up the pieces of his life, Quinn wanders into a hotbed of small-town intrigue and corruption. Characters essentially to the action are highly respectable bank president Charles Coburn, gangster Gene Evans, and silky femme fatale Peggie Castle. The climax, described by historian William K. Everson as "a typical Spillane head-on collision of sex and violence", finds the trussed-up Quinn and Castle struggling to kiss each other while being goaded on by sadistic gunsel William Conrad. As for the story's surprise outcome. . .well, some things are better seen than said. ~ Hal Erickson, All Movie Guide

Randolph Scott makes his 3-D debut in the stereoscopic western Stranger Wore a Gun. This time, Scott plays Jeff Travis, a former spy for Quantrill's Raiders. When he heads to Arizona to start life anew, Travis finds that his reputation has preceded him: crooked Jules Mourret (George Macready) hires him to monitor a series of gold shipments, in preparation for a major robbery. Eventually, Travis falls in love with Shelby Conroy (Joan Weldon), daughter of freight-line operator Jason Conroy (Pierre Watkin), and decides to turn honest. That won't be easy: in addition to the surly Mourret, Travis must deal with such formidable movie heavies as Alfonso Bedoya, Lee Marvin and Ernest Borgnine. Also on hand is Claire Trevor, in a soft-pedalled variation of her role in John Ford's Stagecoach. Stranger Wore a Gun was directed by Andre DeToth, whose previous foray into 3D had been the box-office smash House of Wax. ~ Hal Erickson, All Movie Guide

A "big" western by Allied Artists standards, Cow Country is directed with his usual panache by horse-opera expert Lesley Selander. Adapted from a novel by Curtis Bishop, the film stars Edmond O'Brien as Ben Anthony, an adventurer-for-hire who casts his lot with Texas cattleman Walt Garnet (Robert H. Barrat). The villains want to drive Anthony and his fellow ranchers off their land, but Ben's six-guns prevent this, at least temporarily. Meanwhile, Linda Garnet (Helen Westcott), Walt's daughter and the fiancee of the film's chief bad guy Harry Odell (Bob Lowery), aligns herself with Ben when Odell proves to be spectacularly unfaithful with saloon chirp Melba Sykes (Peggie Castle). Barton MacLane rounds out the cast in one of his standard loud, abrasive roles. ~ Hal Erickson, All Movie Guide

In 1945, James Cagney, through his independent production company, bought the rights to a lurid novel by Adria Locke Langley, concerning the rise of a Southern demagogue, loosely based on the political career of Huey Long. By the time the film finally went into production and was released in 1953, the film became an also-ran, trailing behind Robert Rossen's Oscar-winning production All the King's Men, which concerned the same subject. The film, directed by Raoul Walsh, never escapes from the towering shadows of the Rossen film, so it becomes, in the end, a matter of preference for the lead character -- whether one prefers the looming intimidation of Broderick Crawford or the brisk pugnacity of James Cagney. Cagney plays swamp peddler Hank Martin, who tries to ride into the governor's mansion in a backroad Southern state by making a crusade out of the plight of the poor and impoverished majority of the state. He begins his political assent by leading a sharecropper's revolt against the rip-offs the sharecroppers are receiving at the local cotton mill. But things become more intense and Hank Martin sows the seeds of his own destruction when he makes a deal with a local, crooked political boss in order to get ahead in his political career. ~ Paul Brenner, All Movie Guide

A video of two television dramas: "One Way Out" and "Witness." ~ All Movie Guide

The distinctive stamp of action-film director Phil Karlson is very much in evidence in Scandal Sheet. Broderick Crawford plays tabloid editor Mark Chapman, whose burgeoning success is threatened by the arrival of his wife Charlotte (Rosemary DeCamp), whom he deserted 20 years earlier. Hoping to keep Charlotte's mouth shut, Chapman accidentally kills her. He does his best to cover his tracks, but his best is none too good, and another murder follows. Meanwhile, Chapman's star reporter Steve McCleary (John Derek) is busy investigating the still-unsolved murder of Charlotte. Though Steve holds no grudge against his boss, the same cannot be said of feature writer Julie Allison (Donna Reed), who resents Chapman's sensationalist methods. Slowly but surely, the noose tightens around Chapman's neck, thanks to the diligence of McCleary and, indirectly, the inquiries of Julie. Scandal Sheet was based on a novel by former newspaperman Samuel Fuller, an excellent film director in his own right. ~ Hal Erickson, All Movie Guide

Ronald Reagan delivers one of his best screen performances as baseball great Grover Cleveland Alexander in The Winning Team. The title refers to the mutually supportive relationship between Alexander and his loving wife Aimee (top-billed Doris Day); with this in mind, is it any surprise that the real Aimee Alexander served as the film's technical advisor. While the basic milestones of Alexander's career are adhered to, the film is a typical Hollywood blend of fact and fancy-plenty of fancy. While playing in the minors, Alexander is is hit on the heat by a batted ball, resulting in the dizziness and double vision that would ever after plague him. After toting up a record of 28 wins with the Philadelphia Phillies, Alex is traded to the Cubs, but World War 1 intervenes. On the battlefield, Alex suffers a recurrence of his double vision; and when he plays his first postwar game with the Cubs, he collapses on the field. Warned that his seizures will persist if he doesn't retire, Alex swears the doctor to secrecy. When the dizzy spells continue, Alex turns to drink. Branded an "alky", he descends to the depths of a House of David-style team, thence to the humiliation of carnival side shows. With the help and support of both Aimee and his old pal Rogers Hornsby (Frank Lovejoy), Alex stages a spectacular comeback, striking out Yankee Tony Lazzeri during the 1926 World Series and leading his team to victory. The script rearranges the chronology of Alexander's life, suggests incorrectly that the Lazzeri strikeout was the last play in the deciding Series game, and-most amusingly-depicts the unloveable Rogers Hornsby as a 100 % sweetheart. Otherwise, The Winning Team provides an excellent showcase for Ronald Reagan-though in later years he expressed some reservations about the script, noting that, by adhering to Warner Bros' insistence that the word "epilepsy" never be spoken, the picture confused audiences as to the true nature of Alexander's affliction. ~ Hal Erickson, All Movie Guide