Scotty Beckett Movies

The fate of wealthy Jamie Dawn (Marilyn Simms) hangs in the balance as she stands trial for murder. Defense attorney Random (Richard Carlson), who also happens to be Jamie's lover, knows that if he can sway three jurors to vote not guilty, he can win the case. Thus, Random endeavors to bribe the three most likely candidates: Czechoslovakian refugee Karek (Eduard Franz), who needs the money to finance his son's escape from Eastern Europe; ex-actress Lorrie (June Havoc), who has for years been trying to bankroll a comeback; and Tom (Ricardo Montalban), whose marriage to Sue (Laraine Day) may disintegrate if he doesn't come up with some money in a hurry. The outcome of the film is something of a letdown, given its engaging premise. Also starring in Three for Jamie Dawn is Regis Toomey, with whom director Thomas Carr would be reunited on the TV series Richard Diamond. ~ Hal Erickson, Rovi

The syndicated TV sci-fi series Rocky Jones, Space Ranger (1953) was dual-purposed. Though running 39 episodes, the series consisted of thirteen serialized continuities, each running three weeks. These adventures were later assembled into ersatz "feature films" for theatrical release. One such three-part adventure was Manhunt in Space, in which Rocky Jones and his space rangers battled a group of extraterrestrial desperadoes from the planet Prah. Scotty Beckett, Sally Mansfield and Maurice Cass costar in this low-budget but highly imaginative effort. ~ Hal Erickson, Rovi

Corky of Gasoline Alley was the second and last Columbia "B"-picture inspired by Frank King's popular comic strip Gasoline Alley. As in the first film, the emphasis is on young gas jockey Corky (Scotty Beckett), who must put up with Elwood Martin (Gordon Jones), the shiftless cousin of Corky's wife Hope (Susan Morrow). One of Elwood's get-rich-quick schemes involves gasoline pills, which all but destroy the service station managed by Walt Wallet (Don Beddoe) and his foster son Skeezix (Jimmy Lydon). When threatened with eviction, Elwood feigns a back injury, forcing everyone to wait on him hand-and-foot until his ruse is discovered. Director Edward Bernds handles his material in the slapsticky manner of his Columbia 2-reelers, which pays off in belly laughs even though this approach isn't altogether faithful to the spirit of the original comic strip. ~ Hal Erickson, Rovi

Owen Johnson's novel The Lawrenceville School Stories (compiled from short stories originally published in The Saturday Evening Post) was the basis for The Happy Years. The film is set at an early 20th-century boy's prep school; Dean Stockwell plays an habitual troublemaker sent to this school as a means of straightening him out and making a man of him. At first bullied by the older kids, the pugnacious Stockwell stands his ground until he earns his fellow students' respect. The film adheres strictly to MGM's factory-tested Boys Town formula by having Stockwell cleaning up his act and becoming a worthwhile Lawrenceville student. Watch The Happy Years carefully and you'll spot an unbilled Robert Wagner, in his film debut. ~ Hal Erickson, Rovi

Never mind the top-billed Ronald W. Reagan; the real stars of Louisa are sprightly seniors Charles Coburn, Spring Byington and Edmund Gwenn. Spring plays Reagan's widowed mother, who is outwardly satisfied with her lot but inwardly lonely. Enter Coburn and Gwenn, who vie for Spring's attentions. Uptight Ronnie disapproves of his mother's dalliances, and has additional problems with his spunky daughter (Piper Laurie), who has just begun dating. Spring Byington and Charles Coburn worked so well together in Louisa that plans were made to star them in a weekly TV series. The project never sold, but Spring would star in a similar sitcom, December Bride, from 1954 through 1959. ~ Hal Erickson, Rovi

Incoming MGM production head Dore Schary ramrodded Battleground into the studio's schedule over the virulent protests of MGM boss Louis Mayer. The result was an award-winning box-office hit, as well as the beginning of the end of Mayer's power. This dramatization of the battles of Bastogne and the Bulge in the waning days of World War II concentrates on a single infantry unit. Van Johnson and John Hodiak are the ostensible stars, but the film is stolen by James Whitmore as the cigar-chomping, battle-stained sergeant. Also appearing is Ian MacDonald as General McAuliffe, whose legendary response to the Nazi's suggestion that the Americans surrender consisted of a single four-letter expletive: "Nuts". Whitmore's final scenes of near-delirium before the relief troops arrive are unforgettable. Battleground tries within MGM limits to be wholly realistic, though it is slightly compromised by the scripters' inability to use Army profanity, and by pointless subplot involving actress Denise Darcel. The film doesn't hold up as well as such wartime efforts as The Story of GI Joe or Walk in the Sun, but in 1949 Battleground was regarded as an important milestone in the field of truthful, de-glamorized combat flicks. Please avoid the colorized version: this is a black-and-white subject if ever there was one. ~ Hal Erickson, Rovi

In this melodrama, a young juvenile delinquent convinces other teens to join his gang. The gang raids a warehouse and there he ends up killing the school's most beloved teacher. The boy is tried. In court the D.A.'s adopted daughter stands up for the boy. Years before, when they were both orphans, he had done the same for her. The D.A. is unmoved an tries to prosecute to the full extent of the law. The defense, says the real blame should be upon the boy's parents. The boy is given a life sentence. Unbeknownst to the self-righteous D.A., the boy is his long-lost son. ~ Sandra Brennan, Rovi

In this comedy drama, a butler and a crap-shooting chauffeur find themselves having the run of their employer's mansion after he goes on a ten-day vacation. They decide to avail themselves of their master's luxuries. The butler finds his boss's clothing fits him perfectly, and so pretends to be master of the manse. He and his driver end up at a ritzy gambling club where they meet a wealthy but spoiled young woman whose sister owes $100,000 to a racketeer. To impress the girl, the butler writes a check in his employer's name to cover her debt. Now they must all hurry to earn back the money before the master returns. ~ Sandra Brennan, Rovi

Though legendary entertainer Al Jolson was a highly visible presence on the U.S.O. circuit during World War II, he was generally regarded as a relic of an earlier time until his movie comeback in 1945's Rhapsody in Blue. Showing up 30 minutes into this biopic of George Gershwin, Jolson literally stopped the show with his robust rendition of "Swanee." Suddenly, every Hollywood studio was negotiating with Jolson to film his life story. Warner Bros., the studio that skyrocketed to the top ranks via the 1927 part-talkie Jolson vehicle The Jazz Singer, seemed to have the inside track, but it was Columbia's Harry Cohn who made the deal that Jolson couldn't refuse. An attractively appointed fabrication, the Technicolor The Jolson Story distorts and glosses over the particulars of Jolson's life, but the results are so darned entertaining that nobody really paid attention to its inaccuracies. The story begins in turn-of-the-century Washington, D.C., where young Asa Yoelson (Scotty Beckett), son of an immigrant cantor (Ludwig Donath), ignores his religious studies in favor of popular music. Asa is hired as an "extra added attraction" boy tenor by a vaudevillian; when his voice breaks, the boy wins over the audience with his whistling ability. Growing into manhood, Asa Yoelson -- now "Al Jolson," and now played by Larry Parks -- becomes fascinated with African-American jazz music. He breaks away from his initial vaudeville assignment by joining Lew Dockstader's (John Alexander) blackface minstrel troupe, then goes on to success as a "single." Ascending to Broadway, Jolson establishes a reputation as an inveterate ad-libber, as well as an indefatigable singing performer, frequently holding an audience in thrall until the wee hours of the morning. Along the way, he falls in love with singer Julie Benson (Evelyn Keyes), a character based on Jolson's third wife Ruby Keeler, who refused permission to have her name used on screen. As Jolson attains superstardom, his ego assumes gargantuan proportions, alienating many of those around him, including his wife Julie. Anxious not to lose Julie, Jolson promises to change his ways. He even goes into retirement so as to spend more time with his wife. But when coerced into performing before a nightclub audience, Jolson is "hooked"once more -- whereupon the understanding Julie walks out of his life, realizing that she can never compete with Jolson's love for his audience. Like its subject, The Jolson Story delivered exactly what the audience wanted to hear. Faithful Columbia contractee Larry Parks was catapulted to stardom as Jolson, though in retrospect he seems a curious casting choice: his miming of Jolson's style is painstakingly accurate, but he seems too boyish and unwordly for the role. Jolson, then well into his sixties, had wanted to play himself on screen, but was talked out of it after a rather embarrassing screen test. He consoled himself by personally coaching Parks in the role (his attitude toward the young performer alternated between avuncular and adversarial through the shooting), and by providing his own voice in the musical sequences. Jolson also appears in long-shot during the "Swanee" number, which like all the film's musical highlights was directed by cult favorite Joseph H. Lewis (whose "dry run" for this assignment was the 1945 PRC production Minstrel Man). A wealth of Jolson standards are heard in The Jolson Story, including "You Made Me Love You," "I'm Sitting on Top of the World," "My Mammy," "There's a Rainbow Round My Shoulder," "Toot Toot Tootsie," "The Anniversary Waltz," "Rock-a-bye Your Baby," and "Let Me Sing and I'm Happy." The film was nominated for several Oscars, winning in the "best sound" and "best score" categories. A fantastic box-office success, The Jolson Story spawned a 1949 sequel, Jolson Sings Again. Ironically, despite Larry Parks' contributions to the film, it did little for that actor and instead reignited Jolson's celebrity during the last several years of his life. ~ Hal Erickson, Rovi