Gar Moore Movies

Archeologists excavating the ruins of Pompeii discover what seems to be a perfectly preserved human figure, encased in lava. A scientific team led by Dr. Paul Mallon (Richard Anderson) begins to piece together the history and identity of the stone figure. Using surviving records from the city and the location where the figure was found as a starting point, the archeologists uncover the story of Quintilus, an Etruscan gladiator-slave who was tortured and sentenced to death for daring to love a noblewoman. He vowed to kill anyone who kept him from the woman he loved, and was in the process of being executed when the eruption of Vesuvius destroyed the city and buried Quintilus in molten lava. Their research takes on tremendous urgency when evidence -- in the form of a rising number of dead bodies -- begins to show that Quintilus may not only still be alive, in some impossible-to-fathom manner, but bent on carrying out his final wish, of rescuing and escaping with his beloved, and that the woman he loved has been reincarnated, in some manner, in the person of Mallon's fiancée, Tina Enright (Elaine Edwards). This all seems like fanciful speculation, especially to the police, until Quintilus breaks out one night and starts stalking Tina through the city, impervious to police bullets and a danger to everyone around him. When Quintilus takes the unconscious Tina, Mallon must try to anticipate his movements around the city by finding the modern locations of ancient streets that Quintilus seems able to navigate. He heads for the Cove of the Blind Fisherman, hoping to save his fiancée and put an end to this ancient curse. ~ Bruce Eder, All Movie Guide

Written by murder-mystery specialist Craig Rice, The Underworld Story concerns a corrupt newspaperman (Dan Duryea), who is in the pocket of a gangster (Howard da Silva). When he's fired by a big-city paper, the newsman buys an interest in a small-town weekly. It is while thus occupying that man reforms, devoting himself to clearing a black woman falsely accused of murder. Gale Storm co-stars as Duryea's assistant, who helps him expose an intricate and insidious conspiracy of silence. ~ Hal Erickson, All Movie Guide

Long before he became producer/director of The Tonight Show, Fred DeCordova helmed the Universal meller Illegal Entry. Howard Duff, who later worked with DeCordova on the TV series Mr. Adams and Eve, stars as Bert Powers, an undercover agent for the U.S. Department of Immigration. While attempting to bring a vicious gang of alien smugglers to justice, Powers falls in love with Anna Duvak (Marta Toren), a gang member who is Not What She Seems. The film leaves no cliché unturned, not even the familiar scene wherein the airborne smugglers dispose of their human cargo by way of a handy lever which causes the bottom of the plane's passenger section to drop out. Illegal Entry is staged in semi-documentary fashion, maintaining the then-prevalent tradition of such popular films as House on 92nd Street and Call Northside 777. ~ Hal Erickson, All Movie Guide

This Abbott & Costello vehicle was originally planned as a Bob Hope comedy titled Easy Does It. The Hope role is fairly evenly divided between Bud Abbott, as hotel house detective Casey Edwards, and Lou Costello, as bumbling bellhop Lou Costello. When a much-hated criminal attorney (Nicholas Joy) is murdered at a resort hotel, there's no shortage of suspects: in fact, practically every guest had an excellent motive for killing the victim. The suspects conspire to pin the killing on poor Freddie, but when he comes in possession of a valuable piece of evidence, he is slated for extermination himself. The more Freddie and his pal Casey try to stay out of trouble, the more trouble comes their way--especially when two more murders occur. The climax takes place in an underground cavern, where Freddie is nearly drowned by the hooded mystery killer. The film's title is one of the most misleading in movie history. Cast as a red-herring swami, Boris Karloff is not the killer (whose true identity is obvious from the outset, especially to veteran moviegoers). Though his footage is extremely limited, Karloff shares the film's funniest scene, in which he tries to hypnotize Costello into committing suicide ("You'll kill yourself if it's the last thing you do!). ~ Hal Erickson, All Movie Guide

Roberto Rossellini's Paisan (originally Paisa) is one of the best-known and most important of the postwar Italian neorealist films; certainly it has one of the finest pedigrees, representing the combined talents of two of Italy's most prestigious filmmakers. The second of Rossellini's "war trilogy" (bracketed by Open City and Germany Year Zero), Paisan is divided into six episodes, each elucidating upon the tenuous relationship between the recently liberated Italians and their American liberators. In the first episode, Joe From Jersey (Robert Van Loon), assigned to guard a taciturn Sicilian woman (Carmela Sazio), tries to communicate with his monolingual prisoner. Next, a black MP (Dotts Johnson) is robbed of his shoes by an impoverished Neopolitan street urchin (Alfonsino Pasca). This is followed by an episode set in Rome, where drunken GI Fred (Gar Moore) is reunited with a streetwalker (Maria Michi) whom he's met before but does not recognize. In Florence, American nurse Harriet (Harriet Medin) and an Italian partisan (Gigi Gori) dodge bullets as they make their way through enemy-held territory in search of Harriet's lover. Next comes a comic interlude involving a theological argument between a Catholic, a Protestant, a Jew and a group of Fransiscan monks. The film concludes with a bloody confrontation in the Po Valley between the OSS and a band of intractable Germans who refuse to surrender. Everyone who's ever seen Paisan has his or her favorite episode: by consensus of opinion, the most popular vignettes are the Naples episode (largely adlibbed by actors Dotts Johnson and Alfonsino Pasca) and the thrilling Florentine vignette with Harriet Medin and Gigi Gori. Giulietta Masina, the wife of Federico Fellini, shows up in a bit role; Fellini himself collaborated on the screenplay with Rossellini and Annalena Limentani. Originally released at 115 minutes, Paisan was expertly edited to 90 minutes for American consumption by Stuart Legg and Raymond Spottiswoode. ~ Hal Erickson, All Movie Guide