Ida Moore Movies

Used-car salesman John Forbes (Ralph Meeker) is saddled with a high-maintenance wife named Dorothy (Elizabeth Fraser), who spends far more than her husband earns. When Dorothy insists upon taking an expensive trip to New Zealand, John can stand no more. Using one of the cars on his lot, John prepares to "accidentally" kill his wife -- but his plan has one tiny, irksome flaw, namely another husband with another spendthrift spouse. ~ Hal Erickson, Rovi

In this comedy, an awkward TV repairman finds himself falling for an actress who doesn't even know he exists and instead marries a dashing Mexican bullfighter. Unfortunately, he dies the day after their wedding; fortunately, he managed to impregnate her. Unfortunately, she is soon supposed to be starring in a religious epic called The White Virgin on the Nile. To help her, the repairman offers to watch her baby after it is born. Unfortunately, she gives birth to triplets. Later he marries the sister of the actress who bears him quintuplets. Some guys have all the luck. Songs include: "In the Land of La La La", "Dormi, Dormi, Dormi", "The White Virgin of the Nile", "Love is a Lonely Thing" and ""Why Can't He Care for Me?"" ~ Sandra Brennan, Rovi

The title tells all in this seventh entry in Universal's "Ma and Pa Kettle" series. This time around, Ma (Marjorie Main) and Pa (Percy Kilbride) take their brood to Hawaii, where Pa is to take over management of his cousin's fruit processing operation. The villains are a group of rival businessmen who kidnap Pa and spirit him off to a remote island. Before long, however, it's the bad guys who need rescuing. Some of the funnier scenes involve Ma and Pa's Hawaiian counterparts, played by Hilo Hattie and Charley Lung. With this entry, Percy Kilbride bade adieu to the role of Pa Kettle, leaving Marjorie Main to carry on alone in the remaining two series installments. ~ Hal Erickson, Rovi

Bing Crosby does the Academy Award-bid bit in the atypical role of a self-pitying alcoholic, but it was his co-star, a deglamorized Grace Kelly, who won the Oscar for her performance in The Country Girl. This adaptation of Clifford Odets' play stars Crosby as Frank Elgin, a once-famous Broadway star who's hit the skids. Hotshot young director Bernie Dodd (William Holden), a longtime admirer of Elgin, tries to get the old-timer back on his feet with a starring role in a new play. But Dodd must contend with Elgin's hard, suspicious wife Georgie, who seemingly runs roughshod over her husband. Dodd holds Georgie responsible for Elgin's lack of self-confidence and his reliance upon the bottle--a suspicion fueled by Elgin himself, who insists that Georgie has been suicidal ever since the death of their son. When Elgin goes on a monumental bender during the play's out-of-town tryouts, the truth comes out: it is Elgin who is suicidal, and Georgie has been the glue that has held him together. Adopting a now-or-never stance, Dodd forces Elgin to stay off the sauce long enough for the play to open--and, in spite of himself, falls in love with Georgie. A few Hollywood liberties were taken with the Odets original, including a slightly altered ending. ~ Hal Erickson, Rovi

Greer Garson and Walter Pidgeon were together again for the last time in Scandal at Scourie. Filmed on location in Canada, the plot concerns a childless Protestant couple, the McChesneys (Garson and Pidgeon), whose lives are profoundly altered by an orphaned Catholic girl named Patsy (Donna Corcoran). Through a series of far-fetched coincidences, Patsy wanders into the McChesney home, immediately capturing the heart of Mrs. McChesney. Mr. McC, a local politician, is a bit harder to win over, but eventually his wife convinces him to adopt the child. This stirs up a tempest in a teapot, as McChesney's political enemies accuse him of using Patsy to win over his Catholic constituents, while one of Patsy's former orphanage classmates spreads a rumor (backed up by circumstantial evidence) that the little girl is a "firebug." Sentimental to a fault, Scandal at Scourie is also undeniably effective. ~ Hal Erickson, Rovi

Something to Live For is the last of director George Stevens' "small" films, before he concentrated full-time on such blockbusters as Shane and Giant. Joan Fontaine plays a popular actress who descends into alcoholism. Ray Milland, in an unofficial extension of his Lost Weekend role, plays a reformed drunkard who comes to Fontaine's rescue. He encourages her to join Alcoholics Anonymous--one of the first times that this organization was given any kind of screen treatment. Milland's concern strains his relationship with his wife (Teresa Wright), who doubts that Ray's interest in Fontaine is merely humanitarian. But Milland refuses to endanger his marriage no matter how strong his feelings towards Fontaine--nor how much the audience wants him to. ~ Hal Erickson, Rovi

After a lengthy absence from the screen, Judy Canova returned in the raucous musical Honeychile. The plot had been utilized in several previous Republic films, but was good for yet another go-round here. Canova plays Judy, a would-be songwriter who sends one of her tunes to a big-city composer. When the song, published under another author's name, becomes a hit, music agent Eddie Price (Eddie Foy Jr.) heads to the sticks to negotiate a contract with Judy. By now, however, she doesn't want to sell her song: instead, she wants all the royalties for herself. Eddie's efforts to get her to change her mind are stymied by the presence of Judy's muscle-bound boyfriend Joe Boyd (Alan Hale Jr.) Somehow, everything is resolved during a climactic chuck-wagon race. ~ Hal Erickson, Rovi

The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat falls just short of greatness but is still a whale of a show. Howard Keel and Kathryn Grayson are in fine fettle as irresponsible gambler Gaylord Ravenal and showboat ingenue Magnolia Hawks. The plot adheres closely to the Broadway original making several welcome improvements in the final act (which was always a bit shaky). Magnolia, daughter of showboat impresario Captain Andy (Joe E. Brown) and Parthy Hawkes (Agnes Moorehead), falls head over heels in love with the raffish Ravenal. When the show's leading lady, Julie (Ava Gardner), and leading man, Steve (Robert Sterling), are forced to leave when Julie's mulatto heritage is revealed by disgruntled suitor Pete (Leif Erickson), Magnolia and Gaylord step into the vacant stage roles and score a hit. Eventually, the two are married and for several months are quite happy. After incurring serious gambling losses, however, Gaylord walks out of Magnolia's life never realizing that his wife is expecting a baby. With the help of her former showboat colleagues Ellie and Frank Schultz (Marge and Gower Champion) and a behind-the-scenes assist from the tragic Julie, Magnolia secures work as a Cabaret singer in Chicago. Her new year's eve debut threatens to be a bust until her father Captain Andy quells the rowdy crowd and guides his daughter through a lovely rendition of After the Ball (a Charles K. Harris tune that pops up in every stage version of Show Boat). Magnolia returns to her family, with her daughter Kim in tow. Upon learning from Julie that he has a daughter, Gaylord returns to Magnolia and Kim, setting the stage for a joyous ending.

Virtually all of the Kern-Hammerstein songs are retained for this version of Show Boat (though none of the songs specially written for the 1936 film version are heard). These cannot be faulted, nor can MGM's sumptuous production values. Still, the 1951 Show Boat leaves one a bit cold. Perhaps it was the removal of the racial themes that gave the original so much substance (as black stevedore Joe, William Warfield exists only to sing a toned-down version Ol' Man River while Joe's wife Queenie is virtually written out of the proceedings). Also, MGM reneged on its original decision to cast Lena Horne as Julie; the role was recast with Ava Gardner and rewritten with an excess of gooey sentiment). Or perhaps it was the production's factory-like slickness; typical of the film's smoothing out of the original property's rough edges was the casting of Marge and Gower Champion, who are just too darn good to be convincing as the doggedly mediocre entertainers Frank and Ellie. Even so, Show Boat does have Howard Keel and Kathryn Grayson at their peak, not to mention the peerless Joe E. Brown as Captain Andy. And the film was a financial success, enabling MGM to bankroll such future musical triumphs as Singin' in the Rain and Seven Brides for Seven Brothers. ~ Hal Erickson, Rovi

In this Abbott & Costello vehicle set in rural Kentucky, a magician (Lou Costello), his agent (Bud Abbott) and his sister (Dorothy Shay) unwittingly become involved in a down-home feud. ~ John Bush, Rovi

Fancy Pants is a musicalized remake of the oft-filmed Harry Leon Wilson story Ruggles of Red Gap, tailored to the talents of "Mr. Robert Hope (formerly Bob)". The basic plotline of the original, that of an English butler entering the service of a rowdy nouveau-riche family from the American West, is retained. The major difference is that main character (Bob Hope) plays a third-rate American actor who only pretends to be a British gentleman's gentleman. Social-climbing American heiress Lucille Ball hires Hope to impress her high-society English acquaintances, then takes him back to her ranch in New Mexico. Though there are many close shaves, Hope manages to convince the wild and woolly westerners that he's a genuine British Lord--even pulling the wool over the eyes of visiting celebrity Teddy Roosevelt (John Alexander). Never as droll as the 1935 Leo McCarey-directed Ruggles of Red Gap, Fancy Pants nonetheless works quite well on its own broad, slapsticky level. If the ending seems abrupt, it may be because the original finale, in which a fleeing Bob Hope and Lucille Ball were to be rescued by surprise guest star Roy Rogers, was abandoned just before the scene was shot. ~ Hal Erickson, Rovi

Bing Crosby stars as Paul Merrick, an irresponsible songwriter in Mr. Music. Merrick's improvidence and prodigality has made him persona non grata in show business, so his secretary Katherine Holbrook (Nancy Olson) takes it upon herself to rehabilitate her boss. Meanwhile, producer Alex Conway (Charles Coburn) desperately needs a hit show to survive. Conway takes a chance on Merrick, who then enlists several of Katherine's college-student friends to put on a musical revue. All the group needs now is some money--$300,000, to be exact. Mr. Music is enlivened by several guest-star appearances, including Marge & Gower Champion, Dorothy Kirsten, Peggy Lee, the Merry Macs, and Groucho Marx who performs an amusing vaudeville turn with Crosby. Director Richard Haydn shows up in a pivotal cameo role, billed as "Claude Curdle." ~ Hal Erickson, Rovi

What mother didn't tell Dorothy McGuire was that it's hard to be a doctor's wife. Marrying physician William Lundigan, Dorothy finds herself home alone most of the time, and also fumes silently as she watches her husband's parade of beautiful female patients. Further problems arise due to Dorothy's snooty mother-in-law (Jessie Royce Landis), who feels the girl isn't good enough for her precious son. When a pretty nurse (Joyce MacKenzie) sets her sights on the doc, Dorothy nearly packs and leaves, but relents when she realizes that her husband is faithful after all. Mother Didn't Tell Me was based on The Doctor Wears Three Faces a novel by Mary Baird. ~ Hal Erickson, Rovi

When he's discharged from a military hospital, ex-GI Bob Corey (Gordon MacRae) goes on a search for his army buddy Steve Connolly (Edmond O'Brien). A reformed crook, Connolly is on the lam from a trumped-up murder rap, and Corey hopes to clear his pal. Tagging along is Army nurse Julie Benson (Virginia Mayo), who has fallen for Corey. The rest of the film emulates the 1946 noir exercise The Killers, with Julie and Corey interviewing various people with whom Connolly has come in contact. One of those people, of course, is the actual killer, who now adds the GI and the nurse to the "hit list." Warner Bros. used Backfire to test the dramatic potential of singing star Gordon MacRae, who passes that test with flying colors. ~ Hal Erickson, Rovi