Leon Belasco Movies

Producer Val Lewton abandoned the "psychological horror" efforts of his RKO days when he moved to MGM in 1950. Lewton's Please Believe Me is a simple, sometimes simplistic romantic comedy, designed principally as a showcase for Deborah Kerr. The star plays Alison Kirbe, an English girl who inherits a Texas ranch. Once word gets out that Alison is in town, she is pursued by three bachelors. Terence Keath (Robert Walker) hopes to marry Alison so that he can square his gambling debts. Jeremy Taylor (Peter Lawford) is too wealthy to consider marriage, but he hopes to have a no-strings-attached good time with Alison. And Matthew Kinston (Mark Stevens) is Alison's all-business attorney, ever on the alert for any fortune hunters who might prey on his client. Guess who she winds up with in the end. As it turned out, Please Believe Me was Val Lewton's cinematic swan song; he died not long after the film's release. ~ Hal Erickson, All Movie Guide

Bud Abbott and Lou Costello play wrestling promoters whose star attraction, Wee Willie Davis, skips town to return to his home in Arabia. While scouring the desert in search of Davis, Bud and Lou inadvertently purchase slave girl Patricia Medina, and with equal inadvertence join the Foreign Legion. In their own bumbling, inept fashion, our heroes manage to foil a desert uprising fomented by shiek Douglas Dumbrille and traitorous Legion commandant Walter Slezak. The film's highlights include an opening-scene parody of pre-rehearsed wrestling matches, a "mirage" routine capped by one of the hoariest vaudeville punchlines in history, and a runaway-jeep climax. All in all, however, Abbott & Costello in the Foreign Legion is one of the team's lesser efforts. ~ Hal Erickson, All Movie Guide

A remake of Wife, Husband and Friend (1938), Everybody Does It is a frantic satire of the opera world. Businessman Paul Douglas is forced to suffer in silence when his wife (Celeste Holm) decides to become an opera star. Compelled to bankroll a concert for his missus, Douglas meets genuine opera diva Linda Darnell at the concert. While passing the time, Darnell discovers that Douglas in fact has a magnificent singing voice. Partly because he is flattered by Darnell's attentions, and partly to show up his wife, Douglas embarks on his own operatic career. But on the night of his debut, Douglas suffers a severe attack of stage fright, gets "doped up" on medicine in order to survive the performance, and hilariously humiliates himself in front of everyone. Darnell l angrily stalks out of the scene, and the sadder-but-wiser Douglas and Celeste Holm return to each other's arms. ~ Hal Erickson, All Movie Guide

Maureen O'Hara plays the daughter of a Sheikh who returns from being educated in London, only to find her father is dead and his palace looted. Handsome Paul Christian is suspected of the murder, as is lecherous pasha Vincent Price, but the real villain may be one of the Sheikh's most trusted aides. ~ Hal Erickson, All Movie Guide

Though Errol Flynn was well past his prime (and obviously well lubricated in certain scenes), he rises to the occasion of The Adventures of Don Juan with a spirited, athletic performance. As fabled Spanish swashbuckler/lover Don Juan, Flynn spends the early portions of the film romancing willing young ladies and dueling with jealous husbands. Spain's Queen Margaret (Viveca Lindfors) assigns Don Juan to head the royal fencing academy to keep him out of trouble. When scheming Duke de Lorca (Robert Douglas) plots to topple the monarchy, it is Don Juan's eager young fencing pupils who come to the rescue. Though a troubled production (filming was habitually halted due to Flynn's precarious physical condition and by constant changes and replacements in production personnel),The Adventures of Don Juan moves swiftly and enjoyably from start to finish, abetted by a rousing, semi-satirical Max Steiner musical score, which has since been heard in such 1980s films as Zorro, the Gay Blade and Goonies. Incidentally, Errol Flynn is doubled in the famous leap from the head of a long staircase by stunt expert Jock Mahoney. ~ Hal Erickson, All Movie Guide

In this courtroom drama, a French girl stands trial for murder. Flashbacks tell the grim story of how, during the Great War she got involved with a wealthy soldier and married him. He disappeared after the war. She then came to the U.S. There she finds him married to another woman. To cover himself, he tries to get her deported. In the ensuing argument, she accidently kills him. She is found guilty, but when they learn that she is expecting, the widow helps her. ~ Sandra Brennan, All Movie Guide

Deanna Durbin's career was clearly on the downswing when she starred in For the Love of Mary. Durbin plays a switchboard operator at the White House, whose hiccuping spells throw several incoming special-interest callers into a tizzy. The President himself cures Durbin of her hiccups, thereby becoming entangled with the girl's various romances. She, in turn, finds herself neck-deep in numerous political intrigues. A forgettable comedy with disposable songs, For the Love of Mary turned out to be Deanna Durbin's last picture. The onetime mortgage-lifter of Universal Pictures was tired of the Hollywood grind and of fighting a losing battle with her fluctuating weight; thus she retired to France with her director-husband Charles David. ~ Hal Erickson, All Movie Guide

It Happened On Fifth Avenue was easily the most ambitious movie made by the then-newly-organized Allied Artists for at least a decade after its release -- actually, as a "Roy Del Ruth Production," it was made through rather than by Allied Artists, which may explain why it stands so far apart from the Bowery Boys movies and other productions normally associated with Allied during this period. And amazingly, it works, mostly thanks to a genial cast and a reasonably light touch by director/producer Roy Del Ruth, and in spite of a script that needed at least one more editorial pass. Victor Moore is the star and dominant personality -- if there is one in what is, basically, an ensemble cast -- as Aloyisius T. McKeever, a genial hobo whose annual routine for finding winter quarters is to wait for multi-millionaire Michael O'Connor (Charlie Ruggles) to lock up his Fifth Avenue mansion and head to Virginia, and move in during the man's absence. He chances to meet Jim Bullock, a homeless WWII veteran (displaced, ironically, by one of O'Connor's development projects), and gives him shelter in the mansion. They become a trio when O'Connor's free-spirited daughter Trudy (Gale Storm) shows up, fleeing her finishing school, and the two men -- thinking she's an impoverished runaway from an abusive father -- take her in. She goes along with the masquerade and gradually falls in love with Jim, who also chances to meet two former army buddies (Alan Hale, Jr., Edward Ryan) who -- you guessed it -- are also desperately trying to find homes, in their cases for their wives and growing families. Now there are nine people living in the shelter of O'Connor's Fifth Avenue mansion, and in between setting up housekeeping, Jim and his two buddies manage to come up with an idea about how to build homes for veterans and their families. Trudy, her identity still a secret to the other, gets her father to meet the "squatters" incognito, in hope that he'll take to Jim, but a series of misunderstandings and his own impatience and lack-of-faith leads him to reject everything decent he sees about Trudy's friends. In desperation, to keep them from being evicted and arrested, she calls in reinforcements in the person of her mother (Ann Harding), long estranged from her father. O'Connor is still not convinced of Jim's worth, and definitely doesn't see him as a potential husband for Trudy -- and, in a comic mix-up, he ends up going head-to-head with Jim for the property where he plans to build those houses for veterans, causing them to lock horns once more. Matters do eventually fall into place, as they usually do in Christmas movies of this sort, which more closely resembles The Bells of St. Mary's or One More Spring -- to name another movie about displaced New Yorkers -- than It's A Wonderful Life (with which it is usually compared). It Happened On Fifth Avenue is usually defined as a Christmas movie, in part because of its plot time-line, but more than that, it's a movie that, like George Seaton's Miracle On 34th Street -- made the same year -- sings of the generosity of the human spirit, and the feeling of renewal that was in the air in the immediate post-World War II era, a funny, gentle, warm look at people making their way in a time when, for the first time since the Great Depression and the outbreak of the Second World War, cautious optimism seemed an appropriate approach to life. And not for nothing was this reportedly lead actor Don Defore's personal favorite of all of his movies. ~ Bruce Eder, All Movie Guide

In this musical, a struggling young singer falls in love with a nightclub owner whose father mistakes her for someone else and tries to convince her to serve a summons at the club. Fortunately, the love between the youngsters prevails. Music and happiness ensues. Songs include: Stormy Weather" (Harold Arlen, Ted Koehler) and "Just a Little Fond Affection" (Elton Box, Desmond Cox, Lewis Ilda), Louis Jordan and His Tympany Five with "Don't Worry About the Mule" (William Davis, Duke Groner, Charles Stewart), "A Tender Word Will Mend It All" (Doris Fisher, Allan Roberts) "On the Sunny Side of the Street" (Dorothy Fields, Jimmy McHugh), "Oh, Brother" (Matt Melneck, Allie Wrubel), "After All This Time" (Paul DeFur, Ken Thompson), and "Caledonia" (Fleecie Moore). ~ Sandra Brennan, All Movie Guide

Broadway producer Earl Carroll was a Ziegfeld-like entrepreneur who staged lavish revues featuring attractive young ladies. Carroll's annual "Vanities" provided story material for three Hollywood films: Murder at the Vanities (34), A Night at Earl Carroll's (40) and Earl Carroll Vanities (45). This last film was produced by Republic Pictures, a bread-and-butter studio specializing in Westerns and serials; Republic had made musicals before, but few of them were expensive enough to allow for lavish production numbers. Earl Carroll Vanities is likewise rather threadbare, though some of the individual musical highlights aren't bad. The plot, such as it is, concerns financially strapped nightclub owner Eve Arden, who finagles Earl Carroll into staging one of his revues at her club. ~ Hal Erickson, All Movie Guide

In this musical, a talented aspiring costume designer leaves her small town to seek her fortune in the Big Apple. The girl, who is also a singer, soon begins establishing herself in the fashion industry, but when a rival accuses her of stealing a pattern, her career is nearly destroyed. Fortunately, a handsome, romantic hero is around to help her clear her name. Songs include: "Come Along My Heart", "That does It", "Swing Low Sweet Lariat" and "Is You Is or Is You Ain't My Baby?". ~ Sandra Brennan, All Movie Guide

Yolanda and the Thief has long been considered the nadir of Arthur Freed's years as an MGM musical producer. Unappreciated at the time of its release, the film was a huge financial and critical failure. It has since become a cult film and cinematic cause celebre, revered by its adherents and condemned by its detractors. For the record, Fred Astaire stars as a suave but strangely unsympathetic con arstist Johnny Parkson Riggs, who convince sheltered South American heiress Yolanda (Lucille Bremer) that he's her guardian angel. Naturally, Johnny falls in love with Yolanda and tries to find a way to put an end to the scam job cooked up by himself and his partner-in-crime Victor Budlow Trout (Frank Morgan). Meanwhile, a mysterious character named Mr. Candle (Leon Ames) watches the proceedings with seemingly detached amusement (guess who he turns out to be!) With the exception of "Coffee Time", most of the film's musical numbers are forgettable; Astaire and Lucille Bremer dance well together, but generate none of the charisma necessary to sustain a whimsical tale of this nature. As for Bremer alone, her biggest scene takes place in an artfully arranged bubble bath; undeniably gorgeous, she frankly isn't much of an actress. It is difficult to assess Yolanda and the Thief pro or con; this is one film that is guaranteed to either delight or aggravate the viewer, with no "middle ground." ~ Hal Erickson, All Movie Guide