J. Carrol Naish Movies

At the time of its release, Beneath the 12-Mile Reef was considered more notable for its technical achievements than its artistic virtues, a judgment that is still valid, up to a point. It wasn't the most earth-shattering drama ever made, though the performances seem better than they were probably given credit for being at the time. 20th Century Fox's second Cinemascope production starred Robert Wagner (at the height of his male ingénue phase) and Terry Moore in a modern Romeo and Juliet story. He plays Tony Petrakis, the cocky but good-hearted son of Greek sponge fisherman Mike Petrakis (Gilbert Roland), who fishes the area off the Florida coast. The fiercest rivals of Petrakis and his fellow Greek fishermen are the English-descended hook-boat fishermen -- led by Thomas Rhys (Richard Boone) -- who are prepared to kill anyone who intrudes on their established territory. Mike Petrakis has already had one run-in with Arnold, a protégé of Rhys' and the would-be husband of Rhys' daughter, who doesn't know when to back off. In the midst of their conflict, which has come close to gunshots being exchanged, Tony meets Gwyneth Rhys (Terry Moore), Thomas' daughter. She's fascinated by this handsome young Greek who doesn't seem afraid to fight back against men bigger, older, and tougher than he is. The two end up falling in love, much to the consternation of their two families and their friends. Mike later dies in a tragic diving accident, in the aftermath of which his boat is looted and burned at the instigation of Arnold. The elder Rhys turns out to be a better and fairer man than Arnold, who mercilessly beats Tony after catching him off guard. Tony and Gwyneth end up running off together in her hook-boat, with Arnold and her father in hot pursuit, ready to kill him. Only Thomas Rhys' basic decency and Tony's bravery -- coupled with Arnold's cowardice, lust, and anger -- manages to get the conflict settled, in a surprising (and convincing) resolution. ~ Bruce Eder, All Movie Guide

Will Ballard (Rod Cameron) is the longtime foreman of the Hatcher ranch, a spread renowned for its size and the wealth it contains. When owner Phil Evarts dies suddenly, the speculation in the territory is that Hatcher will be broken up, especially since it was Evarts' determination coupled with Ballard's skills as a foreman and gunman that held it together -- but Ballard decides that the ranch is worth saving, even though the only help he really has is one top hand (Chill Wills, in a beautifully restrained performance) and a couple of young brothers (Al Caudebec, Roydon Clark) picked up on the trail. He figures it's worth saving for what it is, and also for Evarts' daughter, Celia (Ella Raines), who is engaged to marry neighboring rancher Sam Danfelser (Forrest Tucker). Ballard and Sam were once friends, but as the foreman discovers, there's been bad blood brewing on the other side of the friendship for a long time, mostly out of Sam's jealousy -- not only is Ballard a better rider and a better gun, but he's a better man than he is, and he can't abide the fact that Celia knows this deep in her heart, even though she and Sam are engaged. Then there's Bide Marriner (Brian Donlevy), a local "operator" who'd love to get a range war started and grab up some land and cattle, and immediately uses friends and intermediaries, plus a few hired guns, to start spreading the word, convincing the neighboring ranchers that Hatcher land is free and open. And then there's Lottie Priest, whom Ballard figured to marry soon -- is she more interested in what her greedy father can make from the breakup of Hatcher? Caught in the middle of it all is the county sheriff, Joe Kneen (J. Carrol Naish), who'd like to stay civil with all of those involved but soon finds out that he's going to have to choose sides, and that he's too good a man for that to be the "easy" choice. There's a lot of back-shooting in Ride the Man Down, as well as some brilliantly and cleverly designed action sequences, and a level of duplicity in the characters that makes this picture play at time almost more like a film noir of the period. ~ Bruce Eder, All Movie Guide

The opening credits appearing over a turbulent ocean serve as a foreshadowing of things to come in this standard-issue love triangle that shifts into high drama thanks to taut direction by Fritz Lang and a sizzling performance by Barbara Stanwyck. Returning to live with her brother, Joe (Keith Andes), at her family's home in a small fishing village, Mae Doyle (Stanwyck) has reached rock bottom. Reeling from the pain of her previous romances, Mae slowly pieces things together and begins dating Jerry (Paul Douglas), a simple-minded fisherman. More along Mae's speed is Jerry's slick, boozy pal Earl Pfeiffer (Robert Ryan), a film projectionist who makes his feelings for her known right away despite the fact that he is married. Mae spurns his advances and decides to marry Jerry. Meanwhile, Joe has grown close to ditzy factory worker Peggy (Marilyn Monroe). Some time later, Mae and Jerry have had a baby, and things appear happy, but Mae is not in love with Jerry, and soon finds herself in Earl's arms. Jerry discovers the affair, and during a confrontation with the deceitful couple, Mae reveals that she is leaving to be with Earl. After some booze and a pep talk from his Uncle Vince (J. Carrol Naish), Jerry confronts Earl and proceeds to nearly strangle him until Mae arrives. Jerry storms off, but when Mae comes to their home to retrieve the baby, she discovers that Jerry has taken the child. Desperately upset, she explains the situation to Earl, but as they talk, she begins to arrive at a new realization about her life and what it takes to find happiness. ~ Patrick Legare, All Movie Guide

Clark Gable is the largely nonheroic hero of the sprawling western Across the Wide Missouri. A cunning trapper who lives purely by his wits, Gable avoids being scalped by the Blackfoot Indians by marrying Maria Elena Marques, the chief's daughter. This marriage of convenience also allows Gable to trap to his heart's content in Blackfoot territory. After bearing a child, Marques is killed by a warring tribe; the opportunistic Gable at first considers abandoning the child, but at long last does right by the boy. Adolphe Menjou steals the show as an eternally inebriated French trapper, while Ricardo Montalban and J. Carroll Naish are convincing (and noncondescending) in their Native American characterizations. Evidently, Across the Wide Missouri tested poorly when it was first previewed: the final release version runs a surprisingly brief 78 minutes, with narrator Howard Keel (who otherwise does not appear) filling in the continuity gaps. ~ Hal Erickson, All Movie Guide

Bannerline was Don Weis' first solo directorial credit for MGM. Keefe Brasselle stars as cub reporter Mike Perrivale, who devises a heart-tugging promotional stunt. Upon learning that crusty old history teacher Hugo Trimble (Lionel Barrymore) is dying, Mike writes up a glowing tribute, ascribing all sorts of fabricated accomplishments to the venerable Trimble. The stunt backfires when crime boss Frankie Scarbino (J. Carroll Naish), angered that some of the civic reforms credited to Trimble may put the kibosh on his own operation, threatens to make trouble for Mike. As it turns out, it is the impulsiveness of Scarbino's hired thugs which sets the wheels of reform in motion--simply by beating Mike to a pulp. ~ Hal Erickson, All Movie Guide

John Wayne stars as Lt. Col. Kirby Yorke, whose devotion to duty has cost him his marriage to his beloved Kathleen (Maureen O'Hara). Yorke gets word that his son, Jeff (Claude Jarman Jr.) -- whom he hasn't seen in 15 years -- has been dropped as a cadet from West Point, and that he lied about his age to enlist in the cavalry, in an effort to redeem himself. By chance, the boy is then assigned to his father's post. Once more, as a function of his duty as a cavalry officer, Yorke must sacrifice his love of family -- he cannot show any preferential treatment to the boy, or exhibit any sign of love and affection. But Jeff is too strong to be injured by his father's actions, and already enough of a man that he is befriended by two older recruits, troopers Tyree (Ben Johnson) and Boone (Harry Carey Jr.), who watch out for him while taking him in as a virtual equal. Yorke's resolve is further tested when his estranged wife, Kathleen, arrives at the post, the better to look after her son -- and possibly to buy back the boy's enlistment, which Yorke, as commanding officer in a remote post with a critical shortage of men, can't and won't permit. After an attack by the Apaches, Yorke orders the post's women and children to be moved to safety, and Jeff is assigned as part of the troop conducting the caravan, despite his wish to participate in the planned action against the Apaches. The caravan is attacked, and the wagon with the children is taken by the Apaches to their encampment in a deserted village across the Rio Grande in Mexico. Yorke has been given permission by General Sheridan (J. Carrol Naish) to take his men into Mexico in pursuit of the Apaches, but the punitive expedition is now a rescue mission, as the Indians' night-time vengeance dance is the prelude to certain slaughter of the children at daybreak. As part of the mission, it's up to Tyree, the slyest man in the troop, to infiltrate the enemy camp, and he chooses Jeff and Boone as the two men he wants with him on this dangerous mission. ~ Bruce Eder, All Movie Guide

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

Gene Kelly as an Italian-American attorney? Once you get past this, the rest of Black Hand ought to go down easy. This expose of organized crime is set in New York's "Little Italy" the late 19th century. The various Italian immigrant merchants find themselves at the mercy of the Black Hand, a group which extorts money upon threat of death. Seeking vengeance for the mob-dictated murder of his father, Kelly tries to gather evidence against the Black Hand. He is frustrated in his efforts until he teams with Italian/American police inspector J. Carroll Naish. Though Naish is eventually murdered while assembling evidence, he is able to mail his findings to Kelly, who, after beating crime boss Marc Lawrence to a bloody pulp, delivers the guilty parties to the authorities. In the real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Even in 1950, however, Hollywood had to tread gingerly whenever dealing with big-time crime; it was easier (and safer) to go after a "dead" criminal organization than a "live" one. ~ Hal Erickson, All Movie Guide

Filmed on location in the Canadian Rockies, this historical adventure spins a fanciful account of the building of the Canadian Pacific railroad. Randolph Scott heads the cast as Tom Andrews, a rough-and-ready surveyor who meets and conquers all obstacles in the railroad's path. The biggest fly in the ointment is trapper Dirk Rourke (Victor Jory), who perceives the Canadian Pacific as a threat to his livelihood. Rourke foments an Indian uprising which very nearly destroys the railroad. But Andrews and his hardy band persevere. Jane Wyatt plays the heroine among more intelligent and self-reliant lines than is usual in films of this nature. Highly suspect on a historical level, Canadian Pacific is nonetheless an exciting piece of filmmaking, evocatively photographed in Cinecolor by Fred Jackman Jr. ~ Hal Erickson, All Movie Guide

Director Victor Fleming's final film features Ingrid Bergman as a vivid and luminous Joan of Arc, the 15th-century French peasant girl who led the French in battle against the invading English, becoming a national hero. When she was captured, tortured, and ultimately executed by the English, she was made a Catholic saint. Bergman's Joan is a strong and spiritual figure who proves her devotion to the Dauphin (Jose Ferrer), later to become the King of France. Joan is compelling as she wins an alliance with the Governor of Vaucouleurs and the courtiers at Chinon, leads her army in the Battle of Orleans, is betrayed by the Burgundians, and edicts that "our strength is in our faith." ~ Paul Brenner, All Movie Guide

This musical romance is set in the beautiful South American country and chronicles the love affair between a betrothed couple who secretly have fallen in love with other people. The young man loves a nightclub chanteuse, while the woman wants a handsome coffee-buyer. Now they must somehow let their constantly bickering parents know. Songs include: "Qui Pi Pia," "I'll Know It's Love," "Another Night Like This," "Mi Vida, Costa Rica," and "Rhumba Bomba." ~ Sandra Brennan, All Movie Guide

Fannie Hurst's novel Humoresque is the lachrymose tale of a famed Jewish-American violinist who forgets all about his friends and family in his rise to fame. Screenwriters Clifford Odets and Zachary Gold refashioned this timeworn material into a first-class, big-budget soap opera, completely dominated by the high-octane talents of Joan Crawford and John Garfield. A gifted musician, Garfield rises from the slums to the upper echelons of society, thanks to the patronage of wealthy, alcoholic Crawford. Virtually ignored by her husband Paul Cavanaugh, Crawford adopts Garfield as her lover as well as her protégé. He is only mildly offended by the setup; she, on the other hand, becomes jealous and possessive. It is not a woman who comes between Crawford and Garfield: it the intensity of his talent, not to mention the spectre of the great composers whose works he interprets so brilliantly. Garfield's virago of a mother (Ruth Nelson) feeds upon Crawford's jealousy, planting the seeds of guilt for (allegedly) holding her son back. The ultrastylish suffering of Joan Crawford and the street-punk insouciance of John Garfield (who looks like a "Dead End Kid" even while wearing a tux) is counterpointed by the phlegmatic comedy relief of Oscar Levant. ~ Hal Erickson, All Movie Guide