Dorothy Neumann Movies

Former army pilot Robert Taylor is accused, on the basis of strong circumstantial evidence, of his wife's murder. Suffering from periodic blackouts, Taylor isn't so certain of his innocence himself. When offered a brain operation, Taylor refuses, knowing that if he is proven sane he will be executed for murder. Instead, he opts for confinement in a high-walled veteran's mental institution. A compassionate lady doctor (Audrey Totter) falls in love with Taylor, convincing him to have the operation. Even after emerging from the ether, Taylor cannot remember any of the details concerning his wife's death--but he does recall that the dead woman had recently taken a job with a publisher (Herbert Marshall) of religious books. While the killer's identity is tipped off by this revelation, the audience is never certain that Robert Taylor isn't a murderer--especially since he'd previously appeared as a homicidal maniac in the 1946 film Undercurrent. The best moment in High Wall is the casual disposal of the sole witness to the murder, via a long, dark elevator shaft. ~ Hal Erickson, Rovi

A semi-fantasy with sociological overtones, The Luck of the Irish stars Tyrone Power as an American journalist named Stephen Fitzgerald visiting the home of his ancestors in Ireland. Power encounters a jolly old man (Cecil Kellaway) who claims to be a leprechaun -- and proves it to the journalist's satisfaction. The leprechaun trails Stephen to New York, smooths the path of romance between Stephen and lovely Nora (Anne Baxter), and watches in dismay as Stephen becomes the tool of a quasi-fascistic publisher. The journalist comes to his senses thanks to the leprechaun's intervention and goes to work for a more liberal publication. He heads back to Ireland with new wife, Nora, and the beneficent leprechaun. The Luck of the Irish was based on a novel by Guy and Constance Jones, who probably would have been blacklisted when the political winds of Hollywood shifted a few years later. ~ Hal Erickson, Rovi

When Lucille Fletcher took on the challenge of expanding her classic 30-minute radio suspenser Sorry, Wrong Number into an 89-minute feature film, she opted on the Citizen Kane approach, filling the plotline to the brim with revelatory flashbacks. Barbara Stanwyck stars as bedridden hypochondriac Leona Stevenson, who while trying to make a call from her bedroom telephone gets her wires crossed and inadvertently overhears two men plotting a murder. Anxiously, Leona wades through telephone-company bureaucracy to trace the call, never catching on -- until it's too late -- that the murder being planned is hers. A series of flashbacks details the disintegrating marriage between the wealthy Leona and her weakling husband Henry (Burt Lancaster), and Henry's subsequent disastrous get-rich-quick schemes involving chemist Waldo Evans (Harold Vermilyea) and a surly gangster (William Conrad). It would have been a near-sacrilege to alter the radio play's ironic ending, which fortunately remains intact on film. Sorry Wrong Number was first heard on radio's Suspense series in 1943, with Agnes Moorehead as the harried Mrs. Stevenson (a role she'd repeat several times on radio and on stage). Though disappointed that she wasn't chosen to star in the film version, Moorehead took some satisfaction in the fact that a recording of the original radio program was played constantly on the set to help keep Barbara Stanwyck "in the mood". ~ Hal Erickson, Rovi

In this musical comedy with dramatic touches, Jack and Molly Moran (Dan Dailey and Betty Grable) are a show business couple who, after hosting their own radio show, have just been given a deal to star in a TV series. They're also thrilled to discover that Molly is expecting a baby, but their joy turns to sorrow after she loses the child in an auto accident, and her doctors tell her that she may not be able to conceive again. When they see how happy their friends Walter and Janet Pringle (David Wayne and Jane Wyatt) are with their five children, the Morans decide to adopt, but they discover that show people are not generally regarded as fit parents, regardless of their success or stability. However, good fortune eventually shines on Jack and Molly, as they find themselves with not one but two adopted tykes, and a big surprise around the corner. My Blue Heaven marked the film debut of musical star Mitzi Gaynor. ~ Mark Deming, Rovi

All of Washington, D.C., is thrown into a panic when an extraterrestrial spacecraft lands near the White House. Out steps Klaatu (Michael Rennie, in a role intended for Claude Rains), a handsome and soft-spoken interplanetary traveler, whose "bodyguard" is Gort (Lock Martin), a huge robot who spews forth laser-like death rays when danger threatens. After being wounded by an overzealous soldier, Klaatu announces that he has a message of the gravest importance for all humankind, which he will deliver only when all the leaders of all nations will agree to meet with him. World politics being what they are in 1951, Klaatu's demands are turned down and he is ordered to remain in the hospital, where his wounds are being tended. Klaatu escapes, taking refuge in a boarding house, where he poses as one "Mr. Carpenter" (one of the film's many parallels between Klaatu and Christ). There the benign alien gains the confidence of a lovely widow (Patricia Neal) and her son, Bobby (Billy Gray), neither of whom tumble to his other-worldly origins, and seeks out the gentleman whom Bobby regards as "the smartest man in the world" -- an Einstein-like scientist, Dr. Barnhardt (Sam Jaffe). The next day, at precisely 12 o'clock, Klaatu arranges for the world to "stand still" -- he shuts down all electrical power in the world, with the exception of essentials like hospitals and planes in flight. Directed by Robert Wise, who edited Citizen Kane (1941) and The Magnificent Ambersons (1942) for director Orson Welles before going on to direct such major 1960s musicals as West Side Story (1961) and The Sound of Music (1965), The Day the Earth Stood Still was based on the story Farewell to the Master by Harry Bates. ~ Hal Erickson, Rovi

An outdoor adventure musical comedy, Take Me to Town features Ann Sheridan as Vermilion O'Toole, a barroom singer with a shady past who has taken refuge in a small timber town in the Pacific Northwest. She's on the run from a federal agent, Ed Daggett (Larry Gates). Just out of town lives Will Hall (Sterling Hayden), a logger and preacher who is widowed and raising three children. The children meet O'Toole and try to hook her up with their father -- because they want a mother to care for them. This arouses the jealousies of Mrs. Stoffer (Phyllis Stanley), a widow who was hoping to snare Hall herself. Hall comes to prefer O'Toole, but she must overcome the resentment of the local townspeople, who think she's a floozy. ~ Michael Betzold, Rovi

At the height of their TV fame, Lucille Ball and Desi Arnaz were contracted by MGM to make two theatrical films. The first of these, The Long, Long Trailer, stars Lucy and Desi as an upwardly mobile couple who decide to buy a trailer so they can live together while his job takes him around the country. Thanks to their naivete in such matters, they end up with a huge, bulky RV that costs five times what they planned. Their "seeing America" trip turns out to be a slapstick disaster, topped by Lucy's foolish decision to hide a heavy rock collection in the trailer; as Desi tries to maneuver a treacherous mountain road, the weighted-down home-on-wheels nearly loses its balance and almost tumbles off a cliff. The story is told in flashback, as Desi 'splains the breakup of his marriage to a motel court manager. Happily, Lucy shows up, goes "Waaaaah" a little, and all is forgiven. Despite the fact that audiences were getting Ball and Arnaz for free each week on television, The Long, Long Trailer was a big hit at the box-office. The film was adapted by Albert Hackett and Frances Goodrich from a novel by Clinton Twiss, with uncredited assistance from the I Love Lucy writing staff. ~ Hal Erickson, Rovi

In this gritty urban drama, war veteran Richard Dadier (Glenn Ford) wants to begin his career as a teacher and is given an assignment at a boys high school in inner-city New York. However, he soon discovers the school is overrun by delinquents, led by Artie West (Vic Morrow), an insolent hood who likes to call Richard "Mr. Daddy-O." Artie and his gang steal, destroy property, refuse to respect authority, and threaten the female teachers with rape. While most of the faculty have given up and meekly let the delinquents do what they want, Dadier is determined to bring order back to his classroom, even after Artie's thugs threaten Richard's pregnant wife. Keep your eyes peeled for a bit part by Jameel Farah, years before he would change his name to Jamie Farr. Blackboard Jungle was also the first major studio film to use rock & roll on the soundtrack; the film's success kick-started sales of "Rock Around the Clock" by Bill Haley & His Comets, which helped to spark the rock & roll boom of the 1950s. ~ Mark Deming, Rovi

Anything Goes is a Technicolor-and-Vistavision remake of the 1936 film of the same name, which in turn was based on Cole Porter's hit 1934 Broadway musical. The 1956 bears little relationship plotwise to its predecessors, except for the fact that most of the story takes place aboard a luxury liner. Bing Crosby and Donald O'Connor star as Bill Benson and Ted Adams, a pair of top Broadway tunesmiths who agree to collaborate on their next musical just as soon as they complete their respective vacations. Complications arise when, unbeknownst to one another, Bill and Ted each sign up a potential leading lady; Bill's choice is ballerina Gaby Duval (Zizi Jeanmaire), while Ted's selection is brassy chanteuse Patsy Blair (Mitzi Gaynor). Retained from the original Cole Porter score are such standards as "You're the Top", "I Get a Kick Out of You" (with appropriately laundered lyrics), "Blow, Gabriel Blow", and the title tune. New songs, penned by Sammy Cahn and Jimmy Van Heusen, include "You Gotta Give the People Hoke" and "A Second-Hand Turban and a Crystal Ball". To avoid confusion with the 1956 adaptation of Anything Goes, the 1936 version was for many years retitled Tops is the Limit for television. ~ Hal Erickson, Rovi

Producer-director Roger Corman serves up another thinly plotted musicfest in Carnival Rock. Corman regular Susan Cabot stars as Natalie, a singer for an oceanside carnival. Smitten by Natalie, high-stakes gambler Stanley (Brian Hutton) wins the carnival in a poker game so that he can be near the girl. Christy (David J. Stewart), the carnival's ex-owner, is likewise in love with the girl, so he stays on as a baggy-pants burleycue comic. As in most films of this nature, the plot can be blissfully ignored in favor of the musical highlights, which in this case are performed by the likes of The Platters, David Houston, Bob Luman, The Shadows and The Blockbusters. And what would a Roger Corman flick be without Dick Miller in a supporting role? ~ Hal Erickson, Rovi

After several years' absence from the screen, the vivacious Betty Hutton made a somewhat tepid comeback in Spring Reunion. The scene is a medium-sized Midwestern town, where Maggie Brewster (Hutton) is reacquainted with her high-school flame Fred Davis (Dana Andrews) during a class reunion. The first time around, Maggie turned down Fred at the behest of her wealthy, domineering father (Robert Simon). When Fred proposes a second time, history threatens to repeat itself -- at least until the lachrymose finale. Silent screen star Laura La Plante also makes a return to the screen as Maggie's understanding mother. Rumor has it that the barely saleable Spring Reunion was deliberately designed as a tax write-off by the accountants for Kirk Douglas' Bryna Productions. ~ Hal Erickson, Rovi

Perry (Raymond Burr) is suspicious when Rhoda Reynolds (Christine White) shows up in his office to ask advice on the legality of marriage, claiming she is doing so on behalf of "friends." As it turns out, Rhoda is being blackmailed by her shifty ex-husband Arthur Kane (Michael Emmet). When Kane is murdered, everyone is convinced that Rhoda is the guilty party--including Rhoda, who recalls striking him with a blunt object before rushing out of his apartment. Convinced that Rhoda is innocent, Perry tries to get at the truth by meticulously reconstructing the crime in the courtroom, with an alarm clock and a doorbell as key props. This episode is based on a 1934 novel by Perry Mason creator Erle Stanley Gardner, which was previously adapted as a theatrical feature in 1935 with Warren William as Mason--and a pre-stardom Errol Flynn as the murder victim! ~ Hal Erickson, Rovi