Dorothy Neumann Movies

Scriptwriter Rod Serling had intended the June 3, 1960, Twilight Zone episode as the pilot for a TV series starring Burgess Meredith, but when Meredith balked, the title role was recast with Orson Bean. A natural-born eccentric and misfit, James B.W. Bevis somehow or other warrants the special attention of guardian angel J. Hardy Hempstead (Henry Jones). After briefly tasting success for the first time in his life, however, Bevis decides that he was happier when he was a loser. TV-series perennials Charles Lane, William Schallert, Horace McMahon, and Vito Scotti make brief appearances. Though "Mr. Bevis" did not graduate to a weekly series, Serling recycled the premise for his 1962 Twilight Zone episode "Cavender Is Coming" -- and, to a lesser extent, for the second-season installment "Mr. Dingle the Strong." ~ Hal Erickson, All Movie Guide

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, All Movie Guide

For his film directorial debut, producer Dore Schary selected a longtime pet property: Miss Lonelyhearts, Nathaniel West's trenchant 1933 novel. Montgomery Clift delivers a haunting performance as journalist Adam White, assigned by his cynical editor Adam Shrike (Robert Ryan) to take over a newspaper advice column. Signing himself Miss Lonelyhearts, White is appalled by the human misery pouring out of the letters sent to him (one of his correspndents was born without a nose), but Shrike insists that anyone who'd write to such a column is fake. To find out for himself, White looks up one of the correspondents, unhappily married Fay Doyle (Oscar-nominated Maureen Stapleton). His pity for the seriously disturbed Fay nearly leads to tragedy (in the novel, there's no "nearly"). Meanwhile, Shrike tries to contend with his own tottering marriage to his wife Florence (Myrna Loy). In additional to shortening the title to Lonelyhearts, Dore Schary made a number of radical changes in the original, adding an overabundance of "meaningful" dialogue and softening the character of Florence Shrike. Purists were enraged by Schary's liberties, while critics carped at his perfunctory direction; audiences, however, seemed to like the film. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

Betty Grable's Wabash Avenue is an agreeable remake of Grable's 1943 hit Coney Island. The locale is changed from New York to Chicago, but the plot remains basically the same. Once again, the star is cast as a honky-tonk singer, Ruby Summers, who is groomed for classier show-business endeavors by a handsome producer -- in this case, Andy Clark (Victor Mature). Saloon owner Uncle Mike (Phil Harris) doesn't want to lose Ruby (Grable) for both professional and personal reasons, but Clark is more persuasive, and, frankly, better-looking. Once she reaches the top in a Hammerstein show, Ruby's head is turned by Clark's suave, sophisticated partner English Eddie (Reginald Gardiner). Margaret Hamilton has a wonderful cameo as a Carrie Nation-style saloon basher, while old-time vaudevillian James Barton steals the show with his rendition of such standards as "Harrigan" and "Green River." ~ Hal Erickson, All Movie Guide

When the continual bickering of a married couple threatens to tear them apart, an angel is sent to help them get back together and start making babies in this fantasy. The husband is a busy producer for theatrical shows so the angel disguises himself as a wealthy Westerner looking to invest in a show. He meets the couple at a casino where the angel discovers a special gift for gambling. He is so good that the IRS threatens to intervene and he must be rescued by another angel. ~ Sandra Brennan, All Movie Guide