Paul Newlan Movies

The first season of this World War II series -- which was based on the 1949 feature film starring Gregory Peck and Dean Jagger (who won the Oscar) -- starred Robert Lansing as Brigadier General Frank Savage (the role played by Peck in the movie), the commander of the 918th Heavy Bombardment Group, based at Archbury. That season hewed the most closely to the film in terms of characters, with Frank Overton in the recurring role of Adjutant Major Harvey Stovall (the Dean Jagger role), and, as regular, recurring characters, Lew Gallo as Major Cobb, Barney Phillips as Major Kaiser ("Doc Kaiser"), the group medical officer, John Larkin as Savage's commanding officer, Major General Wiley Crowe (later succeeded by John Zaremba as Major General Stoneman); and Paul Newland as his superior officer, Lieutenant General Pritchard. The series was based, like the movie, on the novel of the same name by Sy Bartlett and Beirne Lay, Jr. (who also wrote the screenplay), who were listed as creators of the program, and based their work on the real-life story of General Frank Armstrong, commander of the 306th Bomb Group. As one would expect, the series concentrated initially on airborne stories. The fact that the series was originally in black-and-white made it possible to use a large amount of actual World War II footage -- although, as with the original film, it was the men's lives on the ground that were the main substance of the scripts. As with most dramatic series of this era, faced with producing over 30+ episodes each season, the series' output was somewhat uneven, in the writing as well as the direction, though the acting was consistently good. To the viewer, the difficulty with the first season was that the scripts got a little repetitive early on -- one can wonder, for example, looking at the series four or five decades on, how many nests (or potential nests) of spies, and how many women with agendas of their own, would a combat officer such as Frank Savage cross paths with in real life?

The real problems with the first season were more internal, and mostly concerned the star, Robert Lansing, a method-trained actor with theatrical experience who was reputed to be very difficult to work with. Producer Quinn Martin apparently decided early on that his role might have to be written out and the actor replaced. In the very first episode, the writers introduced the character of Joseph Gallagher, the son of an Army Air Force lieutenant general, played by Paul Burke -- a leading man who had just come off of the series The Naked City -- initially as a captain. Gallagher reappears in the 24th episode as a major and squadron commander, setting the stage for his replacing Savage in the first episode of the second season. Officially, the reason that Lansing was leaving the series was a result of his lack of appeal to female viewers (though how many female viewers were watching a series such as this was questionable), and the fact that the producers wanted a younger man, though Burke was actually two years older than Lansing, but was a more conventionally handsome man and looked younger.

The series' first season is generally by fans as the best, despite the internal strains behind the scenes. The scripts delved into the dark side of the psyche, on the part of pilots, their commanders, and the people around them (including women); and if one could get past moments of incredulity, the suspense level in some of the stories was most bracing and effective. In "The Hours Before Dawn", for example -- a show that seems to have borrowed its title and part of its content from a Somerset Maugham wartime story -- Savage is the only man with details of a vital mission, and finds himself trapped during a German bombing raid in a house with a woman (Glynis Johns) who has retreated from all contact with the war or the outside world, and a downed German colonel (Fritz Weaver), who plans on capturing or killing Savage.

As a result of the fact that a lot of the drama was set on the ground, 12 O'Clock High was able to feature a much larger female presence than most World War II series of its era. This obviously pleased the sponsors and the network, though at times it also made the program seem a little too much like a soap opera for modern tastes. The series was successful enough to be renewed for a second season, but not without a lot of vast changes in store for the cast, more than was typical of television during this period. ~ Bruce Eder, All Movie Guide

Soon to be married in real life, Barbara Hale and Bill Williams also played sweethearts on screen in the frantic farce A Likely Story. After a routine medical examination, ex-GI Bill Baker (Bill Williams) overhears a conversation between two doctors, leading him to the mistaken conclusion that he's doomed to die from a rare heart condition. Chancing to meet aspiring artist Vickie North (Barbara Hale), Baker resolves to help Vickie realize her dream by bankrolling her career. He takes out a huge life insurance policy, then talks a couple of gangsters (Sam Levene and Nestor Paiva) into bumping him off so that Vickie and her kid brother Jamie (Lanny Rees) can collect immediately. Things get complicated when Baker discovers that he's as hale and hearty as the next fellow, prompting him to try to weasel out of his bargain with the gangsters-who, having financed the insurance policy in the first place, aren't inclined to let our hero off the hook so easily. Curiously, what should have been a frothy comedy plays more like a film noir, complete with a brief, hallucinatory nightmare sequence! ~ Hal Erickson, All Movie Guide

They don't really go to Mars, they go to Venus, but first they go to New Orleans. While working at a missile base, Bud Abbott and Lou Costello inadvertently launch a rocket ship with themselves aboard. After a wild ride around New York City (the Statue of Liberty ducks when the rocket heads her way), Bud and Lou land in the outskirts of New Orleans. The boys are convinced that they've reached Mars, and their faith in this supposition is affirmed when they come across several strangely costumed "creatures" (actually revellers at the Mardi Gras). Meanwhile, bank robbers Jack Kruschen and Horace McMahon stow away on A&C's rocketship. When Bud and Lou return, the crooks force them to make a quick getaway into outer space. After several days of weightlessness, the four space travellers land on Venus, a planet populated by the gorgeous winners of the Miss Universe contest (including Anita Ekberg). Venusian queen Mari Blanchard falls in love with Costello, only to order him and his companions to return to earth when Lou proves to be unfaithful. Reportedly, this bizarre melange of sci-fi and slapstick was based on a story by Charles Beaumont, who received no screen credit (it's worth noting that Beaumont's later Queen of Outer Space boasts a remarkably similar plotline). Long considered the team's worst film, Abbott and Costello Go to Mars ("and about time!" quipped the New York Times' TV-movie reviewer) is rather likeable in its own incoherent way. ~ Hal Erickson, All Movie Guide

Three years after the second Thin Man entry, MGM brought back the property by popular demand with Another Thin Man. As ever, William Powell and Myrna Loy star as sophisticated sleuths Nick and Nora Charles, with the added filip of 8-month-old Nick Charles Jr. At the invitation of munitions manufacturer Colonel MacFay (C. Aubrey Smith), the Charleses spend a weekend at MacFay's Long Island estate. The Colonel is certain that his shady ex-business associate Phil Church (Sheldon Leonard) plans to do him harm, a prognostication that apparently comes true when murder rears its ugly head. Though he's promised to cut down on his drinking (after all, he's a daddy now), Nick spends an inordinate amount of time sorting out the clues and identifying the actual murderer-who, of course, is the least likely suspect (and in fact is played by an actor who seldom if ever harmed a fly in any other film). Adding to the merry mayhem is the Charleses' efforts to find a good baby-sitter, resulting in an onslaught of "help"-and additional babies!--courtesy of Nick's old Underworld cronies. ~ Hal Erickson, All Movie Guide

Bells of San Fernando was advertised as a romantic adventure, but it plays more like a Western. Donald Woods plays an Irish immigrant who teams with Mexican gal Gloria Warren to combat land baron Anthony Warde. Whenever the plot lags, Warren sings. Catch the name of "Renault Duncan" in the screenplay credits of Bells of San Fernando. It's really actor Duncan Renaldo, aka "The Cisco Kid" -- which may explain why the film looks like a thinly disguised "Cisco" episode. ~ Hal Erickson, All Movie Guide

Callaway Went Thataway is an amiable spoof of early television's "Hopalong Cassidy" craze. Fred MacMurray and Dorothy McGuire star as Mike Frye and Deborah Patterson, advertising copywriters who have pulled off quite a coup by purchasing the old "Smokey Callaway" Westerns for TV. Trouble begins when the sponsor wants to meet up with Callaway (Howard Keel) and sign him to a long-term contract. But Smokey, a notorious boozer and womanizer, has dropped out of sight and left for parts unknown. In desperation, Mike and Debbie hire a Callaway look-alike named Stretch Barnes (also Howard Keel), whom they give a crash course in the art of being a boyhood idol ("You're a cowboy star. You have two expressions: hat on and hat off"). Barnes not only pulls off the ruse with the greatest of ease, but also takes his responsibilities to his young fans quite seriously. The plot thickens when the real Smoky Callaway emerges from a ten-year bender to demand a piece of the action. Callaway Went Thataway is full of wonderful moments, not least of which is a climactic fistfight between Callaway and Barnes, adroitly edited and photographed so as to make it appear that Howard Keel is actually punching out himself! The supporting cast includes future TV favorites Jesse White, Stan Freberg, and Hugh Beaumont (unbilled), while several MGM stars make surprise cameo appearances. Perhaps to avoid potential lawsuits, the film ends with a timorous disclaimer, stating that most Western stars are generous, upstanding individuals -- and not at all like the bibulous, mercenary Smoky Callaway. ~ Hal Erickson, All Movie Guide

The Randolph Scott western Colt .45 was retitled for TV so as not to be confused with the TV series of the same name. The new title, Thundercloud, misleads the audience into expecting a Native American epic. Actually the film involves a gun salesman (Randolph Scott) whose sample case of Colt 45's is stolen by an outlaw (Zachary Scott--no relation to Randolph). Accused of being a member of the outlaw gang when they start using the Colts in their holdups, the salesman is obliged to track down the crooks. Thundercloud, or Colt .45, represented the last film of supporting actor Alan Hale Sr. ~ Hal Erickson, All Movie Guide

Like its predecessor Davy Crockett, King of the Wild Frontier, Walt Disney's Davy Crockett and the River Pirates was cobbled together from two episodes of the weekly TV anthology Disneyland. Though it wasn't so labelled at the time, River Pirates is actually a "prequel" to the earlier film, detailing events that allegedly occured in Crockett's life before his rendezvous with destiny at the Alamo. Set in 1810, the first half of the story deals with a river race to New Orleans between Davy (Fess Parker) and his friendly enemy Mike Fink (Jeff York). Once this plot strand has run its course, the film segues into Davy and Mike's attempts to prevent an Indian war which is being fomented by a renegade white man. Linking these two episodes are the spirited ballads of Davy's pal George Russel (Buddy Ebsen). Like the first "Davy Crockett" venture, Davy Crockett and the River Pirates cleaned up at the box-office and increased department-store sales of those coonskin caps (remember?) ~ Hal Erickson, All Movie Guide

In the second episode of Walt Disney's two-part miniseries The Legends of Davy Crockett, frontiersman Davy Crockett (Fess Parker) and his pals Georgie Russell (Buddy Ebsen) and Mike Fink (Jeff York) try to clear the names of Davy's Indian friends, who have been accused of piracy on the Ohio River. It turns out that the real culprits are the members of the Harpe gang, who disguise themselves as Indians whenever plundering a boat. Carrying a valuable cargo downstream as bait for the outlaws, Davy, George and Mike hope to provoke an attack and then surprise the scoundrels--but the bad guys have planted a spy on our heroes' keelboat, namely a wily old guitar-picker named Colonel Plug (Walter Catlett). In addition to the expected theme song "The Ballad of Davy Crockett", this episode features a new tune, "Yaller, Yaller Gold". Originally telecast as part of the Disneyland anthology, "Davy Crockett and the River Pirates" and the earlier episode "Davy Crockett and the Keelboat Race" were later edited together and released as a 1956 theatrical feature, also titled Davy Crockett and the River Pirates. ~ Hal Erickson, All Movie Guide

Slightly more elaborate than most Charles Starrett westerns, Down Rio Grande Way is set in the mid-19th century, when the Republic of Texas was poised to join the Union. Starrett plays Texas Ranger Steve Martin (!), who is dispatched to a "renegade" Texas country that refuses to become part of the good old USA. He discovers that the crux of the problem is a local tax collector (Norman Willis) who, with the help of a crooked newspaper editor (Davision Clark), is systematically robbing the citizens of their hard-earned cash, all the while fomenting anti-American sentiments. Britt Wood takes over from Cliff Edwards as Starrett's comical sidekick, while band singer Rose Ann Stevens makes an impressive acting debut as the heroine. ~ Hal Erickson, All Movie Guide

In this suspenseful, convoluted low-budget mystery, a Scotland Yard inspector travels to the Big Apple to investigate the activities of international jewel thieves. The investigation begins after the corpse of a diplomatic courier, who has upon him a number of smuggled jewels, is found on the beach. The inspector is assisted by a pretty flight attendant. ~ Sandra Brennan, All Movie Guide

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, All Movie Guide

Wally Brown and Alan Carney, RKO's own Abbott and Costello ripoffs, star in the comedy western The Girl Rush. As usual, Brown is cast as fast-talking Jerry Miles and Carney plays slow-witted Mike Strager. This time, Jerry and Mike are travelling showmen, stranded in San Francisco when the 1849 gold strike at Sutter's Mill commandeers all available transportation. Making the best of things, our heroes decide to stage a girl-filled musical revue for the entertainment-hungry miners. They also promise that the girls will prove to be excellent wives for the prospectors. Only one problem: where are the girls? This slapped-together effort would be utterly unmemorable were it not for the presence of Robert Mitchum, cast as a clever outlaw who at one point in the film disguises himself as a mail-order bride! ~ Hal Erickson, All Movie Guide