Lloyd Nolan Movies
The son of a San Francisco shoe factory owner, American actor Lloyd Nolan made it clear early on that he had no intention of entering the family business. Nolan developed an interest in acting while in college, at the expense of his education -- it took him five years to get through Santa Clara College, and he flunked out of Stanford, all because of time spent in amateur theatricals. Attempting a "joe job" on a freighter, Nolan gave it up when the freighter burned to the waterline. In 1927, he began studying at the Pasadena Playhouse, living on the inheritance left him by his father. Stock company work followed, and in 1933 Nolan scored a Broadway hit as vengeful small-town dentist Biff Grimes in One Sunday Afternoon (a role played in three film versions by Gary Cooper, James Cagney, and Dennis Morgan, respectively -- but never by Nolan). Nolan's first film was Stolen Harmony (1935); his breezy urban manner and Gaelic charm saved the actor from being confined to the bad guy parts he played so well, and by 1940 Nolan was, if not a star, certainly one of Hollywood's most versatile second-echelon leading men. As film historian William K. Everson has pointed out, the secret to Nolan's success was his integrity -- the audience respected his characters, even when he was the most cold-blooded of villains. The closest Nolan got to film stardom was a series of B detective films made at 20th Century-Fox from 1940 to 1942, in which he played private eye Michael Shayne -- a "hard-boiled dick" character long before Humphrey Bogart popularized this type as Sam Spade. Nolan was willing to tackle any sort of acting, from movies to stage to radio, and ultimately television, where he starred as detective Martin Kane in 1951; later TV stints would include a season as an IRS investigator in the syndicated Special Agent 7 (1958), and three years as grumpy-growley Dr. Chegley on the Diahann Carroll sitcom Julia (1969-1971). In 1953, Nolan originated the role of the paranoid Captain Queeg in the Broadway play The Caine Mutiny Court Martial, wherein he'd emerge from a pleasant backstage nap to play some of the most gut-wrenching "character deterioration" scenes ever written. Never your typical Hollywood celebrity, Nolan publicly acknowledged that he and his wife had an autistic son, proudly proclaiming each bit of intellectual or social progress the boy would make -- this at a time when many image-conscious movie star-parents barely admitted even having children, normal or otherwise. Well liked by his peers, Nolan was famous (in an affectionate manner) for having a photographic memory for lines but an appallingly bad attention span in real life; at times he was unable to give directions to his own home, and when he did so the directions might be three different things to three different people. A thorough professional to the last, Nolan continued acting in sizeable roles into the 1980s; he was terrific as Maureen O'Sullivan's irascible stage-star husband in Woody Allen's Hannah and Her Sisters (1986). Lloyd Nolan's last performance was as an aging soap opera star on an episode of the TV series Murder She Wrote; star Angela Lansbury, fiercely protective of an old friend and grand trouper, saw to it that Nolan's twilight-years reliance upon cue cards was cleverly written into the plot line of the episode. ~ Hal Erickson, Rovi
Airport had enough plot and enough star power in its cast for three feature films, and it only encompassed about half of the complexity or characters found in Arthur Hailey's best-selling potboiler. Essentially built around 12 harrowing hours at a major Midwestern airport, the film had everything an audience of the period could have wanted -- suspense, romance, drama, and comedy -- all spread across a vast canvas. Mel Bakersfeld (Burt Lancaster) is the manager of Lincoln Airport, facing a night beset by the worst blizzard in a decade, a wife (Dana Wynter) who announces she wants a divorce, a primary runway blocked by an airliner stuck in a snowdrift, and a governing board ready to fire him. Bakersfeld's cynical, smooth-talking brother-in-law, Vernon Demerest (Dean Martin), won't let up on his criticism of the management at Lincoln, but he has his own problems as well, mostly in the form of a young stewardess, Gwen Meighen (Jacqueline Bisset), who is pregnant by him and whom he finds he genuinely loves. Add to that the presence of an old lady stowaway (Helen Hayes) and a mentally disturbed passenger (Van Heflin) carrying a bomb, and there's more than enough plot to keep viewers engrossed for two hours plus. Airport became one of the top-grossing movies of its era, racking up seven-digit box-office numbers and spawning an entire film genre -- the disaster movie. With Jean Seberg, George Kennedy, Lloyd Nolan, Barry Nelson, and Maureen Stapleton filling out the rest of the leading roles, there was something for almost everyone in this film. The movie still has a lot to offer if only as a prime example of Hollywood at its most successfully glitzy, but, if possible, viewers should try and see the letterboxed version of Airport on DVD (released May 2001). ~ Bruce Eder, Rovi
- Starring:
- Burt Lancaster, Dean Martin, (more)
A top-secret Soviet spy satellite -- using stolen Western technology -- malfunctions and then goes into a descent that lands it near an isolated Arctic research encampment called Ice Station Zebra, belonging to the British, which starts sending out distress signals before falling silent. The atomic submarine Tigerfish, commanded by Cmdr. James Ferraday (Rock Hudson), is dispatched with orders to get to Ice Station Zebra carrying three passengers, a Englishman going by the name of David Jones (Patrick McGoohan), a Soviet turncoat named Boris Vaslov (Ernest Borgnine), and an American Marine officer, Captain Anders (Jim Brown), who is supposed to command the Marine unit assigned to the mission. Jones is problem enough, as he is in command of the mission and he prefers to withhold as much information as it's possible to do from Ferraday, even at the risk of the Tigerfish's safety. Add to that the fact that Anders is suspicious of Vaslov, and Vaslov seems much too inquisitive and is telling even less of what he knows about the mission, and Ferraday has his hands full trying to get these men to the polar ice -- 600 miles of dangerous travel -- in just two days. When an attempt to break through the ice -- coupled with some timely sabotage -- kills one man and nearly destroys the boat, the men surrounding these contending parties start to understand just how high the stakes are for everyone. It turns out that the Soviets want what was aboard that satellite as much as the West does; indeed, both sides are frantic to get it, and, just as much, to keep the other side from getting it -- and they're prepared to take it by brute force. Once Ferraday and his men arrive at Zebra, they find a disaster and still more mystery, with most of the men dead and the object that Mr. Jones is supposed to secure nowhere in evidence, and he and his two fellow men of mystery suddenly showing their killing instincts quite freely. And with the storm clearing from the Soviet side first, their planes and their paratroops are closing in on Ferraday, and his relative handful of men. ~ Bruce Eder, Rovi
- Starring:
- Rock Hudson, Ernest Borgnine, (more)
In 1942, Metro-Goldwyn-Meyer and the United States Office of War Information collaborated on Bataan with the official goal to increase public understanding of World War II. The first war film to take place entirely on the battlefield -- with no scenes of the soldiers on leave, depictions of the home front, or flashbacks to pre-war civilian life -- Bataan prepared its wartime audience for American casualties. Its Alamo-esque storyline emphasized the value of such sacrifice and its diverse group of soldiers --compiled of all ranks, races, classes, ages, and creeds -- portrayed this effort as the duty of all men. It is a depiction of altruism and national unity that both inspired public support of the War and served as the template for World War II films throughout the forties and into the present. ~ Aubry Anne D'Arminio, Rovi
- Starring:
- Robert Taylor, George Murphy, (more)
In G Men, Warner Bros. "bad boy" James Cagney plays James "Brick" Davis, a young lawyer whose education has been financed by soft-hearted racketeer McKay (William Harrigan). When Cagney's best pal, detective Eddie Buchanan (Regis Toomey), is killed in a gangland shooting, James decides to become a G-Man. Though scrupulously honest, Davis is looked upon with suspicion by his fellow agents because of his association with the crooked McKay. He proves he's a "good guy" when his former girlfriend, Jean Ann Dvorak, now the wife of mobster Brad Collins (Barton MacLane), tips him off to a "Little Bohemia"-style gangster hideaway. Jean later sacrifices her own life to help James rescue his new girl, nurse Kay McCord (Margaret Lindsay), from the vengeful Collins. Based on Gregory Miller's book Public Enemy No. 1, G-Men was reissued in 1949, with an added prologue featuring David Brian as an FBI trainer who advises his students not to laugh at the old-fashioned costumes and slang in the 1935 film; seen today, it is Brian's superfluous opening comments that seem hopelessly dated, while the film itself is as exciting and entertaining as ever. ~ Hal Erickson, Rovi
- Starring:
- James Cagney, Margaret Lindsay, (more)
- 1978
- PG
Without considering the consequences, a group of juvenile delinquents hatch a plan to rob an armored car. The boys land in prison for their efforts and end up breaking the hearts of their parents (Ralph Meeker, Ida Lupino). ~ John Bush, Rovi
- 1977
- PG
Larry Cohen's pseudo-biography of J. Edgar Hoover (Broderick Crawford) was virtually howled off the screens upon its release in 1977. Today, with the cross-dressing Hoover so much a matter of historical record that even Oliver Stone didn't bother to make too much of a point of it in Nixon, the Cohen film plays more like a dramatic re-enactment rather than the puerile paranoid fantasy it appeared to be at the time. Unfortunately, Cohen's method is part exploitation and part historical tableau. On the one hand, Cohen dramatizes historical moments in Hoover's momentous life story -- the shooting of John Dillinger in front of Chicago's Biograph Theater, his first arrest -- with a deadening solemnity (even abandoning the backlot facsimiles to shoot on the actual historical locations). On the other hand, Cohen relishes his scenes of Hoover's homosexuality and his propensity for sitting in the dark with a bottle of whiskey, replaying tapes of the amorous liaisons of high government officials -- the decadently homosexual Hoover built his political power base by getting all the dirt he could on the government's movers and shakers -- particularly their sexual liaisons -- and blackmailing them for their support when he could not get it in any other way. A true schizophrenic masterwork in its time, the film is now muted by a reality more incredible than Cohen ever imagined in his wildest dreams. ~ Paul Brenner, Rovi
- Starring:
- Broderick Crawford, José Ferrer, (more)
Los Angeles is the natural site for a film about earthquakes: they happen there frequently, and the landscape is familiar to moviegoers from thousands of films. A huge number of ongoing vignettes which include cameos from numerous celebrities and stars are tied together by the ongoing efforts of architect Graff (Charleton Heston) to rescue his estranged spoiled-rich-girl wife (Ava Gardner), while helping out with the ongoing rescue efforts taking place around him and while trying to determine what has happened to his mistress Denise (Genvieve Bujold). The rumbling sound effect designed for this film (Sensurround) won a "Best Sound" Oscar for the film in 1975. ~ Clarke Fountain, Rovi
- Starring:
- Charlton Heston, Ava Gardner, (more)
George Taylor (John Hodiak) is a war veteran suffering from amnesia with only two clues to his past: the bitter letter from a woman who hates him and another mysterious letter signed "Larry Cravat." Taylor goes to Los Angeles to meet Cravat. It turns out that Cravat is wanted for murder and the robbery of $2 million. George becomes involved with a singer, Christy (Nancy Guild) and is chased by mobsters while on a search for the stolen money. There ensue a series of chases, an interesting plot twist and a surprise ending as John learns the true identity of Cravat.Somewhere in the Night is the quintessential "amnesia victim" as protagonist film, somewhat slow, but nevertheless, engrossing and suspenseful. ~ Linda Rasmussen, Rovi
- Starring:
- Charles Arnt, Richard Benedict, (more)
One-time movie song-and-dance man James Dunn won an Academy Award for his "comeback" performance in A Tree Grows in Brooklyn. Based on the best-selling novel by Betty Smith, the film relates the trials and tribulations of a turn-of-the-century Brooklyn tenement family. The father, Dunn, is a likable but irresponsible alcoholic whose dreams of improving his family's lot are invariably doomed to disappointment. The mother, Dorothy McGuire, is the true head of the household, steadfastly holding the family together no matter what crisis arises. The story is told from the point of view of daughter Peggy Ann Garner, a clear-eyed realist who nonetheless would like to believe in her pie-in-the-sky father, whom she dearly loves. Joan Blondell co-stars as the family's brash, freewheeling aunt, whose means of financial support is a never-ending source of neighborhood gossip. This first film directorial effort of Elia Kazan earned a special Oscar for "Most Promising Juvenile Performer" Peggy Ann Garner. A Tree Grows From Brooklyn was remade for TV in 1974, and also served as the basis of a Broadway musical. ~ Hal Erickson, Rovi
- Starring:
- Dorothy McGuire, Joan Blondell, (more)
A Woody Allen Manhattan mosaic, Hannah and Her Sisters concerns the lives, loves, and infidelities among a tightly-knit artistic clan. Hannah (Mia Farrow) regularly meets with her sisters Holly (Dianne Wiest) and Lee (Barbara Hershey) to discuss the week's events. It's what they don't always tell each other that forms the film's various subplots. Hannah is married to accountant and financial planner Elliot (Michael Caine), who carries a torch for Lee, who in turn lives with pompous Soho artist Frederick (Max Von Sydow). Meanwhile, Holly, a neurotic actress and eternal loser in love, dates TV producer Mickey (Allen), who used to be married to Hannah and spends most of the film convinced that he's about to die. Appearing in supporting parts are Lloyd Nolan and Maureen O'Sullivan (Farrow's real mom), as the eternally bickering husband-and-wife acting team who are the parents of Hannah and her sisters. The film begins and ends during the family's traditional Thanksgiving dinner, filmed in Farrow's actual New York apartment. Unbilled cameos are contributed by Sam Waterston as one of Wiest's brief amours and Tony Roberts as one of Allen's friends. Hannah and Her Sisters collected Oscars for Michael Caine, Dianne Wiest, and Woody Allen's screenplay. ~ Hal Erickson, Rovi
- Starring:
- Woody Allen, Mia Farrow, (more)
- 1985
Up-and-coming actress Nita Cochran (Alice Krige), who happens to be the niece of Jessica Fletcher (Angela Lansbury), lands a plum role on a popular TV soap opera. Nita has been cast as a serial murderer--a fact that proves most unfortunate when an actual murder occurs at the TV studio. The victim was Nita's boss, who may or may not have been planning to abruptly write her off the show. . .but it soon develops that Nita was only one of several people with a strong motive. This episode represents the final TV appearance of Lloyd Nolan, whose well-known difficulty in memorizing lines is cleverly woven into the final scene. ~ Hal Erickson, Rovi
- 1984
Mickey Rooney stars in this made-for-TV holiday effort as an angel who refuses to renege on his promise to spend one final Christmas with his grandson (Scott Grimes). ~ Jason Ankeny, Rovi
- 1983
This pseudo-documentary on the life of President John F. Kennedy stars Robert Hogan as the President, James F. Kelly as Robert Kennedy, and Kenneth Mars as Lyndon Johnson, and includes some actual documentary footage intercut with the major dramatic events in Kennedy's Presidential career. Because the depictions of the Kennedys are not as strong as the real-life brothers, the actual footage and the factual accounting of well-known events are more convincing than the fictionalized time inventing private conversations in the Oval Office or elsewhere. Robert Guillaume as Martin Luther King, Jr. in the segment on the Cuban missile crisis presents a dignified and noble portrayal of the slain religious leader, and his performance stands out against the more mediocre portrayal of the private personae of the assassinated Kennedys. ~ Eleanor Mannikka, Rovi
- Starring:
- Robert Hogan, James F. Kelly, (more)
- 1979
Valentine stars Mary Martin, making her TV movie debut as a septuagenarian, terminally ill widow. She falls in love with Jack Albertson, a 70 year old charmer with a history of breaking female hearts. Casting propriety to the four winds, Martin and Albertson shack up together, then take a picaresque cross-country trip. While there's opportunity aplenty for sticky sentimentality, Mary Martin and Jack Albertson cagily avoid the Obvious in their marvelous portrayals. Unfortunately, they are let down by the condescending script of Valentine, which suggests that the only way for old folks to "think young" is to behave like irresponsible schoolchildren. ~ Hal Erickson, Rovi
- 1978
No murder is committed nor autopsy performed in this episode, in which medical examiner Quincy (Jack Klugman) delves into psychology. The catalyst for the plot is Timmy Carson (David Hollander), a hyperactive seven-year-old with a severely limited attention span. Though Timmy has escaped from an institution for mentally retarded youngsters, Quincy is persuaded that the boy is actually suffering from a treatable form of autism. The problem now is to convince the authorities that the boy is not retarded--and to persuade Timmy's parents that the money needed to treat his autism will be worth spending. Featured in the guest cast is Lloyd Nolan, in real life the father of an autistic son, and a very young Tracey Gold as Timmy's sister. ~ Hal Erickson, Rovi
- 1978
In the conclusion of a two-part story (originally telecast as a single two-hour episode), John (Ralph Waite) reacts with anger when he discovers that Erin has taken a second job, caring for the children of a single man. Meanwhile, John-Boy (Richard Thomas) has returned home in hopes of reopening the Guthrie mine and revitalizing the local economy. But fate takes a hand in matters when John-Boy is trapped in a cave-in along with Jim-Bob (David W. Harper) and Ben (Eric Scott). ~ Hal Erickson, Rovi
- 1978
Richard Thomas briefly returns to the role of John-Boy Walton in this first episode of a two-part story (originally telecast as a single two-hour installment). Upon hearing of the dire financial conditions in Jefferson County, John-Boy comes home with plans of reopening the old Guthrie coal mine. Elsewhere, John Walton (Ralph Waite) weighs the possibility of giving up the family business and going to work at a defense plant; and Erin (Mary Elizabeth McDonough) hesitates to inform her family that she has taken a second job under "questionable" circumstances. ~ Hal Erickson, Rovi
- 1977
Though not readily apparent, Flight to Holocaust is the feature-length pilot film for a potential TV series. Crashing into the side of a high-rise building, an airplane is precariously wedged in the structure's 20th floor. Dispatched to rescue the survivors are a team of acrobatic troubleshooters, played by female circus performer Fawne Harriman and combat veterans Chris Mitchum, Patrick Wayne, Desi Arnaz Jr. and Paul Williams. As can be gathered by a perusal of the cast list, the film's gimmick was the presence of three second-generation Hollywood stars. After the initial telecast of Flight to Holocaust on March 27, 1977, NBC invited viewers to mail in their opinions of the film. Evidently the verdict was unanimous, since no weekly series resulted. ~ Hal Erickson, Rovi
- 1977
Irwin Allen's follow-up to Flood! is a better effort but still falls short of his big-screen classics. Like its predecessor, Fire! sets up its disaster in a lackluster manner and then fails to build its plot in suspenseful or dramatically compelling ways once the disaster hits. It also leans heavily on soap opera-style dramatic subplots to fill the time between the fire sequences: for instance, the domestic discord between the married couple played by Alex Cord and Patty Duke Astin has an unintentionally campy feel to it. As with Flood!, Earl Bellamy occupies the director's chair and his work is competent but impersonal. However, he improves on Flood! by working in more exciting stunt sequences into the story. Flood! also benefits from a strong cast: Ernest Borgnine turns in a typically professional performance as the everyman hero and old pros like Vera Miles and Neville Brand lend solid support. No one really gets much to do dramatically but they all notch up solid performances. In short, Fire! is no great shakes - even for b-movie fans - but it just might work as a time-killer for viewers in a forgiving mood. ~ Donald Guarisco, Rovi
- 1977
Everyone is after an international criminal in this crime drama. ~ Rovi
- 1975
They've Kidnapped Anne Benedict is the rerun title for the made-for-TV movie The Abduction of St. Anne. Robert Wagner stars as detective who is hired by Vatican for $100,000. It's his job to find out if it's true that a mobster's 17-year-old daughter (Kathleen Quinlan) has miraculous and healing powers. If the rumors are fact, Wagner is expected to kidnap the girl on behalf of the Church, with the help of bishop E.G. Marshall. Before the film runs its course, all three principals--Wagner, Marshall, and Quinlan--find themselves up to their necks in life-threatening peril. ~ Hal Erickson, Rovi
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