Richard Norris Movies

National Intelligence Agent Dan Street (Richard Egan) is on the trail of some stolen laser rubies. It is assumed the agents will come after the raygun itself for their evil purposes. Count Romano (Michael Ansara) is the swimsuit-import mogul who tries to keep his head from going under while working for the enemy agents. The key to the mystery lies with Dutch (John Ericson), a Korean War veteran who fell into the hands of the brainwashing communists. Patricia Owens is Dan's love interest in this plodding suspense film. ~ Dan Pavlides, Rovi

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, Rovi

This oddly technical drama about three test pilots for the X-15 devotes a great deal of time to scientific explanations and militarese, leaving slightly less time to examine the personal lives and motivations of the three pilots. The head honcho among the pilots is Lt. Col. Lee Brandon (Charles Bronson in a good performance), and Mary Tyler Moore makes her first feature-length film appearance as one of the Air Force wives who are in the background of their husbands' careers. Narrated by James Stewart, this drama was released just when the X-15 aircraft was breaking flight records. ~ Eleanor Mannikka, Rovi

Robert Stack and Dorothy Malone are Cliff and Laurie Henderson, a married couple on a vacation with their young daughter (Tammy Marihugh), taking their first sea voyage aboard the aging ocean liner Claridon. All is well for them, but not for the ship below decks, where a fire has broken out. The engine room crew, led by Chief Engineer Steven Pringle (Jack Kruschen) and 2nd Engineer Walsh (Edmond O'Brien) extinguish the blaze, but the ship's captain (George Sanders) refuses their request to shut down the boilers and check for further damage. Disaster follows as the boilers explode, taking Pringle with them and blasting a hole through to the upper decks and an opening to the sea that's not only too big to patch but allowing in too much water for the pumps to handle. Still, the Captain won't order the passengers to the lifeboats -- he hopes that the engine room crew under Walsh can hold the bulkhead and keep the ship afloat. Meanwhile, Cliff has to rescue his daughter from their wrecked stateroom, and must do what he can to help Laurie, who is trapped beneath a huge piece of steel bulkhead, while the ship slowly loses its battle with the sea. ~ Bruce Eder, Rovi

If Jet Pilot seems hopelessly out of date today, imagine how filmgoers in 1957 reacted when this relic from 1949 was taken off the shelf. Many, many years in the making due to the maniacal tinkering by producer Howard Hughes (who reportedly lost $4 million on it - a massive sum back then), the film was deemed unreleasable upon completion; only when Universal-International took over distribution of a handful of RKO Radio productions did it finally see the light of day. John Wayne stars as an air force colonel stationed in an Alaskan outpost only 40 miles or so from the Soviet Union. Wayne is put in charge of Russian jet pilot Janet Leigh, who claims that she wants to defect. Actually, Leigh is a Communist spy, but thanks to Wayne's affectionate attentions she is won over to the side of Democracy. Thus it is that Leigh rescues the Duke when he is kidnapped and nearly brainwashed by her Commie comrades. Jet Pilot was eventually bought back from U-I by Hughes for his personal collection; not only did he buy into the propagandistic plotline, but he was also enthralled by the aerial scenes, some of which were staged by legendary test pilot Chuck Yeager. The 1949 production date for a number of sequences explains not only why so many of the actors look young for 1957, but the existence of several supporting cast members who had died in the interim (such as Jack Overman and Richard Rober). ~ Hal Erickson, Rovi

An obviously ailing Humphrey Bogart made his final screen appearance in The Harder They Fall. Adapted from a novel by Budd Schulberg, the film is a thinly disguised a clef account of the Primo Carnera boxing scandal. Bogart is cast as unemployed newspaperman Eddie Willis, who sells his soul down the river when he signs on as press agent for slimy fight manager Nick Benko (Rod Steiger). It is Willis' job to stir up publicity for Benko's newest protégé, Argentinian boxer Toro Moreno (Mike Lane). Benko's boy quickly rises to the top of his profession, though everybody but Toro knows that all the fights have been fixed. Upon learning that Benko intends to bilk Toro of his earnings, Willis regains his integrity, tells the wide-eyed young pugilist the truth, then sits down to write a searing expose of the fight racket. Jan Sterling costars as Willis' estranged wife, while real-life boxers Jersey Joe Walcott and Max Baer are suitably cast as Toro's trainer and ring opponent, respectively. There is also a heartbreaking cameo appearance by ex-fighter Joe Greb, cast as a punchdrunk skid row bum. The Harder They Fall originally went out with two different endings: in one, Eddie Willis demanded that boxing be banned altogether, while in the other, Willis merely insisted that there be a federal investigation of the prizefighting business. The videotape version contains the "harder" denouement, while most TV prints end with the "softer" message. ~ Hal Erickson, Rovi

Robert Francis is at the center of the story as Willis Keith, a newly-minted ensign assigned to the destroyer/minesweeper U.S.S. Caine during World War II. Soon after his arrival, the ship gets a new captain, Lt. Comdr. Philip Francis Queeg Humphrey Bogart, a tough, no-nonsense veteran officer who tries to turns the crew into proper sailors and the Caine into a tight ship, engendering resentment from some of the men and several of his officers. A veteran of difficult years of service for too long, Queeg has insecurities about himself, his command, and his career that begin to manifest themselves as spells of temper over small details that cause him to make mistakes. Lt.Keefer (Fred MacMurray), the glib-tongued communications officer, begins making suggestions to the ship's sincere but overburdened first officer, Lt. Steve Maryk (Van Johnson), that Queeg may have mental problems. Maryk initially rejects these suggestions, and tries to support the captain, but conditions deteriorate to the point where Maryk is forced to relieve Queeg of command, and is charged -- along with Keith, who supported him -- with mutiny. Enter Lt. Barney Greenwald (Jose Ferrer), a lawyer in civilian life, who reluctantly agrees to help them, mostly out of sympathy for the impossible predicament in which Maryk has found himself trapped. ~ Bruce Eder, Rovi

Abie's Irish Rose, the surprise hit of the 1922-23 Broadway season, was old-fashioned when it was first filmed in 1928, and this 1946 remake, though updated by playwright Anne Nichols, was even more anachronistic. It's the story of what happens when Jewish-American Abie Levy (Richard Norris) marries Irish-Catholic Rosemary Murphy (Joanne Dru, in her film debut). At first, Abie and Rosemary try to hide their ethnic differences from their feuding fathers Solomon Levy (Michael Chekhov) and Patrick Murphy (J. M. Kerrigan). When the truth comes out, the couple attempts to molify their families by going through three wedding ceremonies: Jewish, Catholic and Protestant. But the Cohens and the Murphys are reconciled only when Rosemary has a baby. Produced by Bing Crosby, Abie's Irish Rose was a terrific flop when first released, which may be one of the reasons why director Eddie Sutherland never again worked in Hollywood. ~ Hal Erickson, Rovi