Maureen O'Sullivan Movies

A dreary and depressing tale despite the excellent assemblage of talent, this is the story of a Depression-era family where sibling rivalry and tragedy seem to be the watch words of their home life. A period piece set in 1930s Texas. ~ Tana Hobart, All Movie Guide

A tribute to Hollywood's Tarzan as played by Johnny Weismuller, Gordon Scott and Ron Ely as well as all the of the accompanying Janes and chimps. ~ All Movie Guide

In this comedy, two rival ad executives find themselves marooned on a South Pacific during a balloon accident. Comic mayhem ensues. ~ Sandra Brennan, All Movie Guide

Made for television, The Great Houdinis tells the life story of famed American illusionist/escape-artist Harry Houdini and his wife Bess. Studiously avoiding covering the same ground as the 1953 Houdini theatrical-film biopic, director Mel Shavelson's script for Great Houdinis spends a great deal of time on the conflict between Harry's Catholic wife Bess and his Jewish mother. The spiritualism angle so important to the Houdini story allows the 1976 film to recreate Houdini's meetings with "true believer" Sir Arthur Conan Doyle. Again departing from the 1953 Houdini, this later film does not end with Houdini's death from peritonitis in 1926; instead, we watch as the widowed Bess desperately tries to make contact with her husband in the "other world," all the while debunking phony mediums, just as her husband had done. Paul Michael Glaser and Sally Struthers star as the Houdinis, with Ruth Gordon as Harry's mother Mrs. Weiss, Peter Cushing as Conan Doyle, Jack Carter as Houdini's brother, Adrienne Barbeau as his mistress, Nina Foch as a medium, and Vivian Vance as the all-around best friend/severest critic, who narrates the film. The Great Houdinis first aired on October 8, 1976. ~ Hal Erickson, All Movie Guide

In this comedy, a middle-aged woman discovers that she is pregnant, to the dismay of her husband and surprise of the town. The husband doesn't feel up to the challenge, and their daughter is now forced to cook and clean around the house, and meanwhile, tries to get pregnant herself. After a drunken argument with the mayor and another with his wife, the husband finally accepts the inevitable. ~ Steve Huey, All Movie Guide

Perhaps the grittiest and grimmest of the Randolph Scott-Budd Boetticher collaborations, The Tall T was adapted by Burt Kennedy from the Elmore Leonard short story The Captive. Scott plays a former ranch foreman who, along with newlyweds Maureen O'Sullivan and John Hubbard, is held hostage at a deserted stagecoach station by ruthless bandit Richard Boone and his henchmen Henry Silva and Skip Homeier. Since we already know that Boone has no qualms about killing a freckle-faced 10 year old boy, we shudder to think of what's in store for Scott and his fellow captives once Boone carries out his plan to rob the next stagecoach. In Boetticher's time-honored Mexican Standoff fashion, Scott bargains with Boone for the life of O'Sullivan, but his efforts are undercut by Hubbard's cowardly treachery. The film's sparse, carefully controlled tension level bursts into full-out bloodshed only minutes before the final fade-out. Curiously, the title The Tall T is never explained at any time; certainly the "T" doesn't refer to Randolph Scott, whose character name is Pat Brennan. ~ Hal Erickson, All Movie Guide

Duffy of San Quentin is an Allied Artists low-budgeter based on the life of the warden who first introduced reforms in the infamous California penal institution. Appalled by conditions in San Quentin, the grey-haired Duffy inaugurates a series of improvements. He also sets up an honor system, which brings him under fire from conservative law enforcement agencies. The lumpy, episodic continuity of Duffy of San Quentin is due to the fact that the film is comprised of an hour-long TV pilot film, padded out with hastily assembled new footage. While Duffy was consigned to TV within two years of its release, the film did well enough to engender a sequel, The Steel Cage (likewise a pilot film). Ironically, Paul Kelly, who stars as Duffy in both films, served a prison sentence for manslaughter in the 1920s. The British title of Duffy of San Quentin is Men Behind Bars. ~ Hal Erickson, All Movie Guide

In this Korean War drama, a strong-willed, stubborn greenhorn pilot becomes obsessed with avenging the death of his brother who died during an aerial skirmish with the deadly Chinese "volunteer" pilots. ~ Sandra Brennan, All Movie Guide

The brilliant British documentary filmmaker Paul Rotha made his feature-film debut with 1950's No Resting Place. Filmed on location in Ireland, the film is a lightly fictionalized study of that country's itinerant workmen. Michael Gough plays tinker Alec Kyle, whose life is thrown into turmoil when he accidentally kills a man. Kyle spends the rest of the film evading Guard Mannigan (Noel Purcell), a civil servant who relies on instinct rather than scientific deduction to get his man. Without ever trying to elicit sympathy for his characters, director Rotha manages to compellingly detail the miserable living and working conditions of Ireland's nomad artisans. ~ Hal Erickson, All Movie Guide

John Farrow's movie adaptation of Kenneth Fearing's The Big Clock, based on a screenplay by Jonathan Latimer (and produced by future James Bond screenwriter Richard Maibaum), is a near-perfect match for the book, telling in generally superb visual style a tale set against the backdrop of upscale 1940s New York and offering an early (but accurate) depiction of the modern media industry. Told in the back-to-front fashion typical of film noir, it opens with George Stroud (Ray Milland) trapped, his life in danger, his survival measured in the minute-by-minute movements of the huge central clock of the office building where he's hiding. In flashback we learn that Stroud works for media baron Earl Janoth (Charles Laughton), loosely based on Henry Luce, as the editor of Crimeways magazine. Janoth is a manipulative, self-centered megalomaniac with various obsessions, including clocks; among other manifestations of the latter fixation, the skyscraper housing his empire's headquarters has as one of its central features a huge clock that reads out the time around the world down to the second.

Twenty-four hours earlier, on the eve of a combined honeymoon/vacation with his wife, Georgia (Maureen O'Sullivan), that has been put off for seven years, Stroud was ordered by Janoth to cancel the trip in order to work on a special project, and he resigned. As the narrative picks up speed, in his depression, Stroud misses the train his wife is on and crosses paths with Pauline York (Rita Johnson), a former model for Janoth's Styleways magazine, who is also Janoth's very unhappy mistress, and the two commiserate by getting drunk together in a night on the town. While hurriedly leaving Pauline's apartment, he glimpses Janoth entering. Janoth and York quarrel, and the publisher kills her in a jealous rage, using a sundial that she and Stroud picked up the night before while wandering around in their revels. Janoth and his general manager, Steve Hagen (George Macready), contrive to pin the murder on the man that Janoth glimpsed leaving York's apartment, whom he thinks was named Jefferson Randolph -- the name Stroud was drunkenly bandying about the night before. He gets Stroud back to Crimeways to lead the magazine's investigators in hunting down "Jefferson Randolph," never realizing that this was Stroud. And Stroud has no choice but to return, desperately trying to gather evidence against Janoth and, in turn, prevent the clues gathered by the Crimeways staff from leading back to him. The two play this clever, disjointed game of cat-and-mouse, Janoth and Hagen planting evidence that will hang "Randolph" (and justify his being shot while trying to escape), while Stroud, knowing what they don't about how close the man they seek to destroy is, arranges to obscure those clues and, in a comical twist, sends the least capable reporters and investigators to follow up on the most substantial clues.

Janoth sometimes seems to be unraveling at the frustrating pace and lack of conclusion to the hunt, but Stroud can't escape the inevitable, or the moments of weakness caused by fear and his own guilt over his near-unfaithfulness to his wife or the inscrutable gaze of Janoth's mute bodyguard Bill Womack (Harry Morgan), a stone-cold killer dedicated to protecting his employer. The trail of proof and guilt winds ever tighter around both men, taking some odd twists courtesy of the eccentric artist (Elsa Lanchester) who has seen the suspect. Milland is perfect in the role of the hapless Stroud, and Laughton is brilliant as the vain, self-centered Janoth, but George Macready is equally good as Hagen, his smooth, upper-crust Waspy smarminess making one's skin crawl. Also worth noting is Harry Morgan's sinister, silent performance as Womack, and sharp-eyed viewers will also recognize such performers as Douglas Spencer, Noel Neill (especially memorable as a tart-tongued elevator operator), Margaret Field (Sally's mother), Ruth Roman, and Lane Chandler in small roles. Additionally, the Janoth Publications building where most of the action takes place is almost a cast member in itself, an art deco wonder, especially the room housing the clock mechanism and the lobby and vestibules, all loosely inspired by such structures as the Empire State Building and the real-life Daily News headquarters on East 42nd Street. This film was later remade as No Way Out. ~ Bruce Eder, All Movie Guide

Out of work as usual, showgirl Maisie Revier (Ann Sothern) takes a job as the maid for a wealthy family. She wins over the young man of the household (Lew Ayres), but the rest of the family is too wrapped up in its own problems to benefit from Maisie's good-natured personality. The daughter (Maureen O'Sullivan) tries to kill herself when her engagement breaks up, prompting Maisie to instill a sense of purpose and self-confidence in the shallow lives of her employers. Maisie Was a Lady is enjoyable "B" fare, given substance by the battle of wits between down-to-earth Maisie and imperious family butler C. Aubrey Smith. This film was the fourth in MGM's "Maisie" series. ~ Hal Erickson, All Movie Guide

Directed in 1940 by S. Sylva Simon, Sporting Blood stars Robert Young as racing stable owner Myles Vanders. Shortly after traveling back to his ramshackle family estate in Virginia, he stirs up a long-term family rivalry with Davis Lockwood (Lewis Stone), who runs a neighboring stable. Vanders (Young), in order to get under Lockwood's (Stone) skin, initiates a romance with Lockwood's daughter Linda (Maureen O'Sullivan. As the big race approaches, however, Vanders slowly realizes he truly loves Linda. Though a stable fire harms his best racing prospect, Vanders' cockiness has waned significantly, and he enters Linda's best nag in the race against her father's stable. Following the competition, Vanders attempts to mend fences between himself and Lockwood. ~ Tracie Cooper, All Movie Guide