Moroni Olsen Movies

Jeff Chandler may be the top-billed star of Sign of the Pagan, but the film belongs to Jack Palance, cast as no less than Attila the Hun. As Attila's hordes advance upon Rome, noble centurion Marcian (Chandler) mounts a counteroffensive. Alas, the Scourge of God cannot be stopped by weaponry or sheer brute strength. No, Attila can be halted in his tracks only by the hand of God Himself. Through a deft combination of historical fact and movie magic, this is precisely what happens. Ballerina Ludmilla Tcherina, her voice dubbed by an anonymous American actress, co-stars as Marcian's lady love, while Rita Gam is sublimely cast as Attila's long-suffering daughter. Also appearing as Attila's slave bride is Allison Hayes, some three years away from her starring turn in Attack of the 50 Foot Woman. Filmed on a more spectacular scale than one usually associates with Universal-International, Sign of the Pagan loses some of its scope when shown on television. ~ Hal Erickson, Rovi

This nonsensical farce stars Robert Cummings as an air force reserve pilot, called back to active duty on the eve of his wedding to Marie Wilson. When he returns, he discovers that Wilson has inherited a million dollars, and plans to be the head of their household. Under the circumstances, Cummings decides not to get married and to re-enlist. The air force subjects poor Cummings to a team of psychiatrists, on the theory that any man who wouldn't want to marry the wealthy and voluptuous Ms. Wilson has to be crazy! Marry Me Again has the look, feel and logic of an animated cartoon, which shouldn't be surprising since the director is former Warner Bros. animator Frank Tashlin. ~ Hal Erickson, Rovi

When Ricky (Desi Arnaz) inadvertently wrecks the new television set that he and Lucy (Lucille Ball) have given the Mertzes as an anniversary present, Fred (William Frawley) retaliates by breaking the Ricardos' TV. The upshot of all this is a courtroom date, with the Ricardos suing the Mertzes and vice versa. The proceedings begin to resemble a madhouse, as Ricky acts as his own lawyer, Lucy delivers impassioned (and largely inaccurate) testimony, Fred glowers and growls, and Ethel (Vivian Vance) flirts with the judge (Moroni Olsen). It is up to "his honor" to resolve matters, though in the end he is less happy with the results than either of the plaintiffs. ~ Rovi

During the 1845 battle for Texas' independence, a cattle baron (Clark Gable) spars with an evil senator (Broderick Crawford) over the state's future and for the affections of newpaperwoman Ava Gardner. ~ Jason Ankeny, Rovi

Just before filming All About Eve, Bette Davis starred in the marital melodrama Payment on Demand. Davis plays Joyce Ramsey, the wife of David Ramsey (Barry Sullivan), who one fine morning demands a divorce. Most of the film is in flashback, recounting the events leading up to the marital schism. After David takes up with a school teacher (Frances Dee), Joyce heads for a Haitian vacation, hoping to spark a few affairs of her own. But after a chance meeting with an old friend (Jane Cowl) who's become hard and cynical since her own divorce, Davis heads back to the States and attempts to patch up her marriage. Director Curtis Bernhardt was particularly proud of the opening scene in Payment on Demand, wherein Barry Sullivan requests a divorce as calmly as if he were ordering breakfast. ~ Hal Erickson, Rovi

At Sword's Point is about the sons of Dumas' Three Musketeers--one of those "sons" being of the female persuasion, played by Maureen O'Hara. As the swash-buckling daughter of Athos, O'Hara joins the offspring of Aramis and Porthos, portrayed respectively by Dan O'Herlihy and Alan Hale Jr., as well as the bouncing boy of D'Artagnan, played by Cornel Wilde. These second-generation Musketeers are reunited by the ageing Queen Anne (Gladys Cooper), who wants to stem the villainy of her treacherous nephew, the Duc de Lavalle (Robert Douglas). Lunging and parrying throughout the French countryside, the new Musketeers save the day by preventing a marriage of state between the princess (Nancy Gates) and Lavalle, restoring the girl to her true love, prince Peter Miles. Technicolor is the only decided plus in the favor of the lazy and derivative At Sword's Point, which was completed in 1949 but remained unseen in RKO's vaults for three years. ~ Hal Erickson, Rovi

The hero of Ayn Rand's The Fountainhead is Howard Roark (Gary Cooper), a fiercely independent architect obviously patterned after Frank Lloyd Wright. Rather than compromise his ideals, Roark takes menial work as a quarryman to finance his projects. He falls in love with heiress Dominique (Patricia Neal), but ends the relationship when he has the opportunity to construct buildings according to his own wishes. Dominique marries a newspaper tycoon (Raymond Massey) who at first conducts a vitriolic campaign against the "radical" Roark, but eventually becomes his strongest supporter. Upon being given a public-housing contract on the proviso that his plans not be changed in any way, Roark is aghast to learn that his designs will be radically altered. Roark sneaks into the unfinished structure at night, makes certain no one else is around, and dynamites the project into oblivion. At his trial, Roark acts as his own defense, delivering an eloquent paean to individuality. He is acquitted, while the newspaper tycoon, upset that he could offer Roark no help during the trial, kills himself. This clears the way for a final clinch between Roark and Dominique on the skeleton of his latest building project. Ayn Rand's celebration of Objectivism didn't translate very well to film, with Gary Cooper coming off more selfish and petulant than anything else. The Fountainhead's saving graces are the solid direction by King Vidor, the rhapsodic musical score by Max Steiner, and the symbolism inherent in Cooper's manipulation of his power drill when he first lays eyes on Patricia Neal! ~ Hal Erickson, Rovi

In pageant-like fashion, Warner Bros.' Task Force traces the history of the American aircraft carrier, as experienced by a group of naval air aces. Gary Cooper plays Admiral Jonathan L. Scott, who on the verge of retirement remembers his struggle to win recognition of the importance of aircraft carriers. The story begins in 1921, when Scott and his friend Pete Richard (Walter Brennan) were making dangerous landings on the primitive 65-foot carrier Langley. Scott's outspokenness wins him few friends among the brass, and after he publicly insults a Japanese diplomat on the subject of his beloved carriers, he is shunted away to a desk job. Naturally, once Pearl Harbor is attacked, Scott is vindicated. While his wife Mary (Jane Wyatt) waits patiently at home, Scott serves in World War II with distinction, guiding his carrier through a maze of Japanese artillery and kamikazes. Filmed in Technicolor, Task Force makes good use of actual color battle footage filmed by the Signal Corps. A brief clip from Task Force shows up in the drive-in movie scene in James Cagney's White Heat (1949). ~ Hal Erickson, Rovi

The Dorothy Fields-Sigmund Romberg Broadway musical Up in Central Park has been retooled as a vehicle for a pleasantly plump Deanna Durbin. Set in New York in the 1870s, the film casts Durbin as hoydenish Irish immigrant Rosie Moore, who becomes the romantic bone of contention between muckraking newspaper reporter John Matthews (Dick Haymes) and corrupt but charming political boss Tweed (Vincent Price, considerably handsomer and slimmer than the real Tweed). With Rosie's help, John manages to expose Tweed's Tammany Hall shenanigans. Though only two songs have been retained from the original Broadway production, both Durbin and Haymes are afforded several opportunities to sing. Featured in the cast as Durbin's father is Albert Sharpe, who'd just completed a run in the smash New York musical Finian's Rainbow and who later played the title role in Disney's Darby O'Gill and the Little People (1959). Best scene: The Currier & Ives ballet, one of the few holdovers from the stage version of Up in Central Park. ~ Hal Erickson, Rovi

Filmed not long after the actual events, The Beginning or the End is a sober, intelligent account of the development and deployment of the Atom Bomb. Step by step, the film details the progress of The Manhattan Project, from its inception in the early stages of the war through the dawn of the Atomic Age over the city of Hiroshima on August 6, 1945. Brian Donlevy stars as Brigadier General Leslie Groves, assigned by President Roosevelt (Godfrey Tearle) to act as military supervisor of the top-secret project at Oak Ridge, Tennessee. After a grueling trial-and-error period, the first atomic bomb is tested before an assemblage of scientists and military personnel-even though there's the disturbing possibility that the explosion may cause a chain reaction that will wipe out all mankind. Woven into the proceedings is an unnecessary but innocuous romance between idealistic young scientist Matt Cochran (Tom Drake) and his new bride Anne (Beverly Tyler), who cannot understand why she and her husband are forced to live in isolation with scores of other scientists and their families because Matt, like his associates, has been sworn to total secrecy. Though the Cochrans are fictional, many real-life participants in the Manhattan Project are depicted herein, including J. Robert Oppenheimer (played by Hume Cronyn), Enrico Fermi (Joseph Calleia), Albert Einstein (Ludwig Stossel) and Col. Paul Tibbetts (Barry Nelson), pilot of the bomb-bearing Enola Gay. Refreshingly free of propagandizing, Beginning or the End would make an excellent companion feature to Fat Man and Little Boy (1990), a highly politicized retelling of the same events. ~ Hal Erickson, Rovi

Former army pilot Robert Taylor is accused, on the basis of strong circumstantial evidence, of his wife's murder. Suffering from periodic blackouts, Taylor isn't so certain of his innocence himself. When offered a brain operation, Taylor refuses, knowing that if he is proven sane he will be executed for murder. Instead, he opts for confinement in a high-walled veteran's mental institution. A compassionate lady doctor (Audrey Totter) falls in love with Taylor, convincing him to have the operation. Even after emerging from the ether, Taylor cannot remember any of the details concerning his wife's death--but he does recall that the dead woman had recently taken a job with a publisher (Herbert Marshall) of religious books. While the killer's identity is tipped off by this revelation, the audience is never certain that Robert Taylor isn't a murderer--especially since he'd previously appeared as a homicidal maniac in the 1946 film Undercurrent. The best moment in High Wall is the casual disposal of the sole witness to the murder, via a long, dark elevator shaft. ~ Hal Erickson, Rovi

A kind-hearted Native American adopts a homeless, orphaned Chinese boy who has only a horse to his name. This touching melodrama chronicles the years they spend together. The boy's new parents mate his horse with their mare and the resulting filly proves to be fast. They nearly lose the filly, but manage to get her out of the clutches of a dishonest horse manager. They then breed her. On the day she foals, they find oil upon the land and they name the colt "Black Gold." Together father and adopted son raise the horse with the hope of entering it in the Kentucky Derby. Unfortunately, by this time, the father is an old man and just before he dies, he makes the boy promise to run the horse in the Big Race. ~ Sandra Brennan, Rovi