Reginald Owen Movies

Bedknobs and Broomsticks was produced several years after Walt Disney's death and released in the fall of 1971. As it turned out, Bedknobs was frequently compared to Mary Poppins -- probably thanks to several striking similarities between the two productions, notably the presence in the cast of David Tomlinson, the use of Cockney children as central characters, and the inclusion of sequences that combine animation and live-action. Set in wartime England, Bedknobs stars Angela Lansbury as Eglantine Price, a would-be witch who hopes to use her newly acquired conjuring powers to forestall a Nazi invasion. Saddled with three surly kids who've been evacuated from London, Lansbury wins over her charges by performing various and sundry feats of magic. And, yes, she manages to foil a few Germans along the way. The film's most famous episode is an elaborate undersea fantasy, which combines animation with live-action on a gargantuan scale, dwarfing all previous Disney sequences along these lines. ~ Hal Erickson, Rovi

Rosie! is directly based upon Ruth Gordon's play A Very Rich Woman, which was itself based upon a French play by Philippe Heriat, but the indirect source for all three versions is Shakespeare's King Lear. Rosalind Russell has the Lear part, here transformed from a powerful king into a rich, madcap grandmother by the name of Rosie Lord. Unlike in Shakespeare, however, Rosie does not abandon her wealth voluntarily; instead, her viperish children make an assault on her in an attempt to claim their inheritance while Rosie is still alive. They succeed in getting her declared mentally incompetent and thrown into a grotesque asylum, an experience that is so traumatic that she nearly does go insane. Fortunately, Rosie's beloved granddaughter Daphne (Sandra Dee) is appalled at what has happened; she moves into high gear, contacting an ex-lover of Rosie's (played by Brian Aherne) who also happens to be a powerful and skilled attorney. A lengthy court battle ensues, with both sides determined to come out triumphant. ~ Craig Butler, Rovi

Long resistant to film adaptations of her Mary Poppins books, P.L. Travers finally succumbed to the entreaties of Walt Disney, and the result is often considered the finest of Disney's personally supervised films. The Travers stories are bundled together to tell the story of the Edwardian-era British Banks family: the banker father (David Tomlinson), suffragette mother (Glynis Johns), and the two "impossible" children (Karen Dotrice and Matthew Garber). The kids get the attention of their all-business father by bedevilling every new nanny in the Banks household. Whem Mr. Banks advertises conventionally for another nanny, the kids compose their own ad, asking for someone with a little kindness and imagination. Mary Poppins (Julie Andrews in her screen debut) answers the children's ad by arriving at the Banks home from the skies, parachuting downward with her umbrella. She immediately endears herself to the children. The next day they meet Mary's old chum Bert (Dick Van Dyke), currently employed as a sidewalk artist. Mary, Bert, and the children hop into one of Bert's chalk drawings and learn the nonsense song "Supercalifragilisticexpialidocious" in a cartoon countryside. Later, they pay a visit to Bert's Uncle Albert (Ed Wynn), who laughs so hard that he floats to the ceiling. Mr. Banks is pleased that his children are behaving better, but he's not happy with their fantastic stories. To show the children what the real world is like, he takes them to his bank. A series of disasters follow which result in his being fired from his job. Mary Poppins' role in all this leads to some moments when it is possible to fear that all her good work will be undone, but like the magical being she is, all her "mistakes" lead to a happy result by the end of the film. In 2001, Mary Poppins was rereleased in a special "sing-along" edition with subtitles added to the musical numbers so audiences could join in with the onscreen vocalists. ~ Hal Erickson, Rovi

This time around, Tammy, played by Sandra Dee, becomes a nurse's aid to care for an old rich woman and causes a commotion. Since she is charming and warm, everyone likes her--especially Dr. Mark Cheswick (Peter Fonda)--who is warned by boss Dr. Bentley (MacDonald Carey) of the consequences of his pursuit. Fearing for his job, Doc Cheswick backs off, but everything gets complicated by romantic inclinations between head nurse Rachel Coleman (Margaret Lindsay) and head Doc Bentley. After Tammy saves the elderly woman's life and Bentley and Rachel get together, she and the Doctor soon are left to bask in the glow of new love. Third in the series of four, Tammy and the Doctor spun from the original Tammy and the Bachelor (1957)--starring Debbie Reynolds, and is followed by the last Tammy and the Millionaire (1967). ~ Kristie Hassen, Rovi

With Five Weeks in a Balloon, 20th Century-Fox hoped to cash on the success of the studio's earlier Jules Verne adaptation Journey to the Centre of the Earth (1959). The plot is set in motion when 19th-century explorer Fergusson (Sir Cedric Hardwicke) volunteers to head a balloon expedition to claim an otherwise unreachable chunk of African territory for the British Empire. Along for the ride are reporter Donald O'Shay (Red Buttons), absent-minded professor Sir Henry Vining (Richard Haydn), Vining's assistant Jacques (Fabian) and schoolmarm Susan Gale (Barbara Eden). Along the way, the little party acquires another passenger when they rescue native girl Makia (Barbara Luna) from a slave trader. Their many near-death experiences include a run-in with evil potentate Sheik Ageiba (Henry Daniell). Other reliable characters on hand include Peter Lorre, Herbert Marshall, Reginald Owen, Mike Mazurki, and, in a dual role, sneezemaster Billy Gilbert. Since no one could be expected to take this sort of fare seriously, Five Weeks in a Balloon is played tongue-in-cheek, peppered with such overripe dialogue as "You, sir, are a cad!" and "Kismet! We are doomed!" ~ Hal Erickson, Rovi

This Disney family film presents a nice slice of American pie as it chronicles the exploits of an enterprising young man who enlists the aid of a dapper British fellow to put together a Little League baseball team. ~ Sandra Brennan, Rovi

In the first episode of Walt Disney's two-part miniseries Moochie of the Little League, young Montgomery "Moochie" Morgan (Kevin Corcoran) spends his summer mornings delivering papers and his afternoons as a member of the Bobcats Little League team. Because of his diminutive size, he has spent most of the season on the bench but has been getting valuable pointers after each game from his dad (Russ Conway). Finally, Moochie gets his big chance to play in a crucial game -- just as word comes down that the Bobcats' baseball field is up for sale. Originally telecast as part of the Walt Disney Presents anthology, "A Diamond Is a Boy's Best Friend" and the next episode "Wrong Way Moochie" were later edited together and released theatrically in Europe as Little League Moochie. ~ Hal Erickson, Rovi

Britain, 1940: In the early stages of the Dunkirk evacuation, exhausted Homeguardsman Herbert Blakely (Reginald Owen) falls asleep at his post--and has a dream in which his estranged wife Ethel (Molly Raden) is killed. At the same time, miles and miles away, Ethel has a similar dream, in which Herbert meets his doom. Despite the chaos all around them, Herbert and Ethel are determined to reach one another before their dreams become a horrible reality. ~ Hal Erickson, Rovi

In dire need of quick money to repay a debt, Bret (James Garner) agrees to act as guide when three visiting Britishers, all members of the Belcastle family, decide to go on a bear-hunting expedition. Unfortunately, the little party is ambushed by bandits and left to die in the desert. Though Bret thinks that the best course of action would be to chase after the outlaws, the Belcastles do not agree--leading to some very unforseen complications. (Fan alert: this is James Garner's favorite Maverick episode). ~ Hal Erickson, Rovi

MGM was never quite sure what to do with their resident funster Red Skelton, and The Great Diamond Robbery betrays this uncertainty. Skelton plays Ambrose C. Park, a diamond cutter who is led to believe that he's the long-lost heir to a fortune. Actually, Ambrose has been duped by shyster lawyer Remlick (James Whitmore), who is in cahoots with criminal mastermind Louie (Kurt Kaznar). Convinced that he's being a dutiful nephew, Ambrose helps the crooks steal a valuable diamond, then agrees to cut the jewel himself. There's way too much plot and not enough Skelton in this 69-minute programmer, but Red manages to collect a few loose chuckles along the way. Great Diamond Robbery leading lady Cara Williams was later more memorably teamed with Skelton in the 1962 TV special "Freddie and the Yuletide Doll." ~ Hal Erickson, Rovi

Errol Flynn is top-billed in Kim, but the title character is played by Dean Stockwell. The son of an Irish sergeant, young Kim wanders through the streets and hills of Colonial India, disguised as a native boy. Kim's adventures include an episode with a horse trader (Errol Flynn) who is actually a British secret agent; a sojourn with a holy lama (Paul Lukas) on a mysterious quest; and involvement with a plan to rid the Khyber Pass of Czarist Russian agitators. Kim had been in the planning stages since 1938 (those considered for the title role included Freddie Bartholomew and Mickey Rooney), but the property's catch-as-catch-can storyline, coupled with the changing political climate in postwar India, delayed production until 1949. While a great deal of Kim was filmed on location in India, some of the more complicated exterior sequences were lensed in Lone Pine, California. ~ Hal Erickson, Rovi

A "new" Lassie (once again, a male collie in drag) starred in A Challenge to Lassie, MGM's fourth entry in their series based on characters created by Eric Knight. This time, Lassie is plunked into the plotline of William Ludwig's novel Greyfriars Bobby (remade by Disney under its original title in 1963). In 19th-century Edinburgh, crusty sheepherder Jock Gray (Donald Crisp) rescues a puppy and raises it into a champion sheep dog. When Gray is murdered by rustlers, his faithful collie keeps a night-and-day watch over his late master's grave, despite local laws banning the presence of unleashed canines. The rest of the film is a battle of wills between kindly innkeeper John Traill (Edmund Gwenn) and by-the-book constable Davie (Reginald Owen) over the dog's well-being. A romantic subplot is capably handled by Geraldine Brooks and Ross Ford, both of whom went on to healthy character-actor careers. ~ Hal Erickson, Rovi

When Alfred Lunt and Lynn Fontanne appeared in S. N. Behrmann's The Pirate on Broadway, there were no musical numbers whatsoever. But with Gene Kelly and Judy Garland in the leading roles of the 1948 filmization of The Pirate, the MGM production staff would have been drawn and quartered had there not been song after song. The story is merely serviceable: on a Caribbean isle in the early 19th century, sheltered young Garland comes to believe that travelling troubadour Kelly is in reality "Mack the Black," a notorious pirate. Kelly realizes that the surest way to win Garland's heart is to impersonate the romantic buccaneer, and this is what he does--nearly getting himself hanged in the process. Cole Porter's marvelous score yielded only one bona-fide hit: "Be a Clown", which has practically nothing to do with the storyline, but do you care? Highlights include the magnificently staged "Mack the Black," a heady combination of Broadway glitz and Caligariesque nightmare. Seven MGM screenwriters toiled away on The Pirate, though only the team of Albert Hackett and Frances Goodrich were credited. While The Pirate was not a huge moneymaker on its first release, it has since been embraced by the cultists, who apparently can never get enough of Judy Garland. ~ Hal Erickson, Rovi