Robert Paige Movies

"I love to shoot film" is the sanguine motto of TV lensman John Cassellis (Robert Forster) in Haskell Wexler's 1969 Medium Cool, a semi-documentary investigation of image-making and politics. With his soundman, Gus (Peter Bonerz), John films such events as gruesome car wrecks with frosty detachment, considering himself a mere recorder of circumstances, his only responsibility to get his film in on time. Even his girlfriend, Ruth (Marianna Hill), cannot understand or penetrate John's complacency. Encounters with signs of the late '60s times, however, raise John's consciousness about the implications of his job, as he films a verbal attack by black militants on the media's racism, gets fired after he objects to having that footage turned over to the FBI, and meets Vietnam War widow Eileen (Verna Bloom). John witnesses the violence of the state firsthand as he and Eileen search for her son amidst the real-life demonstrations and riots at the 1968 Chicago Democratic Convention. Even though he realizes the political power of pointing a camera at anything, John finally cannot extricate himself or his loved ones from a culture obsessed with recording any sensational, gory incident. Scripted (from a novel by Jack Couffer), directed, and shot by Oscar-winning cinematographer and political activist Wexler, Medium Cool systematically questions the ideological power of images by combining documentary techniques such as "talking heads" and cinéma vérité with staged scenes between the actors. By the time Wexler and his crew start filming Forster and Bloom among the actual events at the convention, all barriers between fiction and fact are broken down, as Wexler's assistant can be heard warning, "Watch out, Haskell, it's real," when tear gas is thrown. The footage of cops clubbing people in the crowd is real, but Wexler's presence also turns it into part of a fictional story, revealing filmed "reality" to be as artificially constructed as any other fiction, subject to the interpretation of whoever holds the camera and, perhaps, to larger institutions of power.

Funding Medium Cool partly out of his own resources, Wexler had free reign during production, but when the execs at Paramount saw the result, they were not pleased. Despite the timely subject matter, Paramount delayed and then curtailed the film's release, tempering its impact on critics and audiences. Regardless of that record, Medium Cool stands as a vital late-'60s film for its incisive narrative and formal dissection of the visual politics of "truth," and its awareness of how coolly seductive televised violence might be as entertainment, especially in a historical moment marked by incendiary images of political assassinations, the Vietnam War, the civil rights movement, and counterculture protests. ~ Lucia Bozzola, All Movie Guide

Leslie Stevens adapted his own stage comedy Marriage-Go-Round for the movies, watering down the more explicit sex talk but keeping its sly innuendo intact. The stunning Julie Newmar plays a Swedish gymnast who wishes to mate with a genius and produce the "perfect child." She chooses professor James Mason for this honor, which wouldn't have been such a problem had not Mason already been married to Susan Hayward. Mason is tempted, but ultimately the head wins out over the libido and the professor returns to his wife, while the decidedly unpregnant Newmar returns to Sweden. Marriage-Go-Round is inclined towards staginess, but this can be forgiven whenever Julie Newmar, recreating her Broadway role, sashays into view. ~ Hal Erickson, All Movie Guide

They don't really go to Mars, they go to Venus, but first they go to New Orleans. While working at a missile base, Bud Abbott and Lou Costello inadvertently launch a rocket ship with themselves aboard. After a wild ride around New York City (the Statue of Liberty ducks when the rocket heads her way), Bud and Lou land in the outskirts of New Orleans. The boys are convinced that they've reached Mars, and their faith in this supposition is affirmed when they come across several strangely costumed "creatures" (actually revellers at the Mardi Gras). Meanwhile, bank robbers Jack Kruschen and Horace McMahon stow away on A&C's rocketship. When Bud and Lou return, the crooks force them to make a quick getaway into outer space. After several days of weightlessness, the four space travellers land on Venus, a planet populated by the gorgeous winners of the Miss Universe contest (including Anita Ekberg). Venusian queen Mari Blanchard falls in love with Costello, only to order him and his companions to return to earth when Lou proves to be unfaithful. Reportedly, this bizarre melange of sci-fi and slapstick was based on a story by Charles Beaumont, who received no screen credit (it's worth noting that Beaumont's later Queen of Outer Space boasts a remarkably similar plotline). Long considered the team's worst film, Abbott and Costello Go to Mars ("and about time!" quipped the New York Times' TV-movie reviewer) is rather likeable in its own incoherent way. ~ Hal Erickson, All Movie Guide

A mule-stubborn farmer is determined to avoid modern technology and nearly destroys what is left of his family in this moving drama. The farmer is saddled with raising his four kids alone and insists on being ruler of the roost in every way. He steadfastly refuses any talk of modern technology when it comes to farming. When his oldest daughter gets a suitor and his youngest tries to join the 4-H club, the father nearly goes on the rampage. He eventually is forced to change his tune when he is injured and unable to work. While recovering, his eldest daughter takes over and begins using some of the new techniques. Sure enough, the farm becomes a success and the father finally sees the light and mends his ways, bringing pastoral happiness to his home. ~ Sandra Brennan, All Movie Guide

Under the aegis of veteran program-feature producer Bryan Foy, the fledgling Eagle-Lion company made great strides during its first year of existence. Filmed in Cinecolor, The Red Stallion is on the surface a standard yarn about a ranch boy and his beloved horse, replete with a mortgage-on-the-ranch plot wrinkle. With Ted Donaldson as the boy and Jane Darwell as his down-to-earth Grandmother, however, the film is far better acted than many of its ilk. As Joel Curtis (Donaldson) tries to raise his pet foal into a race horse, he faces innumerable obstacles, both financial and natural. In the latter category, there's a particularly suspenseful throughlne involving the enmity between the horse and a wild bear. Though the outcome of The Red Stallion is predictable, what leads up to that outcome is well worth the price of admisison. ~ Hal Erickson, All Movie Guide

In this crime drama, a former card shark finally gets paroled and decides to take his singing niece to Chicago to make a new start. Unfortunately, the musical niece ends up working at a gangster's nightclub and the gambler, unable to resist the lure of easy money, returns to card playing. Later an investigating attorney falls in love with the singer whose boss he has been assigned to ultimately prosecute. Songs include: "In Love with Love," "Mam'selle Is on Her Way" (George Waggner, Milton Rosen), "Tango" (Edgar Fairchild), and "Cuddle Up a Little Closer" (Karl Hoschna, Otto Harbach). ~ Sandra Brennan, All Movie Guide

In this crazy comedy, a casino worker writes a book about headhunters and finds himself the target of the leader of an anthropological society who is determined to prove that the book is phony. The writer tricks the woman into going on a head-hunting expedition to prove his claims. He dresses up as a headhunter, and allows her to capture and return him to her society for study. Dressed as a native, the writer also manages to secure a $10,000 advance from his publisher to write an expose of the wealthy society-leader's life. Meanwhile, another heiress pursues the writer to collect on a $10,000 debt. ~ Sandra Brennan, All Movie Guide

In this lively romantic farce, a Broadway producer's Girl Friday must make sure that her recent marriage is kept secret. If it gets out, she will lose her job. Unfortunately, her new hubby is tired of hiding the truth and creates all kinds of problems when he decides to spill the beans. ~ Sandra Brennan, All Movie Guide

In this musical, the three Andrews Sisters play elevator operators who work in an office building containing a music publishing business. The girls, all aspiring singers, hope to get a break while working there. Another resident in the building, a songwriter must cope with a plagiarism suit served against him by another aspiring songwriter. In order to get her to drop her suit, the first composer hires the second and begins to woo her into submission. Meanwhile the three elevator girls are discovered and happiness ensues all around. Songs include: "Don't Mind the Rain," "Take It and Git," "East of the Rockies," "Going Up," and "Here Comes the Navy." ~ Sandra Brennan, All Movie Guide

The Ritz Bros' third low-budget musical for Universal was the pointlessly titled Hi'ya, Chum! In this 61-minute timekiller, the Ritzes play The Merry Madcaps, a trio of itinerant entertainers who purchase a restaurant in a California boom town. While leading ladies Jane Frazee and June Clyde hold down the fort at the restaurant, the Ritz boys do their best to thwart the crooked schemes of gambler Edmund McDonald. Robert Paige, Ms. Frazee's vis-a-vis in Olsen and Johnson's Hellzapoppin', plays the nominal romantic lead. Outside of an amusing ballet parody, Hi 'Ya, Chum! is about 61 minutes too long. ~ Hal Erickson, All Movie Guide

Get Going is typical of the 60-minute musical comdies being churned out by Universal in the 1940s. A topical twist is added by predicating many of the laughs on the wartime housing shortage in Washington DC, with heroine Judy King (Grace McDonald) and her pal Doris (Lois Collier) sharing a cramped apartment with eccentrics Matilda Jones (Vera Vague) and Horace Doblem (Walter Catlett). The plot proper concerns the efforts by Judy, a typist in a government agency, to attract the attention of her handsome boss Bob Carlton (Robert Paige). To do this, she pretends to be in the employ of an enemy spy ring. It's hardly surprising that, before the end of the 5th reel, both Judy and Bob get mixed up with a genuine nest of spies. ~ Hal Erickson, All Movie Guide

Son of Dracula represents a felicitious creative collaboration between director Robert Siodmak and his screenwriter-brother Curt. The story is set in the American south, where the mysterious Count Alucard (Lon Chaney Jr.) has recently taken up residence. Katherine Caldwell (Louise Allbritton), a student of the occult, is fascinated by Alucard, so much so that she agrees to become his wife. But when Katherine begins to look and act strangely, her former suitor Frank Stanley (Robert Paige) suspects that something's amiss. Assisted by town doctor Brewster (Frank Craven) and psychologist Laszlo (J. Edward Bromberg), Frank comes to the inescapable conclusion that Count Alucard is actually the dreaded vampire Count Dracula's offspring (this much he might have figured out simply by spelling the man's name backward!) To prevent Dracula from spreading his influence throughout America, Frank and his confreres race against time to destroy the count and, hopefully, rescue poor Katherine. ~ Hal Erickson, All Movie Guide

In this comedy, a slightly addled young advertising executive works for his father's radio-advertising agency. His first job is to hire a famous big-game hunter for an upcoming show. Unfortunately, the man he chooses proves to be a fake and mayhem ensues. ~ Sandra Brennan, All Movie Guide