Lee Patrick Movies

Two years after the success of The Interns (1962) came this follow-up tale of medical interns during their first year working in a hospital. Ranging from comedy to melodrama, three main stories are woven around the principal characters. Functioning as the group's advisor, Dr. Alec Considine spends much of his time chasing women--one of which (an early role from Barbara Eden) may or may not wrangle a ring from him. Then there is a struggling married couple (played by Stefanie Powers and Dean Jones) who must face the possibility of never having children. Thirdly, Dr. Tony Parelli (George Segal in his film debut), coming from a gritty past, falls in love with social worker Nancy (Inger Stevens). Unfortunately Nancy has recently been sexually brutallized by three violent men and does not respond favorably to Dr. Parelli's attentions. Also starring are Telly Savalas and Kay Stevens, who, with Powers and Callan, appeared in the original and more successful Interns. ~ Kristie Hassen, Rovi

Tony Randall has the showcase of a lifetime in the marvelous George Pal production The Seven Faces of Dr. Lao. We first see Randall as Dr. Lao, an enigmatic Chinese medicine-show impresario. The doctor brings his travelling show into the frontier town of Abalone, which is chafing under the oppression of land-hungry Clint Stark (Arthur O'Connell). Newspaper editor Ed Cunningham (John Ericson) is conducting a campaign of words against Stark, but he is no match for the land baron's money, power, and hulking henchmen. Nonetheless, Cunningham continues his crusade, all the while attempting to romance icy young widow Angela Benedict (Barbara Eden). All of this is observed with bemusement by Dr. Lao, who has already established himself as a man of many talents by alternating between pidgin-English and eloquent articulation, depending on the circumstances. Each of the townspeople--including the three already mentioned--learn a great many truths about themselves when they attend Dr. Lao's unusual circus. In the course of straightening out everyone's problems, Lao metamorphoses into (1) Merlin the Magician, (2) Pan, (3) Medusa, (4) The Abominable Snowman, (5) Apollonius of Tyana and (6) a Talking Serpent. The combined talents of Randall, puppeteer Pal and make-up wizard William J. Tuttle (who won two Special Oscars) resulted in this captivatingly unique entertainment experience. Curiously, Tony Randall is not fond of Seven Faces of Dr.Lao, and refuses to be interviewed on the subject. Perhaps he was unhappy that much of the philosophy dispensed in the original Charles G. Finney novel The Circus of Dr. Lao was weeded out of Charles Beaumont's script....or perhaps he just didn't like having his head shaved for the part. ~ Hal Erickson, Rovi

Based on the Francoise Sagan novel Aimez vous Brahms?, Goodbye Again stars Ingrid Bergman as Paula Tessier, a successful Parisian interior decorator (with a personal wardrobe by Christian Dior) and Yves Montand as her roving-eye lover, Roger Demarest. Worried that she'll be left in the lurch by the unfaithful Montand, Bergman enters into an affair with the much-younger Philip Van Der Besh (Anthony Perkins). Once he realizes that he's lost Paula to Philip, Roger offers to mend his rakish ways. She takes him back, and they are married; soon afterward, however, Roger goes back to his old skirt-chasing habits. Variety noted that Goodbye Again has "strong appeal for a middle-aged distaff audience"; nowadays, they'd call it a chick flick. ~ Hal Erickson, Rovi

Steven Hill guest stars in this episode as flamboyant mobster Jack "Legs" Diamond. The Mob doesn't like the publicity stirred up by Diamond's many extramarital affairs, so they order him out of town for a spell while they orchestrate a scheme to smuggle $5 million worth of narcotics into the country. But Legs get wind of the plan and hijacks the valuable cargo, demanding a piece of the action from his disgruntled fellow hoods. Ultimately, Legs double-crosses himself by continuing to flaunt his affair with Follies dancer Dawn Dolan (Suzanne Storrs) in front of his embittered wife Alice (Norma Crane). Crime historians will have no trouble identifying the characters played by Oscar Beregi and Peter Whitney as thinly disguised versions of real-life scofflaws Arnold Rothstein and Big Bill Dwyer. ~ Hal Erickson, Rovi

The fabulously successful Pillow Talk was essentially Shop Around the Corner for the 1950s. Playboy composer Rock Hudson and interior-decorator Doris Day are obliged to share a telephone party line. Naturally, their calls overlap at the least opportune times, and just as naturally, this leads to Hudson and Day despising each other without ever having met in person. In a cute but convenient coincidence, Doris' boy friend is Tony Randall, who also happens to be Hudson's best pal. Thus Hudson gets a glimpse at Day, and it's love at first sight. To avoid revealing that he's her telephone rival, Hudson poses as a wealthy Texan and turns the charm on Day. But when he starts pitching woo, Day instantly recognizes all the "make-out" lines Hudson has used on the phone with his other conquests. She gets even by decorating Hudson's apartment in a hideous manner. But Hudson loves her all the same; he "kidnaps" her, carrying her through the streets in her nightgown in full view of everyone, including a laughing cop who refuses to intervene. He praises her horrifying interior decoration job effusively, and at this point Day can't help but give in to his marriage proposal. A bit too arch and cute for modern tastes at times, Pillow Talk is still one of the best of the frothy Doris Day-Rock Hudson vehicles; it made a fortune at the box office and garnered five Oscar nominations. ~ Hal Erickson, Rovi

Like Alexander's Ragtime Band (1938), 20th Century-Fox's There's No Business Like Show Business is a "catalogue" film, its thinnish plot held together by an itinerary of Irving Berlin tunes. The story chronicles some twenty years in the lives of a showbiz family, headed by Dan Dailey and Ethel Merman. Two of the couple's three grown children -- Donald O'Connor and Mitzi Gaynor -- carry on the family tradition, while the third, Johnny Ray, decides to become a priest. There are a few tense moments when O'Connor falls in love with ambitious chorine Marilyn Monroe and loses all sense of perspective, but the family reunites during a splashy production-number finale. Highlights include Dailey and Merman's Play a Simple Melody duet, O'Connor's A Man Chases a Girl solo, and Monroe's tempestuous rendition of Heat Wave (her delivery and stage presence both compensate for her unflattering bare-midriff costume). Of historical interest, There's No Business Like Show Business was Fox's first CinemaScope musical; as such, it is best viewed on TV in "letterbox" format. ~ Hal Erickson, Rovi

An outdoor adventure musical comedy, Take Me to Town features Ann Sheridan as Vermilion O'Toole, a barroom singer with a shady past who has taken refuge in a small timber town in the Pacific Northwest. She's on the run from a federal agent, Ed Daggett (Larry Gates). Just out of town lives Will Hall (Sterling Hayden), a logger and preacher who is widowed and raising three children. The children meet O'Toole and try to hook her up with their father -- because they want a mother to care for them. This arouses the jealousies of Mrs. Stoffer (Phyllis Stanley), a widow who was hoping to snare Hall herself. Hall comes to prefer O'Toole, but she must overcome the resentment of the local townspeople, who think she's a floozy. ~ Michael Betzold, Rovi

Hot on the heels of such Red Skelton slapstick comedies as The Fuller Brush Man and The Yellow Cab Man came The Fuller Brush Girl, starring Lucille Ball in a fascinating dry run for her wacky "Lucy Ricardo" TV character. Unable to hold a job because of her tendency to get into trouble, Sally Elliot (Ball) hires on at the Fuller Brush company as a door-to-door cosmetics salesman. After several misadventures involving obnoxious children and snooty matrons, Sally finds herself in the middle of a murder scheme. With reluctant boyfriend Humphrey (Eddie Albert) in tow, Sally gets mixed up in one hilariously life-threatening situation after another, culminating in a prolonged chase sequence on board a tramp steamer. Highlights include Ball's outrageous striptease scene (to the tune of Rita Hayworth's "Put the Blame on Mame") and a choice cameo by Red Skelton as an all-too-cooperative customer. Most of the sight gags in Fuller Brush Girl were cooked up by former cartoon director Frank Tashlin, who'd also contributed to Fuller Brush Man. ~ Hal Erickson, Rovi

Caged, considered the best woman's prison film ever made, represents a union between realistic socially conscious drama and the more stylized world of film noir. Marie, (Eleanor Parker), is sentenced to prison for helping her husband in a small robbery. The prison is run by the sadistic matron Evelyn (Hope Emerson) who is secure in her position due to corrupt political influence. The film shows Marie's slow disillusionment with society and her eventual decision to become a prostitute in order to gain parole after observing her friend and fellow inmate Kitty (Betty Garde) lose her sanity and murder their oppressor Evelyn. With this uncompromisingly pessimistic statement on human nature, John Cromwell reaches his peak as a director. Under his expert direction, Eleanor Parker gives the best performance of her career and creates a convincing metamorphosis from a innocent young girl to a hardened criminal. Her performance is nuanced, low-keyed and emotionally charged. Equally impressive is Cromwell's visual realization of the claustrophobia of prison life, aided by the high-contrast photography of Carl Guthrie. This excellent, grim drama is uncompromising in its refusal to sentimentalize the plight of Marie as a victim or to absolve her of her role in her fate, nor does it absolve society as it shows the results of desperation and brutalization on human dignity. ~ Linda Rasmussen, Rovi

"A woman loses her mind and is confined to a mental institution." That's the usual TV-listing encapsulation of The Snake Pit -- and like most such encapsulations, it only scratches the film's surface. Olivia de Havilland stars as an outwardly normal young woman, married to loyal, kindly Mark Stevens. As de Havilland's behavior becomes more and more erratic, however, Stevens comes to the sad conclusion that she needs professional help. She is sent to an overcrowded state hospital for treatment -- a curious set-up, in that, while de Havilland is treated with compassion by soft-spoken psychiatrist Leo Genn, she is sorely abused by resentful matrons and profoundly disturbed patients. Throughout the film, she is threatened with being clapped into "the snake pit" -- an open room where the most severe cases are permitted to roam about and jabber incoherently -- if she doesn't realign her thinking. In retrospect, it seems that de Havilland's biggest "crime" is that she wants to do her own thinking, and that she isn't satisfied with merely being a loving wife. While this subtext may not have been intentional, it's worth noting that de Havilland escapes permanent confinement only when she agrees to march to everyone else's beat. Amazingly, Olivia de Havilland didn't win an Academy Award for her harrowing performance in The Snake Pit (the only Oscar won by the film was for sound recording). While some of the psychological verbiage in this adaptation of Mary Jane Ward's autobiographical novel seems antiquated and overly simplistic today, The Snake Pit was rightly hosannahed as a breakthrough film in 1948. ~ Hal Erickson, Rovi

Based on the radio show of the same title, a young woman meets a gypsy who reads her fortune and predicts a terrible fate for the young woman. ~ Rovi

In this low-budget adventure, a gangster and his spouse are stranded on a lonely tropical island. They soon discover that a band of castaway Nazis also inhabit the place. Trouble erupts when uranium is discovered. ~ Sandra Brennan, Rovi