Luana Patten Movies

Officers Jim Reed (Kent McCord) and Pete Malloy (Martin Milner) spend most of this episode endeavoring to track down and clean up a particularly nasty stolen-car ring. Elsewhere, the two cops are summoned to a liquor store that has been robbed. And finally, there's a rescue mission in store for Jim and Pete's, as they attempt to extricate a youngster who has gotten himself trapped in a refrigerator. Featured in the supporting cast as Tex is versatile voiceover artist Walker Edmiston, best remembered by fans of Sid and Marty Krofft as the intellectual space alien Enik in Land of the Lost. ~ Hal Erickson, Rovi

A horse thief with a price on his head is shot by both Joe Cartwright and his friend, stone-broke farmer Morgan Tanner (Dean Harens). When the authorities arrive, Joe takes full credit for the killing-and claims the reward, which Morgan and his family need desperately. Why is Joe acting in this seemingly cold and selfish manner? Also in the cast are Luana Patten and Regina Gleason as Morgan's wife Lorna and daughter Martha. Written by Frederic Louis Fox, "Credit for a Kill" first aired on October 23 1966. ~ Hal Erickson, Rovi

Agarn (Larry Storch) has greatness thrust upon him when it turns out that he holds the deciding vote in a hotly contested mayoral campaign in his home town of Pasaic, New Jersey. Before long, both of the candidates--Derby Dan McGurney (Tol Avery) and George C. Bragen (Lew Parker)--have descended upon Fort Courage to curry favor with Agarn and win his absentee ballot. The fact that McGurney has a pretty daughter may persuade the Corporal to break the electoral deadlock--and then again, maybe not. ~ Hal Erickson, Rovi

In this western, originally designed as the pilot of a television show that never made it to air, a self-designated preacher desires to control the Big Sag territory of Montana. To do this, he must first force two newly arrived Texans off of their land. Meanwhile, the preacher's wife knows that he is too yellow-bellied to actually do the dirty deed. She sends their lovely daughter to town with a note for the owner of the local saloon. During the journey, the girl is caught in a big storm. She weathers it out with the Texan's son. Naturally the two fall in love, but this does not stop the girl from continuing on to deliver the note to the lecherous proprietor who immediately begins making a play for the innocent young girl. His lasciviousness pushes his alcoholic wife over the brink and in a jealous rage she fatally shoots him. It is then revealed that the greedy saloonkeeper has hired a gunslinger. The gunslinger ends up killed by the preacher, who then officiates the wedding ceremony for his daughter and his rival's son. Afterward he solemnly swears to never again use a gun. ~ Sandra Brennan, Rovi

In this western, an idealistic and naive rookie cavalry officer is assigned to work with a cruel captain. He immediately gets on the crabby captain's bad side by trying to restart an affair with his ex-sweetheart. The woman is engaged to another who ends up getting killed by the Indians. This rookie, blaming himself for distracting the slain officer with his overtures to the officer's fiance, volunteers to act as a decoy to lure the renegade Apaches into a trap. It works, but many soldiers die. After the skirmish, the rookie has become a seasoned officer prepared to take his duties seriously. Back at the fort, he bids farewell to the woman as she begins her long journey back east. ~ Sandra Brennan, Rovi

The "music box" of the title of this low-budget, routine gangster film is a submachine gun, and its owner Larry Shaw (Ronald Foster) is the focus of attention. Larry has as little concern for morality or human life as an exterminator does for cockroaches, and so he is able to climb up the ladder of organized crime with little difficulty. The setting is New York in the 1920s, when mobsters become both rich and famous and eventually dead because of Prohibition. For inexplicable reasons, Larry is married to a decent woman (Luana Patten) who one day has had enough of her husband's activities and rebels in a most significant way. ~ Eleanor Mannikka, Rovi

In this conventional drama about a killer on the loose, the usual psychological interplay of a disturbed mind and the killer's potential victims is emphasized. Jamie (Steven Marlo) is running away from a murder he just committed, apparently unable to control his homicidal urges once they arise. Ann and Benjie (Luana Patten and Tom Selden) are the young couple who pick up Jamie while they themselves are running away from the police. Their reasons are hardly criminal, they believe the police will try to stop them from getting married. As the association with Jamie continues, the young couple begin to suspect he might be even more dangerous than the police they are trying to evade. ~ Eleanor Mannikka, Rovi

Small-minded small town 1950's mores threaten a youthful romance in this sudsy melodrama based on the play Teach Me How to Cry by Patricia Joudry and reminiscent of the previous year's Peyton Place (1957). Sandra Dee stars as Melinda Grant, an illegitimate girl facing the stigma of being a fatherless child in the rigidly judgmental atmosphere of her hometown. Melinda's problems are further compounded by the fact that her mother Elizabeth (Teresa Wright) is a neurotic woman slowly losing her mental grip. Then Melinda meets Will Henderson (John Saxon), the new boy in town, and the two fall in love. Will is from the wrong side of the tracks, however, and his down-on-his-luck father Ed (James Whitmore) doesn't do much to improve the family's reputation. Local tongues are soon wagging over the Melinda-Will romance, casting its future in doubt. ~ Karl Williams, Rovi

This 1957 Disneyland episode is essentially a promotional film for the upcoming Disney theatrical release Johnny Tremain. An early segment, chronicling man's struggle for liberty as manifested in the Magna Carta and the exploits of Robin Hood, leads smoothly into a lengthy excerpt of the new film, wherein young Johnny Tremain (Hal Stalmaster) joins the 18th century underground group, the Sons of Liberty. The remainder of the episode consists of the 1953 cartoon featurette Ben and Me, based on the book by Robert Lawson and told from the viewpoint of Amos the Mouse (voiced by Sterling Holloway, friend and confidant of none other than Benjamin Franklin. ~ Hal Erickson, Rovi

A tall horseman (Jock Mahoney) rides into the small town of Arborville, deserted except for redheaded Jody (Luana Patten), who's uncomfortable about it. Outside town, the rider finds all the townspeople working on an oil rig on a small ranch. They're led by Cal Moore (Charles McGraw), and include brothers Aaron (Claude Akins) and Adam Grant (Lee Van Cleef). The stranger asks a few questions, rousing the ire of the hot-tempered brothers, who toss him into a pool of oil. Glossy black but unconcerned, the stranger ambles out and rides back to town. Jody helps him clean up, so he tells her he has come to meet an old Indian who lived on the property where the oil well now is; he's clearly surprised when she refers to the old man, now missing, as Joe Dakota. Meanwhile, the townspeople gather, and we learn that Cal is a newcomer to town, an oil expert who decided to cast his lot with Arborville. We also learn that something happened to the old Indian, and that the townspeople were involved. The townspeople later are horrified when the stranger announces that he owns the land where the oil well is, and that his name is Joe Dakota.

Later, Jody comes to see Joe at the ranch, and reveals that the old man was her friend; she often came out to visit him. Joe tells her that the old man, whom he'd known well some years before, had simply borrowed his name. Jody says that the last time she'd visited the old Indian, he'd been drunk and had attacked (but not raped) her. Egged on by Cal, the townspeople had lynched him. The next day, Joe hangs a noose on the Arborville town sign, and puts a cross on the old man's grave. He explains that he was a captain in the infantry, and the old man was the finest scout he'd ever known. Everyone gathers at the oil well, where Joe explains that it was Cal who had attacked Jody, framing the old man for the crime to get the town to lynch him. He and Cal have a fight, but the townspeople, ashamed of what they've done, side with Joe.

Universal-International turned out quite a number of well-down, medium-budget westerns in the late 1950s, often starring Audie Murphy. This time, however, the lead is former stuntman Jock Mahoney, whom the studio was trying to groom as a star; his easy-going but very masculine personality made him ideal for roles such as this. The movie, co-written by Perry Mason's "Hamilton Burger," (William Talman), seems to owe something to Bad Day at Black Rock, but the plot works well in this context, too. There are good small details, like a wine store instead of a saloon, the town's beloved water trough, and the stranger's midnight shave. Richard H. Bartlett's direction is as low-key as the movie -- scarcely a shot is fired, and few wear guns -- and as likable. Joe Dakota is "just another movie," but it's a very good example of its long-gone kind. ~ Bill Warren, Rovi

Like Disney's earlier Song of the South, So Dear to My Heart peppers its live action with animated sequences. In this film, however, it is the "live" story that lingers longest in the memory. Set in 1903, the film takes place on the small Kincaid farm. Twin sheep are born in the barn: one white, one black. When the mother sheep rejects the black lamb, young Jeremiah Kincaid (Bobby Driscoll) adopts the animal, naming it Danny, after the great trotting horse Dan Patch. Danny grows up to be quite troublesome, and Jeremiah's grandmother (Beulah Bondi) wishes that the boy would get rid of his pet. Jeremiah's only ally is kindly blacksmith Uncle Hiram (Burl Ives), who encourages the boy to enter Danny in blue-ribbon competition at the county fair. Granny is against this notion, so Jeremiah sets about to pay his own way. On a stormy night, Danny runs away; Jeremiah is kept from searching for the lost sheep by Granny, who now believes that the boy wants to enter the state fair contest for selfish reasons rather than out of love for his pet. She further warns that the Lord may not let Danny survive the night. The next day, however, Danny returns. Remembering Granny's remonstrations, Jeremiah now states that he won't attend the county fair, having promised the Lord that he'd forget about the competition if Danny was spared. Moved by this unselfishness, Granny softens her own stance, claiming that she'd promised the Lord that Jeremiah could go to the fair if the lamb returned alive. The story reaches a warm-hearted climax at the fair; Danny doesn't win, but his ultimate prize is far more meaningful than any blue ribbon. The isolated animated sequences spring from Jeremiah's scrapbook, illustrating such homespun philosophies as "stick-to-it-tivity" and "it's whatcha do with whatcha got." So Dear to My Heart yielded a hit song, "Lavender Blue," which co-star Burl Ives retained in his repertoire until his dying day. ~ Hal Erickson, Rovi

MGM's newest child star Jackie "Butch" Jenkins--lisp and all--is the title character in this overlong family drama. The setting is a postwar army camp, where returning GIs live in Quonsets with their families. Jenkins' mother dies, whereupon his soldier dad becomes an alcoholic. Both father and son are saved by the realization that life goes on. It was MGM's notion to reteam three of the stars from the previous season's Our Vines Have Tender Grapes (Butch Jenkins, James Craig and Frances Gifford) in hopes of lightning striking twice at the box office; no such strike occurred. Little Mr. Jim was adapted from the Tommy Wadelton novel Army Brat. ~ Hal Erickson, Rovi

Song of the South is a blend of live action and animation, based on the popular "Uncle Remus" stories of Joel Chandler Harris. Set in the years just after the Civil War, the story begins with young Johnny (Bobby Driscoll) being sent to live at the southern plantation of his grandmother (Lucile Watson) while his parents contemplate divorce. At first disconsolate, the boy is cheered up by African-American handyman Uncle Remus (James Baskett), who tells him many delightful fables concerning the clever trickster Br'er Rabbit, whose adventures are illustrated in cartoon form. Each story has a moral, which Johnny applies to the exigencies of his real life. Johnny's mother (Ruth Warrick) disapproves of Uncle Remus, and orders the boy never to visit the kindly old black man again. Uncle Remus packs his bags and leaves; while chasing after him, Johnny is injured by a bull. He recovers thanks to the friendly presence of Uncle Remus, and all is forgiven. The film was awarded the Best Song Oscar for "Zip-a-dee Doo Dah," and James Baskett won a special Oscar for his portrayal of Uncle Remus. Disney has withheld the movie in the U.S. ever since its last theatrical re-release in 1986, due to controversy over what some (including the NAACP) argue is a sugar-coated depiction of the Reconstruction-era South. ~ Hal Erickson, Rovi