William "Bill" Phillips Movies

Revolt at Fort Laramie offers the old one about sworn enemies uniting to defeat an even more awesome foe. In this instance. The time is the Civil War: the place is a western cavalry outpost, where Union and Confederate sympathizers are forced to share close quarters. Not surprisingly, tensions erupt in a hurry, despite the honorable intentions of commander (and stalwart Southerner) John Dehner. But when indian chief Eddie Little lays siege upon Fort Laramie, Yanks and Rebels fight side by side. Harry Dean Stanton, then billed simply as Dean Stanton, makes his screen debut as "Rusty". ~ Hal Erickson, Rovi

In this western, a pacifistic store owner does all he can to avoid association with his father, a notorious gunfighter. One day he gets drunk and shows off his own considerable skills with a pistol. Unfortunately, this attracts the attention of the man who fancies himself the town's fastest draw and he heads to the store for a little confrontation. ~ Sandra Brennan, Rovi

This meticulous and unusually long cinemadaptation of Sloan Wilson's best-selling novel The Man in the Grey Flannel Suit stars Gregory Peck as an ex-army officer, pursuing a living as a TV writer in the postwar years. Hired by a major broadcasting network, Peck is assigned to write speeches for the network's president (Fredric March). Peck comes to realize that the president's success has come at the expense of personal happiness, and this leads Peck to ruminate on his own life. Extended flashbacks reveal that Peck had experienced a torrid wartime romance with Italian girl Marisa Pavan, a union that produced a child. Peck is torn between his responsibility to his illegitimate son and his current obligations towards his wife (Jennifer Jones), his children, and his employer. Among the many life-altering decisions made by Peck before the fade-out is his determination to seek out a job that will allow him to spend more time with his family, even if it means a severe cut in salary. The superb hand-picked supporting cast of The Man in the Grey Flannel Suit includes Ann Harding as March's wife, Keenan Wynn as the man who informs Peck that he'd fathered an Italian child, Henry Daniell as a detached executive, and an unbilled DeForrest Kelley as an army medic (who gets to say "He's dead, captain"!) ~ Hal Erickson, Rovi

Director Lesley Selander, a western specialist with humble ambitions whose work has fostered a minor cult, was the man behind the megaphone in Broken Star. Bill Williams stars as a deputy sheriff who encounters stiff resistance when he investigates the murder of a Mexican. Only dance hall girl Lita Baron and marshal Addison Richards seem interested in bringing the culprit to justice. When Williams locates the guilty man, he wishes he hadn't; it turns out to be his best friend and fellow deputy Howard Duff. Striking a blow for tolerance (in standard western terms, of course), Broken Star is a solid medium-budget job from a modest but talented craftsman. ~ Hal Erickson, Rovi

In this western, a white man kills an Apache Chief and starts a war. This time the Apaches choose an interesting way to exact their revenge: they will dress up as federal soldiers and sneak into the fort. The problem is that they must attack a supply column in order to get the uniforms. They do so and massacre the soldiers. Unfortunately, one escapes and is able to warn the fort of the impending attack. The Apaches soon find themselves gallantly marching right into a deadly massacre. ~ Sandra Brennan, Rovi

Another of producer Howard W. Koch's TV-style budget pictures, Ghost Town is a modest western taking place during one tension-filled night. A group of stagecoach passengers are besieged by hostile Cheyenne Indians. Seeking shelter, the passengers are forced to set up camp in a deserted town. There's every possibility that the Cheyennes will be back, so no one gets a good night's sleep--but we do learn which of the passengers are heroes and which are cowards. Allen Miner, whose B westerns were usually more interesting than his TV assignments, directed Ghost Town with a minimum of waste footage. ~ Hal Erickson, Rovi

Scott Brady plays a decidedly mature Billy the Kid in this Columbia western programmer. According to this acount, Billy was just a mixed-up kid who was forced against his will to become a gunslinger. Billy's friendship with sheriff Pat Garrett (James Griffith), which has always been a matter of historical speculation, is deepened in the film, with Garrett reluctantly tracking Billy down after the latter has tried to avenge the death of kindly rancher John H. Tunstall (Paul Cavanaugh). British leading lady Betta St. John is cast as Billy's love interest (and the unwitting cause of his ultimate downfall) while Alan Hale Jr. is far removed from his Gilligan's Island role as The Skipper, cast here as a scowling heavy. ~ Hal Erickson, Rovi

Though Wicked Woman may look like one of those heavy-breathing Hugo Haas-directed melodramas, the film was in fact directed by screenwriter Russell Rouse. The title character, played by Beverly Michaels, is a trashy blonde who swivels into a small California town. Here she weaves her seductive web around a bar owner (Richard Egan), who leaves his alcoholic wife (Evelyn Scott) behind. The two lovers scheme to sell the bar for a profit and dash off to Mexico, but their scheme is foiled by their own perfidy. Wicked Woman represents perhaps the best-ever screen performance of ubiquitous, squeaky-voiced character actor Percy Helton, who deservedly ends up as the recipient of one of the most spectacular slaps in the face in movie history. ~ Hal Erickson, Rovi

In this entry in the long-running Bowery Boys series, Sach becomes a mind-reader after he is punched in the nose. To capitalize on his new talent, he and the boys open the Eagle Eye Detective Agency. Their first client, a forgetful fellow, desperately needs them to find the combination to the vault where he placed an envelope containing secret information about a group of gangsters. The young detectives then don disguises and sneak in to the gangsters' lair to stop them. ~ Sandra Brennan, Rovi

Kirk Douglas plays the corrupt and amoral head of a major film studio in this Hollywood drama, often regarded as one of the film's industry's most interesting glimpses at itself. Actress Gloria Lorrison (Lana Turner), director Fred Amiel (Barry Sullivan), and screenwriter James Lee Bartlow (Dick Powell) are invited to a meeting at a Hollywood sound stage at the request of producer Harry Pebbel (Walter Pidgeon). Pebbel is working with studio chief Jonathan Shields (Kirk Douglas), whose studio is in financial trouble and needs a blockbuster hit. If these three names will sign to a new project, he's convinced that there's no way he can lose. But there's a rub -- all three of these Hollywood heavyweights hate Shields's guts. He dumped Gloria for another woman, he double-crossed Fred out of a plum directing assignment, and he was responsible for the death of James Lee's wife. All three are ready to tell Pebbel to forget it, until they hear the voice of Shields, calling from Europe to discuss the project by phone. The Bad and the Beautiful won five Academy Awards, including Best Screenplay and Best Supporting Actress for Gloria Grahame. ~ Mark Deming, Rovi

This Western classic stars Gary Cooper as Hadleyville marshal Will Kane, about to retire from office and go on his honeymoon with his new Quaker bride, Amy (Grace Kelly). But his happiness is short-lived when he is informed that the Miller gang, whose leader (Ian McDonald) Will had arrested, is due on the 12:00 train. Pacifist Amy urges Will to leave town and forget about the Millers, but this isn't his style; protecting Hadleyburg has always been his duty, and it remains so now. But when he asks for deputies to fend off the Millers, virtually nobody will stand by him. Chief Deputy Harvey Pell (Lloyd Bridges) covets Will's job and ex-mistress (Katy Jurado); his mentor, former lawman Martin Howe (Lon Chaney Jr.) is now arthritic and unable to wield a gun. Even Amy, who doesn't want to be around for her husband's apparently certain demise, deserts him. Meanwhile, the clocks tick off the minutes to High Noon -- the film is shot in "real time," so that its 85-minute length corresponds to the story's actual timeframe. Utterly alone, Kane walks into the center of town, steeling himself for his showdown with the murderous Millers. Considered a landmark of the "adult western," High Noon won four Academy Awards (including Best Actor for Cooper) and Best Song for the hit, "Do Not Forsake Me, O My Darling" sung by Tex Ritter. The screenplay was written by Carl Foreman, whose blacklisting was temporarily prevented by star Cooper, one of Hollywood's most virulent anti-Communists. John Wayne, another notable showbiz right-winger and Western hero, was so appalled at the notion that a Western marshal would beg for help in a showdown that he and director Howard Hawks "answered" High Noon with Rio Bravo (1959). ~ Hal Erickson, Rovi

During the Civil War, Colonel Kern Shafter (played by Ray Milland) and Captain Edward Garnett (played by Hugh Marlowe) become embroiled in a conflict, the cause of which is somewhat cloudy. As a result, Shafter leaves the Eastern Cavlary and moves West, where he is able to re-enlist. Ten years later, Shafter is reassigned to an outpost in the Dakota Territory -- one that is commanded by his old nemesis Garnett. Garnett takes advantage of his authority to assign Shafter to the most dangerous missions, clearly hoping that he will not return from one of them. Things are not made any easier by the fact that both men fall in love with the same woman (played by Helena Carter). The situation comes to a climax during the Battle of Little Big Horn, when both men attempt to put an end to their personal war as hundreds of others are slaughtered around them. Victorious, Shafter manages to survive the massacre and return to claim the woman he loves. ~ Craig Butler, Rovi