Barry Bernard Movies

One of Our Spies is Missing was cobbled together from a two-part episode of the American TV series Man From UNCLE, then shipped overseas as a feature film. Robert Vaughn and David McCallum head the cast as Napoleon Solo and Ilya Kuryakin, U.N.C.L.E's top agents. The original two-parter, "The Bridge of Lions Affair" (telecast February 4 and 11, 1966), concerns a biochemist who develops a rejuvenation process. The chemist disappears, so it's up to Solo and Kuryakin to recover or destroy the process before it falls into the hands of the enemy spy organization THRUSH. Padding out the proceedings in One of Our Spies is Missing is a newly-filmed subplot concerning the niece (Yvonne Craig) of U.N.C.L.E. head honcho Alexander Waverly (Leo G. Carroll). ~ Hal Erickson, Rovi

While on a sea voyage with his family, the eminent Sir Richard Musgrave (Eric Portman) is unnerved by the presence of a fellow passenger named Keyser (Oskar Homolka), who looks just like Sir Richard's former prospecting partner. Of course, Keyser could not possibly be whom he appears to be -- especially since Sir Richard left his partner for dead 20 years ago. Indeed, when confronted, Keyser insists he has never met Sir Richard in his life...but enough doubt remains to force Musgrave into taking drastic action! ~ Hal Erickson, Rovi

This sequel to Kurt Neumann's The Fly (1958) is peculiar, to say the least. Producer/director Neumann had passed away during the summer of 1958, and the studio needed a sequel. The resulting film, Return of the Fly, was directed by Edward L. Bernds, a filmmaker (and former sound man at Columbia Pictures) most closely associated with the Three Stooges, but who had lately moved successfully into popular science fiction, with movies such as World Without End, Space Master X-7, and Queen of Outer Space to his credit -- not that this last, in particular, seemed to qualify him for anything but tongue-in-cheek satire. Curse of the Fly was shot in CinemaScope but in black-and-white, an unusual combination that is usually associated with artier movies, as a compromise for discriminating directors who can't avoid the widescreen format but want to present something serious; in this particular case, however, it was purely a budgetary decision. Vincent Price is the nominal star as Francois Delambre, the brother of Andre Delambre, who died as a result of his experiments with a matter transmitting device in The Fly. It is now a dozen years later, and Andre's son, Philippe (Brett Halsey), has just laid his mother to rest, having witnessed the final years of her life blighted by the memory of the horror of Andre's death. He convinces Francois to tell him what happened and of the device that destroyed his parents' happy life together. Philippe vows to perfect the matter transmitter, so that all of the heartache and sacrifice by his parents will not have been in vain. He employs as his assistant a scientist friend, Alan Hinds (David Frankham), who, unbeknownst to him, has shady business connections and a dark secret in his own past. Alan conspires to steal the secret of the matter transmitter, but first he must dispose of a detective who has come to arrest him for an earlier crime, and then eliminate Philippe, who doesn't know what Alan has done, only that he's hiding something. Thus, the same disaster that befell Philippe's father now occurs again, to him -- his body parts are transposed with those of a house-fly. The human-sized fly, even nastier looking than the monster in the original film, goes on a rampage, trying to catch Alan and get revenge for what has happened to him, using what faculties he has. Meanwhile, Francois gets help from the surviving detective on his brother's case, who knows the truth, and the two try to trap the monster alive and also find the fly-sized creature with Philippe's head and features, so they can try and unscramble the atoms of both. ~ Bruce Eder, Rovi

The "psycho"-logical melodrama My World Dies Screaming was appropriately released on a double bill with Lost, Lonely and Vicious, which also featured a profoundly disturbed protagonist. In My World, Gerald Mohr plays Philip Tierney, who hopes to expunge the inner demons plaguing his wife Sheila (Cathy O'Donnell). He persuades her to return to the crumbling old mansion where, as a child, she witnessed a brutal axe murder. Incredibly, the killers do not return to finish the job; instead, the audience is treated to all manner of pseudo-Freudian symbolism as Sheila subconsciously battles her way towards normalcy. My World Dies Screaming isn't bad: it's just that the films substitutes style for substance. ~ Hal Erickson, Rovi

The John O'Hara/Richard Rodgers/Lorenz Hart Broadway musical Pal Joey created quite a stir during its original theatrical run in 1940. Here we had a heel of a hero who sleeps with a wealthy older woman in order to realize his dream of owning his own nightclub, and who breaks the heart of the girl who truly loves him when she impedes his plans to get ahead. Blossom Time it wasn't. Due to the seamy nature of the plot and the double- and single-entendre song lyrics (especially the original words for "Bewitched, Bothered and Bewildered", which you aren't likely to hear on most mainstream recordings of this tune), Pal Joey could not be faithfully filmed back in the 1940s. Even this 1957 version, made at a time when movie censorship was beginning to relax, was extensively sanitized for public consumption. Ambitious singer/dancer Joey (Frank Sinatra) is still something of a louse, but a redeemable one. The relationship between Joey and his older benefactress Vera Simpson (Rita Hayworth, who was actually a few years younger than Sinatra) is one of implication rather than overt statement. And Joey's true love, chorine Linda English (Kim Novak), is as pure as the driven snow, who vehemently expresses distaste at having to perform a striptease. The Rodgers and Hart songs ("I Could Write a Book" the aforementioned "Bewitched, Bothered and Bewildered") which seemed so cynical and ironic back in 1940, are given the typically lush, luxurious Hollywood treatment (many of the tunes, notably "There's a Small Hotel", were borrowed from other Rodgers and Hart shows, a not uncommon practice of the time). Pal Joey is nice to look at and consummately performed, but don't expect the bite of the original play, or the John O'Hara short stories which preceded them. ~ Hal Erickson, Rovi

This comedy is a remake of 1941's The Lady Eve, and tells the story of the vegetarian son of a prominent meat packer who is sailing back from an African safari when he meets and falls in love with a con-artist's lovely daughter. Posing as a military officer, the card-sharp and his boys have come to fleece a few wealthy passengers at poker. The daughter finds the milque-toast son irresistible and much to her father's dismay, they fall in love. Unfortunately their happiness is nearly destroyed when someone tells him the truth about her father. Fortunately, that is not the end of their affair. ~ Sandra Brennan, Rovi

The first of two Clark Gable films produced by 20th Century-Fox, Soldier of Fortune casts Gable as an American mercenary, running a successful smuggling operation in and out of Hong Kong. Gable is hired by Susan Hayward, who hopes to locate her missing husband, photographer Gene Barry. Upon discovering that Barry is being held by the Communists somewhere on the Chinese mainland, Gable risks his neck to rescue the man. Along the way, he falls in love with Hayward, which may or may not compromise his dedication to saving Barry's neck. Filmed largely on location, Soldier of Fortune deserves to be seen in its original CinemaScope form--or, at the very least, in the "letterboxed" version recently made available to cable television. ~ Hal Erickson, Rovi

In this adventure Bomba the Jungle boy helps a Hollywood movie star search the dark, dangerous jungle for her missing husband. As they search, they encounter a man-eating leopard. ~ Sandra Brennan, Rovi

Louis Hayward goes the "stiff upper lip" route in the Allied Artists "B"-plus actioner The Royal African Rifles. Set in British East Africa during the early days of WW I, the story concerns the efforts by Royal African Rifle troops to get their hands on much-needed machine guns. Officer Denham (Louis Hayward) leads a group of soldiers on a "hunting party," the better to steal the valuable weapons. Michael Pate co-stars as Cunningham, the gun-running heavy of the piece. Veronica Hurst, whom Allied Artists had been grooming for stardom ever since The Maze, is the rather disposable heroine. As usual, director Lesley Selander paces his material like a western film, with salutary results. ~ Hal Erickson, Rovi

Because of its misleadingly sensual title and the participation of screenwriter/director F. Hugh Herbert (author of the once-notorious "The Moon is Blue"), Girls of Pleasure Island was ballyhooed in 1953 as the ultimate in sex and sin. In truth, the film is an innocent, inconsequential WW II comedy, designed to showcase Paramount's crop of "new faces." Leo Genn plays Roger Halyard, a stiff-upper-lip British gentleman who lives on a South Pacific Island with his three nubile, naïve daughters, Violet (Joan Elan), Hester (Audrey Dalton) and Gloria (Dorothy Bromiley). Hoping to shelter the girls from the lascivious advances of the opposite sex, Halyard is thwarted when 1500 Marines arrive to transform the island into an aircraft landing base. Despite the best efforts of Halyard, his housekeeper Thelma (Elsa Lanchester),and marine colonel Reade (Phil Ober), romance blossoms between the three girls and a trio of handsome leathernecks (one of whom is a young Gene Barry). Top billing in Girls of Pleasure of Island is bestowed upon Don Taylor as Lieutenant Gilmartin, whose warm relationship with Hester Halyard (Dalton) carries most of the plotline. ~ Hal Erickson, Rovi

Rogue's March was described by one observer as an eastern western. A mustachioed Peter Lawford stars as Capt. Dion Lenbridge of His Majesty's Service. Branded a traitor, Lenbridge is cashiered from the regiment. In fact, Lenbridge isn't a traitor, but he spends the next 84 minutes proving it. He makes it his mission in life to rid India of the insidious influence of Russia, whose leaders intend to establish a stronghold in the Jewel of the British crown. Though the Russians depicted herein are of the Czarist variety, they spout curiously communistic dialogue, a reflection of the Red paranoia then prevalent in Hollywood. With the grudging assistance of Captain Thomas Garron (Richard Greene), Lenbridge valiantly thwarts the rascally Russians' schemes during a climactic desert battle. Janice Rule is on hand as the nominal love interest, while Leo G. Carroll does a C. Aubrey Smith routine as Lenbridge's stiff-upper-lip father. ~ Hal Erickson, Rovi

Casbah is a musical remake of the 1938 film Algiers, which was itself a remake of the French film Pepe Le Moko. Tony Martin stars in the old Jean Gabin/Charles Boyer role as Pepe Le Moko, a master thief who lives in the Casbah section of Algiers. A French police inspector (Peter Lorre) would love to capture Pepe, but realizes that as long as the thief remains in the Casbah he is protected by his vast network of criminals. When Pepe falls in love with a beautiful tourist (Marta Toren), he schemes for the first time to leave his little "empire". Betrayed by a former lover (Yvonne De Carlo), Pepe is shot down by the police as he emerges from his sanctuary. Casbah lacks the atmosphere of the earlier non-musical versions of the story, but Tony Martin is reasonably convincing as Pepe Le Moko, even when bursting into song. ~ Hal Erickson, Rovi

The tense psychological drama Cry Wolf offers a fascinating if not altogether successful change of pace for action star Errol Flynn. Most of the story takes place at a remote and forbidding mansion, where Sandra Marshall (Barbara Stanwyck), the widow of the house's owner, arrives to take charge. An apparent golddigger, Sandra refuses to be bought off with a small cash settlement and insists on claiming her late husband's entire estate, which earns her a powerful enemy in the form of research scientist Mark Caldwell (Flynn). Upon learning that her headstrong sister-in-law Julie (Geraldine Brooks) is kept a virtual prisoner in the house, Sandra begins suspecting that Caldwell is up to no good-a suspicion seemingly confirmed when Julie dies under mysterious circumstances. But as the story slowly unravels, it becomes clear that Caldwell is actually the hero of the piece, while the villain is...well, best not to give too much away here. Cry Wolf was Geraldine Brooks' first film, and the second for her costar Richard Basehart. ~ Hal Erickson, Rovi