Sara Berner Movies

While having lunch at the Plaza Hotel in New York, advertising executive Roger O. Thornhill (Cary Grant) has the bad luck to call for a messenger just as a page goes out for a "George Kaplan." From that moment, Thornhill finds that he has stepped into a nightmare -- he is quietly abducted by a pair of armed men out of the hotel's famous Oak Room and transported to a Long Island estate; there, he is interrogated by a mysterious man (James Mason) who, believing that Roger is George Kaplan, demands to know what he knows about his business and how he has come to acquire this knowledge. Roger, who knows nothing about who any of these people are, can do nothing but deny that he is Kaplan or that he knows what they're talking about. Finally, his captors force a bottle of bourbon into Roger and put him behind the wheel of a car on a dangerous downhill stretch. Through sheer luck and the intervention of a police patrol car and its driver (John Beradino), Roger survives the ride and evades his captors, and is booked for drunk driving. He's unable to persuade the court, the county detectives, or even his own mother (Jesse Royce Landis) of the truth of his story, however -- Thornhill returns with them to the mansion where he was held, only to find any incriminating evidence cleaned up and to learn that the owner of the house is a diplomat, Lester Townsend (Philip Ober), assigned to the United Nations. He backtracks to the hotel to find the room of the real George Kaplan, only to discover that no one at the hotel has ever actually seen the man. With his kidnappers once again pursuing him, Thornhill decides to confront Townsend at the United Nations, only to discover that he knows nothing of the events on Long Island, or his house being occupied -- but before he can learn more, Townsend gets a knife in his back in full view of 50 witnesses who believe that Roger did it. Now on the run from a murder charge, complete with a photograph of him holding the weapon plastered on the front page of every newspaper in the country, Thornhill tries to escape via train -- there he meets the cooly beautiful Eve Kendall (Eva Marie Saint), who twice hides him from the police, once spontaneously and a second time in a more calculated rendezvous in her compartment that gets the two of them together romantically, at least for the night. By the next day, he's off following a clue to a remote rural highway, where he is attacked by an armed crop-dusting plane, one of the most famous scenes in Hitchcock's entire film output. Thornhill barely survives, but he does manage to learn that his mysterious tormentor/interrogator is named Phillip Vandamm, and that he goes under the cover of being an art dealer and importer/exporter, and that Eve is in bed with him in every sense of the phrase -- or is she? ~ Bruce Eder, Rovi

A ruthless crime lord saves his sister from social embarrassment by working diligently to get the gangster who fathered her unborn baby off death row and out of prison so he can do the decent thing and marry the girl. The freed gangster is not thrilled with his new bride, but stays loyal until the woman miscarries. He then returns to crime and begins messing with other women, something that outrages his wife's nefarious brother and leads him to frame the cocky youth and get him sent back to prison and certain death. Just before he is to die, the youth tells his story to a sympathetic reporter, who decides to go after the real troublemaker. ~ Sandra Brennan, Rovi

Laid up with a broken leg, photojournalist L.B. Jeffries (James Stewart) is confined to his tiny, sweltering courtyard apartment. To pass the time between visits from his nurse (Thelma Ritter) and his fashion model girlfriend Lisa (Grace Kelly), the binocular-wielding Jeffries stares through the rear window of his apartment at the goings-on in the other apartments around his courtyard. As he watches his neighbors, he assigns them such roles and character names as "Miss Torso" (Georgine Darcy), a professional dancer with a healthy social life or "Miss Lonelyhearts" (Judith Evelyn), a middle-aged woman who entertains nonexistent gentlemen callers. Of particular interest is seemingly mild-mannered travelling salesman Lars Thorwald (Raymond Burr), who is saddled with a nagging, invalid wife. One afternoon, Thorwald pulls down his window shade, and his wife's incessant bray comes to a sudden halt. Out of boredom, Jeffries casually concocts a scenario in which Thorwald has murdered his wife and disposed of the body in gruesome fashion. Trouble is, Jeffries' musings just might happen to be the truth. One of Alfred Hitchcock's very best efforts, Rear Window is a crackling suspense film that also ranks with Michael Powell's Peeping Tom (1960) as one of the movies' most trenchant dissections of voyeurism. As in most Hitchcock films, the protagonist is a seemingly ordinary man who gets himself in trouble for his secret desires. ~ Hal Erickson, Rovi

Crane Wilbur, whose film career stretched all the way back to The Perils of Pauline, brings the benefit of his accumulated directorial expertise to The Story of Molly X. The title character, played with verve by June Havoc, is a hard-bitten gun moll who takes over management of a criminal gang when her husband is bumped off. One of her first official acts as leader is to track down and personally kill the man responsible for her husband's death. The rest of the story deals with Molly X's efforts to evade detection by the law, and her ultimate hoisting on her own petard. Though the supporting-cast performances are wildly variable, June Havoc carries the dramatic and emotional weight of the film with sure-handed professionalism. ~ Hal Erickson, Rovi

This "B" effort from the 20th Century-Fox stable stars John Emery and Tamara Geva as John Newberry and Maria Ivar, a pair of quarrelsome stage stars. Realizing that their constant bickering is ruining their professional and personal lives, John and Maria separately consult psychiatrists Harold Matson (Leif Erickson) and Susan Nash (Virginia Gregg). To hide the fact that they're seeking therapy, John and Maria pretend that Harold and Suan are old school friends. It doesn't take long before the psychiatrists are arguing with each other, thereby "curing" John and Maria. Director Ray McCarey may have been the brother of Leo McCarey, but Ray's The Gay Intruders isn't in the same league as Leo's hilarious marital comedy The Awful Truth. ~ Hal Erickson, Rovi

In this crime drama, a fading movie star plays a similar character in her farewell film, a B crime-drama about a lonely-hearts club that masks a racketeering operation. ~ Sandra Brennan, Rovi

Lucky Jordan (Alan Ladd) is a tough but good-natured New York racketeer who tries to finagle his way out of Army service. Despite his efforts, Jordan is drafted, but soon goes AWOL, with a lovely USO worker (Helen Walker) dogging his heels. She tries to arouse Jordan's patriotism, but he is unmoved until a gang of enemy spies beat up an old lady con artist (Mabel Paige) whom Lucky regards as a surrogate mother. Using his underhanded "street smarts," Jordan rounds up the spies and agrees to complete his military servitude. Lucky Jordan was one of several wartime films in which otherwise larcenous individuals are redeemed by channelling their talents for the good of Uncle Sam. ~ Hal Erickson, Rovi

One of the few "serious" Warner Bros. cartoons, this one finds Chuck Jones striving (and generally succeeding) to emulate Walt Disney. Nearly drowning in a mishap, tiny Tom Thumb is rescued by a friendly bird, but Tom's normal-sized woodchopper father thinks that the bird has attacked his son and angrily chases it away. Later on, when Tom is lost in a blinding snowstorm, the bird proves his loyalty and courage beyond all question. Some of the forced-perspective images are unforgettable, and overall the cartoon deserves "A" for effort...but Warner Bros. never tried anything like it again. ~ Hal Erickson, Rovi