Donna Reed Movies

Advertised as a sort of sequel to MGM's Babes in Arms (1939), Babes on Broadway reunites the two stars of the earlier film: Mickey Rooney and Judy Garland. Rooney is the guiding force of a group of young showbiz hopefuls who are trying to make it on Broadway. When things look darkest, he goes into his "Say, kids!" routine, rousing his companions to put on their own show. Highlights include a sequence in which Rooney and Garland go through a series of imitations of past theatrical greats. As cute and perky as Garland is, she has nothing on the "Carmen Miranda" takeoff performed--in full makeup and platform shoes--by the ubiquitous Rooney. Babes on Broadway ends with a typically overproduced production number stage by the film's director, the immortal Busby Berkeley. ~ Hal Erickson, All Movie Guide

An older soldier enters West Point but remains haunted by nagging guilt. It all began in Tunisia during a tremendous battle. The soldier passed out during the fight, and when he awoke he discovered his commanding officer was dead. He blames himself for the death and after being released from the army, he goes to see the officer's wife. Love blossoms, and with her help he enrolls in West Point where he becomes a model cadet until a jealous plebe begins making trouble that eventually sends the soldier to a court-martial hearing. There the truth of the incident is finally revealed. ~ Sandra Brennan, All Movie Guide

When Lew Ayres' wartime conscientious-objector status caused MGM to drop the actor like a hot potato, Ayres' "Dr. Kildare" series became the sole responsibility of Lionel Barrymore as the crusty Dr. Leonard Gillespie. In the first Kildare-less entry, Calling Dr. Gillespie, the ageing medico has a new assistant, refugee Dutch surgeon Dr. John Hunter Gerniede (Philip Dorn). Both Gillespie and Gerniede tackle the case of schizophrenic homicidal maniac Roy Todwell (Phil Brown), who is quite a handful to say the least. The story comes to a more suspenseful conclusion than usual as Todwell stalks Gillespie in the dead of night. MGM star-to-be Ava Gardner has a tiny, uncredited bit role. ~ Hal Erickson, All Movie Guide

As season eight of Dallas gets under way, Bobby Ewing (Patrick Duffy) painfully convalesces from the gunshot wound that felled him at the end of season seven. The most likely suspect would seem to be Cliff Barnes (Ken Kercheval), the brother of Bobby's ex-wife, Pam (Victoria Principal), but in fact the would-be killer is Cliff and Pam's obsessive half-sister, Katherine (Morgan Brittany), who was incensed that Bobby had spurned her in favor of his fiancée, Jenna (Priscilla Presley). Had Katherine but waited a while, she could have saved a bullet; Bobby breaks up with Jenna, who ends up wedding a former lover, Renaldo Marchetta (Daniel Pilon) -- and is then accused of Marchetta's murder! In other romantic developments, despite all of the evil J.R. Ewing's (Larry Hagman) efforts, his mother, Miss Ellie (Barbara Bel Geddes), has tied the matrimonial knot with Clayton Barlow (Howard Keel), millionaire father of Dusty Barlow, the former lover of J.R.'s wife, Sue Ellen (Victoria Principal). But is it really Miss Ellie who walks down the aisle? Well, technically, it is -- but it isn't the same actress who has been playing the character since Dallas began. Citing illness and exhaustion, Barbara Bel Geddes had left Dallas at the end of its seventh season. Her replacement is Donna Reed, light years removed from the innocuous 1950s sitcom that bore her name in the title. Getting back to the Miss Ellie-Barlow nuptials, all is not peach blossoms and roses. It turns out that Clayton has a demented sister named Jessica (Alexis Smith) -- who very nearly commits wholesale murder before she's caught and institutionalized.

Newcomers to the cast this season include Joshua Harris as Christopher Ewing, Bobby and Pamela's adopted son; Jenilee Harrison as cousin Jamie Ewing, who is destined to wed Cliff Barnes after aligning with him to wrest a piece of Ewing Oil from J.R.; and Deborah Shelton as Mandy Winger, who arouses the libido of both J.R. and Cliff, but who definitely prefers one over the other. Conversely, two of Dallas' stalwart leading players make their exits this season: Charlene Tilton as Lucy Ewing (though she'd eventually return), and more spectacularly, Patrick Duffy as Bobby Ewing. Honoring Duffy's insistence that he wanted to leave the series to pursue different roles, the writers contrived to have Bobby get killed while trying to save Pamela from a deranged hit-and-run driver (Katherine Wentworth again!). Thus, the season ends with the hospitalized Bobby "flatlining" -- thereby setting the stage for the series' notorious "dream" season. ~ Hal Erickson, All Movie Guide

The third of MGM's Dr. Kildare series to dispense with the services of Dr. Kildare (Lew Ayres), Dr. Gillespie's Criminal Case stars crusty old Lionel Barrymore in the title role. The first half of the film concerns Gillespie's efforts to expedite the romance of Army sergeant Orisin (Michael Duane) and Marcia Bradburn (Donna Reed), with the help of doctors Red Adams (Van Johnson) and Lee Wong How (Keye Luke). The closing reels lapse into melodrama when Gillespie is kidnapped by mentally unstable convict patient Roy Todwell (John Craven) and his gang. In addition to new MGM contractees Van Johnson and Donna Reed, Dr. Gillespie's Criminal Case gave a boost to young star-in-the-making Margaret O'Brien. Like most of the later films in the series, this one is hampered a bit by its excessive length. ~ Hal Erickson, All Movie Guide

In this romantic comedy, a soldier is granted a two-week furlough and returns home to discover that his girlfriend is engaged to someone else. At first, on the advice of her friends, the girl tries to hide her betrothal from the soldier, but it is not long before she recalls why she loved him in the first place. Conflict ensues when he discovers her deception. Eventually, they manage to straighten out the situation and things come out alright. ~ Sandra Brennan, All Movie Guide

Marjorie Main's first solo starring vehicle for MGM finds the formidable character actress cast as a tough-but-tender female outlaw. Living on her tumbledown ranch in Oklahoma territory, Annie Goss (Main) shelters her desperado sons (Henry Morgan, Paul Langton) from the authorities. While planning to pull up stakes and return to Missouri, the Goss family befriends marshal Lloyd Richland (James Craig), who suspects that Annie's offspring are responsible for a recent train robbery, but is hesitant to arrest them because he believes that their motivations were noble. Likewise befriended by Gentle Annie and her brood is a stranded waitress named Mary Lingen (Donna Reed), with whom Richland falls in love. If the film can be said to have a villain, it is surly Sheriff Tatum (Barton MacLane), who unlike the soft-hearted Richland is determined to uphold the letter of the law. ~ Hal Erickson, All Movie Guide

Originally shot in 3-D, Gun Fury opens with wealthy rancher Ben Warren (Rock Hudson) and his fiancée Jennifer Ballard (Donna Reed) aboard a stagecoach bound for California. Having recently fought in the Civil War, Ben is looking forward to returning to a peaceful life with his soon-to-be wife. Unfortunately, the coach is set upon by embittered ex-Confederate soldier Frank Slayton Philip Carey) and his gang. In the ensuing conflict, Ben is shot and left for dead, while Jennifer is kidnapped by Slayton, who claims her for his own interests. Ben recovers from his wounds and sets off to find Jennifer, trying to enlist the aid of others in his fight against Slayton. Most are unwilling to help, a fact which impresses upon Ben the responsibility every man must have in protecting society from people like Slayton. Eventually he succeeds in putting together a team of his own -- including a former member of Slayton's gang and a Native American with a grudge against the crooks -- and sets off for the border to bring about justice. ~ Craig Butler, All Movie Guide

This is director Frank Capra's classic bittersweet comedy/drama about George Bailey (James Stewart), the eternally-in-debt guiding force of a bank in the typical American small town of Bedford Falls. As the film opens, it's Christmas Eve, 1946, and George, who has long considered himself a failure, faces financial ruin and arrest and is seriously contemplating suicide. High above Bedford Falls, two celestial voices discuss Bailey's dilemma and decide to send down eternally bumbling angel Clarence Oddbody (Henry Travers), who after 200 years has yet to earn his wings, to help George out. But first, Clarence is given a crash course on George's life, and the multitude of selfless acts he has performed: rescuing his younger brother from drowning, losing the hearing in his left ear in the process; enduring a beating rather than allow a grieving druggist (H.B. Warner) to deliver poison by mistake to an ailing child; foregoing college and a long-planned trip to Europe to keep the Bailey Building and Loan from letting its Depression-era customers down; and, most important, preventing town despot Potter (Lionel Barrymore) from taking over Bedford Mills and reducing its inhabitants to penury. Along the way, George has married his childhood sweetheart Mary (Donna Reed), who has stuck by him through thick and thin. But even the love of Mary and his children are insufficient when George, faced with an $8000 shortage in his books, becomes a likely candidate for prison thanks to the vengeful Potter. Bitterly, George declares that he wishes that he had never been born, and Clarence, hoping to teach George a lesson, shows him how different life would have been had he in fact never been born. After a nightmarish odyssey through a George Bailey-less Bedford Falls (now a glorified slum called Potterville), wherein none of his friends or family recognize him, George is made to realize how many lives he has touched, and helped, through his existence; and, just as Clarence had planned, George awakens to the fact that, despite all its deprivations, he has truly had a wonderful life. Capra's first production through his newly-formed Liberty Films, It's a Wonderful Life lost money in its original run, when it was percieved as a fairly downbeat view of small-town life. Only after it lapsed into the public domain in 1973 and became a Christmastime TV perennial did it don the mantle of a holiday classic. ~ Hal Erickson, All Movie Guide

Popular Mexican comedian Cantinflas (Mario Moreno) plays the title character in this star-studded, amusing comedy drama by George Sidney. Pepe is the same sort of impoverished stereotype Cantinflas made famous in several of his comedies; in this case he is a hired hand on a ranch who chases down a horse for his employer. A boozing Hollywood director buys a white stallion belonging to Pepe's boss and the determined ranch hand decides to take off for Hollywood to get the horse back. Once in this new and strange environment -- where a lot of cameos by the likes of Jimmy Durante, Frank Sinatra, Zsa Zsa Gabor, Bing Crosby, Maurice Chevalier, and many others enliven the action -- Pepe becomes a friend to the alcoholic director. Unfortunately, what is missing here is "Cantinfletico." That is the nickname for the rambling non-sequitur characteristic of Cantinflas that no one else could master. The film was originally released at 195 minutes, then edited down to 157. ~ Eleanor Mannikka, All Movie Guide

Viewers familiar with the 1996 Mel Gibson blockbuster Ransom may be disappointed that there are no smirking villains, car chases, or bloody fistfights in the original 1956 version of the same story. Even so, the earlier Ransom! has much to offer on a purely dramatic level. Based on the Richard Maibaum-Cyril Hume TV play Fearful Decision, the film stars Glenn Ford as self-made industrialist David Stannard. When his son is kidnapped and held for 500,000 dollars ransom, Stannard at first sets about to cooperate with the abductors and to raise the necessary funds. Somewhere along the line, however, Stannard's outrage erupts and boils over. Buying air time on a local TV station, he pulls out the half-million dollars, then informs the kidnappers that they'll never get their hands on a single penny. He further threatens to use the money as a reward for the kidnappers' capture, dead or alive, should any harm befall his son. Despite the protests of his wife, Edith (Donna Reed), and the admonishments of his friends, family, business associates and even the police, Stannard sticks fast to his decision...but will he live to regret it? The boy's abductors are never seen in Ransom!; instead, the film concentrates on the multitude of ramifications (including a few political ones) stemming from David Stannard's bold stance. As such, the 1956 Ransom! is in its own way as tense and exciting as the more elaborate 1996 remake. ~ Hal Erickson, All Movie Guide

The distinctive stamp of action-film director Phil Karlson is very much in evidence in Scandal Sheet. Broderick Crawford plays tabloid editor Mark Chapman, whose burgeoning success is threatened by the arrival of his wife Charlotte (Rosemary DeCamp), whom he deserted 20 years earlier. Hoping to keep Charlotte's mouth shut, Chapman accidentally kills her. He does his best to cover his tracks, but his best is none too good, and another murder follows. Meanwhile, Chapman's star reporter Steve McCleary (John Derek) is busy investigating the still-unsolved murder of Charlotte. Though Steve holds no grudge against his boss, the same cannot be said of feature writer Julie Allison (Donna Reed), who resents Chapman's sensationalist methods. Slowly but surely, the noose tightens around Chapman's neck, thanks to the diligence of McCleary and, indirectly, the inquiries of Julie. Scandal Sheet was based on a novel by former newspaperman Samuel Fuller, an excellent film director in his own right. ~ Hal Erickson, All Movie Guide