Marjorie Reynolds Movies

Adapted by Oscar-winning screenwriter Stirling Silliphant from his own novel, the three-part, six-hour miniseries Pearl inevitably invoked memories of the strikingly similar From Here to Eternity. The focus was on three military couples living in Honolulu in and around the time of Japan's attack on Pearl Harbor on December 7, 1941. Race, romance, and rank-pulling ran riot in a number of interconnected plot lines, interspersed with stock footage of the attack from the 1970 theatrical feature Tora! Tora! Tora!. Pearl originally aired on ABC during a particularly busy "sweeps week," November 16, 17, and 19, 1978. ~ Hal Erickson, Rovi

A teenage boy, the son of a recently widowed policeman's wife, accidentally witnesses a wrestler killing his girl friend in a domestic dispute involving a robbery he just committed on her behalf. The boy had been delivering papers at the time and when the wrestler, who has a weak heart, finds out he begins searching for him. ~ Sandra Brennan, Rovi

Wally (Tony Dow) was supposed to take little Chuckie Murdock (Rory Stevens) to buy shoes at the nearby shopping center, but instead the job has been shunted off to Beaver. "Job" is right: Chuckie is a little monster who insists that Beaver grant his every whim -- and to top it off, when time comes to go home, Chuckie has disappeared! As Beaver frantically searches for his missing charge, Ward searches for Beaver to inform him that the situation is not as bleak as it appears. Chuckie's mom is played by Marjorie Reynolds, best remembered as the girl to whom Bing Crosby first sings "White Christmas" in the 1942 movie Holiday Inn. ~ Hal Erickson, Rovi

This socially conscious drama is comprised of three cautionary tales designed to alert viewers to popular con-artist scams. The first shows how easily a hood with a female companion and a camera can gain permission to case a wealthy home. In the second vignette, a woman demonstrates profitable ways for cheating the stock market. The last episode shows how an ingenious and soulless crook abuses the kindness of small town folk by allowing them to believe that he is a crippled young farmer looking for cash to repair his property. He then gulls them into believing that on his land is a miraculous spring with waters capable of healing even such hopeless arthritics as himself. This causes the townsfolk to scurry to the youth with their life-savings to purchase parcels of the valuable land. ~ Sandra Brennan, Rovi

The direction of Reginald LeBorg and the cinematography of Stanley Cortez go a long way to dissipate the essential tawdriness of Models, Inc. Colleen Gray stars as seductive Rusty Farraday, who maneuvers model-agency owner John Stafford (John Howard) into marriage. Once the matrimonial knot has been tied, Rusty's no-good former boyfriend Lennie Stone (Howard Duff) reenters her life. Stone comes up with a plan to exploit Stafford's gorgeous models for the purposes of what journalist Walter Winchell used to call "feelthy peectures." The girls are forced to pose in the near-nude for the pleasure of the low-lifes who pay Stone for the privilege. Models Inc was hastily assembled by a firm called Mutual Pictures for the grind-house circuit; less than a year after its theatrical release, the film was making the TV Late Show rounds. ~ Hal Erickson, Rovi

His Kind of Woman directed by veteran John Farrow, is a convoluted mystery thriller which tries unsuccessfully to combine slapstick comedy with excessive violence, resulting in a film that depends more on stereotypes than on plot development. Nick (Raymond Burr), is a deported gang boss who needs to get back to the United States to run his operation. Dan Miller (Robert Mitchum) is a hard-up guy, who is persuaded, both by a series of beatings and a substantial sum of money, to sell his identity to Nick. Lenore (Jane Russell) a singer, poses as a heiress, trying to marry a millionaire. They all meet up in a resort in Mexico where Nick intends to have plastic surgery to alter his looks. There, a number of double-crosses, shootings, and chases all culminate in an exciting confrontation aboard ship. His Kind of Woman, a Howard Hughes production designed to be a showcase for Jane Russell, is entertaining when viewed as a comedy. As a serious film-noir thriller, it lacks suspense and depth. However, the film has its moments, and Robert Mitchum is in his element as the loner anti-hero. ~ Linda Rasmussen, Rovi

William Eythe is the Customs Agent in this brisk Columbia programmer. The plot finds Bert Stewart (Eythe) stationed in China, where he goes undercover to join a gang of dope smugglers. His plan is to stop the wholesale stealing of valuable streptomycin, which the crooks are peddling to drug addicts. Marjorie Reynolds will surprise fans of her work in TV's The Life of Riley with her portrayal of the gang-leader's moll. Another TV favorite, Jim Backus, co-stars as one of the good guys. Customs Agent makes no demands upon the intellect but does succeed as slam-bang entertainment. ~ Hal Erickson, Rovi

That Midnight Kiss served to introduce the film-going public to MGM's newest singing sensation, Mario Lanza. Just as he did with Deanna Durbin at Universal, producer Joe Pasternak removes the "stuffy" onus attached to classical music by presenting Lanza as a down-to-earth truck driver named Johnny Donetti. When it turns out that Johnny has a splendid singing voice, he gets a minor job at the Philadelphia opera company sponsored by aristocratic Abigail Trent Budell (Ethel Barrymore). Abigail's granddaughter Prudence (Kathryn Grayson) is instrumental in bringing Johnny to public attention by insisting that he replace the opera troupe's defecting star tenor. Featured in the cast are Keenan Wynn as Lanza's best pal, J. Carroll Naish as his "Whatsa matta you?" Italian father, and MGM's resident musical genius Jose Iturbi as himself. That Midnight Kiss served its purpose by transforming the relatively unknown Mario Lanza into a box-office champion. ~ Hal Erickson, Rovi

Also released as Montana Mike, Heaven Only Knows is an offbeat western with fantasy overtones. Hard-bitten gambling boss Brian Donlevy rules his frontier community with brawn and bullets. To his dismay, Donlevy discovers that he has a guardian angel (Robert Cummings), who shows up in the guise of an Eastern tenderfoot. The angel has been sent from Above to save Donlevy's soul, and to that end encourages the one-time villain to squire a minister's daughter (Jorja Curtwright) rather than his usual dance-hall girls. Donlevy is also given tips on winning against his enemies without resorting to gunplay. The gambler finally redeems himself with Heaven by rescuing the angel from a lynch mob (how can you lynch an angel?) Heaven Only Knows deserves an "E" for Effort for bringing a fresh twist to the venerable western genre. ~ Hal Erickson, Rovi

While perhaps not Abbott & Costello's best film, The Time of Their Lives is certainly their most unusual. Lou Costello plays a Revolutionary War-era tinker, whose prized possession is a letter from George Washington, commending Costello as a loyal patriot. Costello's lady love is Anne Gillis, maidservant to aristocratic Jess Barker. Costello's rival in romance is Barker's butler Bud Abbott, who locks the tubby tinker in a trunk to keep him away from Gillis. Meanwhile, Gillis stumbles onto a plot to betray the Colonial Armies, masterminded by Barker. The girl is kidnaped and spirited away, but not before Barker has appropriated Costello's letter from Washington and hidden it in a mantelpiece clock. All this is witnessed by Barker's fiancee Marjorie Reynolds, who disguises herself as a man, the better to make her way through the lines to warn the Colonial troops of Barker's plot. She frees Costello from his trunk and enlists his aid in locating Washington. Mistaken for traitors, Costello and Reynolds are shot dead. Their bodies are thrown in a well as a colonial officer curses their souls to remain on the grounds of Barker's estate "until the crack of doom," unless some evidence should prove them innocent of treason. A few moments later, Costello and Reynolds materialize as ghosts. They try to escape the grounds, but a supernatural force holds them back. Flash-forward nearly two centuries to 1946: Costello and Reynolds, still confined to the estate, resent the intrusion by Barker's descendants, who plan to renovate the mansion and open it to tourists. The two ghosts decide to haunt the estate, resulting in a series of amusing and well-conceived invisibility gags. Much to their surprise, Costello and Reynolds find none other than Costello's old nemesis Bud Abbott as one of the house guests. No, Abbott isn't a ghost: he's a famed psychiatrist, a descendant of the butler who double-crossed Costello back in 1780. Costello has a high old time playing tricks on the nervous Abbott (a fascinating reversal of the usual Abbott-Costello relationship) before the rest of the house's occupants decide to hold a seance to find out what's annoying the two ghosts. In a genuinely spooky sequence, sinister house servant Gale Sondergaard, possessed by the spirit of Jess Barker, reveals that the ghosts have been falsely accused of treason, and that their salvation lies in locating that letter from Washington. Driven by a feeling of remorse over the sins of his ancestor, Abbott does his best to help the ghosts. Before the plot is resolved, there is time for a standard Abbott-and-Costello chase scene, with the invisible Costello driving a car wildly around the estate, with a terrified Abbott cringing in the back seat. More than a little inspired by The Canterville Ghost, The Time of Their Lives was the second of two Universal films that attempted to recast Abbott and Costello as individual characters rather than smart guy-dumb guy team members. While the film is an unmitigated delight when seen today, it failed at the box office in 1946, compelling Bud and Lou to return to their standard formula in their next film, Buck Privates Come Home. ~ Hal Erickson, Rovi

Several of Paramount Pictures brightest stars make cameo appearances in this comedy set in "Duffy's Tavern," a favorite watering hole from old time radio shows. The trouble begins when the neighborhood bar is in danger of closing. The trouble begins when the proprietor, Archie, discovers that one of his regulars, Michael O'Malley, owner of a record company is going broke. This means that many veterans will soon be unemployed and therefore, unable to pay their tab at the tavern. Archie immediately begins recruiting famous stars to donate their services and help. They do, the record company is saved and so is the tavern. ~ Sandra Brennan, Rovi

Up in Mabel's Room was one of a mid-1940s series of profitable film revivals of venerable theatrical comedies, all produced by Edward Small and directed by Allan Dwan. Previously filmed in 1925, this rusty-dusty stage perennial was written by Otto Harbach and Willson Collison; Tom Reed was the scenarist hired to bring the play's creaky plot contrivances up to date. The story hinges on the fact that newly-married Gary Ainsworth (Dennis O'Keefe) once gave his former sweetheart Mabel (Gail Patrick) a sexy negligee with his initials embroidered in the lacework. It is Gary's unenviable task to retrieve the incriminating undergarment from Mabel's room before his wife Geraldine (Marjorie Reynolds) gets wise. Most of the film's laughs are generated by Mischa Auer as dour manservant Boris. ~ Hal Erickson, Rovi

Based on a play by Phoebe and Henry Ephron, Three Is a Family is a 1940s farce that frequently substitutes noise for humor. Charlie Ruggles plays a hubby whose bungled business schemes force his wife Fay Bainter to enter the workplace. The couple's daughter Marjorie Reynolds shows up with her twin babies in tow. Son Arthur Lake arrives with his pregnant wife (Jeff Donnell). And overbearing maiden aunt Helen Broderick also decides to move in. Because his wife is away at work, poor old Charlie Ruggles is not only housekeeper, but nursemaid and servant as well. If you like diaper and bottle-warmer jokes, you'll love Three is a Family. ~ Hal Erickson, Rovi