Richard Rober Movies

The Paramount publicity department had a field day heralding the news that Charlton Heston portrays a Native American named "Warbonnet" in The Savage. Actually the ad campaign was a bit of a cheat, since Heston turns out to be a white man raised by the Sioux. The crisis comes when hostilities break out between the whites and the Indians, forcing Heston to question his loyalties. The script tries to be equitable, but the Indians lose out again. Ironically, one year after starring in The Savage, Charlton Heston played an Indian-hating government agent in Arrowhead. ~ Hal Erickson, All Movie Guide

This anthology film assembles five respected directors and a top-notch cast to bring a handful of stories by the great American author O. Henry to the screen. In The Cop and the Anthem, a tramp named Soapy (Charles Laughton) tries to get arrested so that he can spend the winter in jail, only to find that is not as easy as it used to be. Marilyn Monroe appears in this episode as a streetwalker. The Clarion Call features Dale Robertson as Barney, a cop forced to arrest an old friend, Johnny (Richard Widmark). Anne Baxter stars in The Last Leaf as Joanna, an elderly woman who sees her own illness reflected in the fall of the autumn leaves; she's convinced that when the last leaf drops from the tree outside her window, her life will go with it. The Ransom of Red Chief concerns Sam (Fred Allen) and Bill (Oscar Levant), two novice kidnappers who kidnap a child, only to discover that his parents don't want him back -- and after a few hours with the brat, they find out why. And The Gift of the Magi tells the story of a pair of cash-strapped newlyweds, Della (Jeanne Craine) and Jim (Farley Granger), who struggle to get each other the perfect Christmas gift, with unexpected results. John Steinbeck narrates. ~ Mark Deming, All Movie Guide

This off-beat western is set in a remote western town that has made it illegal for men to enter. The town is owned by a powerful female gambler whose reign is toppled by a handsome and persistent cowboy. ~ Sandra Brennan, All Movie Guide

The Tall Target is based on a true story: the attempted assassination of President-elect Abraham Lincoln, even before he was able to assume his duties in Washington. Dick Powell stars as New York detective John Kennedy, who learns of the assassination plot early on. When his superiors refuse to believe his wild tale, Kennedy quits the force and boards the Presidential train, hoping to prevent the killing on his own. The problem: who can he trust on board, and who can't be trusted? Ginny Beaufort (Paula Raymond), the sister of the would-be assassin, might be able to prevent the tragedy -- if she isn't in on the conspiracy, that is. The supporting cast includes Adolphe Menjou, Marshall Thompson, Will Geer, and, as a slave, a young Ruby Dee. The film's nail-biting climax is brilliantly handled by Anthony Mann, whose directorial expertise was becoming sharper with each successive film in the early 1950s. ~ Hal Erickson, All Movie Guide

This sequel to the 1950 comedy hit Father of the Bride finds Spencer Tracy and Joan Bennett returning as Stanley and Ellie Banks, the parents of newlywed Kay Dunstan (Elizabeth Taylor). In the first film, Stanley Banks was forced to endure the chaotic events leading up to the wedding. This time, he must comes to grips with the prospect of becoming a grandfather. Once he's reconciled himself to this jolt of mortality, Stanley must contend with the little bundle of joy, who screams his head off every time Grandpa comes near him. Father's Little Dividend was remade in 1994 as Father of the Bride II, with Steve Martin assuming the Spencer Tracy role, and with the added complication of discovering that his own wife (Diane Keaton) is also pregnant. The copyright for Father's Little Dividend was not renewed in 1978; thus the film has lapsed into public domain. ~ Hal Erickson, All Movie Guide

Rancher Randolph Scott rides right into a romantic triangle in this moody western. He is forced to stand by as his mercenary girl friend (Joan Leslie) is lured away by a wealthy neighboring rancher (Alexander Knox). When the neighbor is killed, Scott is accused of the murder, and spends the balance of the film clearing himself. After a blood-spattered fistfight with a gunslinger (John Russell) and several gun battles, Scott consoles himself with schoolteacher Ellen Drew. Based on a novel by Ernest Haycox, Man in the Saddle was the first of the lucrative collaborations between star Randolph Scott and producer Harry Joe Brown. The film's title song is sung over the credits by Tennessee Ernie Ford. ~ Hal Erickson, All Movie Guide

The real-life deportation of gangster Lucky Luciano was the inspiration for this romanticized and slightly crackbrained crime drama. Jeff Chandler plays the Luciano counterpart, who once he arrives in Italy renews his criminal activities. Chandler masterminds a black-market racket, capitalizing upon wartime shortages in Europe. He falls in love with a Contessa (Marta Toren), who is the benign patroness of the small village where he lives. Under her influence, Chandler abandons his life of crime, turns his back on the ill-gotten gains that he's already smuggled into Italy, and becomes a pillar of the community. And if you believe that, We have some land in Florida we'd like to show you. ~ Hal Erickson, All Movie Guide

Audie Murphy and Wanda Hendrix were husband and wife when they co-starred in the Technicolor western Sierra. Murphy plays Ring Hassard, the son of outlaw Jeff Hassard (Dean Jagger), who despite his dad's reputation is basically a good kid. Hendrix portrays Riley Martin, a lady lawyer who hopes to clear Ring's name -- and, eventually, to march him to the altar. The plot hinges on whether or not Ring's father is the ruthless desperado he's cracked up to be. The film's highlight is an extended wild-horse roundup sequence, which helps the audience forget Wanda Hendrix's miscasting as a female legal eagle. Sierra was based on a novel by Stuart Hardy. ~ Hal Erickson, All Movie Guide

No one is as good as Barbara Stanwyck when she's bad. Here Stanwyck plays Thelma Jordon, a woman who late one night shows up in the office of happily married Assistant DA Cleve Marshall (Wendell Corey) to seek help in solving the string of robberies at her wealthy aunt's estate. Before Cleve can stop himself, he and Thelma are involved in an illicit affair. But Thelma is a mysterious woman, and Cleve can't help wondering if she is hiding something. His suspicions are confirmed when Thelma confesses to him that she is married to Tony Laredo, though she swears that she never wants to see him again. When Thelma's aunt is found murdered, Cleve's suspicions are aroused once again, but he is too love-struck to keep himself from being drawn into the complicated series of events that ultimately lead to his ruination. Siodmak directs with his usual skill and polish, but the film really belongs to Barbara Stanwyck who is magnificent as Thelma. Unlike the usual cold, passionless femme fatale of film noir, Thelma has a heart and a conscience. She comes to love Cleve, and has concern for his life and his future. However, despite her wish that her life could be different, she realizes that she belongs in Tony's world, and despite her attempts to sacrifice herself to save Cleve, he is doomed, by his love for her and by his own weaknesses. The File on Thelma Jordan is a romantic, unusual mystery, with a great performance and superior direction. ~ Hal Erickson, All Movie Guide

Long before he became producer/director of The Tonight Show, Fred DeCordova helmed the Universal meller Illegal Entry. Howard Duff, who later worked with DeCordova on the TV series Mr. Adams and Eve, stars as Bert Powers, an undercover agent for the U.S. Department of Immigration. While attempting to bring a vicious gang of alien smugglers to justice, Powers falls in love with Anna Duvak (Marta Toren), a gang member who is Not What She Seems. The film leaves no cliché unturned, not even the familiar scene wherein the airborne smugglers dispose of their human cargo by way of a handy lever which causes the bottom of the plane's passenger section to drop out. Illegal Entry is staged in semi-documentary fashion, maintaining the then-prevalent tradition of such popular films as House on 92nd Street and Call Northside 777. ~ Hal Erickson, All Movie Guide

There's propaganda aplenty in RKO's I Married a Communist, the first of producer Howard R. Hughes' many anti-Red broadsides. Robert Ryan plays shipping executive Brad Collins, whose youthful flirtations with certain left-wing causes have made him ripe for plucking by Commie cell leader Vanning (Thomas Gomez). Threatening to reveal Collins' "pinko" past, Vanning orders the executive to deliberately sabotage the shipping industry in the Frisco Bay area. Other characters essential to the plotline are Collins' wife Nan (Laraine Day), who knows nothing of her husband's politics, and his idealistic brother-in-law Don (John Agar) who spouts Marxist dogma at the drop of a hat. Apparently at a loss as to how to depict communist villainy, the screenwriters hark back on the gangster films of the 1930s, notably in the scene where a hapless stoolie (the inevitable Paul Guilfoyle) is taken for a ride. When the title I Married a Communist proved an audience turn-off during previews, the film was rechristened The Woman on Pier 13. ~ Hal Erickson, All Movie Guide

John Payne is the no-good lowdown rat who tries to capitalize on postwar patriotism and grief. He finagles a war widow (Joan Caulfied) into giving up her savings for a nonexistent memorial. When Payne falls in love with the widow he has pangs of conscience, but he reckons without his con-artist boss (Dan Duryea), who tends to bolster his arguments with muscle and bullets. Larceny is a second-echelon "film noir" based on The Velvet Fleece, a novel by Lois Ely and John Fleming. When costar Shelley Winters (who plays Duryea's moll) was asked years later what she did in Larceny, she snapped "lousy acting." ~ Hal Erickson, All Movie Guide