Willard Robertson Movies

In this western the two sons of the commanding officer of an outpost attempt to clear their father's name after he is accused of conspiring with the Indians and is forced to resign. To prove his innocence, the men use terribly different methods. The older one, an adventurer, approaches suspects directly, while the younger, an army officer, choose a more subtle, methodical approach. Their different methods serve to temporarily alienate them from each other until at last the truth is discovered. The real traitor is a silver tycoon who framed their pa so he could buy up the Indian land and exploit it for it's valuable ore. ~ Sandra Brennan, Rovi

Just as she had in High Sierra (1941), Ida Lupino enjoys a brief moment of bliss with a man on the run in this highly emotional drama from Warner Bros. She plays Libby, a mountain girl nearly deprived of speech due to her rather hostile environment in general and repressive home life in particular. A true innocent, she falls head-over-heels in love with Barry Burnett (Dane Clark), a member of a prison chain gang building a road through the wilderness. One of those convenient storms endemic to this kind of narrative allows Barry and Libby to escape into the hills but their blissful existence proves of short duration. Deep Valley was filmed on location at Big Sur and Big Bear, CA. ~ Hans J. Wollstein, Rovi

Producer/director William A. Wellman also co-scripted this biopic devoted to John J. Montgomery (Glenn Ford), the unsung 19th-century innovator of glider design. Montgomery's invention of a gold separator proves lucrative, but he pours its profits into financing his legal battles over patent infringement. The gliders created by Montgomery attract attention but no money, and he begins a relationship with Regina Cleary (Janet Blair), which helps sustain him. But when Montgomery becomes afflicted with vertigo and can no longer fly, he sickens and dies. ~ Nicole Gagne, Rovi

Whenever budget-conscious Columbia laid out good money for Technicolor in the 1940s, it was usually for a musical or an "A" western. Renegades falls into the latter category. Fresh from The Jolson Story, Larry Parks stars as the son of a notorious, Scripture-spouting outlaw (Edgar Buchanan). Parks tries to go straight, but eventually succumbs to expectations and becomes a renegade along with his father and brothers. Willard Parker is the peaceable town doctor who guns down Parks in the climax, while Evelyn Keyes is the leading lady, who insists upon finding Parks fascinating despite of (or maybe because of) his reputation. ~ Hal Erickson, Rovi

Gary Cooper added "producer" alongside "star" on his resume with this light-hearted Western about a mild-mannered cowboy (Cooper) who drifts into a small town with his sidekick (William Demarest). Naturally, he's mistaken for a notorious highway robber (Dan Duryea), although he can barely handle a gun. His impersonation of the menacing gunman falls apart when his skills are put to the test, and he faces certain doom when challenged by the returning gunman himself. In the end, however, our hero defeats the villain and even ends up with his girl (Loretta Young). A send-up of both Western clichés and Cooper's own heroic persona, Along Came Jones is brisk, amusing entertainment. ~ Don Kaye, Rovi

Mitchell Leisen utilizes his stylistic pizzazz to enliven this romantic comedy that proves the old adage "opposites attract" -- but only after three or four reels. Claudette Colbert is Katherine Grant, an upper-crust fashion photographer who has a gang of admirers snapping at her heels. When her vindictive editor tries to teach her a lesson for her snobbishness by giving her an assignment photographing lower-class workers digging a tunnel, she falls for Jim Ryan (Fred MacMurray). Ryan is also attracted to her, so when she leaves her camera tripod in the tunnel, Ryan obligingly returns it to her. When Ryan returns to the job site, he is ribbed by his co-workers. Ryan loses his head and gets into a fight and is subsequently suspended from his job. Katherine, feeling guilty about Ryan being suspended from his job (and also looking for an excuse to have him around), hires him as her assistant. But in his new job, Ryan starts to put the make on one of Katherine's flirtatious models, Darlene (June Havoc). Katherine must now find a way to overcome her superior attitude and make her true feelings known to Ryan. ~ Paul Brenner, Rovi

On December 6, 1941, a squadron of nine B-17 bombers takes off for Hickam Field, HI. The crew of the Mary Ann, including two new men, assistant radio man Private Chester (Ray Montgomery) and gunner Sergeant Joe Winocki (John Garfield), assembles for the flight, and in the first 20 minutes, the movie reveals certain things about the crew: the shadowy past of one, the mother of another, and the wife of a third; two of them are good friends with the sister of McMartin (Arthur Kennedy), the bombardier, who lives in Honolulu; the son of the senior member of the crew, Sgt. White (Harry Carey Sr.), is a pilot stationed at Clark Field in the Philippines. Then more characters make entrances: the aircraft commander Quincannon (John Ridgely); Weinberg (George Tobias), a Jewish mechanic from New York; and a man from a farm in the upper Midwest -- they all represent a broad cross-section of America as it saw itself, and the "regular guys" in the Army Air Force as it existed in 1941. The flight proceeds without incident. Winocki, an embittered, washed-out flight school candidate who accidentally killed another pilot, is about to leave the service when the weather report from Hickam Field is interrupted, and the radio man begins picking up transmissions in Japanese. The Mary Ann and the rest of the squadron fly right into the middle of the Japanese attack on Pearl Harbor unarmed and out of gas, and nearly crack up landing on an emergency field; no sooner do they make repairs than the crew comes under attack, and the plane takes off and makes for Hickam Field, which they find a flaming shambles. They fly on to the Philippines, stopping at Wake Island just long enough to meet a few members of the doomed Marine garrison, taking their company mascot, a dog, with them. At Clark Field, the Mary Ann and her crew finally go into action against the enemy, flying in alone against a Japanese invasion force; Quincannon is mortally wounded in the brief action, which leaves the plane damaged seemingly beyond repair. The remaining crew won't give up the plane, however, even when ordered to abandon and destroy her; they get the bomber off just ahead of the advancing Japanese, and survive to help bring retribution to the invading fleet and the Japanese empire. ~ Bruce Eder, Rovi

Forced to flee Paris during the Occupation, the great French leading man Jean Gabin starred in a brace of Hollywood films, the best of which was the first, 20th Century-Fox's Moontide. Cast to type, Gabin plays Bobo, a brooding itinerant dock-worker who gets mixed up in a drunken brawl. Upon awakening, Bobo is convinced that he has killed a man by his mercenary "pal" Tiny (Thomas Mitchell). Despairing at the thought of having committed murder, not to mentioned being blackmailed for the rest of his life by the treacherous Tiny, Bobo is able to find a few fleeting moments of happiness with Anna (Ida Lupino), a suicidal young girl whom he has saved from a watery grave (The intensity of the love scenes may well be due to the allegedly real-life romance between Jean Gabin and Ida Lupino). Novelist John O'Hara adapted the screenplay from a book by actor Willard Robertson. ~ Hal Erickson, Rovi

Director Curtis Bernhardt hadn't wanted to make Juke Girl, but he was under contract to Warner Bros. and had to tow the line lest he find himself drawing Unemployment. One of Bernhardt's gripes against the film is that it starred Ronald Reagan, whom he considered an "unimportant" screen personality. In all fairness, Reagan is pretty good in his role as itinerant fruit-picker Steve Talbot, who gets involved in the middle of a labor dispute between the farmers and the packers. Talbot casts his lot with the farmers, while his longtime pal Danny Frazier (Richard Whorf) goes with the packers. Juke-joint hostess Lola Meers (Anne Sheridan) falls for Steve and supports his cause, only to be fired for her troubles at the behest of powerful packing-plant operator Henry Madden (Gene Lockhart). She and Steve try to escape Madden's influence, but when their farmer friend Nick Garcos (George Tobias) is murdered, the couple is framed for the crime. There follows "orgies of fights" (director Bernhardt's description) and a lynching attempt before Steve's old buddy Danny comes to the rescue. Anne Sheridan is at her most gorgeous in Juke Girl, making it difficult for the viewer to remain concentrated on the story. ~ Hal Erickson, Rovi

Three disparate young men struggle to become Army Air Corps pilots in this rousing drama that earned an Oscar for its excellent aerial special effects. The film is also noted for making Veronica Lake, who previously appeared in films under the name Constance Keane, a star. For added realism, the three male leads, William Holden, Ray Milland and Wayne Morris were placed into the same training program at Randolph Field, Texas (and also Kelly Field, Texas) as real recruits. Lake plays a seductress who pursues Holden while Constance Moore plays a female photographer who comes to shoot a story and ends up falling for Milland. By the time the pilots' rigorous training has finished only one will have proved himself fit to fly. ~ Sandra Brennan, Rovi

In Preston Sturges' classic comedy of Depression-era America, filmmaker John L. Sullivan (Joel McCrea), fed up with directing profitable comedies like "Ants in Your Plants of 1939," is consumed with the desire to make a serious social statement in his upcoming film, "Oh Brother, Where Art Thou?" Unable to function in the rarefied atmosphere of Hollywood, Sullivan decides to hit the road, disguised as a tramp, and touch base with the "real" people of America. But Sullivan's studio transforms his odyssey into a publicity stunt, providing the would-be nomad with a luxury van, complete with butler (Robert Greig) and valet (Eric Blore). Advised by his servants that the poor resent having the rich intrude upon them, Sullivan escapes his retinue and continues his travels incognito. En route, he meets a down-and-out failed actress (Veronica Lake). Experiencing firsthand the scroungy existence of real-life hoboes, Sullivan returns to Hollywood full of bleeding-heart fervor. After first arranging for the girl's screen test, he heads for the railyards, intending to improve the lot of the local rail-riders and bindlestiffs by handing out ten thousand dollars in five-dollar bills. Instead, Sullivan is coldcocked by a tramp, who steals Sullivan's clothes and identification. When the tramp is run over by a speeding train, the world at large is convinced that the great John L. Sullivan is dead. Meanwhile, the dazed Sullivan, dressed like a bum with no identification on his person, is arrested and put to work on a brutal Southern chain gang. With its almost Shakespearean combination of uproarious comedy and grim tragedy, Sullivan's Travels is Sturges' masterpiece and one of the finest movies about movies ever made. ~ Hal Erickson, Rovi

One of the most schizophrenic films ever to come out of the Paramount "B" mill, The Monster and the Girl starts out as a white-slavery melodrama and ends up as a horror picture! Emerging from the fog, heroine Susan Webster (Ellen Drew) tells her woeful tale to the audience. A young innocent from The Sticks, Susan arrives in New York to seek work as an actress, but instead is tricked into a sham marriage with Larry Reed (Robert Paige). Awakening "the morning after", Susan is informed that her missing husband is not her husband, and that, as a fallen woman, there is only one avenue of livelihood open to her-as one of the "paid hostesses" in the stable of gangster Bruhl (Joseph Calleia). Learning of his sister's plight, church organist Scot Webster (Philip Reed) shows up in town to set things right, only to be framed for murder by Bruhl and his mob. After his execution, Scot's body is appropriated by mad scientist Dr. Parry (George Zucco), who hopes to transplant the dead man's brain into the body of a gorilla. Driven by impulses it can't resist, the big ape escapes from his cage to kill off all those responsible for Susan's ruin and Scot's death. Undeniably fascinating, The Monster and the Girl is also undeniably silly at times, especially in the opening scenes, in which the censor-plagued screenwriters work overtime not to overtly state that Susan Daniels has been forced into prostitution. ~ Hal Erickson, Rovi

Despite the title, the Cisco Kid (Cesar Romero) doesn't feel too lucky at the beginning of this film. It seems that someone else has been committing crimes while passing himself off as Cisco. The scheme was cooked up by a corrupt judge (Willard Robertson), who hopes to drive the settlers off the land and buy it up himself, all the while placing the blame for the reign of terror on the Kid's shoulders. But with the help of his paunchy pal Gordito (Chris-Pin Martin), our hero puts an end to the skullduggery. As a bonus, he finds time for romance in the arms of gorgeous widow Mrs. Lawrence (Evelyn Venable). Mary Beth Hughes has one of her better earlier roles as a brassy dance-hall doxie. ~ Hal Erickson, Rovi