Frances Robinson Movies

Adapted from the book and play of the same name, The Happiest Millionaire is the (mostly) true story of eccentric Philadelphia millionaire Anthony J. Drexel Biddle (Fred MacMurray). The Biddle mansion is the gathering place for a pugilistic boxing class, pet alligators and would-be opera singers. Cordelia Biddle (Lesley Ann Warren), the daughter of Anthony and his wife (Greer Garson), wants to marry wealthy and handsome Angie Duke (John Davidson), but Angie's parents are shocked by the Biddles' freewheeling lifestyle. Thanks in part to the ebullient intervention of John Lawless (Tommy Steele), the Biddles' butler, all misunderstandings are eventually swept away. Like Disney's previous Mary Poppins, The Happiest Millionaire is decked out with a vibrant musical score by Richard and Robert Sherman, but the magic is somehow lacking this time around. This was the last live-action film to personally supervised by Walt Disney; released several months after Disney's death, the film was made available in 141-minute and 164-minute versions. ~ Hal Erickson, Rovi

In this remake of Johnny Dark (1954) an ex-GI and college dropout would rather play with cars than anything else until he meets the lovely Eady with whom he falls passionately in love. They get engaged and go to San Francisco where he begins working on building a prototype car for a millionaire. When the arrogant young man ignores the millionaire's advice and destroys the car, he is immediately fired. The young man, determined to make his engine work, manages to scare up enough cash to get his engine back from the millionaire. He then goes on to enter the Tri-State Endurance Race. After it is all over, the young fellow finds that he has become a serious young man. He then marries his girl, and goes back to college. ~ Sandra Brennan, Rovi

When he's discharged from a military hospital, ex-GI Bob Corey (Gordon MacRae) goes on a search for his army buddy Steve Connolly (Edmond O'Brien). A reformed crook, Connolly is on the lam from a trumped-up murder rap, and Corey hopes to clear his pal. Tagging along is Army nurse Julie Benson (Virginia Mayo), who has fallen for Corey. The rest of the film emulates the 1946 noir exercise The Killers, with Julie and Corey interviewing various people with whom Connolly has come in contact. One of those people, of course, is the actual killer, who now adds the GI and the nurse to the "hit list." Warner Bros. used Backfire to test the dramatic potential of singing star Gordon MacRae, who passes that test with flying colors. ~ Hal Erickson, Rovi

Based on an old Gene Stratton Porter story, Keeper of the Bees was a shade too bucolic for postwar audiences. Michael Duane stars as an artist who has lost confidence in humanity. He regains it with the help of a faith healer and her two daughters. One of the girls is played by Gloria Henry, later "Alice Mitchell" on Dennis the Menace. One of the earliest directorial efforts of John Sturges, Keeper of the Bees was previously filmed by Monogram in 1935, with Neil Hamilton in Duane's role. ~ Hal Erickson, Rovi

The Shadow (Richmond) investigates the murder of an art dealer with his only clue being a stolen jade statuette. ~ Rovi

Spencer Tracy and Ingrid Bergman headline this screen version of Robert Louis Stevenson's tale, directed by Gone with the Wind and Wizard of Oz legend Victor Fleming. Tracy stars as Dr. Jekyll, a scientist who downs an experimental elixir that transforms him into a monstrous alter-ego, Mr. Hyde. Lana Turner co-stars as Jekyll's fiancée, and Bergman as Eva, the woman who captures his heart. A film steeped in heavy Freudian symbolism, this production also tries something unusual by relying largely on Tracy's shift in facial mannerisms (in lieu of heavy make-up) to convey the personality change. As a result, the movie manages to place a much stronger emphasis on emotions than on the terror of physical mutation. Neither critics nor audiences bought it: the film fell prey to critical castigation when it hit movie screens in mid-August 1941, with many indicating that they vastly prefer the 1931 Rouben Mamoulian/Fredric March version. Still, this one has its defenders. ~ Nathan Southern, Rovi

Outlaws of the Pandhandle was the last of Charles Starrett's "formula" westerns for Columbia: hereafter, Starrett would be seen only in the guise of frontier medico Steven Monroe or masked do-gooder The Durango Kid. For the moment, however, the star is cast as Jim Endicott, bound and determined to put an end to the underhanded activities of gin-mill operator Faro Jack Vaughn (Norman Willis). The villain's strategy is to get the local cowpunchers tanked up on rotgut that they'll prove to be easy pickings for a gang of rustlers-and will be unable to complete work on a railroad spur which will bypass the outlaws' hideaway. In about as much time as it takes to explain the plot, Endicott settles Vaughn's hash with his fists. Frances Robinson subs for Charles Starrett's usual leading lady Iris Meredith. ~ Hal Erickson, Rovi

Worth seeing for its title alone was the Johnny Mack Brown western Riders of Pasco Basin. This time, Brown plays the head of a group of vigilantes (the peace-keeping variety) who take on a gang of clever villains. With the law on their side, the bad guys have been cheating the local farmers while promising to dig an irrigation ditch. Before bringing the crooks to heel, second-billed Bob Baker (who own western series was scotched by Universal the previous year) performs a brace of cowboy tunes, the most enjoyable of which is "I'm Tying Up My Bridle to the Door of Your Heart". Director Ford Beebe brings a serial-like pace to the proceedings, as was his custom. ~ Hal Erickson, Rovi

In this comedy of mistaken identity, a bookish literary reviewer bows to the desires of his lover and shaves off his whiskers. Suddenly he finds himself in trouble, for without the mustache, he is the spitting image of a gangster who has just been released from prison. When the mobster's gang sees the reviewer, they immediately assume he is the boss and they take him away. Soon he finds himself in deep trouble. ~ Sandra Brennan, Rovi

This remake of 1932's Okay America is in many ways superior to the original. George Murphy scores in a rare unsympathetic role as Winchellesque radio columnist Dan Clifford, who doesn't care how many lives he has to destroy in pursuit of a good story. When a young debutante is kidnapped by gangsters, Clifford decides to act as the go-between between the criminals and the victim's parents himself. At first he cares only about outscooping the competition, but the deeper he becomes involved in the case, the more his essential decency seeps through. Still, he must pay for all his past sins, and pay he does in a spectacularly tragic but quite dramatically logical denoument. The stellar supporting cast includes Eduardo Cianelli as a snarling gangster, Dorothea Kent as Clifford's dumb-like-a-fox assistant, and El Brendel as a comedy-relief janitor. ~ Hal Erickson, Rovi

The Hero for a Day is elderly night watchman Frank Higgins (Charley Grapewin), still basking in the memories of his long-age college football triumphs. To stir up publicity for a crucial post-season game, his alma mater plucks Higgins out of obscurity and once more showers him in glory. The old man's triumph turns to tragedy when he drops dead during the Big Game, but at least he goes out secure in the knowledge that his protégé Brainy (Dick Foran) has scored the winning touchdown. Critics in 1939 were amused by the inconsistencies during the gridiron sequences (the scenes appeared to have been shot at several different stadiums, then haphazardly patched together in the cutting room) and by the lavish wardrobe sported by "humble" stenographer Sylvia Higgins (Anita Louise). Featured in the cast of Hero for a Day is Richard Lane, who seems to have been in every sports movie ever produced between 1935 and 1945. ~ Hal Erickson, Rovi

Basil Rathbone's real-life son, John Rodion, has his head chopped off early on in this historical melodrama often mistakenly referred to as a horror film. Yes, a second-billed Boris Karloff does stomp about on a club-foot as the Duke of Glouchester's chief executioner, Mord, but Karloff's presence is really more colorful than horrifying. Rathbone is the main villain here, as the Duke of Glouchester, the deformed second brother of Edward IV (Ian Hunter), whose throne he covets. But before he can place himself on that exalted chair, there are quite a few relatives and pretenders to be rid off. The exiled Prince of Wales (G.P. Huntley) is dispatched during a battle, and his father, the feeble-minded Plantagenet King Henry VI (Miles Mander), who steadfastly refuses to gracefully die of old age, is murdered by Mord. Half-brother Clarence (Vincent Price), meanwhile, is drowned very picturesquely in a vat of Malmsey wine and when Edward IV dies of natural causes, only his two young sons remain. To the horror of Queen Elizabeth (Barbara O'Neil), Glouchester is named their protector -- which of course means that Mord the executioner will be working overtime once again. But the evil duke, now Richard III, has not counted on the heroic John Wyatt (John Sutton), who, by looting the treasury, is able to bring back from exile in France yet another pretender, Henry Tudor (Ralph Forbes). The latter's invasion proves victorious at the famous battle of Bosworth Field and the brutal reign of Richard II, and his executioner, comes to an end. ~ Hans J. Wollstein, Rovi

Hugh Herbert is the head of The Family Next Door; he's a plumber of modest means and questionable skills. The rest of Herbert's family would love to climb the social ladder and improve their lot, but their dreams are always compromised by papa's ineptitude. In time-honored fashion, Hugh saves the day at the last minute with a sudden act of acute competence. Ruth Donnelly plays Herbert's beleaguered wife, while Eddie Quillan is the oldest son. Universal Studios' The Family Next Door looks like it was intended as the vanguard of a "B" series which never materialized. ~ Hal Erickson, Rovi