Erskine Sanford Movies

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

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

Perhaps the finest American film from the famed European director Max Ophüls, the film stars Joan Fontaine as a young woman who falls in love with a concert pianist. Set in Vienna in 1900, the story is told in a complex flashback structure as the pianist, Stefan Brand (Louis Jourdan), comes upon a letter written to him by Lisa Berndl (Fontaine), a girl who has been in love with him for years. Stefan is in the process of fleeing Vienna on the eve of fighting a duel. As he prepares himself for the nocturnal journey, the letter arrives. It begins, "By the time you read this letter, I may be dead." As Stefan sits back in his study to read this letter, it turns out to be a confession of unrequited love from Lisa. The story flashes backs to when Lisa was 14 years old and Stefan was her neighbor. After following Stefan with a girlish obsession, the romance gets much more serious, and they have a brief encounter. Stefan promises to come back to her after a concert tour, but he never does. Meanwhile, Lisa marries another man when she discovers that she is pregnant with Stefan's child. When she runs into Stefan years later, he doesn't remember her and tries to seduce her. After Stefan reads the letter, he wants to rush to her side, but now poor Lisa is dying from typhus. ~ Paul Brenner, All Movie Guide

Texas, Brooklyn and Heaven deserves a historical footnote as director William Castle's only comedy western. Future Wild Bill Hickok star Guy Madison plays Eddie Taylor, a lonesome cowboy who falls in love with city-gal Perry Dunkin (Diana Lynn). The couple "meets cute" in Brooklyn, where the two have migrated to seek their fortunes. The plot veers into Runyonesque territory as Eddie tries to write the Great American Play, while Perry "adopts" pickpocket Mandy (Florence Bates) to pose as her mother. The loosely structured storyline permits several entertaining diversions, including a trip to Coney Island and a wild episode at a Brooklyn riding academy which hero and heroine have been conned into purchasing. Audie Murphy makes his second film appearance in a near-microscopic role. Based on a Saturday Evening Post story by Barry Benefield, Texas, Brooklyn and Heaven was released in England as The Girl From Texas. ~ Hal Erickson, All Movie Guide

For his first independent production, former child star Roddy McDowall selected the tried-and-true Robert Louis Stevenson classic Kidnapped. McDowall reserves the plum role of David Balfour for himself, while Dan O'Herlihy, McDowall's costar in Orson Welles' MacBeth, is cast as Scottish patriot Alan Breck. The story is the familiar one about a young man (McDowall) cheated out of his birthright by his wicked, covetous uncle (Houseley Stevenson). Kidnapped and sold into slavery, Balfour escapes and makes his way back to Scotland, where he befriends the swashbuckling Breck and the lovely Aileen (Sue England). Several exciting adventures later, Balfour returns to his ancestral home to settle accounts with his uncle. Laid low by threadbare production values, Kidnapped is one of lesser screen adaptations of Robert Louis Stevenson's novel, though at least it's more faithful to the source than the 1938 20th Century-Fox version. ~ Hal Erickson, All Movie Guide

Rosalind Russell stars in this marathon adaptation of the Eugene O'Neill play. The O'Neill original transposed Euripides' Agamemnon/Clytemnestra legend to post-Civil War New England. Russell plays the daughter of a returning war hero (Raymond Massey), who comes home to find his wife (Katina Paxinou) in the arms of a younger man. The wife murders the husband, leaving it to her grown children--Russell and Michael Redgrave--to exact vengeance. This morbid plotline climaxes with Russell's descent into destructive self-righteousness and her brother's retreat into insanity. Though superbly acted, Mourning Becomes Electra scared away too many moviegoers in its original three-hour running time, which was still half the length of the O'Neill play. Even when pared down to 105 minutes for general release, the film lost tons of money for the ever-beleaguered RKO Studios; to complete the film's curse, Russell lost her long-cherished (and never-won) Best Actress Oscar to Loretta Young for The Farmer's Daughter. According to Oscar legend, Russell was so certain of winning, on the heels of her husband's massive promotional campaign, that she was already out of her seat when she heard Young's name. ~ Hal Erickson, All Movie Guide

In this comedy, Paul Muni plays a recently murdered gangster who finds himself roasting in Hell. Muni can't believe that he's in for All Eternity and keeps trying to "bust out," which brings him to the attention of the Head Man (Claude Rains), who calls himself Nick. Nick strikes a bargain with Muni: There's a troublesome honest judge on Earth who's been shipping too many souls to Hell; if Muni will take over the judge's body and begin performing bad deeds, Nick will set him free. Muni readily agrees, eager to settle the score with the ex-partner (Hardie Albright) who bumped him off. Once he "becomes" the judge, however, Muni discovers that he is utterly incapable of performing any misdeeds--and when he falls in love with the judge's fiancee (Anne Baxter), Muni becomes determined to wriggle out of his agreement. Angel on My Shoulder is based on a story by Harry Segall, whose previous play Heaven Can Wait was filmed as Here Comes Mr. Jordan, also with Claude Rains. ~ Hal Erickson, All Movie Guide

The postwar classic The Best Years of Our Lives, based on a novel in verse by MacKinlay Kantor about the difficult readjustments of returning World War II veterans, tells the intertwined homecoming stories of ex-sergeant Al Stephenson (Fredric March), former bombadier Fred Derry (Dana Andrews), and sailor Homer Parrish (Harold Russell). Having rubbed shoulders with blue-collar Joes for the first time in his life, Al finds it difficult to return to a banker's high-finance mindset, and he shocks his co-workers with a plan to provide no-collateral loans to veterans. Meanwhile, Al's children (Teresa Wright and Michael Hall) have virtually grown up in his absence. Fred discovers that his wartime heroics don't count for much in the postwar marketplace, and he finds himself unwillingly returning to his prewar job as a soda jerk. His wife (Virginia Mayo), expecting a thrilling marriage to a glamorous flyboy, is bored and embittered by her husband's inability to advance himself, and she begins living irresponsibly, like a showgirl. Homer has lost both of his hands in combat and has been fitted with hooks; although his family and his fiancée (Cathy O'Donnell) adjust to his wartime handicap, he finds it more difficult. Profoundly relevant in 1946, the film still offers a surprisingly intricate and ambivalent exploration of American daily life; and it features landmark deep-focus cinematography from Gregg Toland, who also shot Citizen Kane. The film won Oscars for, among others, Best Picture, Best Director for the legendary William Wyler, Best Actor for March, and Best Supporting Actor for Harold Russell, a real-life double amputee whose hands had been blown off in a training accident. ~ Hal Erickson, All Movie Guide

A women's prison provides the setting for this drama that centers around a naive small-town woman framed by a man whom she met in a nightclub in the big city. She is not welcomed by the inmates and immediately the prisoners are divided. The conflict ends in murder. In the end, the innocent woman's lawyer comes to her rescue and she is at last, freed. Included are two stirring songs sung by the inmates in the prison's rec room. ~ Sandra Brennan, All Movie Guide

Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner). ~ Hal Erickson, All Movie Guide

Uncertain Glory finds Errol Flynn atypically cast as French criminal Jean Picard, a craven coward whose many misdeeds have earned him a date with the guillotine. Detective Marcel Bonet (Paul Lukas) intends to see that Picard keeps his appointment with the executioner, despite the fact that there's a war on. When the Nazis capture 100 French hostages to force a resistance saboteur to surrender himself, Picard offers to pose as the saboteur and thereby save the lives of the innocent villagers. In truth, he plans to escape once he's turned himself over to the Nazis, leaving the villagers in the lurch, but at the last moment his latent patriotism overcomes his sense of self-preservation. Errol Flynn's character is almost as inconsistent as the script, but war films invariably made money in 1944. ~ Hal Erickson, All Movie Guide

Orson Welles first feature film -- which he directed, produced, and co-wrote, as well as playing the title role -- proved to be his most important and influential work, a ground-breaking drama loosely based on the life of William Randolph Hearst which is frequently cited as the finest American film ever made. Aging newspaper magnate Charles Foster Kane (Orson Welles) dies in his sprawling Florida estate after uttering a single, enigmatic final word -- "Rosebud" -- and newsreel producer Rawlston (Phil Van Zandt) sends reporter Jerry Thompson (William Alland) out with the assignment of uncovering the meaning behind the great man's dying thought. As Thompson interviews Kane's friends, family, and associates, we learn the facts of Kane's eventful and ultimately tragic life: his abandonment by his parents (Agnes Moorehead and Harry Shannon) after he becomes the heir to a silver mine; his angry conflicts with his guardian, master financier Walter Parks Thatcher (George Coulouris); his impulsive decision that "it would be fun to run a newspaper" with the help of school chum Jedediah Leland (Joseph Cotten) and loyal assistant Mr. Bernstein (Everett Sloane); his rise from scandal sheet publisher to the owner of America's largest and most influential newspaper chain; his marriage to socially prominent Emily Norton (Ruth Warrick), whose uncle is the President of the United States; Kane's ambitious bid for public office, which is dashed along with his marriage when his opponent, corrupt political boss Jim Gettys (Ray Collins), reveals that Kane is having an affair with aspiring vocalist Susan Alexander (Dorothy Comingore); Kane's vain attempts to promote second wife Alexander as an opera star; and his final, self-imposed exile to a massive and never-completed pleasure palace called Xanadu. While Citizen Kane was a film full of distinguished debuts -- along with Welles, it was the first feature for Joseph Cotten, Everett Sloane, Ray Collins, Agnes Moorehead, and Ruth Warrick -- the only Academy Award it received was for Best Original Screenplay, for which Welles shared credit with veteran screenwriter Herman Mankiewicz. ~ Mark Deming, All Movie Guide