Paul Birch Movies

California politics is the clinically dissected yet informative and interesting topic of this feature-length drama by co-directors Bernard Girard and Robert Lewis. Relegating any character development to secondary status, the two directors have opted for a mode more in keeping with a television educational drama (TV is their principle medium) than the dynamic, personal interactions of the larger screen. At issue is the mud-slinging involved in a campaign to stop legislation regulating the practices of collection agencies. A few California lawmen lead the legislation and are determined to succeed in spite of their underhanded detractors. ~ Eleanor Mannikka, All Movie Guide

Engineer Philip Diedshiemer (John Beal) arrives in Virginia City, where, in partnership with Adam Cartwright, he creates a timbering system called "square set," which is designed to make the Deep Silver Mines safe from cave-ins. Trouble ensues when the mine owners refuse to pay Diedshiemer for his efforts. Also in the cast are Mala Powers as Helene, R.G. Armstrong as Andrew Holloway, Charles Cooper as Gil Fenton, Paul Birch as Tregallis, Robert Osterloh as Casey, Howard Negley as Dr. Wesley, and silent-film veteran Mae Marsh as a townswoman. Written by Thomas Thompson, "The Philip Diedshiemer Story" was first broadcast on October 31, 1959. ~ Hal Erickson, All Movie Guide

In the final episode of Walt Disney's ten-part miniseries Elfego Baca, frontier lawyer Baca (Robert Loggia) embarks upon a mission to bring fugitive gunslinger Gus Tomlin to justice. Upon hearing that Tomlin is dead, Baca is all for giving up the search -- until a citizen of the small town of Granite claims that Tomlin and his family are living on a farm under an assumed name. The father of a man allegedly killed by Tomlin begins forming a lynch mob, but Baca offers to personally bring Tomlin back for a fair trial -- if he lives long enough to do so. "Gus Tomlin Is Dead" was originally telecast as part of the Walt Disney Presents anthology. ~ Hal Erickson, All Movie Guide

Five convicted outlaws, sentenced to hang, are recruited by a Confederate Army officer on what could easily be a suicide mission -- they're each given a full pardon in exchange for a quick ride through hostile Indian territory to Dawn Springs, Kansas, where their job is to stop a stagecoach coming in from California. The coach is carrying Stephen Jethro, the head of intelligence for the Confederacy in California, who has sold out to the Union, and $30,000 in gold that Jethro was to use for espionage work on behalf of the south -- their job is to bring Jethro in alive if possible, but to stop him from reaching Union territory, and to bring the gold back to the Confederacy. But the temptation of that gold weighs on all of these men -- Hale Clinton (Touch Connors) and Govern Sturgess (John Lund) seem destined to fight it out to the death -- and the presence of Dorothy Malone at the Dawn Springs relief station doesn't help matters. Before it's over, there will be multiple double-crosses, one important partial redemption, and an ever growing list of casualties. ~ Bruce Eder, All Movie Guide

The highly variable Tab Hunter delivers his best film performance in the grim western Gunman's Walk. Hunter plays Ed Hackett, the son of gunslinger-turned-land baron Lee Hackett (Van Heflin). Out of respect (and fear) of his father, the hotheaded Ed is given a wide berth by the resentful townsfolk. The elder Hackett doesn't make things any better when he tacitly approves of Ed's violent behavior, all the while giving short shrift to his law-abiding younger son Davy (James Darren). Inevitably, Ed goes one step too far, forcing his father to make a devastating decision. Kathryn Grant, future wife of Bing Crosby, registers well as the half-breed girl with whom Davy falls in love. Gunman's Walk is seen at a disadvantage on television; director Phil Karlson's inventive use of the CinemaScope lens will be largely lost on a 22-inch screen. ~ Hal Erickson, All Movie Guide

David White, better known to the TV Generation as neurotic adman Larry Tate on Bewitched, is here seen in the radically different role of Tom Carey, former army scout and notorious gunslinger. Now the marshal of a small town, Carey has also become a tin-pot dictator, prompting the citizens to hire Paladin (Richard Boone) to rid the community of the martinet marshal. Only two problems: Paladin and Tom are old friends...and Paladin knows all too well that Tom is much quicker on the draw than he. ~ Hal Erickson, All Movie Guide

Roy Carter (Scott Marlowe) will hang for murder unless Paladin (Richard Boone) can reach the prison in time with news that another man has confessed. Even so, the prison's vengeful warden refuses to enact a stay of execution. It takes the combined efforts of Paladin and prison chaplain Robert April (John Larch) to see that justice is done. Without giving away the ending, it can be noted that the character of Roy Carter would reappear in a later episode, enacted on that occasion by Clu Gulager. ~ Hal Erickson, All Movie Guide

A tall horseman (Jock Mahoney) rides into the small town of Arborville, deserted except for redheaded Jody (Luana Patten), who's uncomfortable about it. Outside town, the rider finds all the townspeople working on an oil rig on a small ranch. They're led by Cal Moore (Charles McGraw), and include brothers Aaron (Claude Akins) and Adam Grant (Lee Van Cleef). The stranger asks a few questions, rousing the ire of the hot-tempered brothers, who toss him into a pool of oil. Glossy black but unconcerned, the stranger ambles out and rides back to town. Jody helps him clean up, so he tells her he has come to meet an old Indian who lived on the property where the oil well now is; he's clearly surprised when she refers to the old man, now missing, as Joe Dakota. Meanwhile, the townspeople gather, and we learn that Cal is a newcomer to town, an oil expert who decided to cast his lot with Arborville. We also learn that something happened to the old Indian, and that the townspeople were involved. The townspeople later are horrified when the stranger announces that he owns the land where the oil well is, and that his name is Joe Dakota.

Later, Jody comes to see Joe at the ranch, and reveals that the old man was her friend; she often came out to visit him. Joe tells her that the old man, whom he'd known well some years before, had simply borrowed his name. Jody says that the last time she'd visited the old Indian, he'd been drunk and had attacked (but not raped) her. Egged on by Cal, the townspeople had lynched him. The next day, Joe hangs a noose on the Arborville town sign, and puts a cross on the old man's grave. He explains that he was a captain in the infantry, and the old man was the finest scout he'd ever known. Everyone gathers at the oil well, where Joe explains that it was Cal who had attacked Jody, framing the old man for the crime to get the town to lynch him. He and Cal have a fight, but the townspeople, ashamed of what they've done, side with Joe.

Universal-International turned out quite a number of well-down, medium-budget westerns in the late 1950s, often starring Audie Murphy. This time, however, the lead is former stuntman Jock Mahoney, whom the studio was trying to groom as a star; his easy-going but very masculine personality made him ideal for roles such as this. The movie, co-written by Perry Mason's "Hamilton Burger," (William Talman), seems to owe something to Bad Day at Black Rock, but the plot works well in this context, too. There are good small details, like a wine store instead of a saloon, the town's beloved water trough, and the stranger's midnight shave. Richard H. Bartlett's direction is as low-key as the movie -- scarcely a shot is fired, and few wear guns -- and as likable. Joe Dakota is "just another movie," but it's a very good example of its long-gone kind. ~ Bill Warren, All Movie Guide

En route to Denver, Bart (Jack Kelly) finds himself sharing a stagecoach with a curious assortment of passengers, including a woman (Suzanne Lloyd) searching for her fiancee, a taciturn gunman (Hampton Fancher) and an overly friendly undertaker (Maurice Manson). Stopping at a way station, the passengers unwittingly fall into the clutches of homicidal outlaw Nero Lyme (Buddy Ebsen) and his equally murderous family. Realizing that everyone is in danger, Bart tries to tip off one of the passengers that the Lymes intend to kill them all; unfortunately, that passenger promptly betrays Bart to Nero Lyme. ~ Hal Erickson, All Movie Guide

Based on real incidents in the life and death of Lt. Joseph Petrosino (Ernest Borgnine) of the New York police force, this tale set between 1906-1909 details the history of the lieutenant's fight to prove Sicilian Mafia involvement in crimes in his city. Lt. Petrosino has a series of dangerous close calls as he distinguishes himself by saving singer Enrico Caruso from a Mafia bomb outside the Metropolitan Opera, and by also saving the father of Adelina (Zohra Lampert) the woman he loves. Several other exploits eventually lead to Petrosino's trip to Sicily to nail evidence for the Mafia's activities in New York, and for a final meeting with destiny. This represented the last screen credit of scenarist Bertram Millhauser, who died in 1958; he had received his penultimate credit nine years before that, on the 1949 Tokyo Joe. ~ Eleanor Mannikka, All Movie Guide

Wanting to be free of her crippled husband but not his enormous fortune, a glamorous wife talks her lover, who is also her spouse's personal physician, into injecting poison into the ailing industrialist. This crime melodrama chronicles the chain of events that leads to the murderous lovers' downfall. Though they successfully offed the husband, the two are not allowed to enjoy their new wealth and happiness for a letter sent to the wife reveals that someone knows about the crime. Believing that the anonymous author is her late-husbands investment advisor, the wife and her lover quickly dispatch him. When his body later turns up, another is blamed with the crime. Unfortunately, the villainous twosome, the accused is to marry the granddaughter of the deceased tycoon. Matters don't improve when the doctor/lover's conscience flares up and he decides to confess. ~ Sandra Brennan, All Movie Guide

This landmark juvenile-delinquent drama scrupulously follows the classic theatrical disciplines, telling all within a 24-hour period. Teenager Jimmy Stark (James Dean) can't help but get into trouble, a problem that has forced his appearance-conscious parents (Jim Backus and Ann Doran) to move from one town to another. The film's tormented central characters are all introduced during a single night-court session, presided over by well-meaning social worker Ray (Edward Platt). Jimmy, arrested on a drunk-and-disorderly charge, screams "You're tearing me apart!" as his blind-sided parents bicker with one another over how best to handle the situation. Judy (Natalie Wood) is basically a good kid but behaves wildly out of frustration over her inability to communicate with her deliberately distant father (William Hopper). (The incestuous subtext of this relationship is discreetly handled, but the audience knows what's going on in the minds of Judy and her dad at all times.) And Plato (Sal Mineo), who is so sensitive that he threatens to break apart like porcelain, has taken to killing puppies as a desperate bid for attention from his wealthy, always absent parents.

The next morning, Jimmy tries to start clean at a new high school, only to run afoul of local gang leader Buzz (Corey Allen), who happens to be Judy's boyfriend. Anxious to fit in, Jimmy agrees to settle his differences with a nocturnal "Chickie Run": he and Buzz are to hop into separate stolen cars, then race toward the edge of a cliff; whoever jumps out of the car first is the "chickie." When asked if he's done this sort of thing before, Jimmy lies, "That's all I ever do." This wins him the undying devotion of fellow misfit Plato. At the appointed hour, the Chickie Run takes place, inaugurated by a wave of the arms from Judy. The cars roar toward the cliff; Jimmy is able to jump clear, but Buzz, trapped in the driver's set when his coat gets caught on the door handle, plummets to his death. In the convoluted logic of Buzz' gang, Jimmy is held responsible for the boy's death. For the rest of the evening, he is mercilessly tormented by Buzz' pals, even at his own doorstep. After unsuccessfully trying to sort things out with his weak-willed father, Jimmy runs off into the night. He links up with fellow "lost souls" Judy and Plato, hiding out in an abandoned palatial home and enacting the roles of father, mother, and son. For the first time, these three have found kindred spirits -- but the adults and kids who have made their lives miserable haven't given up yet, leading to tragedy. Out of the bleakness of the finale comes a ray of hope that, at last, Jimmy will be truly understood.

Rebel Without a Cause began as a case history, written in 1944 by Dr. Robert Lindner. Originally intended as a vehicle for Marlon Brando, the property was shelved until Brando's The Wild One (1953) opened floodgates for films about crazy mixed-up teens. Director Nicholas Ray, then working on a similar project, was brought in to helm the film version. His star was James Dean, fresh from Warners' East of Eden. Ray's low budget dictated that the new film be lensed in black-and-white, but when East of Eden really took off at the box office, the existing footage was scrapped and reshot in color. This was great, so far as Ray was concerned, inasmuch as he had a predilection for symbolic color schemes. James Dean's hot red jacket, for example, indicated rebellion, while his very blue blue jeans created a near luminescent effect (Ray had previously used the same vivid color combination on Joan Crawford in Johnny Guitar). As part of an overall bid for authenticity, real-life gang member Frank Mazzola was hired as technical advisor for the fight scenes. To extract as natural a performance as possible from Dean, Ray redesigned the Stark family's living room set to resemble Ray's own home, where Dean did most of his rehearsing. Speaking of interior sets, the mansion where the three troubled teens hide out had previously been seen as the home of Norma Desmond in Sunset Boulevard. Of the reams of on-set trivia concerning Rebel, one of the more amusing tidbits involves Dean's quickie in-joke impression of cartoon character Mr. Magoo -- whose voice was, of course, supplied by Jim Backus, who played Jimmy's father. Viewing the rushes of this improvisation, a clueless Warner Bros. executive took Dean to task, saying in effect that if he must imitate an animated character, why not Warners' own Bugs Bunny? Released right after James Dean's untimely death, Rebel Without a Cause netted an enormous profit. The film almost seems like a eulogy when seen today, since so many of its cast members -- James Dean, Natalie Wood, Sal Mineo, Nick Adams -- died young. ~ Hal Erickson, All Movie Guide