Sam Scar Movies

The body of a man is found in a Sepulveda hotel, only a few days after he registered. Friday (Jack Webb) and Smith (Ben Alexander) suspect that the dead man had given a phony name to the desk clerk--and that, contrary to evidence of suicide, he was actually murdered. It soon develops that the victim had recently been seen in the company of a flashy blonde, even though he was married to someone else. In addition, it turns out he was telling the truth about being a salesman: trouble is, his merchandise consisted of illegal narcotics. This episode is based on the final Dragnet radio broadcast of September 20, 1955. ~ Hal Erickson, Rovi

"Her Salome Will Steal Your Breath Away" was the classic advertising slogan attached to this opulent Rita Hayworth epic -- a slogan which became laughable whenever a radio announcer would mispronounce Salome as "salami." Using the very sketchy Biblical story of the death of John the Baptist as its springboard, Salome depicts its title character, the stepdaughter of King Herod, as a victim of circumstance rather than a wanton temptress. Banished from Rome because of an unfortunate romance with the nephew of Caesar, Salome (Rita Hayworth) declares that all men are her enemies, but her resolve weakens when she falls in love with Claudius (Stewart Granger), the military commander of Galilee. Meanwhile, Salome's wicked mother, Herodias (Judith Anderson), plots the demise of John the Baptist (Alan Badel), who currently enjoys the protection of the superstitious Herod (Charles Laughton). At this point, the story departs radically from Scripture. Salome is no longer coerced by Herodias to demand the head of John the Baptist; instead, Herodias, on her own, promises Herod that Salome will perform the "Dance of the Seven Veils" for him -- but only if he beheads John first (Salome has been misinformed that the dance will save John from the headsman's sword). Somehow, scriptwriter Jesse Lasky Jr. even manages to concoct a happy ending for poor Salome, which is a lot more than Oscar Wilde or Richard Strauss were able to do. Considered an artistic flop in 1953, Salome seems somewhat better today, if only because of that powerhouse cast. ~ Hal Erickson, Rovi

Kansas City Confidential, Phil Karlson's low (low) budget, B-grade film noir, opens on a Kansas City armored-car robbery perpetrated by cynical, corrupt ex-policeman Timothy Foster (Preston S. Foster). Foster devises an outrageous scheme: he will recruit three of the most vicious and unrelenting criminals he can find (screen heavies Lee Van Cleef, Jack Elam and Neville Brand) to undertake a robbery, blackmailing them into the heist with incriminating evidence from other "jobs." As an eccentric and clever conceit, Foster forces each of the perpetrators to wear masks, thus concealing their identities from one another and preventing the old pitfall of the men squealing and backstabbing. The heist comes off without a scratch, but a complication arises when the ignorant cops pick up an unrelated fellow, Joe Rolfe (John Payne) for his ownership of a van similar to the one used in the caper. In time, Rolfe is cleared, but he grows irate over the accusations and sets off to find Foster and co. and teach them a lesson. He finally happens upon one of the perpetrators in Mexico, beats him nearly to death, and assumes the victim's identity - and that's when things really get complicated. Though produced under the Hays Code censorship regulations, Kansas City Confidential constituted one of the most brutal and violent crime pictures made up through that time; as such, it retains historical significance. It also claims a strong cult following. ~ Nathan Southern, Rovi

Based loosely on the Dostoyevsky novel, The Gambler stars Gregory Peck as a sensitive 19th-century Russian author. His "great sin" is gambling, which starts when he attempts to rescue aristocratic Ava Gardner from the gaming tables. He succeeds, only to lose himself to gambling fever, which costs him his friends, his reputation and his talent. Director Robert Siodmak was never happy with the screenplay for The Great Sinner, constant revisions bloated the film's rough-cut running time to nearly six hours! After Siodmak pared the film down, MGM insisted that the director reshoot the love scenes. Siodmak refused, thus the new sequences were filmed sans screen credit by Mervin LeRoy. ~ Hal Erickson, Rovi