Joseph Schildkraut Movies

Filmmaker George Stevens chose Monument Valley, Utah for his exterior sequences in The Greatest Story Ever Told, this ($20 million) adaptation of Fulton Oursler's best-selling book. The "Greatest Story" is, of course, the life of Jesus Christ, played herein by Max Von Sydow. The large supporting cast includes Dorothy McGuire as Mary, Claude Rains as Herod the Great, Jose Ferrer as Herod Antipas, Charlton Heston as John the Baptist, Donald Pleasence as Satan (identified only as "The Dark Hermit"), David McCallum as Judas Iscariot, Sidney Poitier as Simon of Cyrene, Telly Savalas as Pontius Pilate and Martin Landau as Caiaphas. Even Robert Blake as Simon the Zealot, Jamie Farr as Thaddaeus, and motorcyle-flick veteran Richard Bakalyan as Dismas, the repentant thief, are well-suited to their roles. Originally roadshown at 260 minutes, Greatest Story Ever Told was later available in a 195-minute version. ~ Hal Erickson, Rovi

In his second Twilight Zone apperance of the 1961-62 season, Joseph Schildkraut stars as elderly John Holt, who, together with his equally aged wife Marie (Alma Platt), yearns to be young and vital again. Visiting the New Life Corporation, John and Marie are invited by unctuous salesman Vance (Noah Keen) to trade in their old bodies for newer models. Alas, the operation costs $5,000 per person -- and the Platts have only enough money for one "trade-in." Written by Rod Serling, "The Trade-Ins" was the final third-season Twilight Zone episode to be filmed, but not the last one to be telecast; rather, it was seen on April 20, 1962, with six more episodes still to go. ~ Hal Erickson, Rovi

The ongoing trial of Nazi war criminal Adolph Eichmann was the obvious inspiration for Rod Serling's "Death's-Head Revisited." Oscar Beregi stars as Capt. Lutze, the sadistic former commandant of the Dachau concentration camp. Travelling incognito, Lutze makes a "sentimental journey" to the camp, fondly recalling the misery he had wreaked in the final months of WWII. But Lutze is in for quite a few horrible surprises when one of his former prisoners, the emaciated Becker (Joseph Schildkraut), shows up to see that justice is finally done. "Death's-Head Revisited" was originally telecast November 10, 1961. ~ Hal Erickson, Rovi

Also known as California Outpost, Old Los Angeles stars Bill Elliot in one of his expanded-budget Republic "specials." The film is set during the early statehood days of California, with Elliot keeping the peace and warding off plunderers and marauders. As always, Elliot is a "peaceable man"--until he beats the tar out of those who rile him. The problem with Elliot's more expensive Republic vehicles is that action invariably took a back seat to plot, romance, costumes and decor. Within a year of Old Los Angeles, Elliot started a more austere, less prettified and far superior western series. ~ Hal Erickson, Rovi

Backed by the "American GI Chorus", Nelson Eddy made his final screen appearance in the unusually elaborate Republic musical Northwest Outpost. The story is set in the 1830s, when a good portion of California was owned by Russia. US cavalry officer James Laurence (Nelson Eddy) arrives at one of the Russian colonies to pave the way for the eventual American takeover of the territory. He faces resistance in the form of Prince Nikolai Balinin (Hugo Haas), who has no intention of weakening his despotic hold over the local peasants. The plot thickens when Laurence falls in love with Natalie Alanova (Ilona Massey), the wife of disgraced nobleman Count Igor Savin (Joseph Schildkraut). The script draws several unsubtle parallels between Russian California of 1830 and Communist Russia of 1947, but this can be chalked up to the political tenor of the times. Rudolf Friml's soaring musical score evokes fond memories of Friml's earlier Rose Marie, which of course also starred Nelson Eddy. ~ Hal Erickson, Rovi

The 87-minute running time of Plainsman and the Lady was evidence aplenty that this was no mere Republic B western. William Elliot (formerly and latterly "Wild Bill" Elliot) stars as cattleman Sam Cotten, who offers his services-and his six-guns-to the newly formed Pony Express. Erudite villain Peter Marquette (Joseph Schildkraut) is a rival stagecoach owner who'll stop at nothing to keep the mail from going through. Ordering his minions to disguise themselves as Indians, Marquette masterminds a series of bloody raids on the pony express riders. But Cotton, aided and abetted by grizzled sidekick Dringo (Andy Clyde) proves to be more than a match for the bad guy. The lady of the title is high-born Ann Arnesen, played by Queen of Republic Vera Ralston; she's decorative enough, but no match for her talented costar Gail Patrick, cast as Ann's sister and the despicable Marquette's wife. ~ Hal Erickson, Rovi

John Wayne is not the title character of Flame of the Barbary Coast: that honor goes to second-billed Ann Dvorak. Wayne plays a Montana cattleman who is lured into a San Francisco gambling joint by dance-hall girl Dvorak. Though Ann at first brings Wayne luck, he ends up losing his shirt to cardshark Joseph Schildkraut. Chastened by the experience, Wayne leaves Frisco with his tail between his legs, returning only after he himself has become a gambling expert. Thanks to his new-found expertise, Wayne is able to rake in enough bucks to open his own saloon, bringing Dvorak along for the ride as star of the floor show. Numerous intrigues ensue, culminating in a drawn-out trial scene. As the judge is about to reach a decision, the San Francisco Earthquake strikes (mostly off-screen, drat the luck). When Dvorak is injured in the disaster, Wayne is forced to realign his values. The Duke and The Dvorak decide to bid adieu to the City by the Bay, heading off to Montana to start life anew. ~ Hal Erickson, Rovi

First filmed in 1916, Peter B. Kyne's novel Parson of Panamint provided an excellent showcase for Charles Ruggles in this 1941 remake. As he looks over the dusty, deserted remains of the western "boom town" of Panamint, grizzled old prospector Chuckawalla Bill Redfield (Ruggles) recalls the town's glory days. Looming large in Chuckawalla's reminiscences is the day that young and apparently mild-mannerd minister Philip Pharo (Phillip Terry) rode into town. In his own gentle but forceful fashion, Pharo managed to bring the town's lawless element into line, mollify the local bluenoses, and win the heart of likeable dance-hall girl Mary Mallory (Ellen Drew). The highlight of a film is a tense murder trial, brought about by the killing of gambling boss and all-around villain Bob Deming (Joseph Schildkraut). Almost as easy-going as its protagonist, Parson of Panamint is a most unusual western; if it doesn't completely come off, at least it deserves an E for Effort. ~ Hal Erickson, Rovi

The second entry in MGM's three-film "Nick Carter" series, Phantom Raiders is undeniably the best, and not just by default. In this one, super-sleuth Nick Carter (Walter Pidgeon) arrives in Panama to investigate the destruction of several Allied supply vessels. It's going to be an uphill battle for our hero, who must not only defeat erudite saboteur Al Taurez (Joseph Schildkraut) but also the villain's dumb but deadly henchman Gunboat Jackson (Nat Pendleton). The film builds up skillfully to an exciting conclusion, in which Carter corners the bad guys on a ship doomed for extinction. Donald Meek provides a few laughs as Nick's overenthusiastic assistant Bartholomew the Bee Keeper, who in the film's best scene convinces the heavies that he's a homicidal maniac! ~ Hal Erickson, Rovi

Ralph Bellamy and Margaret Lindsay, stars of Columbia's "Ellery Queen" series, let their hair down and went "screwball" in the Universal comedy-mystery Meet the Wildcat. Bellamy plays a New York gumshoe on the trail of an art thief. His investigation is confounded by the presence of snoopy girl reporter Lindsay. The two stars spend most of the film double-crossing one another until they put their heads together and get their man. One particular mid-film highlight is Bellamy escaping jail while wearing Margaret's clothes (when he orders her to disrobe, guess what she thinks is in store for her?) Meet the Wildcat was directed with zany efficiency by future Abbott and Costello colleague Arthur Lubin. ~ Hal Erickson, Rovi

Robert E. Sherwood's Pulitzer Prize-winning play Idiot's Delight starred Alfred Lunt and Lynn Fontanne on Broadway. Set in a lavish alpine hotel bordering an Italian air base, the story throws together several disparate people, each in his or her own way affected by the World War that threatens to erupt at a moment's notice. The only person who doesn't seem to have a political or economic stake in world affairs is Harry Van, a two-bit American entertainer who is stranded in the hotel with his travelling all-girl troupe, "Les Blondes." Harry is convinced that the alluring Irene, the foreign-accented "travelling companion" of munitions tycoon Achille Weber, is actually an American girl with whom he'd had a one-night stand years earlier, but Irene laughs off his insinuations. Eventually, Irene turns to Harry for comfort when Weber proves too disgustingly warmongering for her tastes. When war breaks out and the hotel is targeted for bombing, Harry makes sure that everyone gets to safety; he himself stays behind with Irene, with whom he has fallen in love. The two sing a hymn as the hotel is blown to oblivion. When Idiot's Delight was filmed in 1939, Norma Shearer did her best Lynn Fontanne imitation as Irene, while Clark Gable remained Clark Gable in his interpretation of Harry Van (his song-and-dance rendition of "Puttin' on the Ritz" is a classic of sneering insouciance). The film underwent an extensive "MGM-izing": while the pre-European affair between Harry and Irene is never dramatized in the play, the film shows Harry and Irene commiserating in a long prologue set in a seedy vaudeville house--and, in keeping with censorship restrictions, it is made abundantly clear that, while Harry befriends Irene, he does not sleep with her. The munitions manufacturer, here played by Edward Arnold, is depicted as an aberration, and not representative of "honest" business moguls (many of whom were close personal chums of MGM head Louis B. Mayer). And, while the ending of the play does not tell us whether or not Harry and Irene survive the bombing, the film permits the lovers a sun-streamed happy ending. ~ Hal Erickson, Rovi

Man in the Iron Mask is independent producer Edward Small's 1939 edition of the much-filmed Dumas classic. The title character is the rightful King of France, imprisoned by his pretender-to-the-throne twin brother (both roles are played by Louis Hayward, with an uncredited Peter Cushing doubling for Hayward in the "over the back" shots). Warren William plays musketeer D'Artagnan, who rallies his now aged swashbuckling companions Porthos (Alan Hale), Athos (Bert Roach) and Aramis (Miles Mander), to rescue the real King, whom they have raised from infancy. Director James Whale reserves a juicy cameo part for his old Frankenstein cohort Dwight "Renfield" Frye. Slightly hampered by a limited budget, Man in the Iron Mask was nonetheless popular enough to encourage producer Small to put together another literary derivation in 1940, The Son of Monte Cristo, utilizing many of the same sets. ~ Hal Erickson, Rovi

In this comedy set during WW I, two crazy vaudevillians try their new act out on their agent. He thinks it is a real dud and the boys end up working as mule skinners in France. While there, they meet a French officer's American daughter. Mayhem ensues when they are mistaken German spies necessitating their escape in a hot-air balloon. Unfortunately, the balloon ends up in Germany, and now the duo must get back to France. Along the way, they capture a German genera. ~ Sandra Brennan, Rovi