William Bishop Movies

In this wartime comedy drama an ultra-macho but aging Marine sergeant does all he can to keep his men intimidated and towing the line while they are stationed in the Philippines at the beginning of WW II. The tough-as-nails jarhead does have a terrible secret though--he has never been involved in actual combat. When his unit heads out for battle in China, the sarge is humiliated because he has not been granted permission to go. He begins drowning his sorrows in a bottle and later gets into a fight with some merchant sailors. As a result he is tossed into the brig until his wife urges him to retire. He reluctantly agrees and tries his hand at civilian life. Later when the Japanese invade the islands, it is the old sergeant who helps the civilian's safely withdraw; unfortunately he dies in the process. His wife also dies. Later their daughter, once a devout pacifist and now a uniformed member of the armed forces, accepts a medal of honor for her courageous father. ~ Sandra Brennan, All Movie Guide

In most of his movie vehicles, bandleader Kay Kyser played a bandleader named Kay Kyser. In Swing Fever, however, Kyser is cast as aspiring songwriter Lowell Blackford. Though he isn't too successful at peddling his songs, Blackford does have one unique talent: The ability to hypnotize boxer Killer Kennedy (Nat Pendleton) into winning fights. Blackford is coerced into using his "whammy" on Kennedy by Ginger Gray (Marilyn Maxwell). On the night of the championship bout, Blackford finds out he's being used, but goes through with his hypnosis to save Ginger from gangsters. The whole thing ends rather incongruously with a patriotic floor show, a specialty of MGM films of the period. Several guest performers lift Swing Fever out of the ordinary, including Lena Horne and the Merrill Abbott Dancers. Also appearing is an uncredited Ava Gardner as a sarcastic receptionist. ~ Hal Erickson, All Movie Guide

This second film version of the George and Ira Gershwin's Broadway hit Girl Crazy stars reigning MGM musical prince and princess Mickey Rooney and Judy Garland. The 1932 version of Girl Crazy de-emphasized the main plot, building up the comic subplot involving a timorous temporary sheriff and a city slicker con man -- the better to accommodate that film's stars, Bert Wheeler and Robert Woolsey. The 1943 remake does without the comic relief, concentrating on Rooney, a teenaged playboy who is sent to a Western mining school by his father (Henry O'Neill), in the hopes that the Rooney will forsake his wastrel ways. Judy Garland is cast in the role originated on stage by Ginger Rogers: the feisty, lovelorn frontier postmistress Ginger Gray, who falls in love with the hero -- the difference being that Garland has been promoted from postmistress to the daughter of mining-school dean Phineas Armour (Guy Kibbee). The new plot involves a contest for rodeo queen, pitting Ginger against Marjorie Tait (Frances Rafferty), who is also her rival for Rooney's affections. The contest serves a double purpose: Rooney is hoping that the publicity engendered by the rivalry will attract students to the failing school, proof positive that for all of his bravado, he's a swell, altruistic guy underneath. These plot complications are merely prologue for a gargantuan musical finale built upon the Gershwin standard "I Got Rhythm," staged by the film's original director, Busby Berkeley. Other musical carryovers from the stage play include "Embraceable You," "Bidin' My Time," and "But Not for Me." Featured in the cast are June Allyson, Rags Ragland, and the Tommy Dorsey Band. ~ Hal Erickson, All Movie Guide

Opening in England during the middle of World War II, A Guy Named Joe tells the story of Pete Sandidge (Spencer Tracy), a tough, devil-may-care bomber pilot who's amassed an enviable record in combat, mostly by taking chances that give his C.O. (James Gleason) the shakes, much as he and the top brass appreciate the results. Pete lives to fly, but he also appreciates the fairer sex, which for the last couple of years means Dorinda Durston (Irene Dunne), herself a hot-shot air-ferry pilot. She's also worried about the chances he takes, even after Pete and his best friend, Al Yackey (Ward Bond), are transferred to Scotland and switched to flying reconnaissance missions. Pete finally agrees to take a training position back in the States, but he must fly one last mission, to locate a German force threatening an Allied convoy. He and Al do the job and have turned for home when the German fighter cover attacks; Pete's plane is damaged and he's wounded, and after his crew bails out he takes the burning ship down and drops his bomb-load on the main German attack ship (a carrier, which is totally inaccurate) at zero altitude. His plane is caught in the blast and destroyed, and that's where the main body of the movie begins.

Pete arrives in a hereafter that's a pilot's version of heaven, including a five-star general (Lionel Barrymore). He doesn't even appreciate what's happened to him until he meets Dick Rumney (Barry Nelson), a friend and fellow pilot who was previously killed in action. It seems that the powers of the hereafter are contributing to the war effort, sending departed pilots like Pete and Dick to Earth to help guide and help young pilots; Pete himself discovers that he benefited from these efforts in peacetime. Pete ends up at Luke Field near Phoenix, AZ, where he takes on helping Ted Randall (Van Johnson), a young pilot who lacks confidence. By the time he's done, riding along while Ted "solos," Ted is a natural in the air and ends up as the star of his squadron when he become operational in New Guinea -- in a group under the command of Al Yackey -- and ends up taking over command when their own leader is shot down. Pete's like a proud teacher, and also enjoys his unheard ribbing of Al and his ex-C.O. to Rumney, over their promotions, but then Dorinda shows up, and suddenly Pete finds all of his unresolved feelings about her recalled, even as he sees that she's never gotten over losing him. And when, with Al's help, she and Ted meet and seem to fall for each other, Pete's jealousy gets the better of him. It's only when he is made to realize just how important life was to him, and how important the future is for those still living, that he begins to understand that he has to let go of his feelings, and let Dorinda and Ted get on with their lives. But first he has to help Dorinda survive a suicide mission that she's taken over from Ted, attacking a huge and heavily defended Japanese ammo dump. ~ Bruce Eder, All Movie Guide

Janet Leigh made an impressive film-debut in MGM's The Romance of Rosy Ridge. Though the title suggests a lighthearted musical, the film is actually a fairly sober adaptation (with slight comic undertones) of a novel by Mackinlay Kantor. In the days following the Civil War, a Missouri farming community lives in a state of constant tension due to conflicting pro-North and pro-South sentiments. Into this situation ambles ex-Union soldier Henry Carson (Van Johnson), who briefly camps out at the farm of unforgiving Confederate sympathizer Gill MacBean (Thomas Mitchell). Suspecting that Carson is up to no good, MacBean is sure of it when the handsome stranger begins courting MacBean's daughter Lissy Anne (Leigh). Things come to a head dramatically when the heretofore easygoing Carson comes face to face with a band of hooded, night-riding barn burners who've been fomenting discord among the farmers. ~ Hal Erickson, All Movie Guide

Black Eagle was based on The Passing of Black Eagle, a short story by O. Henry. William Bishop stars as Jason Bond, who stays out of trouble by the simple expedient of avoiding other people. Unfortunately, the plot dictates that Bond must come into contact with several characters, all of whom end up fleecing our hero in one way or another. Even so, Jason manages to enjoy a brief romance with pretty Ginny Long (Virginia Patton) before returning to his life of carefree vagabondage. A very minor film, The Black Eagle makes the most of its excellent supporting cast, including Gordon Jones, Trevor Bardette, Will Wright and stuntman extraordinaire Richard Talmadge. ~ Hal Erickson, All Movie Guide

In this off-beat western, a middle-aged rancher endeavors to realize his dreams of starting up a horse ranch in Texas. His much younger wife, is opposed to the idea and begins questioning her love for her husband. The would-be rancher's adopted son doesn't help matters by trying to seduce his father's wife during their mad search for a magnificent pinto stallion. At last the rancher captures the horse, but during the struggle, breaks his leg. Somehow the three and the horse make it back to the ranch. The situation becomes more tense as the man's leg gets worse, the stallion proves to be an outlaw, and there is no food to eat. They go looking for food and eventually find and empty but well-stocked farmhouse. Unfortunately, when they learn that the well was infected with typhoid, they must leave. The horse then escapes and tempers flare, resulting in a fight between father and son. The latter ends up knocking his wounded father into an arroyo and he leaves him to die. Miraculously, he is saved by the outlaw stallion. Later the ungrateful son dies of typhoid (he snuck a drink of well-water) and the wife is left alone in the desert. She wanders about near death when she hears thunderous hooves upon the ground. She thinks she is hallucinating, but her husband rides up astride the stallion and she is saved. ~ Sandra Brennan, All Movie Guide

Randolph Scott is a single-minded gunman bent on tracking down and killing the white man responsible for an Indian raid on a stagecoach. Scott's fiancee was killed in the raid and a large army payroll was stolen. The villain is George Macready, a "solid citizen" with fingers in several dirty pies. The film's highlight is not the final confrontation with Macready but a brutal fistfight between Scott and minor heavy Forrest Tucker. Filmed in Cinecolor (a pleasing if limited two-color process), Coroner Creek was based on a novel by western specialist Luke Short. ~ Hal Erickson, All Movie Guide

Director Douglas Sirk's love of cinematic esoterica was kept in check in the musical comedy Slightly French. Dorothy Lamour stars as Mary O'Leary, a carnival entertainer who's discovered by enterprising director John Gayle (Don Ameche). The plot dictates that Gayle must pass off Mary as an elegant Parisian actress/singer. This slender plotline enables the film to toss off a number of satirical quips about show biz, and to display Lamour in a variety of exotic costumes. The best musical numbers occur during an extended film-within-a-film sequence. Slightly French is buoyed by its expert supporting cast, including Janis Carter, Willard Parker and Adele Jergens. ~ Hal Erickson, All Movie Guide

Philip Yordan's stage hit Anna Lucasta posed two problems to Hollywood in 1949. For one thing, the story concerned a prostitute who is exploited by her greedy family. For another, the characters were black, thereby cutting the box-office potential in half in those racially divisive times. In adapting Anna Lucasta to the screen, Yordan and co-scripter Arthur Laurents "laundered" the property for popular consumption. Anna's sexual hijinks are only hinted at, and in fact an impressionable viewer might even get the idea that she's still a virgin when the film comes to an end. And the racial angle was tackled by transforming the characters into Polish-Americans, which enabled Paulette Goddard to assume the leading role. Otherwise, the film differs but little from the play: Thrown out of her house by her drunken father (Oscar Homolka), Anna is welcomed back into the fold only as bait to trap an unmarried, wealthy farmer. Anna squelches her family's avaricious plans by genuinely falling in love with the poor sucker who's been targeted as her husband. Broderick Crawford fares best as Anna's doltish brother-in-law, a characterization deftly combining boorish selfishness and lovable humor. Anna Lucasta was remade with most of its Broadway bite intact in 1958 -- this time with an all-black cast. ~ Hal Erickson, All Movie Guide

Harriet Craig is the third film version of George Kelly's Pulitzer Prize-winning play Craig's Wife. Joan Crawford stars as the title character, a thoroughly selfish woman who prizes her house and her possessions above all else. Harriet Craig is even willing to spoil the business opportunities of her husband Walter (Wendell Corey) to avoid losing her precious home. When her self-involvement causes turbulence in the romantic life of her cousin (K.T. Stevens), and when her husband's eyes are finally opened to his wife's true nature, Harriet Craig is at long last hoist on her own petard. ~ Hal Erickson, All Movie Guide

Billed "Jack Mahoney" for the occasion, former stunt man Jock Mahoney steps up to the plate as a leading man in this average Western originally released in an inexpensive color process. Mahoney plays Ross Granger, a railroad agent masquerading as a telegrapher and looking into a series of Comanche raids on the railroad construction near Oaktown. But as Ross quickly establishes, the raids are sponsored by local businessmen Del Stewart (William Bishop) and Broden (George Eldredge), who want to force the railroad through land they possess. Stewart, an old friend of Granger's, is in love with Ann Dennison (Peggie Castle), the daughter of the railroad surveyor, but not even he can prevent Broden from having old man Dennison (Walter Sande) killed. Jock Mahoney had recently starred on television's Range Rider series when hired by former Columbia Pictures colleague Fred Sears for this independently produced Western. ~ Hans J. Wollstein, All Movie Guide

In this World War II drama, Richard Widmark plays Lt. Cmdr. John Lawrence, a strict navy commander assigned to replace the popular senior officer of a group of underwater demolition divers -- better known as frogmen. Lawrence tightens the discipline of this brave but fiercely independent group of underwater warriors, winning few friends in the process. The unpopular officer proves his worth in front of his men by neutralizing a live torpedo at the risk of his own life. The principal attraction of The Frogmen is its underwater photography, which would have been twice as effective in black-and-white. An intelligent, low-key wartime adventure, The Frogmen is weakened only by the excessive "Brooklynese" comedy of Harvey Lembeck. ~ Hal Erickson, All Movie Guide