Sarah Selby Movies

Producer Val Lewton once more utilized leftover Magnificent Ambersons sets for his psychological horror piece The Seventh Victim. Kim Hunter arrives in New York's Greenwich Village in search of her errant sister Jean Brooks. Gradually, the naive Hunter is drawn into a strange netherworld of Satan worshippers. The story is a bit too complex for its own good (especially with only a 71-minute running time to play with), but editor-turned-director Mark Robson and screenwriters Dewitt Bodeen and Charles O'Neal keep the thrills and shudders coming at a satisfying pace. Lewton regular Tom Conway offers his usual polished performance, while veteran character actresses Isabel Jewell and Evelyn Brent look appropriately gaunt and possessed in the "cult" sequences. ~ Hal Erickson, All Movie Guide

Officially a sequel to Val Lewton's psychological-horror classic Cat People (1942), Curse of the Cat People is in fact an engrossing and oftimes charming fantasy, told from a child's point of view. Six-year-old Ann Carter plays Amy Reed, the lonely daughter of eternally preoccupied Oliver Reed (Kent Smith). Amy's vivid imagination and inability to get along with her schoolmates leads Oliver to worry that the girl will start exhibiting the psychopathic tendencies of his long-deceased first wife Irena (Simone Simon), the obsessive "Cat Woman" in the earlier film. Oliver's second wife Alice (Jane Randolph) and Amy's sympathetic schoolteacher (Eve March) try to help, but Amy prefers the company of elderly Julia Farren (Julia Dean), a harmlessly crazy ex-actress who lives in a forbidding mansion with her neurotic daughter Barbara (Elizabeth Russell). Insanely jealous of Amy, Barbara ultimately tries to do the girl harm, but she is thwarted in this effort by the ghost of Irena, Amy's self-appointed guardian angel. Advertised as a horror picture, Curse of the Cat People has only one genuine "shock" scene; otherwise, the most frightening moment in the film is Julia Farren's spirited rendition of "The Midnight Ride of Paul Revere." Saddled with a lurid title, producer Lewton and screenwriter DeWitt Bodeen chose to offer a fascinating glimpse into the wonderfully boundless realm of a child's imagination, and in this respect the film is an unqualified success. ~ Hal Erickson, All Movie Guide

Fabric designer Harry Quincey (George Sanders) has the unhappy task of caring for his tiresome unmarried sisters, Lettie (Geraldine Fitzgerald) and Hester (Moyna MacGill). When Harry falls in love with Deborah Brown (Ella Raines), Hester is delighted, but Lettie smolders with jealousy. Upset at Lettie 's opposition, Harry would like nothing better than to do her in. Does he? And what has really happened here? When originally presented on Broadway, Thomas Job's play Uncle Harry utilized a complex flashback technique in unfolding its story, which was capped by a grimly ironic ending. Stephen Longstreet's screenplay not only takes a more linear approach, but also radically alters the ending to conform with the censorship strictures then in effect. The Strange Affair of Uncle Harry was one of several Universal film noirs of the 1940s produced by longtime Alfred Hitchcock associate Joan Harrison. ~ Hal Erickson, All Movie Guide

Running a mere 56 minutes, Little Iodine was the first of five "streamliners" produced by Comet Productions, a company formed by Mary Pickford, her husband Charles "Buddy" Rogers, and former Columbia exec Ralph Cohn. Based on the comic strip by Jimmy Hatlo, the film stars Jo Ann Marlowe as Iodine, the bratty daughter of Henry and Cora Tremble (Hobart Cavanaugh, Irene Ryan). The story gets under way when Iodine mistakenly believes that Mrs. Tremble is romantically involved with French professor Simkins (Leon Belasco). Iodine's misbegotten efforts to break up the nonexistent affair causes friction between her father and his bombastic boss Mr. Bigdome (Emory Parnell), but the little darling comes to the rescue at fadeout time. Thanks to legal entanglements, Little Iodine has never been released to television, but that's no great loss. ~ Hal Erickson, All Movie Guide

The Beautiful Cheat was one of the last B pictures produced by Universal studios before its merger with International Productions. The title character, played by Bonita Granville, is the secretary at a boys' reformatory. Sociology professor Noah Beery Jr. shows up to study the juvenile-delinquent mindset. Not surprisingly, he ends up taking a post-grad course in amour from the winsome Ms. Granville. The supporting cast includes such reliables as Irene Ryan, Milburn Stone, and Tommy Bond (the immortal "Butch" from the Little Rascals flicks). ~ Hal Erickson, All Movie Guide

Stork Bites Man was the last of five short-length features from Comet Productions, a company owned by Mary Pickford, her husband Charles "Buddy" Rogers, and former Columbia executive Ralph Cohn. Jackie Cooper plays Ernie, an apartment-house manager whose wife Peg (Gena Roberts) is several months pregnant. The trouble is, Ernie's boss Kimberly (Emory Parnell) can't stand babies, meaning that our hero will be evicted at the moment of the kid's entry into the world. But things are set right through the intervention of an invisible stork (shades of Harvey), who offers Ernie counsel and advice. Only fitfully funny, Stork Bites Man is brightened by the presence of veteran burlesque comedian Gus Schilling, making a meal of his role as a nursery-supply peddler (a picture of Schilling from this film is prominently featured in The Versatiles, a 1970 book on Hollywood character actors). ~ Hal Erickson, All Movie Guide

"What a dump!" That's the classic line delivered by Bette Davis at the halfway point of Beyond the Forest, her final Warner Bros. effort of the 1940s. Some Davis devotees feel as though this vituperative utterance is the high point of an otherwise turgid melodrama; others consider the line a succinct assessment of the entire film. Based on a best-selling novel by Stuart Engstrand, the film stars Davis as Rosa Moline, a small-town girl with big-city ambitions. Trapped in a dull marriage to just-getting-by lawyer Lewis Moline (Joseph Cotten), Rosa plots and plans to sexually entrap millionaire industrialist Neil Latimer (David Brian). That Rosa's scheme is doomed from the start is telegraphed at every juncture by Max Steiner's sledgehammer musical score (few will ever want to hear the song "Chicago" again after this). Hampered by the censorship standards of the era, the film is prevented from being as frank as the novel; in one scene, for example, Rosa is obviously visiting an abortionist, but the sign on the door reads "Psychiatrist." A standard entry in most film historians' "Worst Movies" lists (even Davis herself hated it), Beyond the Forest is rather entertaining in its own schlocky fashion. ~ Hal Erickson, All Movie Guide

Farley Granger plays a casually larcenous New York City mailman who steals a shipment of money. Granger's excitement over this windfall turns to terror when he discovers that the money was part of a transaction between gangsters. Harassed by both crooks and cops, Granger lives to regret his impulsive theft--especially when it is tied in with a murder. The story is wrapped up in spectacular fashion with a climactic car chase. Farley Granger's costar in Side Street is Cathy O'Donnell; both were on loan to MGM from Samuel Goldwyn, and both were banking on their previous successful teaming in RKO's They Live By Night. ~ Hal Erickson, All Movie Guide

Though its title would seem to indicate a medieval swashbuckler, The Iron Mistress is actually based on the life of American frontiersman Jim Bowie. Alan Ladd stars as the fearless, knife-wielding Bowie, who is first seen arriving in New Orleans to sell a supply of lumber. Bowie falls in love with duplicitous Creole lass Judalon de Bornay (a brunette Virginia Mayo), who inspires him to increase his riches and political power. When Bowie doesn't move up the ladder of success fast enough to suit her, the fickle Judalon weds another. Bowie eventually finds happiness in the arms of Ursula de Veremendi (Phyllis Kirk), the daughter of Texas' vice-governor. The film tactfully ends long before Bowie's rendezvous with destiny at the Alamo. The Iron Mistress is based on the novel by Paul I. Wellman; the highlight of the novel, a fierce knife-and-rapier duel, is faithfully recreated here. ~ Hal Erickson, All Movie Guide

Friday (Jack Webb) and Smith (Ben Alexander) investigate the reported suicide of wealthy retiree Chester Dillon. Everyone who knew the man--including neighbor Lucille Banner (Susan Selby), who found the body--agrees that Dillon had been despondent over the death of his wife. However, this doesn't explain why, just before his death, Dillon had made a huge bank withdrawal. . .nor why his charge account shows several recent purchases, all signed for by his "deceased" wife. This episode is based on the Dragnet radio broadcast of November 14, 1951 ~ Hal Erickson, All Movie Guide

In 1945, James Cagney, through his independent production company, bought the rights to a lurid novel by Adria Locke Langley, concerning the rise of a Southern demagogue, loosely based on the political career of Huey Long. By the time the film finally went into production and was released in 1953, the film became an also-ran, trailing behind Robert Rossen's Oscar-winning production All the King's Men, which concerned the same subject. The film, directed by Raoul Walsh, never escapes from the towering shadows of the Rossen film, so it becomes, in the end, a matter of preference for the lead character -- whether one prefers the looming intimidation of Broderick Crawford or the brisk pugnacity of James Cagney. Cagney plays swamp peddler Hank Martin, who tries to ride into the governor's mansion in a backroad Southern state by making a crusade out of the plight of the poor and impoverished majority of the state. He begins his political assent by leading a sharecropper's revolt against the rip-offs the sharecroppers are receiving at the local cotton mill. But things become more intense and Hank Martin sows the seeds of his own destruction when he makes a deal with a local, crooked political boss in order to get ahead in his political career. ~ Paul Brenner, All Movie Guide

The System was one of several "exposé" films inspired by the Kefauver crime committee. The title refers to the manner in which a major gambling syndicate can so insinuate itself in "respectable" business circles that it becomes virtually impossible for justice to prevail. Big-city syndicate head John Merrick (Frank Lovejoy) is targeted for investigation by a crusading newspaper. The publisher (Fay Roope) uses this opportunity as a means to squelch his daughter's (Joan Weldon) romance with the unscrupulous Merrick. Called to testify before a crime commission, Merrick at first invokes the Fifth Amendment. But a series of crushing personal blows, coupled with the realization that his fellow hoods have left him to twist slowly in the wind, leads to an abrupt change of heart on the witness stand. The System boasts one of the most impressive supporting casts in any 1953 film, including virtually every actor who's ever played a thug or lowlife: Dan Seymour, Frank Richards, Vic Perrin, Henry Corden, Bruno VeSota, etc. etc. etc. ~ Hal Erickson, All Movie Guide