Almira Sessions Movies

This film is based on the novel Ratman's Notebooks, by Stephen Gilbert. Bruce Davison is Willard Stiles, a 27-year-old mama's boy whose repressions are bottled up inside and come to the fore in his nervous nail-biting. As one character describes Willard, "Willard is basically an extrovert, but it's all inside." Willard and his possessive invalid mother, Henrietta (Elsa Lanchester), live in thrall to Al Martin (Ernest Borgnine), the man who took over a foundry business after the death of Willard's father. Willard inwardly seethes but mostly stays in his run-down mansion with his mother, making friends with the rats that infest the place -- he even names them, Ben and Socrates. However, when Henrietta dies, things change. Al, in a rage, kills one of Willard's pet rats. Not only that, but Al also fires Willard from his job at the foundry. Losing his patience, Willard meets with his rat friends to exact his revenge for a lifetime of humiliation and neurosis. ~ Paul Brenner, Rovi

The Boston Strangler adopts the split-screen technique then in vogue (see also The Thomas Crown Affair) to relate the true story of self-confessed mass murderer Albert DeSalvo. Adapted by Edward Anhalt from the book by Gerold Frank, the film covers the years 1962 to 1964, during which time a dozen women were raped and murdered in the Boston area. State-appointed officer John Bottomly (Henry Fonda) arrests as many known sex offenders as he can get his hands on in hopes of finding a clue as to the Boston Strangler's identity. As these things often happen, the police come across the necessary evidence through pure luck. Well-played by Tony Curtis (whose makeup is startling), DeSalvo himself does not appear until an hour into the film. When caught, the schizophrenic DeSalvo insists that he knows nothing of the murders. Under interrogation and hypnosis, his homicidal impulses are exposed. Meticulously cast, The Boston Strangler offers excellent vignettes by Sally Kellerman as the Strangler's only surviving victim and by Hurd Hatfield as an erudite sex pervert. When Boston Strangler was first shown on TV in 1974, a voice-over coda was added, noting that Albert DeSalvo was stabbed to death in prison on November 26, 1973, and that many experts were convinced that he was not the killer but that his confessions were the product of a delusional mind. ~ Hal Erickson, Rovi

As indicated by its title, this episode of The Andy Griffith Show served as the pilot for the spinoff series Mayberry RFD. Ken Berry makes his first appearance as widowed Mayberry farmer Sam Jones (though the episode was shown out of production order, making it Berry's third appearance). When his old friend, Italian laborer Mario (Gabrielle Tinti), shows up in town, Sam generously hires Mario as a handyman-little realizing that the enterprising foreigner has brought his entire family along. Written by Bob Ross, "Mayberry RFD" was originally telecast on April 1, 1968, as the final first-run installment of The Andy Griffith Show. ~ Hal Erickson, Rovi

Jack Lemmon stars as Hogan, who lives a bachelor's dream as the manager of an apartment building that caters only to single women. Hogan likes to romance his tenants, and he sets his sights on a newcomer named Robin (Carol Lynley). Robin and her boyfriend David (Dean Jones) have moved in together, intending to see how compatible they are while maintaining a platonic relationship. This arrangement is the result of a suggestion from Irene (Edie Adams), a marriage counselor who is subletting her apartment to Robin while living with her own boyfriend, Charles (Robert Lansing). Irene thinks that Robin and David need to discover whether they are suitable as marriage partners without letting sex cloud their judgment. Hogan finds out about the arrangement and schemes to get David away so he can seduce Robin. The film is based on a hit stage play by Lawrence Roman. ~ Michael Betzold, Rovi

Stars in the Back Yard is an alternate title for filmmaker Hugo Haas' valedictory feature Paradise Alley. Taking a breather from his usual plot (a dirty old man victimized by a sluttish young wife), Haas casts himself as a washed-up Hollywood director. Hoping to prove that people are basically decent at heart, he pretends to film the comings and goings of the residents of a run-down boarding house. Though he has no film in his camera, his subjects don't know that, and their behavior bears out his thesis. A happy ending is brought about when a major movie studio offers to finance Haas' project-and, incidentally, to give him some film to work with. Among the participants in Haas' faux production are veterans Corinne Griffith, Margaret Hamilton, Billy Gilbert, Chester Conklin and Almira Sessions. Completed in 1958, Paradise Alley didn't attain a release until 1962, when it went directly to television. ~ Hal Erickson, Rovi

Botany teacher Norman Logan (Dick York) is surprised to find that his bank account is short 200 dollars. Reporting this loss as an error, Norman confronts officious clerk Mr. Tritt (Philip Coolidge), who insists that the bank never, but never, makes a mistake. To prove Tritt wrong, and to extract a personal vengeance, Norman decides to get his money back by way of a nocturnal robbery -- with the "dusty drawer" of the title figuring prominently in the outcome of the story. ~ Hal Erickson, Rovi

Loving You was the most autobiographical of all Elvis Presley's movies, and, not coincidentally, features the most naturalistic, easygoing performance of his early career. He plays Deke Rivers, a truck driver with a penchant for singing and a raw animal magnetism where women are concerned. He attracts the business interest of publicity agent Glenda Markle (Lizabeth Scott), who sees a potential gold mine in Deke. She hires him to appear with a band that she handles, fronted by aging country & western singer Tex Warner (Wendell Corey), who used to be romantically involved with Glenda and is now a client. Pretty soon he's pulling in bigger crowds and generating more excitement than Tex did during his best days (which drives the older singer to start drinking again), but also a lot more controversy, too. Deke is so provocatively sexual a presence on-stage that some citizens in the southern and border states where the band is working think that what he does is immoral. Girls can't keep away from him, their boyfriends despise what he symbolizes, and their parents are aghast, even as concert promoter Carl Meade (James Gleason) smells a fortune to be made from this boy. Glenda parlays these disputes and a ban on one of Deke's performances into a national television event. Amid all of this, Deke reveals the private, vulnerable side that no one ever knew -- that he's not even Deke Rivers (it was a name he took off a gravestone), but an orphan named Jimmy Tompkins, and that he's never had a home. He also reveals that he's attracted to Glenda, mistaking (with her encouragement) her interest in his talent with a personal involvement, but he's also drawn the the band's female singer, Susan Jessup (Dolores Hart), who could genuinely love him, and offers him a caring family of her own that would accept him. Deke and Glenda's conflicts are eventually straightened out, and Deke gets to say his piece and sing his music on network television. ~ Bruce Eder, Rovi

The Scarlet Hour was a relatively bold experiment for a mid-1950s Paramount release. The studio expended a great deal of money on the project and enlisted the services of top-flight director Michael Curtiz -- then populated the cast with young unknowns. It also used a series of experimental lenses called Fujinon lenses, which had the distinction of alllowing filming at reduced light levels given their larger than normal apertures. Carol Ohmart and Tom Tryon (yes, the future novelist) star as Paulie and Marsh, respectively the film's villainess and protagonist. Knowing that Marsh is hopelessly in love with her, Paulie uses him as a dupe in an upcoming jewelry heist. Only after a killing has occurred does Marsh come to his senses. Jody Lawrance, whose previous career as a Columbia contract player had led nowhere, is "introduced" as the good girl to whom Marsh eventually retreats. Other comparative newcomers in the cast include Elaine Stritch, James Gregory and Edward Binns. Nat "King" Cole turns up for a nightclub performance of the Ray Evans-Jay Livingston tune
"Never Let Me Go." ~ Hal Erickson, Rovi

One critic has noted that The Prodigal was aptly titled, inasmuch as it was all too prodigal with the funds of the then-flagging MGM studios. In its retelling of the 22-verse Biblical story of the Prodigal Son, the film helpfully fills in the story details inconsiderately left out of the Old Testament. Edmond Purdon plays Micah, the wastrel son of Eli (Walter Hampden) who takes his share of his father's fortune and blows it all in wicked old Damascus. Micah's one redeeming feature is his unserving faithful in the Lord God Jehovah. Pagan princess Samarra (Lana Turner at her most giddily exotic) intends to seduce Micah into renouncing his faith, only to get stoned to death for her troubles. Nearly two hours pass before Micah returns home and the fatted calf is killed in his honor. If for nothing else, The Prodigal would be memorable for Lana Turner's pagan-ritual costume, which is little more than a glorified bikini. ~ Hal Erickson, Rovi

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, Rovi

Disreputable wanderer Wes Anderson (Fred MacMurray) has been thrown in a frontier town calaboose, accused of being a "moonlighter" -- a cowpuncher who herds cattle by day and steals them by night. When Anderson escapes from jail, another man is falsely accused of Wes' crimes and is promptly lynched. Driven by guilt and revenge, Wes is determined to punish those responsible for the hanging, and to pay for a decent funeral for the innocent victim. In doing this, however, Wes turns from moonlighting to bank robbing, and it is up to his erstwhile sweetheart, Rela (Barbara Stanwyck) to bring him to justice. Along the way, Wes' criminal tendencies have tragic consequences for his hero-worshipping brother, Tom (William Ching). Originally released in 3-D, The Moonlighter is currently available only in 2-D, its only novelty value being the re-teaming of Double Indemnity stars Fred MacMurray and Barbara Stanwyck (who would again work together three years later in the low-key domestic drama There's Always Tomorrow). ~ Hal Erickson, Rovi

Sir James Barrie's whimsical play Rosalind was updated and urbanized as the 1953 film Forever Female. Ginger Rogers plays a veteran Broadway star who has optioned a play written by William Holden. Though on the less sunny side of 40, Rogers expects to play the leading role, that of a 19 year old girl. Producer Paul Douglas--who also happens to be Rogers' husband--insists that Holden alter the age of the main character. Meanwhile, iron-willed ingenue Patricia Crowley, who is far more suited to the part than Rogers, begins her own campaign to win the role. Far more enjoyable than the plot mechanics of Forever Female are the sly showbiz inside jokes, courtesy of screenwriters Julius and Philip Epstein. It's also fun to tick off the familiar faces in the supporting cast, including George Reeves as a stuffy suitor, future Mrs. Bing Crosby Katherine Grant as an auditioning actress, and Gunsmoke and Dragnet villain Vic Perrin as an effeminate set designer. ~ Hal Erickson, Rovi

While taking a well-deserved vacation in Canada, reporter Lois Lane (Phyllis Coates) ends up at a seedy motel where the owner's wife (Ann Doran) is behaving in a strangely terrified fashion. It turns out that the motel is the refuge for a pair of gunmen who are awaiting the arrival of a paid killer. Before long, Lois has been kidnapped by the villains--and when cub reporter Jimmy Olsen (Jack Larson) comes to her rescue, he is snatched as well. Looks like this is another job for Superman (George Reeves). Watch for the notorious scene in which supporting actor Frank Richards accidentally knocks Phyllis Coates unconscious for real! ~ Hal Erickson, Rovi