David Sharpe Movies

The fourth Planet of the Apes film is set in 1991, 20 years since the assassination of talking, time-traveling apes Cornelius and Zira at the end of Escape From the Planet of the Apes. The couple's infant son, Caesar (Roddy McDowall), has grown to adulthood in the care of kindly circus owner Armando (Ricardo Montalban). Meanwhile, a plague has wiped all dogs and cats from the face of the Earth; speechless primitive apes have therefore been domesticated and turned into first pets, then servants of humankind. Caesar becomes outraged at the treatment of these simian slaves and accidentally reveals his powers of speech in front of the militaristic authorities, who kill Armando when he tries to protect his friend's identity. His cover blown, Caesar kick-starts a revolution that pits chimps against humans, paving the way for eventual ape ascendency. Caesar was the second of McDowall's three Planet of the Apes characters; he also portrayed Cornelius in the first and third films and Galen in the short-lived 1974 television series. After taking over the franchise with this picture, Hollywood veteran J. Lee Thompson would become the only director to helm two Planet of the Apes films when he returned for the fifth and final installment. ~ Brian J. Dillard, Rovi

The Poseidon, an ocean liner larger than the Queens Elizabeth and Mary combined, is charting its course on New Year's Eve. Just after midnight, Captain Harrison (Leslie Nielsen) spots the mother of all tidal waves. It is the last thing that Harrison and practically everyone else onboard sees before drowning -- the Poseidon is turned upside down, with only a handful of survivors. The ten lucky ones -- including Mike Rogo (Ernest Borgnine), Linda Rogo (Stella Stevens), Acres (Roddy McDowall), Belle Rosen (Shelley Winters), and Manny Rosen (Jack Albertson) -- led by no-nonsense minister Frank Scott (Gene Hackman), desperately attempt to climb from the top of the ship (now submerged) to the bottom (now "the top"). The film's theme song, "The Morning After," sung by Maureen McGovern, earned an Oscar. In addition, The Poseidon Adventure received the Special Achievement Award for Special Effects; L.B. Abbott and A.D. Flowers were the recipients. A sequel, Beyond the Poseidon Adventure, came out in 1979. ~ Hal Erickson, Rovi

As a result of a wager, Hoss and Joe Cartwright decide to enter politics, each supporting an opposing mayor candidate for the upcoming Virginia City election. Comic chaos ensues when both brothers become campaign managers for their respective candidates, and are thus forced to suck up to the man holding the deciding vote: Their own father Ben! Tom Bosley and Wally Cox guest-star as competing candidates Titus Simpson and Phineas Burke. Written by Robert Vincent Wright, "The Last Vote" first aired on October 20, 1968. ~ Hal Erickson, Rovi

Since it was released in the same year as his masterpiece, To Kill a Mockingbird (1962), it is ironic that this drama was probably the least liked of director Robert Mulligan's films. A stiff adaptation of a novel by Dutch author Jan DeHartog, the film stars Rock Hudson as Dr. Anton Drager, an opportunistic atheist who travels with his wife Els (Gena Rowlands) to the jungles of Java in 1936. Drager is to become the new right-hand man of famed Dr. Brits Jansen (Burl Ives), a legendary humanist who works with lepers and is rumored to have done groundbreaking work that Drager believes could make him famous and wealthy. Trouble with a native witch doctor practicing black magic leads to a crisis of conscience for Drager, however, forcing him to reevaluate his self-centered philosophy. A former divinity student at New York's Fordham University, Mulligan may have been intrigued by the material's spiritual bent, but his direction is uninspired, and The Spiral Road (1962) was not considered a success. ~ Karl Williams, Rovi

H.G. Wells's War of the Worlds had been on the Paramount Pictures docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles's infamous 1938 radio adaptation, the film eschews Wells's original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrate their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, Rovi

Forbidden bears traces of several earlier film noirs, with Tony Curtis filling the shoes vacated by the likes of Alan Ladd, Dick Powell and Robert Mitchum. Curtis acquits himself very nicely as a small-time hood sent to Macao by gangster Lyle Bettger to locate Joanne Dru, the widow of another gangster. It will not spoil the film to reveal here that Curtis and Dru fall in love as he escorts her back. Nor is there any surprise in the revelation that hero and heroine decide to dodge Bettger once they learn that they've both been set up for extermination. Forbidden was directed by Rudolph Mate, a former cinematographer who could probably find long, looming shadows in the Sahara Desert at high noon. ~ Hal Erickson, Rovi

Tomahawk takes place during the Great Sioux Uprising of the 1860s. Van Heflin stars as famed frontier scout Jim Bridger, who labors valiantly and vainly to orchestrate peace between Indians and whites. Much of the action takes place at Fort Phil Kearney, the scene of one of the bloodiest battles in western history. Though the film isn't what one might call a pro-Native American tract, the script is careful to note that the Sioux were galvanized into action by the broken treaties and sadistic excesses of certain Indian-hating white men. The feminine angle in these otherwise all-male proceedings is provided by Yvonne de Carlo as a travelling showgirl and Susan Cabot as an ill-fated Sioux maiden. Though economically produced, Tomahawk has all the polish and professionalism of an "A" production. ~ Hal Erickson, Rovi

In their last feature film, the Cisco Kid (Duncan renaldo) and Pancho (Leo Carrillo) come up against a vicious gang who is robbing stagecoaches in their likenesses. But when the latest holdup injures driver Jerry Todd (Bill Lester), the real Cisco and Pancho make sure that the youngster gets medical treatment, much to the surprise and gratitude of his intended, Nora Malloy (Jane Adams), who agrees to help set a trap for the real culprits. Filmed at Pioneertown, a popular movie location just east of Los Angeles, The Girl From San Lorenzo was the last of producer Philip N. Krasne's Cisco Kid feature films for United Artists. It was followed by the 1950-1956 television series, again produced by Krasne and starring Renaldo and Carrillo. ~ Hans J. Wollstein, Rovi

The "Blondie" series reaches Number 25 with Blondie Hits the Jackpot. Fired for messing up an important contract, Dagwood (Arthur Lake) takes a job as a manual laborer for a construction firm. He is rescued from penury when Blondie (Penny Singleton) wins a radio contest. Of slender interest is the fact that Larry Simms, playing Blondie and Dagwood's son Alexander, is now shaving and going out with girls--a far cry from his "Baby Dumpling" days in the series' earliest entries. Otherwise, Blondie Hits the Jackpot fails to live up to its title. ~ Hal Erickson, Rovi

Hot on the heels of Columbia's The Fuller Brush Man, MGM released another Red Skelton gagfest, A Southern Yankee. Set during the Civil War, the film casts Skelton as bumbling bellboy Aubrey Filmore. Yearning to help the Northern cause by becoming an undercover spy, Aubrey succeeds beyond his wildest dreams when circumstances force him to pose as notorious Southern secret agent Major Drumman (George Coulouris), aka "The Grey Spider". Infiltrating rebel territory, our hero does his best (which is none too good) to intercept the Grey Spider's messages and smuggle them to the North. Along the way, he falls in love with pert Southern belle Sallyann Weatherby (Arlene Dahl). Many of the side-splitting gag routines were devised by Buster Keaton, notably the now-famous scene in which Aubrey gingerly walks across the battlefield between Northern and Southern lines carrying a two-sided flag -- the Northern Stars and Stripes on one side, the Southern Stars and Bars on the other -- a strategy that works until the wind suddenly changes! Though Edward Sedgwick is credited with the direction, Red Skelton later revealed that A Southern Yankee was actually directed by S. Sylvan Simon. ~ Hal Erickson, Rovi

The Abbott & Costello western spoof The Wistful Widow of Wagon Gap is predicated on an actual Montana law of the 19th century, which dictated that if a man killed another in a gun duel, that man was responsible for the care and support of the victim's family. The film gets under way with an introductory title: "MONTANA: Where Men Are Men? With Two Exceptions." Those exceptions are travelling salesmen Duke (Bud Abbott) and Chester (Lou Costello), freshly arrived in the wide-open western town of Wagon Gap. No sooner has Chester reached Main Street than he is falsely arrested for the murder of Hawkins, the town layabout. He and Duke are spared the hangman's noose when the genially corrupt Judge Benbow (George Cleveland) reminds the jury that Chester is now responsible for Hawkins' debts and family. In short order, Chester is moved bag and baggage into the ramshackle home of the rowdy Widow Hawkins (Marjorie Main) and her brood of seven noisy children. Forced to do all the chores around the Widow's home, poor Chester must also put in overtime at Jake Frame's (Gordon Jones) saloon to pay off Hawkins' debts. While the crafty Duke tries to figure out various methods of extricating Chester from his dilemma, the Widow uses all of her wiles to get Chester to propose marriage to her. The plot goes off on a new tangent when it is discovered that none of the town desperadoes are willing to shoot down Chester, lest they inherit the Widow and her brats. Emboldened by his "untouchable" status, Chester swaggers around town striking fear in the hearts of the local menfolk, bosses Duke around for a change, and is even appointed sheriff! Alas, his invulnerability comes to an abrupt end when it turns out that the Hawkins spread is the most valuable property in town, thereby making Widow Hawkins the territory's most eligible bachelorette. The story comes to an uproarious conclusion when Chester and Jake Frame confront each other in a "high noon" gun duel. Incredibly, screenwriters D.D. Beauchamp and William Bowers originally intended The Wistful Widow of Wagon Gap as a vehicle for James Stewart! ~ Hal Erickson, Rovi

Inexpensive Cinecolor adds little to this standard Eddie Dean music western from bottom-of-the-barrel company PRC. Dean, as always, plays himself, a rancher taking up the fight against power hungry saloon operator Duke Dillon (Dennis Moore) and his secret boss and foster-father Dad Dillon (Warner P. Richmond). The situation gets complicated with the arrival of Roy Hilton (Forrest Taylor), a circuit judge assigned to look into the lawlessness of Rawhide City, and Nevada (David Sharpe), a young drifter who at first appears to be taken in by the gang but who in reality as a secret agent working for the judge. The latter, as it turns out, is Duke Dillon's real father and a final confrontation between the forces of good and evil leaves bodies littering the streets of Rawhide. When not engaged in fisticuffs, Eddie Dean performs his own "Western Lullaby", "Ridin' Down to Rawhide" and Ridin' to the Top of the Mountain", as well as the traditional "Home on the Range". Colorado Serenade's working title was Gentlemen with Guns, a cognomen resurrected later that year for a Larry "Buster" Crabbe western. ~ Hans J. Wollstein, Rovi

When a scientist discovers a way to create synthetic diamonds, a group of criminals kidnap his daughter Meredith (Louisa Braganza) in an attempt to ransom her for the valuable formula. Rescuing Meredith from her kidnappers, the Falcon (Tom Conway) becomes the prime suspect in a string of murders--including that of the scientist. It is then up to the Falcon to prove his innocence by discovering the identity of the true criminals. This film is the last of the Falcon series to star Conway. ~ Iotis Erlewine, Rovi