Robert Shayne Movies

Nightclub singer Ilona Vance (Vera Ralston) is Accused of Murder in this Republic programmer. And from the looks of things, Ilona is guilty; she was, after all, the last person to see crooked lawyer Hobart (Sidney Blackmer) alive. But Lt. Roy Hargis (David Brian) is convinced that Ilona is innocent, and he intends to prove it. Except for the mildly surprising denoument, there is little in Accused of Murder that is not thoroughly predictable. Star Vera Ralston, the wife of Republic chieftan Herbert J. Yates, is her usual expressionless self. ~ Hal Erickson, All Movie Guide

Dance With Me, Henry was the screen swan song for the comedy team of Bud Abbott and Lou Costello. Most of the action takes place in Kiddieland, an amusement park owned by soft-hearted Lou Henry (Costello). An inveterate collector of strays, Lou has adopted orphaned kids Shelley (Gigi Perreau) and Duffer (Rusty Hamer), and has also provided a safe harbor for chronic gambler Bud Flick (Abbott). Bud's enormous gambling debts bring Lou under the scrutiny of gangster Big Frank (Ted De Corsia), who in turn is being monitored by DA Proctor (Robert Shayne). When Proctor is murdered, Lou finds himself the number one suspect. The film concludes with a riotous chase through the carnival grounds, with Bud and Lou just a few steps ahead of the bad guys. Both Abbott and Costello seem tired and worn out in Dance With Me, Henry, but a few bright moments manage to seep through the malaise of moldy old jokes and half-hearted sight gags. ~ Hal Erickson, All Movie Guide

The Feds investigate a counterfeit ring operating out of a traveling circus in this 12-part Republic crime serial. ~ Jonathan Crow, All Movie Guide

A feature version of a twelve chapter Republic Pictures, this drama starred Harry Lauter as Tom Rogers, an enterprising South Seas island trader who gets involved with Nazi thugs, a native revolution and smugglers, ably assisted by a lovely emissary from the United Nations, Aline Towne. One of the studio's final chapterplays, the original Trader Tom of the China Seas had adhered to the venerable serial tradition of promoting a supporting actor to hero status. A somewhat nondescript presence, Harry Lauter also starred in the studio's final serial King of the Carnival. ~ Hans J. Wollstein, All Movie Guide

For its third season on the air, the popular action series The Adventures of Superman switched over from black and white to color photography, a move designed to boost the series' profitability once color television became the rule rather than the exception. The switch to color put a strain on the show's already attenuated budget, which is one of the reasons that only 13 episodes were filmed this season, rather than the usual 26. By now, producer Whitney Ellsworth had abandoned all pretense of aiming the series at an adult audience, and was gearing the scripts almost exclusively towards the kiddie trade. To their credit, stars George Reeves (Superman/Clark Kent), Noel Neill (Lois Lane), Jack Larson (Jimmy Olsen), John Hamilton (Perry White) and Robert Shayne (Inspector Henderson) did not "play down" to their audience, though their tongues were firmly in their cheeks when delivering the more puerile dialogue passages (witness Clark Kent's playful interpretation of the phrase "a hot deck" in the episode "Bully of Dry Gulch"). Otherwise, the series' youthful following was acknowledged by an overemphasis on purely comic episodes, the best of which is "Flight to the North", featuring all-purpose Superman supporting player Ben Welden and a young Chuck Connors. There is also a tendency to lay the series' "fantasy" angle on a bit too thick, as in the season opener "Through the Time Barrier", in which a wispy inventor (Sterling Holloway creates a time machine which thrusts the entire cast back to the Stone Age. And on occasion, the writers succumbed to the temptation to be satirically self-referential-- never more so than in "Great Caesar's Ghost", the title of which invokes the oft-shouted catchphrase of the dyspeptic Perry White. ~ Hal Erickson, All Movie Guide

Evil traders and superstitious natives in India complicate the research efforts of an American doctor. ~ All Movie Guide

Allan "Rocky" Lane's Republic western series was rapidly drawing to a close when Marshall of Cedar Rock was released in early 1953. Lane plays a U.S. marshal who seems to be derelict in his duty when he allows convicted outlaw Bill Anderson (Bill Henry) to escape. In fact, marshal Lane hopes that Anderson will lead him to bigger fish: specifically, frontier crime boss Henry Mason (Roy Barcroft). "Rocky" also believes that Anderson is an innocent victim of circumstance, and it turns out that he's right. Phyllis Coates, best known to TV buffs as the first Lois Lane on the Superman series, turns in a good performance as Anderson's troubled fiancee. ~ Hal Erickson, All Movie Guide

Originating during the science-fiction/Red-Scare boom of the '50s, Invaders From Mars is an entertaining little picture that holds up reasonably well. David MacLean (Jimmy Hunt) is a 12-year-old astronomy buff who is stunned to see a flying saucer landing in the sand pit beyond his backyard. His father, George (Leif Erickson), ventures out to look the next morning and mysteriously disappears. David's mother, Mary (Hillary Brooke), worriedly calls police, but they are quickly swallowed up by the sand in the backyard. Later, George and the two cops return, but their personalities are markedly different having been taken over by the Martians. As David tries to find help, everyone around him comes under the frightening zombie-like spell. He finally encounters two believers in Dr. Blake (Helena Carter) and Dr. Kelston (Arthur Franz). Discovering David's shocking story to be true, the doctors call in the military setting up a confrontation that escalates when David and Dr. Blake are taken captive within the Martian craft. The soldiers race to save the pair from the green menace leading to an explosive finale that involves bullets, grenades, TNT, and a spectacular alien ray gun that can melt stone. ~ Patrick Legare, All Movie Guide

Filmed nearly two years after production shut down on The Adventures of Superman's first season, the series' second season of 26 episodes was completed in mid-1953, and aired in most TV markets in the fall of that year. Because the series' owner, National Periodicals, was not pleased with the high violence quotient in Season One, producer Robert Maxwell was replaced by Whitney Ellsworth, who considerably toned down the mayhem. Also, whereas the villains in the Maxwell-produced episodes ranged from vicious to downright insane, the bad guys in the Ellsworth-produced installments tend to be Runyonesque buffoons--especially those played by the ubiquitious Ben Welden and Herb Vigran. As a result, the series lost a lot of its adult appeal during its second season, though it picked up a much larger audience of children and teenagers. While many Superman fans bemoaned this perceived "dumbing down" of the concept, the fact is that The Adventures of Superman would grow more and more popular the younger its target audience became. Beyond these cosmetic changes, Season Two also marks a significant cast change. While George Reeves was still in harness in the dual role of Superman and Clark Kent, as were John Hamilton as Perry White, Jack Larson as Jimmy Olsen and Robert Shayne as Inspector Henderson, Phyllis Coates had vacated the role of intrepid girl reporter Lois Lane to pursue other film and TV work. Her replacement is Noel Neill, who'd previously played Lois in a brace of 1ate-1940s Superman theatrical serials starring Kirk Alyn in the title. Compared with Coates' brittle, aggressive portrayal of Lois, Neill came off as more fragile and vulnerable. Though there are some who prefer Phyllis Coates' more self-reliant interpretation of Lois, Noel Neill is the actress who first comes to mind when the character's name is mentioned today; she would remain with the series until its final episode in 1957. Moving production from RKO Pathe to an independent rental outfit called California Studios, The Adventures of Superman was obliged to tighten its budget throughout its second season, meaning fewer location shoots and more interior scenes, recycling furniture, sets and props as often as possible. Credit must go to special-effects wizard Thol "Si" Simonson for doing so much with so little, especially in those scenes wherein Superman was obliged to show off his "powers and abilities beyond those of mortal men." Arguably the season's best episode is "The Face and the Voice", in which George Reeves is seen in three separate characterizations: Clark Kent, Superman, and a doltish Superman lookalike named Boulder. Not actually a part of Season Two, though utilizing the same cast and personnel, is Stamp Day for Superman, a 12-minute public service short subject filmed on behalf of the United States Treasury Department. ~ Hal Erickson, All Movie Guide

The first of several TV series based on the comic-book character "Superman" created by Joe Siegel and Jerome Schuster in 1938, The Adventures of Superman was one of the most popular adventure series of the 1950s, and one of a handful of syndicated programs from that era still in active distribution. Production began in 1951 with a 58-minute pilot film, released theatrically as Superman and the Mole Men. George Reeves, who had launched his movie career as one of the Tarleton twins in the 1939 blockbuster Gone With the Wind, starred as Superman, "strange visitor from another planet with powers and abilities far beyond mortal men." In other words, Superman could fly through the air, could bend metal and other ductile objects in his bare hands, was impervious to bullets and knives, and possessed X-ray vision (he was vulnerable only to Kryptonite, the radioactive element from his home planet Krypton). When not busy fighting crime and rescuing the helpless victims of dastardly villains, Superman assumed the guise of Clark Kent, mild-mannered, bespectacled reporter for "The Daily Planet," the leading newspaper in the city of Metropolis. Also appearing in Superman vs. the Mole Men was Phyllis Coates as Clark's fellow reporter Lois Lane, who despite her otherwise keen powers of observation never figured out that Superman and Clark Kent were one and the same (nor for that matter did anyone else). Like the pilot film, which was subsequently re-edited into two half hour episodes to be compatible with the series proper, the 24 first-season Adventures of Superman installments were filmed in black and white; they were also faster paced and more adult-oriented and violent than the series' subsequent seasons. Added to the cast were John Hamilton as Perry White, irascible editor of "The Daily Planet"; Jack Larson as cub reporter Jimmy Olsen, a character originally created for the radio version of Superman in the 1940s; and Robert Shayne as police inspector Bill Henderson, the only character that had not previously appeared in any other Superman incarnation. From the outset, The Adventures of Superman cut down production costs by adopting an assembly-line filming method, shooting scenes from several different episodes on the same day, recycling sets (Clark Kent's office was the same as Lois Lane's, albeit with rearranged furniture), utilizing the same costumes in every show, and hiring many of the same supporting actors as often as possible, among them Herb Vigran, Billy Nelson, Tris Coffin and especially Ben Welden. For the series' second season of 26 episodes, Noel Neill took over from Phyllis Coates as Lois Lane, and Whitney Ellsworth inherited the producer's reins from Robert Maxwell. Unlike his predecessor, who preferred serial-like "blood and thunder" melodrama with genuinely frightening bad guys, Ellsworth tended to avoid overt violence, and preferred his villains less menacing and more buffoonish. As a result, the series now appealed more to younger viewers than to adults. By the time the third season went into production in 1954, The Adventures of Superman was for all intents and purposes a kiddie show, with broad, tongue-in-cheek performances and an emphasis on gimmickry, gadgetry and juvenile science fiction. Also beginning with its third season, the series was filmed in color, which would boost its appeal and salability in the decades to come. Although the budget became increasingly tighter in the ensuing years, the series' special effects were generally quite impressive for their time, thanks largely to the canny (and frugal) expertise of technical wizard Thol "Si" Simonson. After 104 episodes, The Adventures of Superman shut down production in 1957. There was talk a few years later that the series would begin turning out new episodes, but this became a moot point when, on June 16, 1959, star George Reeves was found shot to death in his home. For many years, the conventional wisdom was that Reeves committed suicide, despondent over being so typecast as Superman that he could not find any other work. More recently, however, it has been revealed that the actor had just signed a lucrative contract to direct several films; also, new evidence has opened up the possibility that Reeves was murdered, possibly as the result of a love triangle involving a powerful and influential Hollywood executive. Making its national TV debut in the fall of 1952, The Adventures of Superman was seen exclusively in off-network syndication and later on cable TV -- except during the 1957-58 season, when 52 episodes were run as part of ABC's weekday-afternoon lineup. The program was sponsored by Kellogg's cereals during its original run (1952-59), and footage still exists of the cast members promoting various Kellogg's products in commercials. ~ Hal Erickson, All Movie Guide

Adventures of Superman, also sometimes known simply as Superman, went into production in 1951, following the shooting and theatrical release of the feature film Superman And The Mole Men. The latter, produced by Robert Maxwell and directed by Lee Sholem, starred George Reeves in the dual role of Superman and Clark Kent, and Phyllis Coates as Lois Lane. Superman had already come to the big screen on three occasions in the 1940's, in a series of much-admired cartoons produced by the Fleischer Studios in the early part of the decade and two serials from Columbia Pictures starring Kirk Alyn as the Man of Steel and Clark Kent during the second half of the decade. In the wake of the second, Superman Vs. Atom Man (1950), the decision was made to do a television series, with a feature film as the "pilot"; unlike the serials, however, which were relatively low-budget productions, the series would break new ground in terms of quality and special effects, mostly because -- in contrast to the serials, in which Superman turned into a cartoon in those scenes in which he flew -- this version of Superman would actually show him flying. That meant that the show would be shot on film, which was then a new concept in television production -- up to that time, virtually all dramatic programming (and almost all programming, for that matter) was done live, and all science fiction-oriented programming and kids programs up to that time had been done live, in front of the camera, as it went out over the air; coupled with the low budgets involved overall, a lot of it looked cheap and it was impossible to do the kinds of special effects to which film audiences had become accustomed, or to properly preserve the material. Shooting on film was much more expensive, but it would allow for a sharper image, proper editing and the insertion of special effects, better sound and superior sound effects, and for the preservation of that program over time. Although it's lost on viewers in the twenty-first century, these were bold decisions for a series in 1951, especially one aimed at kids. Indeed, in those days, no one knew whether there would ever be a marketplace or a value in subsequent plays (what we now call reruns) of this (or any) kind of programming. The first thing that the producers -- radio veteran Robert Maxwell and serial hand Bernard Luber -- had to do was find a new Superman. They were originally intending to use Alyn again, but the actor wanted too much money for the feature film, and his reticence to do the role proved fortuitous -- it gave the producers a chance to recast the role in a tougher manner, which they did in the guise of a 36-year-old film actor named George Reeves. Born in 1914 in Woolstock, Iowa, he had been in Gone With The Wind in a small but prominent role, and also in such high-profile films as Lydia and So Proudly We Hail, the latter in a starring role, but his career had faltered since the end of World War II. In contrast to Alyn, who brought a dancer's agility to the part of Superman, Reeves was a former aspiring boxer, a well-built, powerful looking man, and also an intense actor. In addition to making a more powerful looking version of Superman, he would make a much more substantial Clark Kent, all of which would make the television show more complex than the serials had been. The next cast member in place was Texas-born Phyllis Coates, 11 years younger than Reeves who, in addition to being very pretty, projected a toughness in the role of Lois Lane, and also had one of the great moviescreams of her era -- one never forgot those moments in which Coates' Lois Lane had to let out a shriek for the cameras, as exhibited in the pilot, Superman And The Mole Men. The latter, running just over an hour, was produced and released through Lippert Pictures in early 1951 and was a success, showing what Reeves and Coates could do in the roles in an unusual science fiction-oriented story that also had sinister topical and political overtones, regarding prejudice and mob violence, that made it unusual for a movie aimed at younger viewers. The series itself, with a younger actor named Jack Larson as Jimmy Olsen and veteran Hollywood character actor John Hamilton as Daily Planet editor-in-chief Perry White, plus Hollywood and theater actor Robert Shayne in the new, recurring (and later regular) role or Inspector William J. Henderson of the Metropolis police, went into production in mid-1951, with Adventures Of Superman intended to be offered into syndication in 1952. As it turned out, in most parts of the United States, the series didn't get on the air until 1953, by which time Kellogg's had been lined up as a sponsor. Most elements of the series followed the pattern set up in the comic book. The planet Krypton is destroyed, its race of hyper-advanced, super-powered beings is destroyed with it but not before one scientist, Jorel, and his wife Lara send their newborn child Kalel into space in a rocket of his design; it lands of Earth and the infant is found by a couple, the Kents, who raise him as their own on their farm; he grows up as Clark Kent, and discovers that he possesses extraordinary abilities, including super-strength, the ability to see through objects, and the power of flight. He grows to manhood and assumes the role of Superman to defend the world against evil, ranging from criminal elements to threats from outside of the planet, while in his guise as Clark Kent, becomes a reporter for the Metropolis Daily Planet -- his best friend, as Superman or Kent, is Jimmy Olsen, a cub-reporter, while his rival and colleague is reporter Lois Lane; all three of them work for Perry White, the blustery editor-in-chief of the Planet. And Kent's (and Superman's) work frequently brings him into contact with Inspector Henderson of the police department. Through all of this, he maintains his secret dual identity, despite the fact that Kent's only real "disguise" differing him from Superman, other than a seemingly mild-mannered demeanor, is a pair of glasses, the first thing to come off when he switches identities. The first season of Adventures of Superman turned out to be a lot more than a kid's show. In fact, unlike Captain Video or such subsequent science fiction series as Rocky Jones, Space Ranger, it was categorized as a general action-adventure show and scheduled for the early evening, intended as much for parents to watch as for kids, and most of its content and focus came from the radio version of Superman, which Maxwell produced and had been airing for several years; it was actually closer in spirit to detective series of the period than to the Superman comic books or to most children-oriented programs of the era. The filmed shows looked sensational on television, with crisp photography and sound, and the special effects -- mostly the work of Thol Simonson -- did, indeed, show Superman flying with incredible realism that made the preceding serials look pathetic, by comparison. The acting was also exceptionally good, with an array of solid, working character actors supporting the main cast, including many screen veterans and experienced stage performers, including Dick Elliott, Myra McKinney, Dan Seymour, Veda Ann Borg, Jonathan Hale, Rhys Williams, and Peter Brocco. They also began developing a stock company of sorts, including Ben Welden and other character actors in supporting roles, although this wouldn't become standard practice until the second season. The two directors who handled the first season shows, Tommy Carr and Lee Sholem, were also top-notch action filmmakers from motion pictures, who were excellent at establishing pace and dramatic rhythm. From the show depicting the origins of the Man of Steel, "Superman On Earth", everything seemed perfect, and perfectly compelling, retelling the story of the planet Krypton and its destruction, the sole survivor, a baby in a Kryptonian rocket, arriving on Earth, his childhood in small-town America of the 1920's and 1930's, and his subsequent discovery of his super-powers and the responsibility that went with them. The television show's version became the most widely known retelling of the story for many, many years to come, rivalling the ubiquitousness of the account repeated in Superboy comics, and Superman and Action Comics, and George Reeves' portrayal defined the character for several generations of television viewers, thanks to the original decision to shoot it all on film -- its crisp, sometimes glittering images made reruns of the series viable for a half-century and counting, long after live, kinescope-preserved shows like Captain Video were consigned to history. The only problem -- and there was a serious one -- lay with the violence. Producer Robert Maxwell, who was primarily responsible for the tone of the series, had patterned the show after the radio series, even adapting many scripts from the latter, and many of those scripts, as well as the whole tone of the series, came out of 1940's radio crime shows. That was fine for adults, and overlapped nicely in look and feel with the booming field of film noir in movies, but for a program whose sponsor aimed at entertaining children, it created shudders -- there were bodies everywhere in that first season, not just of people but of dead dogs in one episode, and people getting knifed, hit over the head with shovels and other implements, and generally pummeled and serious hurt -- Coates herself had been accidentally knocked cold in shooting one scene in an episode, "Night Of Terror"; and there were stories involving lunatics imprisoning people, apparently suicides, and torture being depicted on screen, and even an old lady in a wheelchair being pushed down a flight of stairs, and (in a scene that is still painful to watch in the twenty-first century) a crippled young girl's leg brace being forcibly and painfully removed by a villain; Superman even manages to kill two people, albeit not intentionally, who discover his secret identity in one episode. A handful of episodes were even recut at the insistence of the sponsor in order to make them less violent. Kellogg's loved the ratings but hated these moments in the series, and found far too many of them, and decided that a change had to be made in subsequent shows, in both the content and the producer behind it. This made the first season of the series unique, as a show with a level of violence that would be unthinkable in any program of that era, or of any subsequent time. It gave the resulting series a dark, threatening, film noir-like tone -- one episode, the season finale, "Crime Wave", would assemble many of the most violent scenes from the rest of the season plus an array of violent shots taken out of film noir of the period, into a pair of harrowing and downright scary montages. The effect was especially startling and memorable with the scoring to the eerie canned music used for the production that first year, which, although used in many filmed shows of the period -- thanks to the fact that the Musicians' Union made it all but impossible for producers of early filmed shows to commission their own background scores -- became uniquely associated with Adventures of Superman thanks to the fact that it was rerun, decade after decade, while the other series in which it was used (Terry And The Pirates, Dick Tracy etc.) disappeared from view. Subsequent seasons, which would see one key role recast and major changes in the focus of action and stories, plus the addition of color filming (in anticipation of color television), would extend the run of the series across the decade, but it was this first season that would prove the most memorable to longtime fans. ~ Bruce Eder, All Movie Guide