Reginald Sheffield Movies

Marjorie Morgenstern (Natalie Wood) is an 18-year-old, middle-class, Jewish girl from New York who wants nothing more than to be an actress, despite the hopes and wishes of her parents (Everett Sloane and Claire Trevor) that she graduate from college, marry, and settle down to have a family. At the urging of her more worldly friend Marsha Zelenko (Carolyn Jones), she takes a job at an upstate camp, and, one night when sneaking onto the grounds of a neighboring resort, meets and falls wildly in love with the entertainment director, Noel Airman (Gene Kelly). A Lothario with a gift of song as well as dance, Airman romances Marjorie and tries to teach her something of theater, suggesting that she change her name to Marjorie Morningstar, which she does. He intends to enjoy her company for the summer, until her aging uncle Samson (Ed Wynn), who is also working at the resort, tells him of the family's concerns for the girl. Noel and Marjorie end up linked romantically, despite their best efforts to stay away from each other. Marjorie gives up a potential romance with a slightly older, successful doctor (Martin Balsam) and resists the honest entreaties of Airman's assistant, Wally Wronken (Martin Milner), and tries to get Airman to straighten up and fly right; she can't get her own acting career off the ground, but she owns Airman's heart. Instead of biding his time at writing a musical that he's been working at for four years, and spending his summers working in the Catskills, Noel tries to work in the advertising world -- he also finds himself just as troubled by the stable family life and religious life that Marjorie comes from as he is attracted to her personally. He is also bitterly disturbed by the fact that his one-time assistant Wally Wronken is now a successful Broadway playwright, the darling of critics and audiences, with backers eager to sign checks to produce his work. Unable to pursue a life in business, or remain faithful to Marjorie, he reaches a crisis point from which only she can rescue him -- together they try to build a life and he tries to finish his long-gestating masterpiece, which proves a disaster when it gets to Broadway. Noel abandons Marjorie, and when she goes to find him, Wally warns her off, explaining that Noel has to return to a place where he can feel successful, like the Catskills resort where they met, where he can be the big fish in the tiny pond. Her marriage over and her girlish ideals behind her, she sees Noel back in his element, wowing young acting students with his skills, and finally turns to the one man who has loved her for precisely who she is all along, Wally. ~ Bruce Eder, Rovi

Future "Master of Disaster" Irwin Allen produced this curious but inarguably fascinating adaptation of Henrik Willem Van Loon's best- selling historical volume. A Celestial Tribunal has been convened to decide the fate of the Earth after the invention of nuclear weapons, with The Devil (Vincent Price) and The Spirit of Man (Ronald Colman) debating if humankind should be allowed to continue or be exterminated once and for all. Both men present examples of human behavior at its best and worst, including Dennis Hopper as Napoleon, Hedy Lamarr as Joan of Arc, Virginia Mayo as Cleopatra, Peter Lorre as Nero, Edward Everett Horton as Sir Walter Raleigh, and Groucho Marx, Harpo Marx, and Chico Marx as, respectively, Peter Minuit, Sir Isaac Newton, and a monk (yes, the producers had the daring and vision to cast the Marx Brothers without having them play any scenes together). The Story of Mankind proved to be the last film for both Ronald Colman and Hedy Lamarr; it was also the last time the three Marx Brothers appeared in the same film, though the individual Marxes appeared in a few films following this. ~ Mark Deming, Rovi

Extensive stock footage from 1949's Lust for Gold is used to flesh out the Columbia potboiler Secret of Treasure Mountain. The producers went so far as to hire one of the actors of the earlier film, William Prince, in order to match the old footage with the new. The plot is set in motion some 200 years ago, when a Spanish soldier buries a fortune in gold somewhere in Apache country. Angered at this invasion of their sacred land, the Indians place a curse upon the gold -- and, by extension, upon all those who will come into contact with the precious mineral in the future. The story proper begins in The Present, as a group of adventurers, many of them on the shady side (none shadier than villain Raymond Burr), embark upon a search for the gold. Sure enough, these modern-day prospectors fall victim to the curse one by one, usually as a result of their own greed or lust -- yes, lust, since shapely Valerie French and Susan Cummings are among the gold-seekers. ~ 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

This anthology film tells three stories of love involving the passengers of an ocean liner at sea. In the first, "The Jealous Lover," James Mason plays Charles Coudray, a well-known ballet director. When someone asks Coudray why he staged his masterpiece, "Astarte," only once, he tells the story of Paula Woodward (Moira Shearer), a superb dancer he found practicing in his theater. He was awestruck by her technique and her beauty, but he discovered that she had a secret -- due to a cardiac condition, she has been forbidden to dance too strenuously, as it could tax her heart and eventually kill her. Charles urges Paula to perform for him, so he may use her movements to choreograph his next great work; she agrees, but the exertion proves too much for her and she dies. He arranges for the work she inspired to be performed only once, in hopes that she will somehow see it from on high. In the second segment, "Mademoiselle," Tommy (Ricky Nelson) is a 12-year-old boy travelling with his French governess and tutor (Leslie Caron); she's tired of spending her days watching over a child, and he'd like to get away from Teacher for a while. Mrs. Pennicott (Ethel Barrymore), a older woman who happens to be a witch, hears Tommy wishing he could be a grown-up, and she grants his request: suddenly Tommy is a grown man (played by Farley Granger), but only for the next four hours. The Governess meets the mysterious stranger Tommy has become, and soon they fall in love. In the final segment, "Equilibrium," Kirk Douglas plays Pierre Narval, a high-wire artist who retired from performing after his partner died while performing a trapeze act, an accident Pierre blames on himself. He begins to reconsider his decision when he saves the life of Nina (Pier Angeli), a woman who attempted to drown herself; her husband died in a Nazi concentration camp during World War II, and she feels she is to blame for his death. Their shared fatalism equals fearlessness in Pierre's eyes, and he teaches Nina the art of the trapeze; however, when he begins to fall in love with her, he's no longer so certain that he wants her to risk her life. "The Jealous Lover" and "Equilibrium" were directed by Gottfried Reinhardt, while "Mademoiselle" was directed by Vincente Minnelli. ~ Mark Deming, Rovi

Though one might have expected friction between MGM's resident "nice lady" Greer Garson and Warner Bros. notorious "bad boy" Errol Flynn, the two got along splendidly during the filming of That Forsyte Woman. Based loosely on The Man of Property, book one of John Galsworthy's Forsyte Saga, the film casts Garson as Irene Forsyte, the independently-minded wife of tradition-bound Victorian "man of property" Soames Forsyte (Flynn). Rebelling against her husband's repressed nature and preoccupation with material possessions, Irene falls in love with unconventional architect Philip Bossiney (Robert Young). When he proves to be too free-spirited even for her, Irene moves on to the Forsyte clan's black sheep, Young Jolyon (Walter Pidgeon). Soames makes a belated attempt to win his wife back, but once again proves incapable of warmth, compassion or understanding. The casting-against-type of Garson and Flynn was fascinating, even when the film itself dragged (Flynn in fact was slated to play either Bossiney or Young Jolyon, but insisted upon taking the less characteristic role of Soames). That Forstye Woman was lavishly photographed in color on MGM's standing "British" sets. ~ Hal Erickson, Rovi

Clifton Webb recreates his Sitting Pretty role as Mr. Lynn Belvedere, the World's Greatest Genius. Belvedere discovers that he is ineligible for an honorary award because he never attended college. So he enrolls as a freshman in a major university, becoming the target for "hazing" from obnoxious upper classman Alan Young. The middle-aged Belvedere rapidly builds himself into Big Man on Campus, which complicates his intention of remaining incognito while attending college. Journalism major Shirley Temple likewise threatens to blow Belvedere's cover by writing an article about him for a major magazine. Before earning his college degree (four years' worth of study in six months!), Belvedere plays Cupid for Temple and her estranged boyfriend Tom Drake. Mr. Belvedere Goes to College proved successful enough for a follow-up film, 1951's Mr. Belvedere Rings the Bell. ~ Hal Erickson, Rovi

The third talkie version of Dumas' The Three Musketeers, this splashy MGM adaptation is also the first version in Technicolor. Gene Kelly romps his way through the role of D'Artagnan, the upstart cadet who joins veteran Musketeers Athos (Van Heflin), Porthos (Gig Young) and Aramis (Robert Coote) in their efforts to save their beloved Queen Anne (Angela Lansbury) from disgrace. They are aided in their efforts by the lovely and loyal Constance (June Allyson), while the villainy is in the capable hands of Milady De Winter (Lana Turner) and Richelieu (Vincent Price). Notice we don't say Cardinal Richelieu: anxious not to offend anyone, MGM removed the religious angle from the Cardinal's character. While early sound versions of Three Musketeers eliminated the deaths of Constance and Milady, this adaptation telescopes the novel's events to allow for these tragedies. True to form, MGM saw to it that Lana Turner, as Milady, was dressed to the nines and heavily bejeweled for her beheading sequence. Portions of the 1948 Three Musketeers, in black and white, showed up in the silent film-within-a-film in 1952's Singin' in the Rain, which of course also starred Gene Kelly. ~ Hal Erickson, Rovi

Douglas Fairbanks Jr. is the title character, a young king exiled by evil conspirators. Forced to live far from his homeland, Fairbanks is harassed by the wicked Henry Daniell, who has been appointed to keep the young monarch from reclaiming his throne. After falling in love with commoner Paula Croset (later billed as Mara Corday), Fairbanks decides to take on the corrupt elements that have ousted him, and he dispatches Daniell in an exciting sword duel stage in an old windmill. Many of Fairbanks' more dangerous stunts were handled by David Sharpe, who received credit as second-unit director. Filmed in black and white, The Exile was originally released to theatres in "Sepiatone", a process which enhanced the film stock with a light brown tint. ~ Hal Erickson, Rovi

Otto Preminger directed this romantic musical (something of a change of pace for the rather serious-minded director) set in Philadephia in 1876. The upcoming Centennial Exposition is the talk of the town, and sisters Julia (Jeanne Crain) and Edith (Linda Darnell) find themselves romantic rivals when they both fall for Philippe (Cornel Wilde), a suave Frenchman in town for the celebration. Their mother Harriet (Dorothy Gish) might offer more advice if she weren't busy looking after her husband Jesse (Walter Brennan), who is busy tinkering with inventions that he's convinced will make him a rich man. Jerome Kern composed the film's'score and co-wrote several songs, including "Up with the Lark," "The Right Romance," and "All Through the Day." It was the last film work he would complete prior to his death in 1945. ~ Mark Deming, Rovi

The troublesome years "between the wars" provide the backdrop for the romantic drama The Searching Wind. Adapted by Lillian Hellman from her own stage play, the film stars Robert Young as Alex Hazen, an idealistic but incredibly naïve US ambassador who fails to heed the warning signals when Mussolini and then Hitler ascend to power in Europe. Feeding into Hazen's ingenuousness is his beautiful but shallow wife Emily (Ann Richards), who is far more preoccupied with tuxedos and dinner gowns than with brown shirts and Nazi armbands. Only journalist Cassie Bowman (Sylvia Sidney), a character obviously based on playwright Hellman, can foresee the impending horror-even when her judgment is occasionally clouded by her undying love for Hazen. Benefiting from the mistakes of his elders is the Hazens' son Sam (Douglas Dick), who represents the "Never Again" viewpoint of the post-WW2 years. The Searching Wind was the sort of politically supercharged fare that earned Hellman condemnation as a "premature anti-fascist" during the infamous Hollywood Blacklist. ~ Hal Erickson, Rovi

Roundly blasted upon its release because of the extreme liberties it takes with the truth, Devotion is better as cinema than as history. Not that it's great cinema, mind you, mainly because the filmmakers opted to replace historical fact with either tired dramatic clichés or wild improbabilities. As an example of the latter, the film posits that Paul Henreid's character, who is a standard-issue film romantic hero (troubled, but understandably so), is the inspiration for two of the most passionate, fiery characters in the canon of English literature. Arthur Kennedy as brother Bramwell is much more passionate and fiery, a fact which tends to further muddle things up. The generic setting is also disappointing; these ladies wrote as they wrote because of where they lived and how they lived, but little of this makes it to the screen. Fortunately, Devotion has Olivia de Havilland and Ida Lupino on hand. De Havilland is quite good, grabbing hold of whatever she can find in the script and milking it for all it's worth. Lupino does even better, often making this standard-issue (at best) writing seem engaging and moving. As indicated, Kennedy also makes things work for him, and Nancy Coleman does what she can with the little she is handed. Erich Wolfgang Korngold's score provides plenty of the atmosphere that Curtis Bernhardt's direction often lacks. Ultimately, Devotion's assets, particularly Lupino and de Havilland, manage to squeeze it into the winner's column -- but it's a pretty close call. The film was produced in 1943, hence the presence of Montagu Love, who died that year. ~ Craig Butler, Rovi

A scientist discovers that he can live forever by receiving gland transplants every ten years. Unfortunately, the unwilling donors must be killed for him to survive, something that doesn't bother the scientist until he falls in love. The girl, innocent of his grisly secret, falls for him too. Unfortunately, he is due for a new transplant and the endocrinologist who has been doing the operation gets a guilty conscience and refuses to help him any more. Desperate to remain young, the scientist finds someone else. This time though, Scotland Yard gets wind and begins investigating. The girl finds out, and remains true to the scientist causing him to abandon his mad quest for eternal youth. ~ Sandra Brennan, Rovi