Gene Sheldon Movies

In this one-hour spin-off of Walt Disney's popular TV series Zorro, the tiny pueblo of Los Angeles is again targeted for plunder by a bandido. This time, the villain is Ramón Castillo (Ricardo Montalban), an old enemy of leading citizen Don Diego (Guy Williams). Stumbling onto the fact that Diego and the dashing masked do-gooder Zorro are one and the same, Castillo plans to use this knowledge to keep Zorro away while he steals an Army payroll from the fat and fatuous Sergeant García (Henry Calvin). "Auld Acquaintance" originally aired as part of the Walt Disney Presents anthology. ~ Hal Erickson, Rovi

In the first episode of a two-part Zorro adventure, dashing Mexican bandit leader El Cuchillo (Gilbert Roland) and his gang are diverted from robbing a stagecoach by alluring señorita Chulita (Rita Moreno). Changing his plans, El Cuchillo decides to hide out in the pueblo of Los Angeles to steal a valuable cache of silver from the local warehouse. But that dauntless masked do-gooder Zorro (Guy Williams) (aka Don Diego de la Vega), is not about to let that happen. Originally telecast as part of the Walt Disney Presents anthology, "El Bandido" was a one-hour spin-off of Disney's popular weekly series Zorro, which ran from 1957 to 1959. ~ Hal Erickson, Rovi

Taken from the Walt Disney "Zorro" television series, this film was created from a number of episodes starring the popular masked hero (Guy Williams). ~ Iotis Erlewine, Rovi

Child star Kevin "Moochie" Cocoran shares his top billing with a chimp, Mr. Stubbs, in this story about a forlorn lad who runs away from his foster parents believing he is unloved. Little Toby and his pet chimp leave home and end up at the circus as an oily yet comic Harry Tupper (Bob Sweeney), in charge of a concessions stand, takes them under his wing. Between the circus acts and friendly performers, as well as the antics of Mr. Stubbs and Harry himself, there is plenty to amuse viewers of any age. Sure enough, Toby manages to come to the rescue of the circus when it most needs help, and because this is a Disney film, those foster parents are certain to discover his whereabouts. ~ Eleanor Mannikka, Rovi

According to some eyewitness reports, the feud between Dean Martin and Jerry Lewis was at its peak during the filming of Three Ring Circus. Other observers have noted that the boys behaved with thorough professionalism throughout the shoot. Whatever the case, the film offers a comparatively relaxed Martin and Lewis, wandering through a thinnish plot with amiable finesse. The boys play a couple of ex-GIs who use their discharge money to finance a trip to Florida, where Jerry Hotchkiss (Lewis) hopes to land a job as a circus clown. Pete Nelson (Martin) isn't quite as ambitious, though he decides to stick around when he meets gorgeous circus owner Jill Brent (Joanne Dru). As the plot rolls merrily on, Pete finds himself assisting temperamental aerialist Saadia (Zsa Zsa Gabor), while Jerry does his best (which is none too good) as the assistant to lion tamer Schlitz (Sig Ruman). When Puffo the Clown (Gene Sheldon) drinks himself into oblivion, Jerry takes Puffo's place, proving his worth by getting a crippled child to laugh. The songs are mostly forgettable, with the exception of the now-standard "It's a Great, Wide, Wonderful World." ~ Hal Erickson, Rovi

In this engagingly silly musical fantasy from the waning days of WW2, Fred MacMurray stars as Bill, who wants to serve his country but has been classified 4-F. While working at a local USO, Bill falls in love with the fickle Lucilla (June Haver, soon to be Mrs. Fred MacMurray), never realizing that he himself is worshipped from afar by the sensible Sally (Joan Leslie). Stumbling across an old lamp donated to a scrap drive, Bill impulsively rubs the lamp--and out pops Ali (Gene Sheldon), a bibulous, bumbling genie. Hoping to become a hero in Lucilla's eyes, Bill asks Ali to put him in the US Army. The genie complies, but gets his wires crossed, and Bill ends up in the Continental Army during the Revolutionary War. In short order, Bill meets two lookalikes of the girls in his life at "Ye U.S.O.", shows up at Valley Forge and trades quips with General Washington (Alan Mowbray)--who, in anticipation of MacArthur and Eisenhower, bombastically insists that he has no political aspirations--unsuccessfully tries to alert Washington of the duplicity of Benedict Arnold (John Davidson), and ultimately finds himself behind enemy lines with a troop of Hessians, whom he tries to hoodwink by delivering a Nuremberg-style speech, replete with "Sieg Heils." Arrested and sentenced to a Hessian firing squad, Bill again summons Ali, who whisks him off to the year 1492. In an elaborate "opera bouffe", Bill musically dissuades the sailors serving under Christopher Columbus (Fortunio Bonanova) from staging a mutiny, convincing them to continue seeking out the New World (as represented by a group of Cuban natives in a conga line). Once on dry land, Bill is entranced by a comely Indian maiden who looks a lot like Lucilla, only to be entrapped in an old-fashioned "badger game" cooked up by the girl's wily Native American boyfriend (Anthony Quinn). Buying his way out of an embarrassing situation by agreeing to purchase Manhattan Island for $24, Bill is then transported to "New Amsterdam" in the mid-1600s. In his efforts to persuade the local Dutch elders that he is the rightful owner of Manhattan, Bill succeeds only in getting arrested again. This time, however, the drunken Ali manages to zap our hero back to the 20th Century--with the 17th-century equivalent of Sally in tow. The songs, by Kurt Weill and Ira Gershwin, are appropriately bright and satirical, but none are standouts. Still, Where Do We Go From Here? is one of those frothy 1940s concoctions that is absolutely impossible to dislike. ~ Hal Erickson, Rovi

After a year's absence, entertainer Eddie Cantor returned to the screen in the self-produced Show Business. The plot is loosely based on Cantor's own rise to fame, from vaudeville to Broadway. Covering the years 1914 to 1929, the film reflects the changing tastes in entertainment, though Cantor (as in real life) steadfastly remains the same. Co-stars George Murphy and Joan Davis likewise borrow from their own showbiz experience in playing their characters, while Constance Moore, who was still in her playpen when Cantor was at the height of his Ziegfeld Follies fame, provides the standard love interest. Highlights include such Cantor standards as "Curse of an Aching Heart," "Whoopee," and "Dinah," the latter performed in blackface. The best ensemble number is a devastating satire of Grand Opera, with Joan Davis particularly amusing as a Wagnerian soprano. A few excerpts from Show Business were reused as "flashbacks" in the subsequent Cantor-Davis starrer If You Knew Susie (1948). ~ Hal Erickson, Rovi

In this comedy, an office clerk marries his secretary on the sly, their secret honeymoon is interrupted when he is sent to give advice to a wealthy client in the country. Although he is there to offer his counsel on matters strictly financial, he soon helps the fellow solve his romantic problems too. As soon as he is finally finished, he returns to his patient bride and they embark upon their long-awaited honeymoon. ~ Sandra Brennan, Rovi

In this comedy, two aspiring thespians get a job teaching at a drama school. When classes begin being broadcast on television, the two finally get their chance at stardom and mayhem ensues. ~ Sandra Brennan, Rovi