Arthur Shields Movies

A little bird tells on the U.S. Army during WWII in this farcical comedy. In 1944, during the last stages of the war in Europe, American officers Capt. Paul MacDougall (Charlton Heston) and Sgt. Joseph Contini (Harry Guardino) are sent to Italy to act as spies for the Allies, even though they have no experience in espionage. Working with Partisan resistance solider Ciccio Massimo (Salvatore Baccaloni), MacDougall and Contini send regular reports to their superiors by carrier pigeon. Contini also finds himself falling in love with Massimo's pregnant daughter Rosalba (Gabriella Pallotta), while her sister Antonella (Elsa Martinelli) has her eye on MacDougall. Contini proposes to Rosalba, and Ciccio prepares a feast to celebrate his daughter's upcoming wedding. However, Ciccio prepares squab for the occasion, killing all but one of the carrier pigeons. Ciccio scrambles to replace them, but the new pigeons he finds are German, and they deliver MacDougall and Contini's messages directly into enemy hands. The Pigeon That Took Rome's art direction earned the film an Academy Award nomination. ~ Mark Deming, Rovi

A young Native American boy saves the day in this competent children's western by director George Sherman. Little twelve-year-old Michael (Danny Bravo) is an orphan whose best friends are young Father Phelan (Richard Basehart) and the curmudgeonly Father Walsh (Arthur Shields). The good fathers would like to raise money for a new shrine but the project seems hopeless -- until Michael steps into the picture. He devotes himself to the care and training of a white quarterhorse with his eye on the big, local race coming up soon. If the horse can win the race, it would be enough to cover the cost of the shrine. ~ Eleanor Mannikka, Rovi

Having experienced a disturbing premonition, Stanley Lockhart (Joe Mantell) pays a visit to his father Simon (Arthur Shields), whom Stanley believes is at death's door. Much to the younger Lockhart's surprise, Simon is in the best of health. Even so, Simon insists that he will be dead before the day is done...a fate seemingly predetermined by the chiseled message on a tombstone. ~ Hal Erickson, Rovi

There's no shortage of suspects when vitriolic society columnist Mary K. Davis (Marian Seldes) is murdered. Even so, the police charge the dead woman's nurse Leona Walsh (Josephine Hutchinson) with the crime...mainly because Leona has given a full confession to DA Hamilton Burger (William Talman). Inasmuch as Leona's lawyer is Perry Mason (Raymond Burr), she is of course not guilty, but Perry has a tough time proving it--and to make matters worse, Burger intends to discredit Mason in court by calling his secretary Della Street (Barbara Hale) to the stand to testify that her boss has tampered with the evidence! This episode is based on a 1957 novel by Perry Mason creator Erle Stanley Gardner. ~ Hal Erickson, Rovi

The King and Four Queens was the first (and last) project from Clark Gable's own production company, GABCO. Gable stars as Western fugitive Dan Kehoe, who hides out in a small ghost town. Here he whiles away his time with the town's only inhabitants: Ma MacDade (Jo Van Fleet), matriarch of the outlaw McDade family, and the four wives (Eleanor Parker, Jean Willes, Barbara Nichols, and Sara Shane) of Mrs. McDade's gunslinging sons. Three of the four McDade boys are dead; the fourth is expected to return at any minute with the loot from a recent stagecoach robbery. Since no one knows which of the McDades is dead, all four wives make a play for the bemused Kehoe; he in turn responds to their advances, hoping to get a share of the gold. The fur really begins to fly when it turns out that one of the wives is a phony who intends to double-cross the other three and ride off into the sunset with Kehoe. When The King and Four Queens proved a box-office disappointment, Clark Gable gave up the notion of producing his own films and returned to freelancing at the major studios. ~ Hal Erickson, Rovi

Director Otto Preminger's only western, River of No Return is set in Canada during the 19th century Gold Rush. Farmer Matt Calder (Robert Mitchum) is released from prison after serving a sentence for shooting a man in the back to protect a friend. He arrives in a small town to retrieve his young son, Mark (Tommy Rettig), who has befriended a sultry saloon singer, Kay (Marilyn Monroe). Matt is also friendly with Kay, and thanks her profusely for looking after Mark, but distrusts her paramour, Harry Weston (Rory Calhoun)- a gambler with the morals of an alley cat. Matt and Mark return to their rural homestead, but soon glimpse Kay and Harry on a sinking raft, apparently en route to make good on a gold claim; Matt rescues the two of them, but doesn't count on Harry doing an about face, beating him up, and stealing his horse and gun; Kay stays behind to look after Matt. Meanwhile, the Indians go on the warpath, and the defenseless trio decides to seek refuge by fleeing the farm and sailing down the river on a raft. En route, the son - thanks to Kay's doing - is unexpectedly disillusioned about the father's original crime. Moreover, as Matt approaches town, he begins to plot a decisive revenge against Harry. ~ Hal Erickson, Rovi

When equestrian Linda (Vera Miles) talks her trainer, Jim (Lloyd Bridges), into taking care of Gypsy Prince, her horse, Jim decides to enter the steed in an upcoming race. Tragically, the horse falls mid-race and breaks a leg. Though prospects look bleak, Linda (Miles) refuses to give up on her horse, and will not allow the animal to be destroyed. Rather, she chooses to focus on physical therapy and personal faith. Her loyalty is rewarded tenfold when Gypsy Prince, successfully retrained, makes a killing a the track. Directed by William Beaudine, Pride of the Bluegrass is based on a story by Harold Shumate, and also features Margaret Sheridan, Arthur Shields, and Michael Chapin. ~ Tracie Cooper, Rovi

Burt Lancaster and Virginia Mayo, the stars of 1950's Flame and the Arrow, are reteamed in the lusty adventure romp South Sea Woman. It all begins at the military trial of Marine sergeant O'Hearn (Burt Lancaster), facing a court-martial for desertion. In flashback, O'Hearn recalls how he was stranded in Shanghai while trying to break up the impending marriage between his pal David White (Chuck Connors) and brassy nightclub photographer Ginger Martin (Virginia Mayo). The two marines try to make it back to Pearl Harbor, but they undergo several hair-raising adventures along the way, including a sticky involvement with a group of French resistance fighters. The upshot of all this is that O'Hearn arrives in Pearl after the Japanese attack, and as such is branded as a coward. It is up to Ginger Martin to provide the evidence that will clear our hero -- but she isn't too fond of O'Hearn at the moment. ~ Hal Erickson, Rovi

Returning to the Ireland of his birth, director John Ford fashions a irresistable valentine to the "Auld Sod" in The Quiet Man. Irish-American boxer John Wayne, recovering from the trauma of having accidentally killed a man in the ring, arrives in the Irish village where he was born. Hoping to bury his past and settle down to a life of tranquility, Wayne has purchased the home of his birth from wealthy local widow Mildred Natwick, a transaction that has incurred the wrath of pugnacious squire Victor McLaglen, who coveted the property for himself. By and by, Wayne falls in love with McLaglen's beautiful, high-spirited sister Maureen O'Hara. Her insistence that Wayne conduct his courtship in a proper Irish manner-with puckish matchmaker Barry Fitzgerald along for the ride as "chaperone"--is but one obstacle to their future happiness: the other is McLaglen, who spitefully refuses to give his consent to his sister's marriage, or to honor the tradition of paying a dowry to Wayne. Wayne could care less about dowries, but the tradition-bound Maureen refuses to consummate her marriage until McLaglen pays up. Under any other circumstances, Wayne would have punched out the bullying McLaglen long ago, but ever since his tragedy in the ring he has been reluctant to fight. Local priest Ward Bond conspires with several locals to trick McLaglen into paying his due. They intimate that widow Natwick, for whom McLaglen carries a torch, will marry the old brute if he'll give his consent to the marriage and fork over the dowry. But McLaglen finds he's been tricked and the situation remains at a standoff, with the frustrated Wayne locked out of his wife's bedroom. When Maureen accuses him of being a coward and walks out on him, our hero can stand no more. He marches Maureen to McLaglen's home, indicating that he plans to whale the tar out of both brother and sister. As a huge and appreciative crowd gathers the cornered McLaglen truculently tosses the money in Wayne's direction. Big John hands the bills to Maureen, just as she knew he would, and she ceremoniously destroys the money, just as he knew je would. Having proven their love for each other, there is nothing left for Wayne and Maureen to do but head home and perform their nuptual duties. But first there's the matter of giving McLaglen the thrashing he deserves....and it is this spectacular donnybrook, which covers several acres of land and at least two "pit stops" so that the combatants can quench their thirst, which convinces Natwick that the defeated McLaglen is truly worthy of her love (her logic is on a par with everyone else's in the film!) Though it tends to perpetuate the myth that all true Irishmen live only to fight, drink and make love, The Quiet Man is grand and glorious fun, enacted with gusto by a largely Hibernian cast and directed with loving care by a master of his craft. Written by Frank Nugent and graced with a lilting musical score by Victor Young, the film won Oscars for Archie Stout's Technicolor photography and for John Ford's direction-a real coup for "poverty row" Republic Pictures. If you haven't already luxuriated in this wonderful film, be sure to catch in on the tube next St. Patrick's Day. ~ Hal Erickson, Rovi

The River must be seen in its original Technicolor; it is difficult, if not impossible, to imagine anyone fully enjoying this wonderful film while watching a black-and-white TV print. Adapted by director Jean Renoir and Rumer Godden from Godden's own novel, the film is set on the banks of West Bengal. The central character is teenaged British girl Harriet (Patricia Walters), the offspring of a jute-mill owner (Esmond Knight) and his wife (Nora Swinburne). Harriet and her best friend Valerie (Adrienne Corri) harbor a crush for a dashing visitor named Captain John (Thomas E. Breen), who in turn is preoccupied with the hauntingly beautiful Indian girl Melanie (Radha Shri Ram). This languid state of affairs is shaken up by unexpected tragedy involving Harriet's impulsive brother (Richard Foster). The real star of the proceedings is the titular river, exquisitely color-photographed by Claude Renoir (Jean's nephew) and his Indian assistant Ramanda Sen Gupta. The apotheosis of Jean Renoir's lifelong fascination with India, The River served as a launching pad for the directorial career of Satyajit Ray, who met and befriended Renoir during the shooting of this film. ~ Hal Erickson, Rovi

Shortly before his death, horror film producer Val Lewton switched creative gears by overseeing the Universal western Apache Drums. The scene is the potentially prosperous western town of Spanish Boot, built from nothing by a group of determined settlers. Before they can enjoy the fruits of their labors, the townsfolk are threatened with an imminent Apache attack. Delivering this sobering news is gambler Sam Leeds (Stephen McNally), previously kicked out of town by the "proper" citizens. At first, no one believes Leeds, but soon the Apaches prove the veracity of the gambler's claims. The rest of the film is light on action but heavy on tension, as the true personalities of all concerned are revealed while they await the final, fatal Apache assault. ~ Hal Erickson, Rovi

To call The Barefoot Mailman episodic would be understating the issue: the film's story stops and starts so often that it appears to be three half-hour TV episodes strung together. No matter, since the premise is workable and the characters appealing. Though Robert Cummings is top-billed as erudite 19th-century con artist Sylvanus Hartley, the title character, Steven Pierton, is played by Jerome Courtland. The film is set in turn-of-the-century Florida, which was then little more than an elongated swamp. It is the responsibility of Steve Pierton to deliver the mail by foot, covering the distance from Palm Beach to Miami. Attempting to elude the northern authorities, Sylvanus Hartley joins Pierton on his treacherous journey. Their travelling companion is Adie Titus (Terry Moore), a hoydenish young lady who disguises herself as a child to avoid unwanted advances. After saving Adie from the clutches of swamp outlaw Theron (John Russell) and his gang, Hartley goes off on a new tangent, bamboozling the local settlers in a highly suspect land-speculation scheme. When Theron and his fellow crooks lay siege upon Miami, Hartley and Pierton, despite their rivalry over the affections of Adie, team up to save the day. Nothing if not unusual, The Barefoot Mailman is based on a novel by Theodore Pratt. ~ Hal Erickson, Rovi

In this lively adventure, a daring Irish leader tires to keep Napoleon from invading Ireland. The hero, in every way a swashbuckler, journeys to his recently inherited castle where he saves a fair lassie the Viceroy's daughter, from highwaymen. He then gets involved in many exciting and hair-raising exploits as he saves his beloved Erin from an evil conspiracy precipitated by the Viceroy's assistant who is secretly in league with Napoleon. ~ Sandra Brennan, Rovi