Lee Shumway Movies

The Kefauver Committee's ongoing investigation of organized crime spawned several "Torn from Today's Headlines!" films in the early 1950s. Republic's Hoodlum Empire concerns the efforts by gangster Joe Gray (John Russell) to get out of the rackets after WW II. Part of Gray's "reclamation" is to testify at a public hearing, prompting a series of flashbacks. Part of the fun is to guess who all the "fictional" criminals are really supposed to be: Luther Adler's character may be called "Nicky Mancini," for example, but for all intents and purposes Adler is playing Frank "Fifth Amendment" Costello. Other famous underworld personages are impersonated by Claire Trevor, Forrest Tucker and Roy Barcroft, while the steadfast Estes Kefauver counterpart is portrayed by Brian Donlevy. ~ Hal Erickson, All Movie Guide

Produced by Jack Schwartz for low-budget company Screen Guild, this mild Western starring the veteran Richard Arlen was apparently the first entry in a proposed series. Arlen played the title role, here assigned by the army to quell an Indian attack on the powerless settlers. The Indians are accusing Tom Russell (John Dexter) of murdering a member of the tribe, an act, as Buffalo Bill discovers, actually committed by a gang of outlaws hired by investment company owner J.B. Jordon (Frank O'Connor). Buffalo Bill Rides Again was soundly defeated by a low budget and slipshod direction by the veteran Bernard B. Ray. Popular B-Western villain Ted Adams disappeared mysteriously halfway through the film, only to be replaced by Edmund Cobb. Jennifer Holt, the daughter of Arlen contemporary Jack Holt and by far the busiest B-Western heroine of the 1940s, had little to do other than letting herself be kidnapped by evil Gil Patric. Arlen, whose career dated back to the silent era, was perhaps a mite too old and stout by 1946 when this film was produced to become an acceptable B-Western hero. No further Buffalo Bill Westerns were produced by Schwartz. ~ Hans J. Wollstein, All Movie Guide

In this melodrama, a young juvenile delinquent convinces other teens to join his gang. The gang raids a warehouse and there he ends up killing the school's most beloved teacher. The boy is tried. In court the D.A.'s adopted daughter stands up for the boy. Years before, when they were both orphans, he had done the same for her. The D.A. is unmoved an tries to prosecute to the full extent of the law. The defense, says the real blame should be upon the boy's parents. The boy is given a life sentence. Unbeknownst to the self-righteous D.A., the boy is his long-lost son. ~ Sandra Brennan, All Movie Guide

Bob Regan (Edmond O'Brien) -- a small-time attorney from the wrong side of the tracks who nonetheless has a lot of dedication -- is representing a vegetable pushcart owner (Tito Vuolo) in a damage suit against multi-millionaire Andrew Colby (Vincent Price). It seems Colby's car wrecked the man's cart, and he and his attorneys have been too busy running the world (or Colby's world) to deal with the case, so Regan barges right into the millionaire's office. Professing to be impressed with Regan's tenacity on behalf of his client, Colby offers to hire him, for a lot more money than he is making or ever stood to make, but not as an attorney -- rather, as a bodyguard/troubleshooter. It seems that Colby's been receiving threats lately, and he likes the way Regan looks after his clients. To aid him in his new job, Colby also secures a gun and permit for his new employee. Regan is so surprised at this whole turn of events in his life that he accepts the offer for the chance to finally get in on some the big money he sees around him. He's given entrée to Colby's upper-crust world, including his huge New York townhouse and all that goes with it, never smelling a rat. This is mostly because, apart from the money he's suddenly earning and traveling in the midst of, he's distracted by the presence of Colby's personal secretary, Noel Faraday (Ella Raines) -- about as pretty, intelligent, and seductive a female as Regan has ever seen, and who seems mutually intrigued by his rather earthy and plain-spoken presence in the Colby organization. Regan is a fresh dose of working-class honesty amid the elegance, affectation, and duplicity that oozes out of Colby's world, and on Regan's side of it he can hardly keep his hands off of her.

However, during Regan's first night on the job, a shot rings out from upstairs and he finds Colby in a struggle with an intruder carrying a gun -- and Regan shoots the man dead. The stranger turns out to be Leopold Kroner (Fritz Leiber), Colby's one-time business associate, who just finished a ten-year stretch for embezzlement of a million dollars. The threats seemed to come from Kroner, and there was a gun in his hand when Regan shot him, but that's not good enough for Lieutenant Damico of the NYPD; it's all a little too convenient that Colby's one-time partner gets himself killed that way, at the hands of some lawyer playing detective whose gun permit barely has the ink dry. Damico makes no secret of his doubts to Regan, or of the fact that he would like nothing more than to pull his friend in on a murder rap just for being a prize chump, mostly because he doesn't like murder and can't really see Regan as being as stupid as he seems. It turns out that he is just about that stupid, and is always a step behind Colby in trying to unravel the mystery of what really happened and how Kroner came to be in the house. Even Noel, for all of her intelligence and education, can't keep ahead of her employer's machinations; even as they dig deeper, more and more evidence gets planted implicating them both in a conspiracy, and before they can spring their trap, Damico is there ready to put the cuffs on both of them. But that's when matters get really interesting, as Damico begins to prove that if Regan isn't half as bright as he ought to be, the police lieutenant is a lot smarter than he looks or his job description calls for. ~ Bruce Eder, All Movie Guide

Roll on Texas Moon was the first of 26 Roy Rogers vehicles directed by fast-action specialist William Witney. The plot concerns a deadly feud between cattle ranchers and sheepherders, with the villains playing both ends down the middle. Working on behalf of the cattlemen, Rogers tries to avoid an all-out range war, finding time to champion the cause of gorgeous sheep rancher Jill Delaney (Dale Evans). Dennis Hoey, best known for his portrayals of the thick-witted Lestrade in Universal's "Sherlock Holmes" series, is rather surprisingly cast as the main heavy. While the musical content of Roll on Texas Moon is as omniprescent as ever, the "thrill" content is considerably heightened by the expert contributions of William Witney. ~ Hal Erickson, All Movie Guide

This curious mixture of comedy, romance and melodrama teams up comic actor Eddie Bracken and glamour girl Veronica Lake, two of Paramount's most popular stars of the mid-1940s. He plays Ogden Spencer Trulow III, a wealthy kleptomaniac; she plays Sally Martin, who may or may not provide the "cure" for the lovesick Trulow. As it turns out, Sally is a professional thief, part of a gang planning to rip off the Romanoff necklace. Trulow tries to prevent this, and in so doing divest himself of his own kleptomania. Sally's cohorts aren't at all interested in Trulow's problems, and accordingly spend half the film trying to bump him off. Buried somewhere in the glossy silliness of Hold That Blonde is a pre-WW1 play by Paul Armstrong; some of the sight gags in the film are even older than the Armstrong original. ~ Hal Erickson, All Movie Guide

Billy Wilder's searing portrait of an alcoholic features an Oscar-winning performance by Ray Milland as Don Birnam, a writer whose lust for booze consumes his career, his life, and his loves. The story begins as Don and his brother Wick (Philip Terry) are packing their bags in their New York apartment, preparing for a weekend in the country. Philip, aware of his brother's drinking problem, is keeping an eye of him, making sure he doesn't sneak a drink before the departure of their train. Arriving at the apartment is Don's girlfriend, Helen St. James (Jane Wyman), who has tickets to a Carnegie Hall concert that night. Don persuades Wick and Helen to go to the concert without him, hoping to find one of his well-hidden bottles of booze. But when Wick and Helen go to the concert, Don discovers that Wick has gotten rid of the liquor. Don has no money, so he can't visit the neighborhood bar -- that is, until the cleaning lady arrives to reveal money hidden in a sugar-bowl. Don grabs the cash and hits the street, heading off to Nat's Bar. Nat (Howard Da Silva), a bartender who has seen it all, is surprised to see Don. But when Don shows he can pay for his drinks, Nat reluctantly serves him, telling Don, "One's too many and a thousand's not enough." Soon Don plunges in an alcoholic haze, his boozing landing him in a harrowing drunk tank, presided over by the cynical attendant Bim (Frank Faylen). ~ Paul Brenner, All Movie Guide

Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making. ~ Linda Rasmussen, All Movie Guide

Also known as Ladies in Washington, this 61-minute quickie utilizes the services of several 20th Century-Fox contractees. Set in the nation's capital, the film delves into the living and working conditions of the girls employed in wartime government jobs. Jerry (Sheila Ryan), a Washington secretary, is in the doldrums because of an unhappy affair with her married employer. Michael (Anthony Quinn), a secret agent for the enemy, uses Jerry to get information on her boss. All of this has an adverse effect on Jerry's roommates, especially her best friend Carol. The whole mess ends in a bloody gun battle, exacting a heavy toll on both the innocent and the guilty. Halfway down the cast list of Ladies of Washington is former Miss America Jo-Carroll Dennison, who later became the wife of comedian Phil Silvers. ~ Hal Erickson, All Movie Guide

Perhaps Hollywood's greatest success du scandal of the 1940s, this odd psychological Western became a box office hit largely thanks to the costuming of leading lady Jane Russell (or, more accurately, its relative absence). Billy the Kid (Jack Buetel) and Doc Holliday (Walter Huston) are close friends until lawman Pat Garrett (Thomas Mitchell) attempts to ambush Billy and put him behind bars. Doc brings Billy to his ranch to hide out, but when Billy meets Doc's mistress Rio (Russell), he's instantly attracted to the buxom beauty. An intense chemistry quickly grows between them, despite the fact that Billy murdered Rio's brother. Billy and Rio secretly marry, but their love runs hot and cold, and soon Billy, Doc, and Rio are fighting among themselves as they're chased through the desert by Garrett and his posse. Director Howard Hawks and screenwriter Ben Hecht both worked on The Outlaw, but they went uncredited after disputes with the legendarily difficult financier (and sometimes producer/director) Howard Hughes, whose battles with the censors resulted in the film spending three years on the shelf before finally gaining wide release in a cut version in 1946. ~ Mark Deming, All Movie Guide

As she burns at the stake, a 17th century witch, Jennifer (Veronica Lake), places a curse on her accuser (Fredric March), so that from this day forward, all of his descendants (each played by him) will be unhappy in marriage. After several hilarious through-the-years examples (the Civil War-era Fredric March runs off to battle rather than endure his wife's nagging), we are brought up to 1942. Wallace Wooley (March) is a gubernatorial candidate, preparing to wed snooty socialite Estelle Masterson (Susan Hayward) -- the well-to-do daughter of a publisher who is backing him. A bolt of lightning strikes the tree where Jennifer had been executed three centuries earlier, thereby freeing the spirits of Jennifer and her warlock father, Daniel (Cecil Kellaway). Wallace meets Jennifer when she materializes in a burning building, obliging him to save her life. The revivified sorceress does everything in her power to induce Wallace to fall in love with her -- even destroying the ceremony in which the wedding is supposed to take place. The attempts succeed, and the two marry, but on their wedding night, Wallace refuses to believe Jennifer's claims that she is a witch. Frustrated, she attempts to convince him by doctoring the gubernatorial election -- in his favor. Based on the Thorne Smith novel The Passionate Witch, the rollicking I Married a Witch can be considered the forerunner of the TV series Bewitched, but only on a surface level. The film had been scheduled to be directed by Preston Sturges and to be released by its producing studio, Paramount; the end result was helmed by René Clair (his second Hollywood film), and was distributed by United Artists. ~ Hal Erickson, All Movie Guide

In one of his better early Westerns, Tim Holt, as Deputy Marshal Larry Durant, is sent to Spencerville where a gang of vigilantes has been terrorizing the citizenry. Going undercover as a gunsmith, Larry quickly learns that the leader of the vigilantes, John Spencer (John Elliott), is an honest man who only seeks to establish law and order. The real brains behind the crimes, meanwhile, are revealed to be Spencer's brother-in-law, Lou Harmon (Roy Barcroft), and his chief henchman, Leighton (Charles King), who speculate in the coming of the railroad by forcing the townspeople to relinquish their land. When Harmon learns from innocent tattle-tale Ike (Cliff Edwards) that the railroad will be bypassing Spencerville in favor of neighboring East Spencerville, the vigilantes shift their operations to that community. Spencer is killed by Leighton in the ensuing melee but with the assistance of the East Spencerville townspeople, Larry manages to trap Harmon and his gang in the local saloon. When not making life difficult for Tim Holt, comedy relief Cliff Edwards performs "Grandpap" and "Where the Mountain Meets the Sunset," both by Fred Rose and Ray Whitley. Pirates of the Prairie was a remake of Legion of the Lawless, a '40s Western starring Tim Holt's predecessor at RKO, George O'Brien. ~ Hans J. Wollstein, All Movie Guide