Sidney Blackmer, Sr. Movies

Devious socialite Gene Barry stands to come into one million dollars. The catch is (and don't ask us why) that he must convince the authorities that he's dead. He arranges to switch identities with Lloyd Bridges, who is terminally ill. Diane Baker plays Barry's wife, who must needs be willing to "take this stranger" for the plan to succeed. Do You Take This Stranger? was a made-for-TV entry in NBC's Tuesday Night at the Movies. ~ Hal Erickson, Rovi

In Roman Polanski's first American film, adapted from Ira Levin's horror bestseller, a young wife comes to believe that her offspring is not of this world. Waifish Rosemary Woodhouse (Mia Farrow) and her struggling actor husband, Guy (John Cassavetes), move into the Bramford, an old New York City apartment building with an ominous reputation and only elderly residents. Neighbors Roman and Minnie Castevet (Sidney Blackmer and Ruth Gordon) soon come nosing around to welcome the Woodhouses to the building; despite Rosemary's reservations about their eccentricity and the weird noises that she keeps hearing, Guy starts spending time with the Castevets. Shortly after Guy lands a plum Broadway role, Minnie starts showing up with homemade chocolate mousse for Rosemary. When Rosemary becomes pregnant after a mousse-provoked nightmare of being raped by a beast, the Castevets take a special interest in her welfare. As the sickened Rosemary becomes increasingly isolated, she begins to suspect that the Castevets' circle is not what it seems. The diabolical truth is revealed only after Rosemary gives birth, and the baby is taken away from her. Polanski's camerawork and Richard Sylbert's production design transform the realistic setting (shot on-location in Manhattan's Dakota apartment building) into a sinister projection of Rosemary's fears, chillingly locating supernatural horror in the familiar by leaving the most grotesque frights to the viewer's imagination. This apocalyptic yet darkly comic paranoia about the hallowed institution of childbirth touched a nerve with late-'60s audiences feeling uneasy about traditional norms. Produced by B-horror maestro William Castle, Rosemary's Baby became a critically praised hit, winning Gordon an Oscar for Best Supporting Actress. Inspiring a wave of satanic horror from The Exorcist (1973) to The Omen (1976), Rosemary's Baby helped usher in the genre's modern era by combining a supernatural story with Alfred Hitchcock's propensity for finding normality horrific. ~ Lucia Bozzola, Rovi

In this courtroom drama, a Mexican American judge must preside over the case of the town ne'er-do-well, who is accused of killing his wife. The film is set during the 1920s in the Southwest. The murderer is convicted and sentenced to hang, but on execution day, he has a fight and kills the hangman. At the same time, another man confesses. While this gets the first man freed for the first killing, he must now stand trial for the hangman's death. ~ Sandra Brennan, Rovi

George Axelrod's script for How to Murder Your Wife isn't politically correct in the least, but you're likely to get a charge out of it -- provided you are of the male persuasion, that is. Jack Lemmon stars as Stanley Ford, a successful cartoonist and a confirmed bachelor who shares a lavish apartment with his misogynistic manservant, Charles (Terry-Thomas). While attending a friend's bachelor party, Stanley falls head over heels in love with the gorgeous bikini-clad girl (Virna Lisi) who pops out of a cake. He impulsively marries her, but thinks better of it the next day. Alas, Stanleycan't get a divorce because his bride is an Italian Catholic (this is 1966). Dicier still, she is a "domestic goddess," lovingly plying her hubby with rich Italian food until Stanley's once-athletic physique is as bloated as the dirigible Hindenberg. Stanley's descent into husbandhood is reflected in his work: his popular adventure comic strip "Bash Brannigan" metamorphoses into a Blondie-like "idiot husband" daily. As a catharsis, Stanley vicariously "kills" his lovely wife by having Bash Brannigan murder his missus. Stanley's wife sees the finished strip on his desk and runs tearfully out of his life (at least temporarily). The publication of the strip, coupled with his wife's disappearance, results in Lemmon being put on trial for murder. We won't tell you how things turn out; suffice it to say that most feminists will be outraged, while most husbands will laugh immoderately. Eddie Mayehoff and Claire Trevor provide sparkling support as Lemmon's bombastic editor and his dragon-like wife. ~ Hal Erickson, Rovi

Small-town garage mechanic Aaron Menefee (Andrew Prine) becomes a devoted disciple of the Reverend Otis Jones (Sidney Blackmer) after the traveling faith healer seemingly cures Menefee's ulcer. Even so, Jones refuses Menefee permission to marry his daughter Emily (Maggie Pierce), arguing that Aaron's faith isn't "strong enough." Thus does Menefee challenge himself with the ultimate test of that faith -- leading to a memorable "Lady or the Tiger" denouement. ~ Hal Erickson, Rovi

In the fifth episode of Walt Disney's 17-part miniseries Tales of Texas John Slaughter, Slaughter (Tom Tryon) has retired from the Texas Rangers and has set up his own cattle ranch together with his new bride Adeline (Norma Moore). Alas, Slaughter's career as a cattleman may be over before it begins, thanks to the obstreperous behavior of neighboring rancher Sam Underwood (Sidney Blackmer). After engaging in a bitter battle over local water right, Slaughter and Underwood are forced to form a united front against a common enemy, outlaw boss Bill Gallagher (Stephen McNally). Originally telecast as part of the Walt Disney Presents anthology, "The Man From Bitter Creek" and the subsequent episode "The Slaughter Trail" were edited together in 1962 and released overseas as the "feature film" Stampede at Bitter Creek. ~ Hal Erickson, Rovi

Created and written by Sam Peckinpah, the premiere episode of The Rifleman stars Chuck Connors and Johnny Crawford as Lucas and Mark McCain, father and 10-year-old son in search of settling down near North Fork, New Mexico. But when Lucas, a noted crack shot with a rifle, enters the local turkey shoot, he gets in the way of Jim Lewis (Leif Erickson), the local town czar, who has rigged the contest in favor of young Vernon Tippert (Dennis Hopper). All set to win the grand prize, Lucas is "persuaded" to throw the contest by Lewis, who uses little Mark as a bargaining tool. Sidney Blackmer and R.G. Armstrong also star in this fine television western, which premiered on ABC September 30, 1958. ~ Hans J. Wollstein, Rovi

Hollywood's archetypal "good woman" Greer Garson pulls off an astonishing about-face as the wicked, scheming Regina Giddens in this 90-minute Hallmark Hall of Fame adaptation of Lillian Hellman's 1939 stage drama The Little Foxes. Set in the post-Civil War South, the plot involves the underhanded machinations of the hateful Hubbard family to increase their already considerable financial holdings. Despising each other as much as their neighbors, the Hubbards also connive to cut each other out of the windfall and end up with the lion's share of the money. But the plan hinges upon the financial largess of ailing Horace Giddens (Franchot Tone), estranged husband of the beautiful but deadly Regina Hubbard Giddens (Garson) -- and he's not interested in doing anything to benefit his wife's despicable siblings. This first-ever TV version of The Little Foxes originally aired live and in color. ~ Hal Erickson, Rovi

High Society is a glossy Technicolor-and-VistaVision musical remake of Philip Barry's The Philadelphia Story (1940), decked out with million-watt star power and a Cole Porter score. Set amongst the rich and famous in Newport, RI, the story revolves around the wedding plans of socialite Tracy Lord (Grace Kelly). Tracy is all set to marry stuffy George Kittridge (John Lund), while magazine writer Mike Connor (Frank Sinatra) and photographer Liz Imbrie (Celeste Holm) intend to cover the ceremony. Meanwhile, Tracy's ex-husband C.K. Dexter-Haven (Bing Crosby) also comes calling, ostensibly to the attend the annual Newport Jazz Festival, but actually for the purpose of winning Tracy back. In the course of events, Mike falls in love with Tracy, and she with him. The Jazz Festival subplot allows scriptwriter John Patrick to bring Louis Armstrong into the proceedings, much to the delight of anyone who cares anything about music. The Cole Porter tunes include the Crosby-Sinatra duet "Well, Did You Evah?," the Crosby-Armstrong teaming "Now You Has Jazz," the Kelly-Crosby romantic ballad "True Love," and the Sinatra solo "You're Sensational." Though it lacks the satiric edge of the Philip Barry original (Barry, incidentally, is not given any screen credit), High Society succeeds on its own lighthearted terms. The film represents Grace Kelly's final acting assignment before her real-life wedding to Prince Rainier of Monaco. ~ Hal Erickson, Rovi

Miscegenation, that old reliable bugaboo of many a Southern-based novel, is at the center of Hamilton Basso's The View from Pompey's Head. The film version stars Richard Egan as a New York lawyer who returns to his Southern home town to investigate an embezzlement charge. The victim is an ageing novelist (Sidney Blackmer), whose royalties are mysteriously disappearing; the novelist's wife (Marjorie Rambeau) suspects that her husband is being cheated. But it is the novelist himself who is siphoning off his earnings, in order to provide for his African-American mother, and to buy her silence regarding his mixed parentage. The wife is apprised of the situation, and agrees to keep mum. With all this going on, it's understandable that few viewers remember the love triangle between Richard Egan, Dana Wynter and Cameron Mitchell which motivates the rest of The View from Pompey's Head. ~ Hal Erickson, Rovi

For The High and the Mighty, director William Wellman made a point of using Cinemascope to heighten the dramatic content of a confined screen space -- in this instance, the cockpit of a plane in flight. Copilot Dan Roman (John Wayne) seems a lot more in control of things than Captain John Sullivan (Robert Stack) when the plane loses an engine during a flight from Honolulu to San Francisco. Wellman crosscuts from the tension in the cockpit to the various subplots involving the plane's passengers, among them May Holst (Claire Trevor), Lydia Rice (Laraine Day), Howard Rice (John Howard), Sally McKee (Jan Sterling), Ed Joseph (Phil Harris), and Humphrey Agnew (Sidney Blackmer) (as a character named Humphrey Agnew -- a remarkable prescient cognomen given the future of the U.S. vice presidency!). Adapted by Ernest K. Gann from his best-selling novel, The High and the Mighty was one of the first (and most profitable) entries in the "terror in the sky" genre. Its theme music, written by Dimitri Tiomkin and whistled incessantly by John Wayne in the film, would later become a best-selling hit throughout the world. ~ Hal Erickson, Rovi

Washington Story stars Van Johnson as mildly liberal congressman Joseph T. Gresham. For reasons that he can't fathom, Gresham has been targeted for abuse by powerful columnist Gilbert Nunnaly (Philip Ober). Working in cahoots with Nunnaly is journalist Alice Kingsley (Patricia Neal), who pretends to be working on a favorable magazine article about Gresham, but who is actually digging up dirt for Nunnaly's benefit. Ultimately, Alice falls in love with the honest Gresham, standing by him during a moment of profound political crisis. The major selling card of Washington Story was producer Dore Schary's decision to lens the film on location in Washington, offering viewers glimpses of the real-life Congress and Senate in action. Remarkably, the film offers a slightly left-of-center hero at a time when McCarthyism was at its height. ~ Hal Erickson, Rovi