Howard I. Smith Movies

Samantha goes into a tizzy when she thinks that Aunt Clara has turned herself into a cow. Actually, the "bossy" in question is Ginger, the mascot for Darrin's potential client, Morton Milk. The complications really begin piling up when Sam brings Ginger into the Stephens' living room. Howard Smith guest stars as the confused Mr. Morton, while Joseph Perry plays Mr. Henerson (an inside joke: one of the series' most frequent scripters was James Henerson). Written by Ruth Brooks Flippen, "The Corn Is as High as a Guernsey's Eye" originally aired on January 26, 1967. ~ Hal Erickson, All Movie Guide

After 92 days with no rain, Oliver signs a deal with Mr. Haney (Pat Buttram), who claims to have a rainmaking machine. It turns out that the "machine" consists of a Native American rain-dancer named Chief Thundercloud (Robert Strauss). Ultimately, it rains cats and dogs, but Oliver insists that Haney had nothing to do with it -- and the matter goes all the way to court, where Haney sues Oliver for reneging on his contract. Oh, and did we mention the washed car and the sunflowers? ~ Hal Erickson, All Movie Guide

A reworking of the first-season Twilight Zone episode "Mr. Bevis," "Cavender Is Coming" was, like its predecessor, the pilot for a proposed comedy-fantasy TV series. Carol Burnett stars as klutzy Agnes Grep, whose combination of overeagerness and ineptitude costs her job after job. Enter Agnes' guardian angel Cavender (Jesse White), who, as big a screw-up as the heroine, has been assigned to Agnes to see if he is worthy of earning his wings. Transforming Agnes into a poised, sought-after fashion plate, Cavender discovers that she was happier when she was a "loser" -- meaning that Cavender will be stuck on Earth a long, long time, in search of someone whose life he can really turn around. Written with a heavy hand by Rod Serling, "Cavender Is Coming" benefits from the play between its two stars and from a rich and varied supporting cast including John Fiedler and Donna Douglas; in the final analysis, however, it is defeated by CBS' decision to add a raucous laughtrack, which is at its loudest when absolutely nothing funny is happening. "Cavender Is Coming" was originally telecast May 25, 1962. ~ Hal Erickson, All Movie Guide

First telecast May 6, 1960, A Stop at Willoughby was scripter Rod Serling's favorite of the first-season Twilight Zone episodes. Plagued by a pushy boss (Howard I. Smith) and a vitriolic wife (Patricia Donahue), ulcerated businessman Gart Williams (James Daly) briefly dozes off while taking the commuter train home. When he awakens, the train has changed to a 19th century model -- as has the conductor, who invites Williams to get off at the peaceful, picture-postcard town of Willoughby. Watch for future Archie Bunker's Place regular Jason Wingreen in a small role. ~ Hal Erickson, All Movie Guide

Director Albert Band is also a screenwriter, and this is his second drama based on a story by Stephen Crane (his first screenplay was 1951's Red Badge of Courage). Band's interpretation of Crane's story The Monster, is a slow, pedestrian rendition of the emotional upheaval of a lowly handyman, Monk Johnson (James Whitmore). Johnson works for a local doctor and is a friend of everyone in town when disaster strikes. The doctor's house catches on fire and Johnson's face is completely burnt as he rushes in to save the physician's young son. After he recuperates, his grotesque appearance alienates his former friends to the point where they are aggressive, threatening, and ready for violence. ~ Eleanor Mannikka, All Movie Guide

Unjustly ignored by many books on the horror film, I Bury the Living is a bone-chilling little mood piece, almost completed dominated by Richard Boone. Expertly avoiding the obvious throughout the film, Boone gives a thoroughly credible performance of a troubled man who labors under the misapprehension that he is God. Boone plays the new chairman of a large cemetery; in his office is a map of the grounds, with black pins representing the occupied plots, and white pins representing plots that have been purchased but not yet filled. When Boone inadvertently mixes up the black and white pins, several of the plot owners suffer untimely deaths. Inevitably, Boone becomes convinced that he has the power of life and death--a conviction that doesn't completely dissipate once the secret behind the sudden deaths is revealed. ~ Hal Erickson, All Movie Guide

Wind Across the Everglades represents the once-in-a-lifetime collaboration between director Nicholas Ray and screenwriter Budd Schulberg, and a strange little picture it is indeed. In his second film appearance, Christopher Plummer plays bibulous 19th-century Florida game warden Walt Murdock, who declares war on the poachers in his region. This brings him in direct conflict with the legendary Cottonmouth (Burl Ives), the spiritual leader of a group of illegal birdhunters. The highly eccentric supporting cast includes Gypsy Rose Lee as a sensuous farm wife, boxer "Two Ton" Tony Galento as a lout named Beef, circus clown Emmett Kelly as the much-married Bigamy Bob, novelist Mackinlay Kantor as the regional judge, and Peter Falk in his film debut, as an owlish writer. After Wind Across the Everglades, Nick Ray's Johnny Guitar will seem as antiseptic as Heidi. ~ Hal Erickson, All Movie Guide

Obviously inspired by such service comedies as Mister Roberts and Operation Mad Ball, Don't Go Near the Water is a tribute to those "unsung heroes" of WW2: the men and women of the Navy's Public Relations Department. Thousands of miles away from the shooting war, Lt. Max Siegel (Glenn Ford) and the rest of the PR staff spend their time issuing colorful reports of Naval heroism and sucking up to visiting US dignitaries on a tiny South Sea island. Siegel and company also battle the anal-rententive pettiness of such superior officers as Lt. Cmdr. Clinton T. Nash (Fred Clark) and such potential foes as abrasive war correspondent Gordon Ripwell (Keenan Wynn). The feminine angle is provided by Gia Scala as Melora, a European-educated local girl, Anne Francis as by-the-book nurse Lt. Alice Tomlen, and Eva Gabor as women's magazine writer Deborah Aldrich. Particularly amusing is Mickey Shaughnessy as foul-mouthed seaman Farragut Jones, whose periodic barrages of profanity are invariably drowned out by the sound of a ratchet-horn (this was, after all, 1957). Don't Go Near the Water was based on the comic novel by ex-PR man William Brinkley. ~ Hal Erickson, All Movie Guide

Self-centered Washington socialite Rosalind Russell joins the WACS in order to be near her boyfriend William Ching, a GI stationed in Paris. Russell is certain that her DC connections will enable her to get out of the service as easily as she got in. Unfortunately for her, Russell's ex-husband Paul Douglas decides to teach her a lesson by pulling a few strings himself. Several of the army-camp scenes are stolen by Marie Wilson as an amply proportioned chorus girl, who's joined the WACS to escape stage-door johnnies. Filmed in part on location at the Women's Army Corps training center at Fort Lee, Virginia, Never Wave at a WAC was produced by Rosalind Russell's husband, Frederick Brisson. The film was released in England as The Private Wore Skirts. ~ Hal Erickson, All Movie Guide

There's something amiss here. The New York-filmed Cry Murder is listed in most sources as a 1936 film, yet the cast is comprised of actors who came to prominence in the 1940s and 1950s, notably Jack "Hawaii 5-0" Lord. Carole Mathews plays a former movie star, affianced to a prominent politician, whose life is all but ruined by some old letters unearthed by an aspiring artist. The cast includes several familiar TV commercial faces, including Tom Pedi (the Brooklynese repairman in those Dash detergent commercials of the 1950s) and Tom Ahearne ("Grandpa" in the Post Grape Nuts ads of the 1960s). Cry Murder was based on a play by A. B. Shiffrin. ~ Hal Erickson, All Movie Guide

FBI operative Mark Stevens is dispatched by his boss Lloyd Nolan to infiltrate a criminal gang. Stevens ingratiates himself with Richard Widmark, the gang's leader, then helps concoct a robbery that will deliver the criminals into the hands of the authorities. But there's an informant in the police department, who gets word back to Widmark. Aware that there's a stoolie in his gang, Widmark automatically assumes that his wife Barbara Lawrence is the guilty party, and beats her senseless. Eventually determining that Stevens is the "mole," Widmark methodically plans to kill Stevens during a holdup; by this time, however, the FBI is a step or so ahead of him. Remade in 1955 by Samuel Fuller as House of Bamboo. ~ Hal Erickson, All Movie Guide

Based in part on a true story, Kiss of Death is given a veneer of reality by being filmed on location in New York, with a bare minimum of studio work. In one of his best performances, Victor Mature plays a cheap crook who is sent up the river for 20 years for robbery. District attorney Brian Donlevy, out of sympathy for Mature's two young daughters, gives him a chance to go free--if Mature will blow the whistle on his accomplices. Stubbornly adhering to the "code" of thieves, Mature refuses to do so, until his wife kills herself and his kids are placed in an orphanage. Once paroled, Mature is prevailed upon to extract additional information from sadistic mob torpedo Richard Widmark (in his chilling screen debut). Living with his children under an assumed name, Mature gradually divests himself of all criminal tendencies, and falls in love with sympathetic Coleen Gray. But Mature feels that it's only a matter of time before Widmark will come gunning for him, so he goes back to Donlevy, offering to turn over evidence that will send Widmark up for life. Thanks to a clever mob attorney, Widmark beats the rap, and Mature knows he is doomed. On his own, he schemes to arrange his impending demise so that the cops will have an air-tight case against Widmark. The last five minutes--one of the most tense 300 seconds on film--is devoted to the cat-and-mouse showdown and ultimate shootout between Mature and Widmark. Though much of Kiss of Death is a "conformist gangster film" (to quote critic Andrew Sarris), the presence of Richard Widmark makes up for any of the script's banalities. This is the film in which Widmark gigglingly pushes a wheelchair-bound old lady down a flight of stairs. Reviewer James Agee said it best: "You feel that murder is the kindest thing he is capable of". The film made Widmark a star--and also convinced him to start lobbying immediately for good-guy roles so that he wouldn't be typecast as maniacal killers for life. Kiss of Death was remade as the 1958 western The Fiend Who Walked the West, then re-remade under its original title in 1994, with David Caruso in the Mature role and Nicolas Cage in the Widmark part. ~ Hal Erickson, All Movie Guide