Vladimir Sokoloff Movies

Essentially a chase film from beginning to end, this standard adventure yarn by director Ronald Neame is set in "Zahrain," a barely-disguised Middle Eastern nation. Sharif (Yul Brynner) is a rebel who has taken up arms against the country's corrupt government and the forces of Western imperialism. Now he and a small party of supporters (one a kidnapped woman about to become a supporter) take off across the desert with soldiers in hot pursuit. As the group flees through untamed country, there are brief moments of respite but no immediate escape in sight. ~ Eleanor Mannikka, All Movie Guide

Elliot Ness (Robert Stack) joins forces with Willard Thornton (Wendell Corey), newly appointed Special Crime Commissioner of Chicago, to ferret out the brains behind a huge criminal combine. What Ness doesn't know (but the audience does) is that Thornton himself is a member of the combine, in cahoots with crooked lawyer Barney Lubin (a pre-All in the Family Carroll O'Connor). Thornton and Lubin ultimately precipitate their own downfall when they try to rub out fellow hoodlum "Country Boy" Parrish (Albert Salmi)--who, after escaping with his life from the traditional "one-way ride", finds himself in even greater danger at the hands of lovelorn hash-house waitress Emmy Sarver (Mary Fickett). ~ Hal Erickson, All Movie Guide

In this 1961 William Castle film based on Ray Russell's novel Sardonicus, Guy Rolfe stars as the wicked Sardonicus, a wealthy count who wears a mask because his face is frozen in a horrifying death grimace. Ronald Lewis stars as Sir Richard, a brilliant doctor who is at the top of his field in the early 20th century. A curious letter from his former love, Maude (Audrey Dalton), draws him to Europe where she lives in a remote castle with her brooding husband, his badly scarred, but dedicated man-servant, Krull (Oscar Homolka), and a frightened housekeeper whom Sir Richard finds tied up and covered with leeches. The good doctor soon discovers the truth behind the leeches...and the true nature of his visit when Sardonicus reveals his terrible story: He dug up his father's grave in search of a winning lottery ticket, and upon seeing the corpse, his face muscles froze leaving him looking like a living skull. Dangling Maude as his ransom, Sardonicus forces Sir Richard into attempting a radical treatment to make his face normal again, but even when it is a success, the evil Sardonicus can find no cure from the curse of his father's desecrated corpse. Castle appears in the climax to offer viewers an opportunity to afford additional punishment on Sardonicus which leads to a satisfying conclusion. ~ Patrick Legare, All Movie Guide

Wandering into the small Mexican town where Luis Gallegos (John Alonso) is about to be hanged, mercenary peddler Sykes (Thomas Gomez) sells the rope to the hangman, then turns around and sells a handful of "magic dust" to the condemned man's father (Vladimir Sokoloff). Lying through his teeth, Sykes insists that the dust will spread goodwill throughout the community -- and, it is hoped, will spare Gallegos' life. One doesn't have to be a diehard Twilight Zone fan to guess what will happen next. Douglas Heyes, Jr., son of the episode's director, plays a small role. Written by Rod Serling, "Dust" was first telecast January 6, 1961. ~ Hal Erickson, All Movie Guide

Japanese filmmaker Akira Kurosawa's The Seven Samurai (1954) is westernized as The Magnificent Seven. Yul Brynner plays Chris, a mercenary hired to protect a Mexican farming village from its annual invasion by bandit Calvera (Eli Wallach). As Elmer Bernstein's unforgettable theme music (later immortalized as the "Marlboro Man" leitmotif) blasts away in the background, Chris rounds up six fellow soldiers of fortune to help him form a united front against the bandits. The remaining "magnificent six" are played by Charles Bronson, Steve McQueen, Horst Buchholz, Robert Vaughn, James Coburn, and (the one that everybody forgets) Brad Dexter. Though jam-packed with action, William Roberts's screenplay pauses long enough to flesh out each of its characters, allowing the audience to pick their own favorites. The Magnificent Seven was followed by three sequels, not to mention dozens of imitations. ~ Hal Erickson, All Movie Guide

Edgar G. Ulmer, the phenomenally fast director of many a quickie horror effort, lensed Beyond the Time Barrier in Texas. Test pilot Maj. William Allison (Robert Clarke) is hideously disfigured by a mishap in space. In flashback, we learn that Clarke had earlier returned to his base, only to discover that he'd passed through a time warp and that the Earth has been decimated by some disaster or other. He crosses the path of the ruling class, led by the Supreme, and a tribe of mutants, left over from a plague caused by extraterrestrial radiation. Only by returning to his own time can Clarke save the world from this fate (sound familiar?). Augmented with footage from Fritz Lang's 1959 Journey to the Lost City (aka The Indian Tomb), Beyond the Time Barrier tries hard, but is ultimately defeated by its almost-nonexistent budget. ~ Hal Erickson, All Movie Guide

Adapted by Ernest Gann from his own novel, Twilight for the Gods bears traces of Gann's earlier The High and the Mighty. This "psychological adventure" stars Rock Hudson as Captain Bell, who crawls into a bottle after being court-martialed and discharged from the Navy. Reduced to skippering a rundown schooner in the South Seas, Bell comes into contact with a group of passengers and crew members who are almost as mixed up as he is: Charlotte (Cyd Charisse), a Honolulu prostitute on the lam from the authorities; Hutton (Leif Erickson), a third-rate show biz entrepreneur, Wiggins (Richard Haydn), an erudite beachcomber; Feodor and Ida Morris (Vladimir Sokoloff, Celia Lovsky) a refugee couple; ineffectual missionary Butterfield (Ernest Truex); washed-up opera star Ethel Peacock (Judith Evelyn); and second mate Ramsay (Arthur Kennedy), an all-around rotter. In other words, it's "Grand Hotel" at sea. During a treacherous, life-threatening storm at sea, the true characters of the passengers and crewmen are revealed -- for better or worse. ~ Hal Erickson, All Movie Guide

Wounded in the French-Algerian war, Sgt. Andre Doniere (Jacques Bergerac) heads back to France in the company of his friend Marcel (Marcel Dalio), who lost a leg saving Andre's life. Although Doniere's return is eagerly awaited by his adoring fiancée, Sybil (Lilyan Chauvin), he is consumed by guilt over the fact that, during his hospital stay, he has fallen in love with another woman named Therese (Susan Kohner). It falls to Marcel to "rescue" his comrade for a second time. This is one of the few Hitchcock episodes without a humorous epilogue -- and for good reason. ~ Hal Erickson, All Movie Guide

East Indian actor Sabu plays "himself" in this inexpensive Arabian nights farago. First we see him rescuing a abducted princess from thieves. Next we see him make like Aladdin when he recovers a magic ring. The twin plotlines are only tenuously connected, mainly because Sabu and the Magic Ring is comprised of two TV pilot films, filmed in color by the Superman production team. This is the sort of movie that only shows up on TV during baseball rain delays. ~ Hal Erickson, All Movie Guide

In this Award-winning episode, Paladin (Richard Boone) is extended the hospitality of Samuel Abajinian (Harold J. Stone), a prosperous Armenian winemaker. But before Paladin can partake of any vintage wine, Abarjinian asks him to track down his "helpless" daughter Helen (Lisa Gaye), who has run off with a ranchhand whom the winemaker regards as weak and unworthy. As it turns out, Helen is fiercely self-reliant--and as usual, there is more to the story than it seems at first glance. ~ Hal Erickson, All Movie Guide

The tendency is to scoff at Macao as just another example of Josef von Sternberg's late-career exercises in exoticism; true, it has its problems, including a weak plot and a slightly hasty pace, but it is still an extraordinary film for its time and its personnel. The real sparkplug for the movie is Jane Russell as out-of-work singer Julie Benson, who inadvertently gets the plot rolling when she ends up in a cabin with a lout who won't take no for an answer. Her plight, and a flying shoe, brings in laconic, slightly mysterious traveler Nick Cochran (Robert Mitchum), who seems to have something to hide and manages to get his wallet (including passport) lifted by the opportunistic Julie. Crossing paths with them is Lawrence Trumble (William Bendix), a good-natured lunkhead salesman coming to Macao for the gambling. And gambling, among other less legal activities, is what local hood Halloran (Brad Dexter) is all about. He's just hot enough in international crime circles to attract the authorities, who can't touch him in Macao; he's already had one New York detective killed and expects another to arrive, and he's keeping an eye on any suspicious, unfamiliar Westerners arriving, which leads him to Julie, Cochran, and Trumble. Halloran has other, obvious plans for Julie, especially when obliging corrupt police chief Thomas Gomez points her to a singing job at his club, much to the distress of his one-time girlfriend (Gloria Grahame); he dismisses Trumble as a lovable clown. But Nick has cop written all over him and is hiding something. All of the pieces fit together neatly in the end, and everyone is keeping at least one secret that will surprise viewers.

What makes Macao truly special are the performances, beginning with Jane Russell, who, with the possible exception of Gentlemen Prefer Blondes, was never better. Her ample physical assets are on display as usual, but she also never gave a sharper, more naturalistic or purely sensual acting performance. Russell had clearly found her talent and her center with this film. Whether she's shooting a suspicious glance at larcenous police chief Thomas Gomez, singing a sultry torch song in a seductive white strapless outfit, or striding forward in an exquisite dolly-out shot, she commands every scene in which she appears. And it's not just her imposing physique that does it, but a boldness of nuance; Russell had learned a lot since The Outlaw. Brad Dexter, the odd man out in The Magnificent Seven, makes an excellent villain, like a more pathological version of Steve Cochran. Meanwhile, Robert Mitchum, in his portrayal of a neurotic, perhaps shell-shocked veteran, shows a vulnerable side that seldom came out so convincingly or touchingly in his RKO movies; and even William Bendix found a new wrinkle to his screen persona as the seemingly larcenous commercial traveler. The audience will be beguiled and surprised throughout this movie -- an underrated noir classic -- and not just by the stories that unravel. The last line and wrap shot create an amazingly lusty, censor-challenging denouement for an early '50s film. ~ Bruce Eder, All Movie Guide

The relatively relaxed movie censorship in the postwar years enabled Columbia to produce To the Ends of the Earth, a film which dealt with the previously taboo subject of drug smuggling. T-man Dick Powell is sent to several foreign locales to track down an Opium ring. The villains are subversives (Red? Fascist?) who plan to take over the world by hooking everyone on the "hard stuff." The film is chock full of mysterious European and Oriental types like Vladimir Sokoloff, Ludwig Donath and Fritz Leiber; even leading lady Signe Hasso speaks with an accent, which in 1948 was enough to immediately put her under suspicion. Lending credence to this sprawling adventure yarn is the presence of several actual treasury agents in bit parts, including commissioner Harry J. Anslinger. ~ Hal Erickson, All Movie Guide