Mari Blanchard Movies

George Washington McLintock (John Wayne) has a saddlebag full of trouble. The owner of the largest ranch in the territory, which also includes a mine and a lumber mill that he built up himself, should be a happy, fulfilled man, but he isn't. His wife, Katherine (Maureen O'Hara), walked out on him two years ago without a word of explanation and has been living back east and running in very fancy circles. He's getting older, a fact of which he's constantly reminded as friends around him decline in health. He's being challenged by their sons, eager to make their mark on the territory, and by the homesteaders who are pouring in with the support of the government, hoping to farm on land that's just barely adequate for cattle to graze on; he's got government officials underfoot, including an inept Indian agent (Strother Martin) and a corrupt land agent (Gordon Jones); the thick-headed, longwinded territorial governor, the honorable Cuthbert H. Humphrey (Robert Lowery), and the government back east are trying to push the Indians -- whose chiefs are some of McLintock's oldest enemies and his best and most honored friends -- by shipping them off to a reservation, where they'll be cared for like old women; and to top it all off, Katherine is coming back to secure a divorce and take custody of their 17-year-old daughter, Rebecca (Stefanie Powers), who's been at school back east and no longer likes anything to do with the West, any more than her mother does. All of that -- plus the presence of a young hired hand (Patrick Wayne) who's interested romantically in McLintock's daughter -- is the setup for a sprawling comedy Western with serious overtones, part battle-of-the-sexes and part political tract.

McLintock! was made mostly to keep John Wayne's production company solvent in the wake of the losses incurred from the production of The Alamo. Wayne needed a film that could be made quickly and have mass appeal, and he got more than he bargained for in James Edward Grant's screenplay, which owed a little to both The Taming of the Shrew and The Quiet Man. Shot in the spring of 1963 and premiered in late November of that year, McLintock! proved to be one of the star's most popular and successful films of the '60s. It was a prized possession of the Wayne estate and was held unavailable for all of the '80s and beyond until they missed the copyright renewal in 1991 -- after that, it emerged in numerous substandard videocassette and DVD editions. There was an authorized VHS edition from MPI in the early '90s, and there were legitimate showings on WTBS, but until 2005 there was no decent quality DVD version. Late that year, Paramount Home Video, working under license from the Wayne estate, released a beautiful letterboxed DVD edition loaded up with extras. ~ Bruce Eder, Rovi

Ted Chase (Paul Richards) has long suspected that his second wife Irene (Mari Blanchard) is unfaithful. Now he is also convinced that Irene was responsible for the death of his beloved first wife Ellen--and is currently conspiring with the owner of gun shop to bump off Ted as well. To save himself, Ted contemplates killing Irene, but someone beats him to it. Even so, Ted is charged with the crime, whereupon defense attorney Perry Mason (Raymond Burr) begins to dig deeply into Irene's unbelievably sordid past. Several previous Perry Mason guest stars make noteworthy return appearances in this episode, among them Ann Rutherford and Jesse White. ~ Hal Erickson, Rovi

Filmed in 1958 and released by United Artists in 1959, Machete is set on vast Puerto Rican plantation. Juano Hernandez plays a modern-day Iago who plants seeds of jealousy in the mind of plantation owner Albert Dekker. Hernandez insists that Dekker's curvaceous new wife is making time with foreman Carlos Rivas. Unlike Iago, however, Hernandez is telling the truth. Even though Blanchard knows that Dekker regards Rivas as the son he never had, she's more than willing to betray her husband. The plot is resolved by a last-reel fire. ~ Hal Erickson, Rovi

Hot on the heels of his successful sci-fier Kronos, Kurt Neumann directed the lesser genre entry She Devil. Jack Kelly stars as a doctor who invents a miracle cure for several horrible diseases. Suffering from tuberculosis, Mari Blanchard agrees to test out Kelly's wonder serum. Almost instantly, Mari's health and strength are restored. Unfortunately, there is one teeny-tiny side effect: Mari's benign personality transforms into that of a scheming predator with a pronounced homicidal streak. As Kelly and his superior Albert Dekker stand by helplessly, Mari murders the wife (Fay Baker) of wealthy John Archer, then draws up plans to knock him off and claim his millions. Even back in 1957, no one took this one seriously. ~ Hal Erickson, Rovi

The Cruel Tower is a dog-and-pony variation of a well-worn triangle plot. John Ericson is a handsome young steeplejack, working side-by-side on a dizzying new structure with brooding partner Charles McGraw. Mari Blanchard is McGraw's beautiful young wife, whose history of illicit romances immediately arouses McGraw's suspicions vis-a-vis Ericson. The problem with all of these "dangerous profession" mellers is that the villain invariably hatches a scheme to make a murder look like an accident--and nearly always ends up the victim of his own scheme. For a while in The Cruel Tower, however, it appears as though John Ericson is really going to fall for Mari Blanchard. ~ Hal Erickson, Rovi

In this melodrama, an American soldier finds himself by two private eyes hired by the wealthy German father of the man he wrongly killed eight years ago. The female detective begins working at the killer's drive-in; eventually she seduces him into marrying her. At that point the other private eye appears claiming to be her estranged brother. He gets the couple interested in a scheme whereby they all might split $200,000 in Berlin. The killer goes for the ruse, returns to Germany and finds himself prosecuted for the murder. ~ Sandra Brennan, Rovi

The third and (as of 1998) final film version of Max Brand's Destry Rides Again, this 1954 Audie Murphy vehicle owes more to the 1939 Jimmy Stewart version than it does to the Brand original. Murphy plays Tom Destry, the peace-loving son of a notorious gunslinger. Destry is summoned to a wide-open western town in hopes that he can stem the villainies of saloon owner Decker (Lyle Bettger) and crooked mayor Sellers (Edgar Buchanan). Though he prefers to talk rather than slap leather, Destry manages to keep the bad guys at bay. But when his best friend, town-drunk-turned-sheriff Rags Barnaby (Thomas Mitchell), is killed by Decker's minions, Destry straps on the shootin' irons and goes to work. Mari Blanchard essays the Marlene Dietrich role as vacillating saloon-hall chirp Brandy, while Lori Nelson is the "good"girl with whom Destry ultimately settles down. Though most of the highlights of Destry -- including the all-girl saloon brawl -- are lifted bodily from 1939's Destry Rides Again, the 1954 film lacks the light touch of the earlier picture, despite the fact that comedy craftsman George Marshall directed both pictures. ~ Hal Erickson, Rovi

Black Horse Canyon was adapted from The Wild Horse, a novel by Lee Savage Jr. Joel McCrea stars as novice rancher Del Rockwell, who takes it upon himself to capture a magnificent wild black stallion who has been spiriting mares away from other ranchers. Rockwell hopes to use the stallion for stud purposes, as does his disreputable neighbor Jennings (Murvyn Vye). Also desirous of corralling the stallion for her ranch is Aldia Spain (Mari Blanchard), who throws in with Rockwell. An exciting climax which reveals everyone's true nature caps this beautifully photographed western. ~ Hal Erickson, Rovi

They don't really go to Mars, they go to Venus, but first they go to New Orleans. While working at a missile base, Bud Abbott and Lou Costello inadvertently launch a rocket ship with themselves aboard. After a wild ride around New York City (the Statue of Liberty ducks when the rocket heads her way), Bud and Lou land in the outskirts of New Orleans. The boys are convinced that they've reached Mars, and their faith in this supposition is affirmed when they come across several strangely costumed "creatures" (actually revellers at the Mardi Gras). Meanwhile, bank robbers Jack Kruschen and Horace McMahon stow away on A&C's rocketship. When Bud and Lou return, the crooks force them to make a quick getaway into outer space. After several days of weightlessness, the four space travellers land on Venus, a planet populated by the gorgeous winners of the Miss Universe contest (including Anita Ekberg). Venusian queen Mari Blanchard falls in love with Costello, only to order him and his companions to return to earth when Lou proves to be unfaithful. Reportedly, this bizarre melange of sci-fi and slapstick was based on a story by Charles Beaumont, who received no screen credit (it's worth noting that Beaumont's later Queen of Outer Space boasts a remarkably similar plotline). Long considered the team's worst film, Abbott and Costello Go to Mars ("and about time!" quipped the New York Times' TV-movie reviewer) is rather likeable in its own incoherent way. ~ Hal Erickson, Rovi

Assignment - Paris is based on a serialized Saturday Evening Post yarn by Paul and Pauline Gallico. The film stars Dana Andrews as reporter Jimmy Race, assigned to the Paris bureau of the New York Herald Tribune. Race makes the acquaintance of French journalist Jeanne Moray (Marta Toren), who is forced to suppress a white-hot news story about an impending Iron Curtain political conspiracy because she lacks proof. At great risk to himself, Race heads to Budapest to ferret out the facts, sometimes right under the noses of the communist "damage control" experts. George Sanders co-stars as editor Rick Strang, who dispatches Race on his fact-finding mission--partly because of his dedication to truth, and partly because he has designs on the gorgeous Jeanne himself. One of the more palatable anti-Red tracts of its era, Assignment - Paris makes excellent use of authentic Parisian and Hungarian locations. ~ Hal Erickson, Rovi

Something to Live For is the last of director George Stevens' "small" films, before he concentrated full-time on such blockbusters as Shane and Giant. Joan Fontaine plays a popular actress who descends into alcoholism. Ray Milland, in an unofficial extension of his Lost Weekend role, plays a reformed drunkard who comes to Fontaine's rescue. He encourages her to join Alcoholics Anonymous--one of the first times that this organization was given any kind of screen treatment. Milland's concern strains his relationship with his wife (Teresa Wright), who doubts that Ray's interest in Fontaine is merely humanitarian. But Milland refuses to endanger his marriage no matter how strong his feelings towards Fontaine--nor how much the audience wants him to. ~ Hal Erickson, Rovi

Barry Sullivan plays an eager young lawyer who is willing to sacrifice any and all scruples on the upward climb. He is put on retainer by a gangster, and soon is ankle-deep in an insurance racket. When he wants to pull out, Sullivan is framed for a gangland murder. No Questions Asked was in line with the harsher, less frothy fare produced by MGM during the Dore Schary regime. The screenplay was by former radio gagman Sidney Sheldon, who would later carve a literary niche for himself in the best-seller market of the 1970s. ~ Hal Erickson, Rovi