William Stelling Movies

Filmed in 1982 in New York, this comedy hinges on a tried-and-true plot device: a man has less than a day to get married or he loses a fortune (no waiting for blood tests or licenses here!). When the fabulously wealthy W.D. Westmoreland (Jonathan Winters) dies, his grandson Luke (Art Hindle) discovers that he will inherit $250 million if he marries before he is 35. Since he turns thirty-five tomorrow, that leaves him less than 24 hours to find a bride and make it legal. Everything impedes his good intentions, including his father, who stands to inherit that money if Luke remains a bachelor. There are a lot of volunteers for Luke's open position of an immediate wife, but what makes matters even more complicated is he has developed an interest in a young, average-looking woman from the countryside. ~ Eleanor Mannikka, Rovi

This preposterous post-WWII drama stars Flame the dog as a retired military pooch who lost his beloved master to the murderous hands of a trench-coat wearing Nazi. After the war, Flame was sent to retire in a peaceful hunting lodge. One day, three visitors come to the cabin. One of the suspicious fellows wears a trenchcoat identical to the one the killer war. Overcome by memories, Flame attacks the trio. Later his instincts are proven true when the three are proven to be German spies come to steal information about a nearby nuclear project. ~ Sandra Brennan, Rovi

On a trip from France to Allied-occupied Berlin, a group of travelers -- a mysterious and very secretive European woman (Merle Oberon), an American agricultural expert (Robert Ryan), a British educator (Robert Coote), a Soviet Army officer (Roman Toporow), and a French official (Charles Korvin) -- all cross paths in the cramped quarters of a military train. They discover that the notion of the "Allied forces" is breaking down amid their victory in the war; they neither like nor trust each other, nor each other's countries, except where the Germans are concerned, where they share a distrust. And then they cross paths with a German VIP who makes them wonder if they've got all of the Germans pegged right. A bomb goes off, killing their newfound acquaintance, and the suspicions start anew. The mystery surrounding the victim only deepens when they discover that he wasn't who he claimed to be -- and that the army isn't saying who he was. Ryan, Oberon, et al. soon find themselves up to their necks in unrepentant Nazis and militant German nationalists who have banded together against the occupiers to destroy any chance of success for a peace plan being put forward by a visionary German (Paul Lukas). They find Frankfurt a hotbed of sabotage and armed underground resistance, with the occupying armies seemingly caught flat-footed by the plotting in their midst, which includes murder and blackmail. Berlin Express is a spellbinding mix of action, suspense, and topical political intrigue, laced with idealism and a surprising degree of sophistication, a level a wit almost worthy of Graham Greene, and an eye for suspense worthy of Hitchcock. Indeed, the film could almost be considered director Jacques Tourneur's postwar equivalent to Hitchcock's Foreign Correspondent (1940). It also represents a fascinating cultural snapshot, depicting the very last moments of hope for peaceful relations with the Soviets that could be seen in American movies for decades. ~ Bruce Eder, Rovi

MGM's The Trial of Mary Dugan was based on the popular stage play by Bayard Vellier, previously filmed as a Norma Shearer vehicle in 1929. This time, Laraine Day is cast as Mary Dugan, a young stenographer who is falsely accused of murdering her philandering employer Edgar Wayne (Tom Conway). In the course of her trial, Mary falls in love with her attorney Jimmy Blake (Robert Young). The original Trial of Mary Dugan was highlighted by the heartfelt testimony of the tarnished heroine, who recounted a life of shame and degradation endured on behalf of her impoverished law-student brother. Thanks to the tightened censorial restrictions of 1941, Mary Dugan's checkered past is eliminated, leaving the viewer with just another courtroom melodrama. ~ Hal Erickson, Rovi

Gone With the Wind boils down to a story about a spoiled Southern girl's hopeless love for a married man. Producer David O. Selznick managed to expand this concept, and Margaret Mitchell's best-selling novel, into nearly four hours' worth of screen time, on a then-astronomical 3.7-million-dollar budget, creating what would become one of the most beloved movies of all time. Gone With the Wind opens in April of 1861, at the palatial Southern estate of Tara, where Scarlett O'Hara (Vivien Leigh) hears that her casual beau Ashley Wilkes (Leslie Howard) plans to marry "mealy mouthed" Melanie Hamilton (Olivia de Havilland). Despite warnings from her father (Thomas Mitchell) and her faithful servant Mammy (Hattie McDaniel), Scarlett intends to throw herself at Ashley at an upcoming barbecue at Twelve Oaks. Alone with Ashley, she goes into a fit of histrionics, all of which is witnessed by roguish Rhett Butler (Clark Gable), the black sheep of a wealthy Charleston family, who is instantly fascinated by the feisty, thoroughly self-centered Scarlett: "We're bad lots, both of us." The movie's famous action continues from the burning of Atlanta (actually the destruction of a huge wall left over from King Kong) through the now-classic closing line, "Frankly, my dear, I don't give a damn." Holding its own against stiff competition (many consider 1939 to be the greatest year of the classical Hollywood studios), Gone With the Wind won ten Academy Awards, including Best Picture, Best Director, Best Screenplay, Best Actress (Vivien Leigh), and Best Supporting Actress (Hattie McDaniel, the first African-American to win an Oscar). The film grossed nearly 192 million dollars, assuring that, just as he predicted, Selznick's epitaph would be "The Man Who Made Gone With the Wind." ~ Hal Erickson, Rovi

Virile George O'Brien straddles the "western" and "crime-flick" genres in RKO Radio's Border G-Men. The plot gets under way when the FBI learns that ammunition and men are being smuggled out of the US and into Mexico in violation of the neutrality act. Federal agent O'Brien is dispatched to Texas to investigate, promptly falling in love with pretty Laraine Johnson (later billed as Laraine Day), whose brother is unwittingly mixed up with the smugglers. Villains John Miljan and Rita LaRoy, in the employ of an unnamed foreign power, use every dirty trick at their disposal to continue their nefarious activities, but O'Brien proves a bit too fast and a great deal too smart for them. Several trade papers applauded RKO Radio's marketing strategy with Border G-Man, which enabled the studio to promote the film as either a straightford western or an espionage adventure, depending upon the demands of the exhibitors. ~ Hal Erickson, Rovi

Director Anatole Litvak's first Hollywood film was a remake of his French success L'Equipage, itself based on a novel by Joseph Kessel. Paul Muni stars as Maury, an unorthodox, abrasive WWI fighter-pilot whose skill in the air is compromised by his inability to get along with his colleagues and subordinates. His wife Denise (Miriam Hopkins) loves Maury in her fashion but cheats on him in favor of younger, handsomer flyboy Jean (Louis Hayward). This romantic triangle is settled not in the boudoir but in the air, during a particularly tense "dogfight." Though The Woman I Love often copies L'Equipage scene for scene (even retaining the original musical score by Arthur Honegger and Maurice Thiriet), the ending of the remake is markedly different from that of the original, obviously to appease the more stringent Hollywood censors. The film's title was obviously chosen to cash in on a similar sentiment expressed by Britain's King Edward VII when he abdicated from his throne for the sake of his American wife; perhaps this was why The Woman I Love was retitled The Woman Between in Great Britain. ~ Hal Erickson, Rovi

The Lafayette Escadrille, that elite corps of volunteer WW I flyboys, is the collective "hero" of Fox's Hell in the Heavens. American lieutenant Steve Warner (Warner Baxter) heads to France to join the Escadrille in the months just prior to his country's entry into WW I. It is Warner's mission in life to blast the much-feared (and much-admired) German "Red Baron" Kurt von Hagen (Arno Frey) from the skies, but our hero manages to take enough time to help a fellow comrade-in-arms (Russell Hardie) overcome his fear of flying. The usual romantic subplot features Conchita Montenegro in one of her few major Hollywood roles. Hell in the Heavens was based on The Ace, a play by Herman Rossman. ~ Hal Erickson, Rovi