Harold J. Stone Movies
A third-generation actor, Harold J. Stone made his stage debut at age six with his father, Jacob Hochstein, in the Yiddish-language play White Slaves. Stone had one line--"Mama!"--which he managed to forget on opening night. He didn't act again until after his graduation from New York University. After gleaning valuable experience in radio, he returned to the stage in George Jessel's production of Little Old New York at the 1939 World's Fair. Stone made his Broadway bow shortly afterward in Sidney Kingsley's The World We Make, and thereafter was seldom unemployed. In 1952, he began the first of many TV-series gigs when he replaced Philip Loeb as Jake on The Goldbergs; within a decade, he was averaging 20 TV appearances per year. In films from 1956, the harsh-voiced, authoritative Stone was most often seen as big-city detective (as in Hitchcock's The Wrong Man), generals, and gangsters (he was Frank Nitti in 1967's St. Valentine's Day Massacre). Usually billed at the top of the supporting cast, Stone enjoyed a rare above-the-title starring assignment when he played investigator John Kennedy in the 1959 syndicated TV series Grand Jury. His other weekly-series roles included Hamilton Greeley (a character based on New Yorker maven Harold Ross) in My World and Welcome to It (1969) and Sam Steinberg in Bridget Loves Bernie (1972). In the latter stages of his career, Harold J. Stone unexpectedly found himself a favorite of Jerry Lewis, co-starring in Lewis' The Big Mouth (1967), Which Way to the Front? (1970) and Hardly Working (1980). ~ Hal Erickson, All Movie Guide- 1957
Man Afraid stars George Nader as a clergyman serving a big-city slum district. He is forced to kill a young hoodlum in self-defense; the police are willing to forgive him of the killing, but the victim's psychotic father (Harold J. Stone) is not so pliable. The father threatens not only to wreak vengeance on Nader, but on Nader's family as well. The minister is torn apart by the practical necessity of protecting his family and the pacifistic edicts of his religious calling. Man Afraid is a tight, claustrophobic melodrama that was inappropriately filmed in CinemaScope; consequently, it tends to play better on TV than it did in theatres. ~ Hal Erickson, All Movie Guide
- Starring:
- George Nader, Phyllis Thaxter, (more)
- 1957
Though Richard Eyer and Philip Abbott get top billing, the real star of The Invisible Boy is Robby the Robot of Forbidden Planet fame. Based on a short story by Edmund Cooper (which, incidentally, contained no robots!), the film finds electronics genius Dr. Merrinoe (Abbott) developing a huge talking computer. While Merrinoe is the master of his laboratory, he has trouble controlling his rambunctious son Timmie (Eyer). When the doctor takes Timmie to the lab with him, hoping to impress his son with the importance of his work, Timmie is interested only in reassembling a robot left behind by Merrinoe's predecessor. Though the robot has been programmed not to bring harm to human beings, the poor clunking creature falls under the spell of Merrinoe's "super computer," which has developed a demonic mind of its own. The computer arranges to launch a rocket, with the robot at the controls, that will enable it to control the earth's orbit. But Timmie, who has stowed away on board the rocket, is able to bring the robot to its "senses" and save the day. Impressive on a technical level, The Invisible Boy is relentlessly silly storywise, which of course adds to the enjoyment. Best line: "Timmie, if you don't bring that rocketship back this instant, you'll get the spanking of your life!" ~ Hal Erickson, All Movie Guide
- Starring:
- Richard Eyer, Philip Abbott, (more)
Vincent Sherman replaced an uncredited Robert Aldrich as director of this noirish and atypically pro-union film from the 1950's. Tulio Renata (Robert Loggia), an organizer for the International Ladies Garment Workers Union, campaigns to unionize the employees of dress factory owner Walter Mitchell (Lee J. Cobb). Viscerally opposed to the union, Mitchell has hired Artie Ravidge (Richard Boone) to thwart Renata's efforts. In a complex oedipal sub-plot, Walter's son Alan (Kerwin Matthews) returns home and joins the firm following the suspicious death of his father's partner. Alan is more sympathetic to the union and attempts to persuade his father to sign a contract. Only after Ravidge kills Renata, and the elder Mitchell finally admits to himself that Ravidge is a thug who also killed his partner, does he agree to negotiate with the union. Before he can do so, however, he, too, is murdered by Ravidge's goons. It is then left to Alan, increasingly involved with Renata's widow Theresa (Gia Scala), to run the business, bring Ravidge to justice, and settle with the union. Similar to Herbert Biberman's Salt of the Earth (1954) in its overt support of the labor movement, The Garment Jungle is clearly a liberal, not a radical, film. Rather than advocate class warfare, it asserts that honest unions and decent capitalists can work together honorably. The film's real fire is found in the personal conflicts between Tulio and Theresa and Walter and Alan. Cobb, Loggia, and Scala perform with intense and multi-dimensional passion. Particularly noteworthy is Theresa's fury at her husband for taking excessive, and ultimately fatal, risks. ~ Steve Press, All Movie Guide
- Starring:
- Lee J. Cobb, Kerwin Mathews, (more)
- 1957
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
- 1957
Riding into the Wyoming town of Bender, Paladin (Richard Boone) is hired by accused murderer Bart Holgate (Harold J. Stone). Though willing to answer for his crimes, Holgate is terrified that he will be lynched before he ever reaches the courtroom, thus he agrees to pay Paladin to keep him alive until his trial. But Amy Bender (a pre-Police Woman Angie Dickinson), the sister of Holgate's victim, is determined to mete out her own brand of justice, Paladin or no Paladin! ~ Hal Erickson, All Movie Guide
- 1957
House of Numbers might have worked better as a farce comedy than a deadly serious melodrama, but everyone involved tries hard not to raise a chuckle. Jack Palance plays a dual role, as an imprisoned gangster and the gangster's twin brother. During a visit to the gangster, the brother switches places, allowing himself to be incarcerated as the real criminal walks free. The scheme involves the complete cooperation of Barbara Lang, wife of one of the Palance boys, who expectedly wavers in her loyalties. Based on a novel by Jack Finney, House of Numbers strived for realism by staging several scenes on location at San Quentin. ~ Hal Erickson, All Movie Guide
- Starring:
- Jack Palance, Barbara Lang, (more)
An obviously ailing Humphrey Bogart made his final screen appearance in The Harder They Fall. Adapted from a novel by Budd Schulberg, the film is a thinly disguised a clef account of the Primo Carnera boxing scandal. Bogart is cast as unemployed newspaperman Eddie Willis, who sells his soul down the river when he signs on as press agent for slimy fight manager Nick Benko (Rod Steiger). It is Willis' job to stir up publicity for Benko's newest protégé, Argentinian boxer Toro Moreno (Mike Lane). Benko's boy quickly rises to the top of his profession, though everybody but Toro knows that all the fights have been fixed. Upon learning that Benko intends to bilk Toro of his earnings, Willis regains his integrity, tells the wide-eyed young pugilist the truth, then sits down to write a searing expose of the fight racket. Jan Sterling costars as Willis' estranged wife, while real-life boxers Jersey Joe Walcott and Max Baer are suitably cast as Toro's trainer and ring opponent, respectively. There is also a heartbreaking cameo appearance by ex-fighter Joe Greb, cast as a punchdrunk skid row bum. The Harder They Fall originally went out with two different endings: in one, Eddie Willis demanded that boxing be banned altogether, while in the other, Willis merely insisted that there be a federal investigation of the prizefighting business. The videotape version contains the "harder" denouement, while most TV prints end with the "softer" message. ~ Hal Erickson, All Movie Guide
- Starring:
- Humphrey Bogart, Rod Steiger, (more)
Director Alfred Hitchcock lets us know from the outset that The Wrong Man is a painfully true story and not one of his customary fabricated suspense yarns, through the simple expedient of walking before the camera and telling us as much (this introductory appearance replaced his planned cameo role as a nightclub patron). The real-life protagonist, musican Christopher Emmanuel Balestrero, is played by Henry Fonda. Happily married and gainfully employed at the Stork Club, Balestrero's life takes a disastrous turn when he goes to an insurance office, hoping to borrow on his wife's (Vera Miles) life insurance policy in order to pay her dental bills. One of the girls in the office spots Balestrero, identifying him as the man who robbed the office a day or so earlier. This, and a few scattered bits of circumstantial evidence, lead to Balestrero's arrest. Though he's absolutely innocent, he can offer no proof of his whereabouts the day of the crime. Lawyer Frank O'Connor (Anthony Quayle) does his best to help his client, but he's up against an indifferent judicial system that isn't set up to benefit the "little man". Meanwhile, Balestrero's wife becomes emotionally unhinged, leading to a complete nervous breakdown. As Balestrero prays in his cell, his image is juxtaposed onto the face of the actual criminal-who looks nothing like the accused man! Utilizing one of his favorite themes-the helplessness of the innocent individual when confronted by the faceless bureaucracy of the Law-Hitchcock weaves a nightmarish tale, all the more frightening because it really happened (the film's best moment: Fonda looking around the nearly empty courtroom during his arraignment, realizing that the rest of the world cares precisely nothing about his inner torment). Hitch enhances the film's versimilitude by shooting in the actual locations where the real story occured. His only concession to Hollywood formula was the half-hearted coda, assuring us that Mrs. Balestrero eventually recovered from her mental collapse (she sure doesn't look any too healthy the last time we see her!) Watch for uncredited appearances by Harry Dean Stanton, Bonnie Franklin, Tuesday Weld and Charles Aidman. ~ Hal Erickson, All Movie Guide
- Starring:
- Henry Fonda, Vera Miles, (more)
- 1956
Anyone who thinks that tabloid journalism is an aberration of the 1980s should take a look at the 1956 release Slander. The film stars Van Johnson as a happily married, well respected TV kiddie show host who becomes the subject of an expose' from a Confidential style magazine. The publisher (Steve Cochran) has no qualms about ruining lives so long as it boosts circulation; nor is he concerned about libel suits, since everything he prints is a matter of record. The exposure of Johnson's minor-league criminal past leads indirectly to the death of his young son. But it isn't Johnson who metes out retribution to the publisher; instead, the avenging angel is the publisher's mother (Marjorie Rambeau), who kills her son rather than allow him to ruin more lives. Sincerely motivated, Slander is nonetheless as cheap and tawdry as the magazines it attacks. ~ Hal Erickson, All Movie Guide
- Starring:
- Van Johnson, Ann Blyth, (more)
- 1956
- NR
Once you get past the fact that handsome Paul Newman could never pass for plug-ugly boxer Rocky Graziano in real life, you will be able to accept Somebody Up Their Likes Me as one of the more accomplished movie biopics of the 1950s. Based on Graziano's autobiography (co-written with Rowland Barber), the film accurately depicts the teen-aged Rocky as an unregenerate punk, evidently doomed by his slum environment, and his own lousy attitude, to a life of petty crime. Determining that the only way he'll make a living is with his fists, Rocky becomes a boxer, at first willing to participate in a series of fixed fights. Eventually, Rocky develops a conscience and sense of self-respect, no small thanks to his sweetheart (and later wife) Norma (Pier Angeli). The film ends on an optimistic note after Rocky wins a "clean" bout with Tony Zale (playing himself). Training extensively with Graziano prior to and during production, Newman is quite impressive in his first worthwhile film role (this was only his third film, following the execrable The Silver Chalice and the forgettable outing The Rack). The title song in Somebody Up There Likes Me was written by Bronislau Kaper and Sammy Cahn, and performed by Perry Como. ~ Hal Erickson, All Movie Guide
- Starring:
- Paul Newman, Anna Maria Pier Angeli, (more)
- 1955
The 1958 theatrical feature The Left-Handed Gun was adapted from the 1955 Philco Television Playhouse offering The Death of Billy the Kid. Both the film and the TV program boasted the same star (Paul Newman), the same author (Gore Vidal) and the same director (Arthur Penn). Broadcast live, The Death of Billy the Kid adhered to basically the same plot of the later film, with newly appointed New Mexico governor Lew Wallace (Matt Crowley) offering outlaw Billy the Kid amnesty if he'll agree to give up his life of crime. But Billy's friendly enemy, Sheriff Pat Garrett (Frank Overton), suspects that the young gunslinger is constitutionally incapable of staying on the right side of the law. The Freudian and homosexual subtext of The Left-Handed Gun was muted in the earlier TV presentation, but the story still retained its dramatic impact. ~ Hal Erickson, All Movie Guide
- Starring:
- Paul Newman, Frank Overton, (more)
