James F. Stone Movies

Based on the hit Broadway play by Neil Simon, who made his screenwriting debut with this adaptation, Barefoot In The Park follows the lives of newlyweds Paul (Robert Redford) and Corie Bratter (Jane Fonda) as they adjust to married life in a tiny Greenwich Village apartment. Paul is a buttoned-down, straight-arrow lawyer who's wound a little too tight, while Corie is an effervescent free spirit who won't let anything disturb her romantic bliss. Aside from the five-flight climb and the hole in their skylight, the Bratters must also contend with eccentric upstairs neighbor Victor Velasco (Charles Boyer), who must go through their apartment to get to his. Corie hatches a plot to get her mother (Mildred Natwick) together with Mr. Velasco, but the entire evening goes awry and even casts doubt on the viability of the Bratters' new marriage, as Corie tries unsuccessfully to loosen Paul up. All ends well, however, and Fonda and Redford are full of youthful appeal in this light domestic comedy. ~ Don Kaye, Rovi

The 276th and final episode of the original 1950s version of Dragnet is an adaptation of a two-part radio drama, originally heard on January 3 and 10, 1952. An ex-convict tips off Friday (Jack Webb) and Smith (Ben Alexander) about a huge shipment of Mexican heroin being smuggled into LA by a New York narcotics ring, fronted by a guy named Red. Going undercover, Friday poses as an interested buyer, risking life and limb to get the goods on Red and his cronies. But even after the "small fish" are rounded up, Friday must set up a trap for the elusive "Mr. Big" who is the real brains of the outfit. ~ Hal Erickson, Rovi

Two men have been committing robberies throughout Los Angeles. Friday (Jack Webb) and Smith (Ben Alexander) have a single solid clue to go on: One of the bandits has huge feet--and he wears a pair of distinctively fancy cowboy boots. Joby Baker delivers another of his patented Dragnet portrayals as a young man with big problems. ~ Hal Erickson, Rovi

Luther Davis' racy wartime comedy Kiss Them for Me was expurgated a bit for the 1957 film version. Cary Grant, Ray Walston and Larry Blyden portray three navy war heroes who've been booked on a morale-building "vacation" in San Francisco. Eluding their ulcerated public relations officer (Werner Klemperer), the trio arranges a wild party with plenty of pretty girls. Cary Grant is paired with knockout Suzy Parker, an icy socialite who eventually thaws under his charms. Also on hand is Jayne Mansfield, playing a "good time girl" whose profession was a bit more explicit in the original play; the role was originated by Judy Holliday, who brought a wistfulness to the character that Ms. Mansfield couldn't quite manage. TV sitcom fans will get a kick out of the supporting cast of Kiss Them For Me: Ray Walston, later star of My Favorite Martian plays a libertine navy officer; Werner Klemperer, shorn of the accent he'd use as Colonel Klink in Hogan's Heroes, is hilarious as the flustered p.r. man; and Richard Deacon (Leave It to Beaver, The Dick Van Dyke Show) pops up unbilled as a dour businessman who can't understand the war-hero mystique. ~ Hal Erickson, Rovi

Teenage Rebel was the misleadingly lurid title bestowed upon this film version of Edith R. Sommer's Broadway play A Roomful of Roses. Ginger Rogers heads the cast as Nancy Fallon, a divorcee who has trouble communicating with 15-year-old daughter Dodie (Betty Lou Keim). Left in the custody of her father, Dodie feels as though her mother has deserted her. The situation doesn't improve very much when Nancy marries Jay (Michael Rennie), providing her daughter with another excuse for resentment and petulance. The responsibility for resolving this dilemma is laid at the feet of Jay's young son Larry (Rusty Swope). Teenage Rebel represents the film debut of Warren Berlinger, superbly repeating his stage role as one of Keim's school chums. ~ Hal Erickson, Rovi

N. Richard Nash's play The Rainmaker has always attracted the most flamboyant of performers, and this 1956 film version is no exception. Burt Lancaster all but bursts from the screen with his arm-waving portrayal of a confidence artist who works the drought-ridden Southwest, promising to bring rain for a flat fee of a hundred bucks. During his latest campaign, Lancaster takes up residence in the home of farmer Cameron Prud'homme (repeating his Broadway role) and his three offspring: rambunctious Earl Holliman, suspicious Lloyd Bridges, and ugly-duckling Katharine Hepburn. In a scene which has since become a standard in high school acting classes, Lancaster works his carnival-huckster charm on Hepburn, convincing her that she's the most gorgeous creature on earth. Armed with new self-confidence, Hepburn stops her tomboyish behavior and becomes a delectable object of affection for local suitor Wendell Corey. After performing this "miracle," Lancaster's last-act ability to conjure up a cloudburst seems almost anticlimactic. The probing lens of the movie camera does little to hide the fact that virtually everyone in the film is too old for their roles, but The Rainmaker makes up its shortcomings with sheer unbridled energy. ~ Hal Erickson, Rovi

This exciting caper outing is loosely based on the famous robbery of Brinks in Boston that netted the crooks $2.5 million. The story covers the six years small-time hood Jerry Florea (Tony Curtis) spent planning the heist. The story begins with the events that led a young Florea (played by Sal Mineo) to become a crook. Hoping to save him from a life of crime, a kindly policeman and his wife take him under their wing. Though he appreciates their kindness, Florea seems destined to become a criminal. As a young man, he begins pretending to reform and even gets a job at Brinks. The loving couple have no clue that it is only a ruse and that he is preparing to rob the establishment. It is only after he and his gang pull-off the job that Florea reconsiders his actions and then makes a daring attempt to make amends. ~ Sandra Brennan, Rovi

Investigating a missing-persons report, Friday (Jack Webb) and Smith (Ben Alexander) are handed a clue when a ring worth $1500 shows up in a pawn shop. At this point, the missing man, Garfield Hunt (James Stone) resurfaces. It turns out that Hunt had been fleeced by a pair of clever con artists, and had hocked the ring so his wife would not find out he had lost all his money. Ultimately, the detectives catch up with the crooks--or do they? Peggy Webber, a charter member of the "Jack Webb Stock Company", shows up as a lachrymose drunk. Based on the Dragnet radio broadcast of February 8, 1955, this episode is currently available in several public-domain VHS and DVD collections. ~ Hal Erickson, Rovi

A hit and run driver has struck and killed a pregnant woman and her unborn child. The only clue Friday (Jack Webb) and Smith (Ben Alexander) have to go on is that the death car bore a hot rodder's license plate with the word "WHEELS." With the cooperation of several responsible hot-rod enthusiasts--who waste no time assuring everyone that the members of their club must not only drive carefully, but also pass monthly safety checks--the two detectives track down the perpetrator and his stolen vehicle. Michael Ansara delivers a powerful performance as the victim's grieving husband. Adapted from the Dragnet radio broadcast of March 16, 1954, this episode received a special commendation from the National Hot Rod Association. ~ Hal Erickson, Rovi

In this Western with curiously Shakespearean undertones, Matt Devereaux (Spencer Tracy) is a ranch owner who has tried to raise his sons to carry on the fierce, hard-working spirit that helped make him a success. However, as a consequence, he never learned to show them affection and treats his boys little better than the hired help. Joe (Robert Wagner), is Matt's son by Native American wife Señora (Katy Jurado). Because of Joe's mixed ethnicity, he is treated prejudicially by his three half-brothers, Ben (Richard Widmark), Mike (Hugh O'Brian), and Danny (Earl Holliman) -- all Caucasian sons of Matt's first wife. Joe loves his father and would do nearly anything for him, but his siblings resent Matt's emotional distance. When Matt discovers a nearby copper mine is polluting a stream where he waters his cattle, he becomes furious and leads a raid on the mine that causes the law to visit the ranch; the police have a warrant to arrest whoever was responsible for the attack. To spare his father the agony and humiliation of a stay behind bars, Joe claims responsibility and spends several years in prison. When he's released, he discovers that Ben and his other brothers rebelled against their father with such extremity that the old man suffered a fatal stroke. While Señora tries to persuade Joe not to seek revenge, Ben is more than willing to fight his brother for taking his father's side. Screenwriter Philip Yordan won an Academy Award for his work on Broken Lance, while Katy Jurado received a Best Supporting Actress nomination for her performance as Señora. ~ Mark Deming, Rovi

A remake of 1933's The Greeks Had a Word for Them, as well as a retread of 20th Century-Fox's favorite plotline, How to Marry a Millionaire was the first Hollywood comedy to be lensed in Cinemascope. Lauren Bacall, Betty Grable and Marilyn Monroe play three models of modest means who rent an expensive Manhattan penthouse apartment and pose as women of wealth. It's all part of a scheme hatched by Bacall to snare rich husbands for herself and her roommates. The near-sighted Monroe is wooed by an international playboy, but ends up settling for the tax-dodging fugitive (David Wayne) who owns the girls' apartment. The knuckle-headed Grable goes off on an illicit weekend in the mountains with a grouchy married executive (Fred Clark), but falls instead for a comparatively poor--but very handsome--forest ranger (Rory Calhoun). And Bacall very nearly lands an aging millionaire (William Powell), but has a sudden attack of conscience and opts instead for the supposedly poverty-stricken chap (Cameron Mitchell) who has been pursuing her since reel one. It turns out that she has actually landed one of the richest men in New York--and upon learning this, our three luscious heroines faint dead away. Before the opening credits roll in How to Marry a Millionaire, we are treated to a "live" orchestral rendition of Alfred Newman's "Street Scene" overture, conducted by Newman himself. In addition to its being the first wide-screen comedy, Millionaire was also the first-ever presentation of the weekly NBC series Saturday Night at the Movies, premiering on the small screen on September 23, 1961. ~ Hal Erickson, Rovi

The first film version of W.R. Burnett's novel Saint Johnson was filmed as Law and Order in 1932. Essentially an all-names-changed retelling of the Wyatt Earp legend, the film scored on its humanity and restraint. The 1953 remake eschewed the shadings and subtleties of the original in favor of a traditional shoot-em-up, replete with gratuitous violence. Ronald Reagan stars as the Earp counterpart this time, who has sworn to bring criminal Preston S. Foster to justice. The original Law and Order had no love interest at all; the Reagan version pairs up the star with beautiful Dorothy Malone, and offers a second leading lady in the form of Ruth Hampton. The original had a hanging sequence which was treated as business as usual; the remake turns this sequence into a brutal lynching. Common to both films was the final showdown between Reagan and Foster, given added melodrama in the later version by the fact that Reagan had previously sworn to give up his guns for the love of his lady. Like most of Ronald Reagan's 1950s vehicles, Law and Order paid its way and was then forgotten. ~ Hal Erickson, Rovi