Phyllis Thaxter Movies

Weekend at the Waldorf is an unabashed remake of MGM's 1932 Oscar-winner Grand Hotel: in fact, at several points in the story, the cast makes pointed references to the earlier film. The posh Waldorf Hotel in the heart of New York is the setting for several plots and subplots. Ginger Rogers plays the Garbo counterpart, a successful but severely depressed movie star who wants to be alone. Walter Pigeon steps into John Barrymore's role, sort of; whereas Barrymore was a thief posing as nobility, Pigeon is a war correspondent posing as a thief. Hotel stenographer Lana Turner (originally Joan Crawford) latches onto tycoon Edward Arnold (originally Wallace Beery) in hopes of a life of luxury. And, in the film's biggest adaptation stretch, Van Johnson is cast as a war hero who, about to undergo life-threatening surgery, wants to thoroughly enjoy what may be his last days on earth. It takes a while to figure this out, but Johnson is supposed to be the character played in Grand Hotel by Lionel Barrymore: the meek clerk who, upon discovering that he's dying, blows his life savings on one last fling. On the whole, Weekend at the Waldorf is a lot more light-hearted than Grand Hotel, as indicated by the expository character played by humorist Robert Benchley, not to mention the presence of Xavier Cugat as the Waldorf's orchestra leader. ~ Hal Erickson, All Movie Guide

Usually associated with erudite, urbane comedies, the legendary screen team of Katharine Hepburn and Spencer Tracy goes intensely dramatic in the expensive western Sea of Grass. Tracy plays cattle baron Colonel James Brewton, who staunchly opposes opening the western frontier to homesteaders. Standing steadfastly beside Brewton-at least at the beginning--is his headstrong wife Lutie (Hepburn). Eventually disillusioned by the stern implacability of her husband, Lutie leaves Brewton and goes off to Denver, where she falls in love with liberal attorney Brice Chamberlain (Melvyn Douglas), the champion of the homesteaders' cause. Upon giving birth to Chamberlain's son, Lutie confesses her indiscretion to Brewton, who takes the news with commendable restraint, even offering to accept the baby as his own. Unfortunately, the Brewtons' standing in the community is weakened by the revelation of Lutie's infidelity, causing her to leave her husband for a second time. Years later, Lutie's grown-up boy Brock (Robert Walker) drifts to the wrong side of the law, leading to his death at the hands of a posse. Though it hardly seems possible under the circumstances, Brewton and Lutie are at long last reconciled through the intervention of their daughter Sara Beth (Phyllis Thaxter). Elaborately produced in the traditional MGM manner and adroitly directed by Elia Kazan, Sea of Grass is still one of the lesser Tracy-Hepburns. ~ Hal Erickson, All Movie Guide

Filmed in 1946, Tenth Avenue Angel is yet another treacly vehicle for little Margaret O'Brien. The juvenile star is cast as Flavia Mills, an 8-year-old tenement dweller who insinuates herself into the lives of several down-and-outers, among them ex-convict Steve Abbott (George Murphy). Flavia's well-intentioned efforts to help Steve go straight, and to promote the blossoming romance between Steve and Susan Bratten (Angela Lansbury), are destined to hit several emotional roadblocks before the "End" title. Disillusioned by the contradictory behavior of her adult friends, Flavia eventually learns not to give up on the human race just because of a few setbacks. The Harry Ruskin/Eleanor Griffin screenplay was based on a story by Angna Enders, which in turn was based on a vaudeville sketch by veteran mystery writer Craig Rice. ~ Hal Erickson, All Movie Guide

Susan Peters, a fine actress of the 1940s whose career was curtailed by an accident which left her wheelchair-bound, utilizes her handicap to her advantage in Sign of the Ram. Peters plays an invalid wife and mother who exercises dictatorial control over all around her. Peters' loved ones are willing to forgive her nastiness due to her condition--a fact that she realizes fully and exploits to the utmost. Eventually her atrocious behavior leaves Peters alone and friendless, but even in her darkest moments she insists upon being a "control freak" and engineers her own spectacular death. Far more tasteful than it sounds, Sign of the Ram was a worthwhile valedictory vehicle for Susan Peters, who died a few years after the film's release. ~ Hal Erickson, All Movie Guide

A woman is torn between a comfortable lie and the painful truth in this drama. After she is abandoned by her unfaithful boyfriend Stephen Morely (Lyle Bettger), Helen Ferguson (Barbara Stanwyck) discovers that she's pregnant, and she has no choice but to go home to her family. Shortly after boarding the train, Helen meets Hugh and Patrice Harkness (Richard Denning and Phyllis Thaxter), a recently married couple who are travelling to visit Hugh's parents, who have yet to met his bride. Patrice, who is also with child, strikes up a conversation with Helen, and allows her to try on her beautiful wedding ring. Moments later, the train becomes involved in a terrible accident in which Hugh and Patrice are killed; because she was still wearing Patrice's ring, Helen is mistaken for the late Mrs. Harkness by Hugh's parents (Jane Cowl and Henry O'Neill), and is taken home with them as she recovers and has her baby. Helen begins to feel a part of the family until Stephen arrives, demanding money to keep her true identity a secret. No Man of Her Own was remade in 1996 as the comedy Mrs. Winterbourne. ~ Mark Deming, All Movie Guide

James Cagney plays a once great newspaper reporter ruined by liquor. Thanks to the help of reformed alcoholic James Gleason, Cagney pulls himself out of the gutter and restores his journalistic reputation. Because of his own redemption, Cagney is asked by his editor to straighten out the editor's nephew (Gig Young), a drunken wastrel. The task is made dicey by the fact that the nephew's wife (Phyllis Thaxter) is Cagney's former girlfriend. The nephew's involvement in gangsters results in the death of Cagney's old friend Gleason, but Cagney swallows his rage, vanquishes the crooks, and puts the nephew on the right track. Come Fill the Cup was a little too melodramatic to succeed as an anti-alcohol tract, but it was well acted throughout, especially by Gig Young, who received an Oscar nomination for his efforts. ~ Hal Erickson, All Movie Guide

Burt Lancaster stars as Jim Thorpe, the Native American sports whiz whom many consider the greatest athlete of the 20th century. We first see Thorpe as a child on the reservation, highly resistant to the notion of going to school. He proves to be an excellent student, eventually attending the all-Indian college in Carlisle, Pennsylvania. Still, Thorpe doesn't feel like mixing much with the other students until coach Charles Bickford encourages the lad to go out for the track team. Thorpe finds that he can be more "articulate" as an athlete than as a scholar, and soon excels at all school sports. He also marries his college sweetheart, non-Indian Phyllis Thaxter. After graduation, Thorpe tries to get a coaching job, but is frozen out by the white establishment. Determined to make a name for himself, he enters the 1912 Olympics at Stockholm, where he earns more gold medals than anyone else and is praised as the world's greatest athlete by the King of Sweden. Unfortunately, the fact that Thorpe briefly played semi-professional baseball while attending Carlisle costs him his amateur status--and every one of his medals. Things go from bad to worse for Thorpe after this; his son dies, his marriage disintegrates, and he crawls into a bottle. Thorpe has hit rock bottom when he is reunited with his old coach Bickford, who offers Jim a ticket to the 1932 Olympics in Los Angeles. It is the first small step on the road to regeneration for Jim Thorpe (alas, real life was not so kind; Thorpe died in near-poverty, and it was not until years after his death that his Olympic medals were restored). Jim Thorpe, All American was directed by Michael Curtiz, who previously had secured small acting roles for the real Thorpe in such films as Knute Rockne: All American (1940). ~ Hal Erickson, All Movie Guide

Springfield Rifle was Gary Cooper's third western in a row, released not long after the classic High Noon. Cooper plays Union army officer Lex Kearney, who undertakes a covert investigation to find out why the North's supply of horses has suddenly diminished. Because of the top-secret nature of his mission, Kearney is forced to distance himself from everyone he knows, including his wife Erin (Phyllis Thaxter) and son Jamie (Michael Chapin). Heading to a remote cavalry post, he discovers that renegade soldiers have been stealing horses and selling them to the South. Someone at the post has been operating as the thieves' "inside man," and Lex, posing as a dishonorably discharged soldier, aims to ferret out the traitor. Had it not followed directly on the heels of the critical and financial success of High Noon, Springfield Rifle might have fared better with audiences and reviewers. ~ Hal Erickson, All Movie Guide

With the exception of the vastly superior Caged, Columbia's Women's Prison was the quintessential "babes behind bars" drama of the 1950s. Ida Lupino (who else?) stars as Amelia VanZant, the sadistic supervisor of the titular prison. Unable to establish any sort of relationship with a man, Amelia takes it out on her long-suffering inmates. When prison psychiatrist Clark (Howard Duff) tries to improve conditions for the women, he too is targetted for destruction by the vituperous Ms. VanZant. The cast includes such perennial "hard-boiled dames" as Jan Sterling, Cleo Moore, Audrey Totter, Phyllis Thaxter, Gertrude Michael and Mae Clarke. Not taken very seriously in the first place, Women's Prison was elevated to the level of "high camp" by youthful film buffs of the 1960s and 1970s. ~ Hal Erickson, All Movie Guide

Awakening in a strange bed and suffering from a terrible headache -- not to mention the mysterious bruises all over her body -- alcoholic Karen Stewart (Phyllis Thaxter) tries to piece together the events leading up to her present condition. All she can recall at first is her most recent promise to her boyfriend Jeff (Warren Stevens) that she will stop drinking, and stop drinking for good. But Jeff had heard that song many times before, and he was in no mood to put up with her subsequent drunken binge. From this point forward, Karen's mind is a blank...but the blank will soon be filled in a horrific fashion. In light of the serious nature of the story, host Alfred Hitchcock foregoes his usual humorous epilogue. ~ Hal Erickson, All Movie Guide

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

Showing up at his doctor's office complaining of stomach troubles, Carl Borden (Ralph Meeker) is informed that there are traces of arsenic in his system. Under normal circumstances, only one conclusion could be arrived at -- Carl's wife Annette (Phyllis Thaxter) is trying to poison him. But these aren't normal circumstances, as we find out in the wryly cynical conclusion of the episode. ~ Hal Erickson, All Movie Guide