Andy Albin Movies

The love affair between two of Hollywood's greatest stars of the 1930s and '40s is recounted in this biopic. Clark Gable (James Brolin), the tough but quick-witted leading man often called "the King of Hollywood," meets tart-tongued comic actress Carole Lombard (Jill Clayburgh) at a party, and while the attraction between them isn't immediate (in fact they hate each other at first), as fate keeps bringing them together, they fall deeply in love. Gable is married at the time, and studio chief Louis B. Mayer (Allen Garfield) is afraid that his affair with Lombard will lead to a scandal that will destroy the career of his most valuable star, but Gable and Lombard weather the storm of negative publicity, and after Gable's wife grants him a divorce, he marries Lombard. However, their happy marriage is cut short by Lombard's tragic death as she was selling defense bonds during World War II. ~ Mark Deming, Rovi

The first independent production of former studio mogul Jack Warner, 1776 was adapted from the hit 1969 Broadway musical by Peter Stone and Sherman Edwards. William Daniels, Ken Howard, and Howard Da Silva are among the many actors who recreate their Broadway roles. The story is set during the first Continental Congress, when the Declaration of Independence was drafted by such founding fathers as John Adams (Daniels) and Benjamin Franklin (Da Silva). The script attempts to "humanize" these remote historical figures by contemporizing them -- particularly the character of Ben Franklin. Blythe Danner's character of Martha Jefferson is expanded for the film version to allow for an elaborate outdoor production number. After 1776, Warner made only one more film, the 1972 "grunge Western" Dirty Little Billy. On an added note: the picture was originally rated G with its theatrical running time of 141 minutes. It was later expanded to 166 minutes; the added scenes caused the MPAA to re-rate it PG (for language) in 1992. Both versions are available on video. ~ Hal Erickson, Rovi

In this drama, sweet and honest Tammy is hired as a secretary by a powerful industrialist with a handsome young son. Meanwhile a society dame is angered that the millionaire hired Tammy because she wanted her own girl to have a shot at the son. To ruin the new secretary's chances, the dame and her conniving daughter try to smear Tammy's reputation at every turn. They even try to sic the IRS on her for evasion of back taxes; the government agency retaliates by trying to take away Tammy's house to repay the debt. Fortunately, the hapless girl's grandpa and uncle show an old deed that proves that they do indeed own the house. Not only that, according to the deed, the little family also owns the property of the wealthy socialite and her family. Tammy disagrees with her family's plan and fears that her backwoods relatives will ruin her life. She is saved by her boss who secretly pays the taxes and then holds a riotous party in which her family acts like fools. Fortunately, everyone forgets about it and she and the son live happily. This is the last of four pictures about Tammy. ~ Sandra Brennan, Rovi

Unfortunately, the comedy in this film is just about as crummy as its title. On the bright side, it does feature a number of veterans from popular TV sitcoms. It is set in a run-down diner where a bumbling short-order cook and a klutzy waitress work. They are so terrible at their jobs that they soon lose them. Next the two go to help a pal run her recently inherited bookstore. There they found trouble when a Russian spy mistakenly identifies the former cook as a defecting cosmonaut. Meanwhile, two would-be bank robbers are secretly sneaking 'round the bookstore trying to tunnel into the bank vault next door. ~ Sandra Brennan, Rovi

In this comedy, another entry in the slapstick series based on a popular TV show, meek little Ensign Parker finds himself getting promoted for no apparent reason. He gets himself rip-roarin' drunk one night and finds himself wearing an Air Force uniform and mistaken for a big-wig. He continues to mess up, but to no avail, no matter what he does, he continues to get promoted. ~ Sandra Brennan, Rovi

Based on the autobiography of convicted killer John Resko (played here by Ben Gazzara), this routine biographical drama looks at the crucial years between 1931 and 1949 in the convict's life. That period begins when Resko is convicted of killing a store owner and is sentenced to life in prison. After his arrival in prison Resko eventually gets involved in creating art, an activity that leads to a transformation in his character. That change became evident enough to garner the attention of the powers-that-be and by 1949, Resko receives a pardon. The prison system is shown as improving between the killer's first internment and his release, which in itself might make some viewers wonder what happened then, in the years between 1949 and the present. ~ Eleanor Mannikka, Rovi

While having lunch at the Plaza Hotel in New York, advertising executive Roger O. Thornhill (Cary Grant) has the bad luck to call for a messenger just as a page goes out for a "George Kaplan." From that moment, Thornhill finds that he has stepped into a nightmare -- he is quietly abducted by a pair of armed men out of the hotel's famous Oak Room and transported to a Long Island estate; there, he is interrogated by a mysterious man (James Mason) who, believing that Roger is George Kaplan, demands to know what he knows about his business and how he has come to acquire this knowledge. Roger, who knows nothing about who any of these people are, can do nothing but deny that he is Kaplan or that he knows what they're talking about. Finally, his captors force a bottle of bourbon into Roger and put him behind the wheel of a car on a dangerous downhill stretch. Through sheer luck and the intervention of a police patrol car and its driver (John Beradino), Roger survives the ride and evades his captors, and is booked for drunk driving. He's unable to persuade the court, the county detectives, or even his own mother (Jesse Royce Landis) of the truth of his story, however -- Thornhill returns with them to the mansion where he was held, only to find any incriminating evidence cleaned up and to learn that the owner of the house is a diplomat, Lester Townsend (Philip Ober), assigned to the United Nations. He backtracks to the hotel to find the room of the real George Kaplan, only to discover that no one at the hotel has ever actually seen the man. With his kidnappers once again pursuing him, Thornhill decides to confront Townsend at the United Nations, only to discover that he knows nothing of the events on Long Island, or his house being occupied -- but before he can learn more, Townsend gets a knife in his back in full view of 50 witnesses who believe that Roger did it. Now on the run from a murder charge, complete with a photograph of him holding the weapon plastered on the front page of every newspaper in the country, Thornhill tries to escape via train -- there he meets the cooly beautiful Eve Kendall (Eva Marie Saint), who twice hides him from the police, once spontaneously and a second time in a more calculated rendezvous in her compartment that gets the two of them together romantically, at least for the night. By the next day, he's off following a clue to a remote rural highway, where he is attacked by an armed crop-dusting plane, one of the most famous scenes in Hitchcock's entire film output. Thornhill barely survives, but he does manage to learn that his mysterious tormentor/interrogator is named Phillip Vandamm, and that he goes under the cover of being an art dealer and importer/exporter, and that Eve is in bed with him in every sense of the phrase -- or is she? ~ Bruce Eder, Rovi