Dale Van Sickel Movies

Driving down a deserted Southern California highway at a safe and sane 55 miles per hour, David Mann (Dennis Weaver) steps on the pedal to pass a large gas trailer truck. Moments later, the truck is back, dangerously tailgating Mann before abruptly cutting him off. For the next 90 minutes, Mann and the never-seen truckdriver are pitted against one another in a motorized duel to the death. Author Richard Matheson conceived Duel after a similar experience with a reckless trucker. The story first appeared in Playboy magazine, then was picked up for adaptation by the producers of The ABC Movie of the Week. The director chosen to helm Duel on location in Soledad Canyon was a bright 23-year-old who'd shown promise on such series as Night Gallery and Columbo: Steven Spielberg. First telecast on December 18, 1971, Duel was so popular that a somewhat longer version (with added violence and profanity) was prepared for theatrical release in 1983. ~ Hal Erickson, Rovi

The Gnome-Mobile was Walt Disney's first all-out fantasy since Mary Poppins. Walter Brennan stars in a dual role, as kindly lumber tycoon D. J. Mulrooney and the irascible (and much tinier) 943-year-old gnome Knobby. Mulrooney likes Knobby and his fellow gnomes, but the feeling isn't reciprocal, since Knobby considers Mulrooney a threat to his beloved forest. Meanwhile, the tycoon's vice-president Ralph Yarby (Richard Deacon), hearing his boss' claims that he's been consorting with gnomes, decides that the old guy is insane and has him committed. Rescued by his grandchildren Rodney (Matthew Garber) and Elizabeth (Karen Dotrice), D.J. seeks out Knobby and Knobby's own grandson Jasper (Tom Lowell), who are hiding somewhere in the woods with gnome-king Rufus (Ed Wynn, in his final film role). There follows an amusing rite of passage wherein Jasper becomes engaged to gnomette Shy Violet (Cami Sebring), leading to a happy ending for all concerned. The film's title refers to D. J. Mulroney's precious 1930 Rolls Royce, which is "adopted" by the gnome population. Gnome-Mobile is a virtual inventory of Disney's most beloved trademarks, ranging from excellent miniature and special-effects work (including the producer's newest innovation, audio-animatronics) to a zany slapstick car chase. Walt Disney did receive a producer credit on this film, which was actually made in 1966 - the year of his death - and released nationally in 1967. ~ Hal Erickson, Rovi

Ed Stander (Robert Morse), with the help of an all-star cast, teaches Paul Manning (Walter Matthau) the fine art of philandering in A Guide for the Married Man. Paul, happily married to sexy Ruth (Inger Stevens), has no burning desire to cheat, but Ed makes the prospect sound very attractive. Finally taking the "big step" with a glamorous brunette after months of careful preparation, Paul finds that he loves his wife way too much to betray her -- while the ever-careful Ed ends up in divorce court. Among the myriad of "advisors" peppered throughout Guide for the Married Man are Art Carney, Lucille Ball, Jack Benny, Jayne Mansfield, Terry-Thomas, and Carl Reiner. The best guest-star vignette features Joey Bishop as a man caught in bed with another woman by his wife -- whereupon he calmly puts on his clothes, straightens up the room, and quietly responds to his wife's outrage by saying "What bed? What girl?" Adapted by Frank Tarloff from his book of the same name, Guide for the Married Man was directed by Gene Kelly, who makes a cameo "appearance" of his own as a voice on a TV set. ~ Hal Erickson, Rovi

This futuristic sci-fi film contains a strong message against communism. It begins in the year 2087 and presents a totalitarian world ruled by Cyborgs. They are half-machine and their are incapable of free thought. Cyborg Garth has a glitch and is a rebel who swipes a time machine and travels back to 1965. There he encounters Marx, the scientist who started it all. Garth tries to prevent him from continuing his experiments. He succeeds and future humans are spared. ~ Sandra Brennan, Rovi

Police sergeant Dave Wolfe (Skip Homeier) has already ordered Joe Oliver (Dale Van Sickel) to stay away from Dave's sister Susan (Chris Noel). Heading to Joe's apartment for a final showdown, Dave hears a woman's scream and breaks down the door. Several shots later, Joe lies on the floor dead, while the badly beaten Susan stands by in mute horror. In order to defend Dave on a murder charge and to find out whether or not Joe was really Susan's assailant, Perry Mason (Raymond Burr) must break through the wall of stony silence which surrounds the six people who may have witnessed the crime--but who claim to have seen and heard nothing. ~ Hal Erickson, Rovi

In this western, a gunfighter finds himself mistaken for a judge when he journeys to a beleaguered town that is under the oppressive influence of an outlaw and his evil gang. One couple knows the gunslinger's true avocation and they talk him into working as a lawman and putting one of the crooks on trial. Things go well until one of the outlaws recognizes him and tells all during the trial. This leads to a classic showdown in which the gunfighter shoots the gun from the villain's hand. He then discards his own weapon and literally rides off into the sunset to pursue a more peaceful life. ~ Sandra Brennan, Rovi

Seven Ways from Sundown is a well-wrought western by director Harry Keller, starring Audie Murphy in the title role (his character's "first" name is the same as the title). Young "Seven" is a talented but novice Texas Ranger who is in the process of learning the tricks of the trade from veteran Ranger Sergeant Hennessey (John McIntire). The two are currently hunting down the flamboyant outlaw Jim Flood (Barry Sullivan), crafty enough not only to elude them, but to take a surprise offensive against them as well. In the end, it will take all of "Seven's" abilities to capture the wanted criminal. ~ 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

One of special-effects wizard Ray Harryhausen's pre-Seventh Voyage of Sinbad efforts, 20 Million Miles to Earth borrows a few pages from King Kong. An American spaceship crashlands off the coast of Sicily. The rescue party discovers that the astronauts have inadvertently brought back a curious gelatinous mass from the planet Venus. This lump of goo rapidly evolves into be a living reptilian creature, which scientists label an "Ymir". While being subjected to laboratory experimentation, the Ymir begins growing by leaps and bounds, and before long the gigantic monstrosity has escaped and is wreaking havoc in Rome. After battling a zoo elephant and taking a swim in the Tiber, the gargantuan creature holes up in the Colosseum, where the film's pyrotechnic finale occurs. ~ Hal Erickson, Rovi

Frank Freeman Jr., son of the longtime head of Paramount Pictures, made his debut as producer with the opulent but empty Omar Khayyam. Cornel Wilde stars as the legendary Persian poet, here depicted as not only a philosopher but a scientist, politician and great lover. As the Persians gear up for war against the Byzantines, Omar occupies his time by romancing Sharain (Debra Paget), the favorite wife of the Shah (Raymond Massey). He also does his best to foil a plan by Hasani (Michael Rennie), leader of the Cult of Assassins, to murder the royal family. While many of the characters and events are based on fact, it is difficult to believe the story or the dialogue for more than ten minutes at a stretch. Singer Yma Sumac, then famous for her four-and-a-half octave vocal range, is somehow woven into the proceedings. When Omar Khayyam laid an egg at the box-office, a Hollywood wit, taking into consideration the Southern heritage of Frank Freeman Jr., assessed the results as "A loaf of bread, a bottle of coke and you-all." ~ Hal Erickson, Rovi

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, Rovi

Zsa Zsa Gabor plays twin sisters in this campy Red Scare espionage thriller from the late 1950s. She plays the nurse to Joseph Stalin, who didn't die in 1953 after all. The death was all a nefarious scam in which the leader faked his death, had his face surgically rearranged and then moved to Greece with a fortune in Soviet currency. Nurse Zsa Zsa, who is also Stalin's lover. Unfortunately, she told no one where she was going. When her twin discovers her missing, she worries and hires an ex O.S.S. agent to find her. After much searching and danger, the agent finds the wicked dictator and sees that he this time his reign of terror is permanently ended. ~ Sandra Brennan, Rovi

In this amiable imitation Guys and Dolls, Alan Reed plays a big-time 1920s gangster who is rubbed out by his enemies. In his will, Reed bequeaths his nightclub to chorus girl Lucy Marlow--which doesn't sit too well with Lucy's policeman boyfriend (Richard Long). Frankie Laine plays the tough-but-lovable nightclub manager who first squabbles with Marlow, then falls in love with her. To let us know that the story is all in fun and we shouldn't worry about the ultimate fate of hero and heroine, the film is related in flashback, narrated by Laine. He Laughed Last is directed by Blake Edwards in the buoyant spirit of Edwards' earlier musical-comedy collaborations with director Richard Quine. ~ Hal Erickson, Rovi