Dale Van Sickel Movies

1956's Tea and Sympathy is a diluted filmization of Robert Anderson's Broadway play. The original production was considered quite daring in its attitudes towards homosexuality (both actual and alleged) and marital infidelity; the film softpedals these elements, as much by adding to the text as by subtracting from it. John Kerr plays a sensitive college student who prefers the arts to sports; as such, he is ridiculed as a "sissy" by his classmates and hounded mercilessly by his macho-obsessed father Edward Andrews. Only student Darryl Hickman treats Kerr with any decency, perceiving that being different is not the same as being effeminate. Deborah Kerr, the wife of testosterone-driven housemaster Leif Erickson, likewise does her best to understand rather than condemn John for his "strangeness." Desperate to prove his manhood, John is about to visit town trollop Norma Crane. Though nothing really happens, the girl cries "rape!" Both John's father and Deborah's husband adopt a thick-eared "Boys will be boys" attitude, which only exacerbates John's insecurities. Feeling pity for John and at the same time resenting her own husband's boorishness, Deborah offers her own body to the mixed-up boy. "When you speak of this in future years...and you will...be kind." With this classic closing line, the original stage production of Tea and Sympathy came to an end. Fearing censorship interference, MGM insisted upon a stupid epilogue, indicating that Deborah Kerr deeply regretted her "wrong" behavior. ~ Hal Erickson, All Movie Guide

A feature version of a twelve chapter Republic Pictures, this drama starred Harry Lauter as Tom Rogers, an enterprising South Seas island trader who gets involved with Nazi thugs, a native revolution and smugglers, ably assisted by a lovely emissary from the United Nations, Aline Towne. One of the studio's final chapterplays, the original Trader Tom of the China Seas had adhered to the venerable serial tradition of promoting a supporting actor to hero status. A somewhat nondescript presence, Harry Lauter also starred in the studio's final serial King of the Carnival. ~ Hans J. Wollstein, All Movie Guide

H.G. Wells' War of the Worlds had been on Paramount Pictures' docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles' infamous 1938 radio adaptation, the film eschews Wells' original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrated their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, All Movie Guide

1953's The Mississippi Gambler was the third Universal Studios film to bear this title--though with a different plot each time. Tyrone Power plays an all-around adventurer who cuts quite a swath through antebellum New Orleans. In between scenes of gambling, fist-fighting and swordplay, Power woos Piper Laurie, who chooses to marry wealthy Ron Randell; in turn, Power is wooed by Julie Adams, whose ardor is not reciprocated. The climax finds Power in a card table showdown with Ms. Laurie's ill-tempered brother John Baer. Mississippi Gambler is consistently good to look at, even when the storyline threatens to snap under the pressure. ~ Hal Erickson, All Movie Guide

Bill Elliot emulates his idol William S. Hart in the superior western Topeka. Elliot plays the archetypal Good Bad Man, hired to kick the crooked element out of a small town. A hard-drinking, hard-living man, Elliot entertains thoughts of taking over the town himself for the benefit of his own gang. After several reels of soul-searching, Elliot decides to honor his promise to clean up the town for its decent citizens. Evidently director Thomas Carr rented a camera crane for this Allied Artists production, since the camera performs remarkable calisthenics, the kind not normally seen in a medium-budget western. ~ Hal Erickson, All Movie Guide

Thunder Bay was another inspired collaboration between star James Stewart and director Anthony Mann. Stewart plays an ex-GI named Steve, who has a hankering to drill for oil in the Gulf of Mexico. Together with his army buddy Gambi (Dan Duryea, in a rare good-guy role), Steve attains the financial backing of irascible oil-company chieftain Kermit MacDonald (Jay C. Flippen) and the two head southward. Before they can even place their drills in the clamps, Steve and Gambi run afoul of local shrimp fishermen who consider the presence of oil speculators as a threat to their livelihoods. Things get dicey when Steve falls in love with Stella (Joanne Dru), the daughter of combative fisherman Dominique Rigaud (Antonio Moreno). Mob mentality threatens to overcome common sense until a clever -- and mutually beneficial -- compromise between the drillers and the fishermen is reached. ~ Hal Erickson, All Movie Guide

They don't really go to Mars, they go to Venus, but first they go to New Orleans. While working at a missile base, Bud Abbott and Lou Costello inadvertently launch a rocket ship with themselves aboard. After a wild ride around New York City (the Statue of Liberty ducks when the rocket heads her way), Bud and Lou land in the outskirts of New Orleans. The boys are convinced that they've reached Mars, and their faith in this supposition is affirmed when they come across several strangely costumed "creatures" (actually revellers at the Mardi Gras). Meanwhile, bank robbers Jack Kruschen and Horace McMahon stow away on A&C's rocketship. When Bud and Lou return, the crooks force them to make a quick getaway into outer space. After several days of weightlessness, the four space travellers land on Venus, a planet populated by the gorgeous winners of the Miss Universe contest (including Anita Ekberg). Venusian queen Mari Blanchard falls in love with Costello, only to order him and his companions to return to earth when Lou proves to be unfaithful. Reportedly, this bizarre melange of sci-fi and slapstick was based on a story by Charles Beaumont, who received no screen credit (it's worth noting that Beaumont's later Queen of Outer Space boasts a remarkably similar plotline). Long considered the team's worst film, Abbott and Costello Go to Mars ("and about time!" quipped the New York Times' TV-movie reviewer) is rather likeable in its own incoherent way. ~ Hal Erickson, All Movie Guide

Monogram Studios certainly got its money's worth out of contractee Wayne Morris, profitably plunking him into virtually every film genre known to man. In Arctic Flight, Morris plays an Alaskan bush pilot named Mike, hired to take a tenderfoot named Wetherby (Alan Hale Jr.) on a hunting trip. It soon develops that Wetherby is actually--gasp--a communist spy, who intends to take photos of Alaskan military installations on behalf of the Kremlin. By the time Mike finds this out, Wetherby has ingratiated himself with everyone in the region, thus no one believes Our Hero's shouts of "Red! Red!" The tension mounts steadily to an edge-of-seat climax. Lola Albright delivers the film's best performance as a self-reliant schoolteacher assigned to the desolate Little Diomede region. ~ Hal Erickson, All Movie Guide

In the second of Republic Pictures' three "Rocket Man" serials, the government assigns Commando Cody (George Wallace) to look into a series of strange atomic explosions threatening the United States' defense systems. As Cody discovers, the threat comes from the Moon, whose ruler, Retik (Roy Barcroft), is planning an invasion of Mother Earth due to a severe lack of atmosphere on his own planet. Retik works through Krog (Peter Brocco), an inter-planetary henchman who does all the financing and hiring on Earth. Unfortunately, the hooded lunar visitor fails miserably on both fronts: the preparations for the invasion are severely under funded and the hired guns, such as former prison inmate Graber (Clayton Moore), less than competent. But despite these caveats, Commando Cody and his fellow space travelers, Joan Gilbert (Aline Towne) and Ted Richards (William Bakewell), have to suffer through 12 chapters before finally destroying the threat from the planet Moon. Radar Men From the Moon was filmed between October 17, 1951, and November 6, 1951, on a budget of $172,840. Most location filming, not excluding plenty of stock footage from earlier Republic serials, was done at the Iverson Ranch in Chatsworth, California. The serial was followed by a brief television series, Commando Cody: Sky Marshal, which retained Aline Towne as Joan Gilbert but replaced George Wallace and William Bakewell with Judd Holdren and William Schallert. ~ Hans J. Wollstein, All Movie Guide

Cecil B. DeMille's The Greatest Show on Earth is a lavish tribute to circuses, featuring three intertwining plotlines concerning romance and rivalry beneath the big top. DeMille's film includes spectacular action sequences, including a show-stopping train wreck. The Greatest Show on Earth won Academy Awards for Best Picture and Best Story. ~ Stephen Thomas Erlewine, All Movie Guide

Allan "Rocky" Lane takes on a crooked landowner in Republic's Rough Riders of Durango. The villain intends to drive several ranchers into bankruptcy so he can snatch up their property at dirt-cheap prices. The ranchers fight back by scraping up $40,000 to clear all their debts. When the money is stolen, Lane is called in to retrieve the cash and collar the crooks. As was customary in the Allan "Rocky" Lane vehicles, Lane's horse Black Jack is afforded second billing in Rough Riders of Durango, while nominal leading lady Aline Towne is billed fourth. Even farther down the cast list is future Dukes of Hazzard co-star Denver Pyle. ~ Hal Erickson, All Movie Guide

Walter Reed, who also starred in Flying Disc Man from Mars that year, played a government agent looking into a series of truck hijackings in this Republic Pictures action serial. The hijackers are after critical Government material and are led by "The Voice," one of those mystery men so popular in serials. Reed quickly realizes that "The Voice" is one of the four members of the Interstate Truck Owners' Association, but which one? ~ Hans J. Wollstein, All Movie Guide