Robert Vaughn Movies

Crooked gambler Ben Sissle (Vinton Hayworth) intends to get even with Matt Dillon (James Arness) for exposing him as a cheat. To this end, Sissle callously uses feeble-minded Cooter Smith (Strother Martin) as a dupe in a scheme to force Matt into a fatal gunfight. Cooter is persuaded that the whole thing is a "joke", but no one is laughing in the final scene. Featured as one of Sissle's card-playing victims is a young, pre-Man from UNCLE Robert Vaughn. This episode is based on the Gunsmoke radio broadcast of July 27, 1954. ~ Hal Erickson, Rovi

This wide-screen Republic western is yet another retelling of the James Brothers saga--albeit one with a few unexpected twists. This time, Jesse (Henry Brandon) and Frank (Douglas Kennedy) are supporting characters, while the film's dramatic weight is carried by Jesse's (fictional) friend and fellow outlaw Vic Rodell (Stephen McNally). After one holdup too many, Vic decides to retire from the robbery biz and settle down with his fiancee Paula Collins (Peggie Castle). It so happens that Paula's brother is another ex-James gang member, Bob Ford (Robert Vaughan). In exchange for full pardons, Vic and Bob agree to betray Jesse and Frank and bring them to justice, dead or alive. This may well be the only American film in which "dirty little coward" Bob Ford, the man who ultimately plugs Jesse in the back, is depicted sympathetically. ~ Hal Erickson, Rovi

A burglar at large in Los Angeles has the curious habit of leaving small mementos at the scene of each crime. Unfortunately, he doesn't leave behind any fingerprints, so Friday (Jack Webb) and Smith (Ben Alexander) must seek out other means of identifiying the burglar. The detectives finally get a solid lead courtesy of a random snapshot. A young Robert Vaughn plays a minor role in this 1958 episode. ~ Hal Erickson, Rovi

The Springdale, NE, bank is held up and robbed by a well organized gang. One of the members is Eddie Campbell (Robert Vaughn), a onetime resident of the town and orphan who was brought up in part by Ben Cutler (Fred MacMurray), an ex-lawman-turned-rancher. While pursuing the robbers, the town marshal, Hiram Cain (Emile G. Meyer), is shot dead by Campbell, who in turn is wounded and captured by Cutler. The town council appoints Cutler as temporary marshal, and the prosecution seems like an open-and-shut case -- he begins to see signs of trouble when his own daughter Laurie (Joan Blackman), who was raised with Campbell and was once his sweetheart, refuses to believe that he's guilty of the crime. Ben's fiancée, Ruth (Maggie Hayes), also feels the boy deserves leniency, but the real trouble starts when Campbell's attorney, William Selby (Edmon Ryan), shows up; he first tries to compromise the jury pool by ingratiating himself with the asking the townspeople what we would now call "push" questions, about Campbell's being an orphan and a hard-luck case all of his life, under the guise of building his case. He's also just clever enough at the trial to shake the testimony of the five other witnesses to the shooting, but Cutler's testimony is enough to put the jury into the guilty column. Then Campbell starts working on the sympathy of Laurie and the townspeople who've been persuaded by his lawyer -- it's also been a long time since there's been a capital case like this in the state, and Cutler discovers that the townspeople and even the law may not be as ready to execute a killer as common sense says they should be. Cutler's and Ruth's romance is jeopardized, and he is pushed to the point of resigning when matters come to an explosive head. ~ Bruce Eder, Rovi

Would-be gangland assassin Art (Robert Vaughn) is given a test by his boss, Barbossa (David White) -- a test that will prove fatal should Art fail. Assigned to kill an out-of-favor Barbossa henchman named Moran (Walter Matthau), Art bungles the job. Surprisingly, Moran doesn't kill Art, but instead arranges a deal whereby Art will knock off Barbossa for a tidy fee. Figuring that neither he nor Moran owe Barbossa a thing, Art accepts...and then.... ~ Hal Erickson, Rovi

Japanese filmmaker Akira Kurosawa's The Seven Samurai (1954) is westernized as The Magnificent Seven. Yul Brynner plays Chris, a mercenary hired to protect a Mexican farming village from its annual invasion by bandit Calvera (Eli Wallach). As Elmer Bernstein's unforgettable theme music (later immortalized as the "Marlboro Man" leitmotif) blasts away in the background, Chris rounds up six fellow soldiers of fortune to help him form a united front against the bandits. The remaining "magnificent six" are played by Charles Bronson, Steve McQueen, Horst Buchholz, Robert Vaughn, James Coburn, and (the one that everybody forgets) Brad Dexter. Though jam-packed with action, William Roberts's screenplay pauses long enough to flesh out each of its characters, allowing the audience to pick their own favorites. The Magnificent Seven was followed by three sequels, not to mention dozens of imitations. ~ Hal Erickson, Rovi

Both Adam Cartwright and fugitive killer Luke Martin (Robert Vaughn) seek shelter from a storm in the way station run by old Jesse (Trevor Bardette) and his granddaughter Marty (Dawn Wells). Sensing that the impressionable Marty is fascinated by the charismatic Martin, Adam intervenes and tells the killer to leave the girl alone and clear out. Marty is crestfallen when Martin takes his leave, but before long the outlaw shows his true colors. Others in the cast include Dorothy Green as Lucy, Walter Reed as Tim and Raymond Guth as Lafe. Written by Frank Cleaver, "The Way Station" was originally shown on October 29 1962. ~ Hal Erickson, Rovi

Future "Man From U.N.C.L.E." Robert Vaughn guest stars as Jim Darling, a handsome, self-made millionaire -- and the former boyfriend of Laura Petrie (Mary Tyler Moore). After a chance meeting with Darling, Rob (Dick Van Dyke) is not only jealous, but depressed, convincing himself that Laura could have done better for herself by accepting Jim's long-ago marriage proposal. Nor can Rob simply dismiss Mr. Darling's presence -- it turns out that Laura's ex is a potential sponsor for "The Alan Brady Show." ~ Hal Erickson, Rovi

The Man From U.N.C.L.E. launches its first season with "The Vulcan Affair," which uses broad but entertaining strokes to quickly establish the series' premise: Napoleon Solo (Robert Vaughn), top secret agent for the international counterespionage organization U.N.C.L.E., enlists the aid of an "average" citizen -- in this case a mousy housewife, played by Patricia Crowley -- to thwart the evil machinations of a colorful master villain (here played by Fritz Weaver) in the employ of the sinister crime agency THRUSH. Although telecast in black-and-white (as was the rest of season one), the opening episode was actually filmed in color -- and, combined with footage from another first-season episode, The Four Steps Affair, it would soon be expanded into the ersatz feature film To Trap a Spy for the domestic movie market. Similarly, another "expanded" Man From U.N.C.L.E. installment from this season, "The Double Affair," would receive theatrical play under the title The Spy With My Face. Originally, Robert Vaughn was to be the series' sole (or "Solo") star, with Leo G. Carroll providing support as his U.N.C.L.E. superior Alexander Waverly. However, the character of Russian-born U.N.C.L.E. agent Illya Kuryakin, played by David McCallum, scored such an excellent impression in his first fleeting appearances that the character expanded to full co-star status. Rumors still persist that Robert Vaughn was a bit miffed at sharing the spotlight, which may explain the kidding-on-the-square rivalry between Solo and Illya that dominates their scenes together. Although most of the other secondary characters are one-shots during the first season, Jill Ireland (then the wife of David McCallum) is seen as wide-eyed "civilian" Marion Raven and Anne Francis is cast as cold-blooded THRUSH agent Gervaise Ravel in two different episodes, "The Quadripartite Affair" and "The Giuoco Piano Affair." In the same vein, George Sanders appears in "The Gazebo in the Maze Affair" as criminal mastermind G. Emory Partridge, a role he would reprise in the following season's "The Yukon Affair." Other season-one guest performers include a brace of future spy show stars, Robert Culp (I Spy) and Barbara Feldon (Get Smart), as well as such pop-culture icons as Carroll O'Connor, Leslie Nielsen, Yvonne Craig, Eddie Albert, Kurt Russell, William Shatner, and Leonard Nimoy -- the latter two in the same episode! Although the initial season of The Man From U.N.C.L.E. has its chucklesome and satirical moments, many of the episodes tackled their subject matter with deadly seriousness -- even in such outlandish outings wherein THRUSH surgically creates an exact double of Napoleon Solo, and a mad scientist develops a process to bring Adolf Hitler back to life. ~ Hal Erickson, Rovi

In its efforts to emulate the campy hyperbole of the Batman series during its third season on NBC, The Man From U.N.C.L.E. overplayed its hand disastrously, losing many of its longtime fans who had preferred the series when it was a relatively straightforward espionage series with a subtle inner lining of satire. Small wonder, then, that The Man From U.N.C.L.E. returns to its basics for its fourth season, eschewing the ridiculous and outrageous elements that had been inflicted upon its previous season, and focusing more on serious, hard-hitting storylines, with thoroughly credible villains and believable gadgetry. Better still, secret agents Napoleon Solo (Robert Vaughn) and Illya Kuryakin (David McCallum) have for the most part abandoned their clever bon mots, and in some cases are questioning and even challenging the "dirty" assignments handed them by their taciturn superior Alexander Waverly (Leo G. Carroll). Less flippant and more cynical than ever before, Solo and Illya have completely forsaken the "comic-book" elements that had weakened their characters during the past season. And in another marked improvement -- albeit a superficial one -- the traditionally drab New York headquarters of U.N.C.L.E. have been given a complete face-lift, with the walls now "decorated" with state-of-the-art computer equipment (much of its recently purchased from NASA by the series' producers). One of the few artistic carryovers from seasons past is the "recycling" of certain multipart episodes as ready-made theatrical feature films. Examples during season four include the two-part "The Prince of Darkness Affair," which would be seen in theaters as The Helicopter Spies, and the series' two-part finale "The Seven Wonders of the World Affair," soon to be released theatrically as How to Steal the World. Despite the aforementioned improvements and upgrades in its content, the fourth season of The Man From U.N.C.L.E. was scuttled by two unforeseen developments. The first was the TV industry's overall toning down of violence, meaning that shows of the U.N.C.L.E. ilk would be denied the huge advertising revenues necessary for long-term survival. The other was NBC's decision to move the series from Friday evenings to Mondays, a move made on the assumption that U.N.C.L.E.'s CBS competition, Gunsmoke, was on its last legs. Unfortunately for NBC, Gunsmoke unexpectedly enjoyed a resurgence of popularity -- and this, coupled with already flagging ratings and a lack of sponsor support, doomed The Man From U.N.C.L.E. to an ignominious mid-season cancellation on January 15, 1968. ~ Hal Erickson, Rovi

Although it started out as a relatively serious espionage series with satirical undertones, by the time its third season rolled around The Man From U.N.C.L.E. had gone over the bend and was indulging in pure, unadulterated "camp," with outlandish storylines (one involving a deadly "hiccup" gas, another featuring exploding ice-cream bars!), shamelessly overacting villains, and cloyingly "cute" dialogue. Credit -- or blame -- for this metamorphosis can be attributed to the enormous popularity of the ABC series Batman, which in "honor" of its comic-book origins trafficked almost exclusively in exaggeration and hyperbole. However, what worked on Batman did not always work on The Man From U.N.C.L.E., and viewers began to grow tired of the series during its third season. (The show's new spin-off, The Girl From U.N.C.L.E., proved to be even more out of control than its parent show -- and as result, it wore out its welcome almost immediately!) To their credit, series stars Robert Vaughn and David McCallum, respectively cast as U.N.C.L.E. agents Napoleon Solo and Illya Kuryakin, do their best to keep a straight face throughout the ridiculous proceedings; the same can be said for Leo G. Carroll, still a tower of strength in the role of U.N.C.L.E. chieftain Alexander Waverly. And, on a few rare occasions, the series' new absurdist tone paid off, notably in the two-part "The Concrete Overcoat Affair," which at the very least offered a veritable rogue's gallery of veteran gangster-movie actors, including Jack Palance, Joan Blondell, Allen Jenkins, and Jack LaRue. Incidentally, "The Concrete Overcoat Affair" was one of two multipart season-three episodes that would ultimately be released theatrically as "feature films" (its title in this capacity was The Spy in the Green Hat). The other "recycled" effort was the two-part "The Five Daughters Affair," which boasted the guest-star talents of Joan Crawford, Terry-Thomas, Kim Darby, Telly Savalas, Curt Jurgens, and Jill Ireland, and which would hit the theater screens under the title The Karate Killers. And while we're on the subject of guest stars, The Man From U.N.C.L.E.'s third season features the "dramatic" TV debuts of Nancy Sinatra and Sonny & Cher, as well as acting appearances by future syndicated newspaper astrologer Joyce Jillson and soon-to-be Hollywood studio executive Lynn Loring. ~ Hal Erickson, Rovi

In this episode from The Man from U.N.C.L.E. series, the two good guy spies must stop a criminal mastermind from altering the course of the Gulf Stream. ~ Sandra Brennan, Rovi