Yvette Vickers Movies

An interesting bit of casting enlivens this psycho-thriller set in a California boarding house run by eccentric Karen Black with a rogue's gallery of bizarre tenants and more dark secrets than the Bates Motel. Tenants have a habit of disappearing rather abruptly from this particular residence -- but not without first signing over their Social Security checks to the landlady, netting her a tidy fortune. This leads to the inevitable visit from a federal agent (Arte Johnson), who begins an investigation into Black's shady affairs, and uncovers the true identity of the killer. Despite presenting Black as a blatant red herring from the outset, the filmmakers manage to provide a few interesting twists, though they eventually stray a bit too deeply into Psycho turf. A cast full of familiar faces (including Virginia Mayo, Martine Beswick and Michael Berryman) tends to counterbalance the occasional moments of sleaziness, but there is little originality to distinguish the film from standard slasher fare. ~ Cavett Binion, All Movie Guide

The 1932-vintage fire engine purchased by Roy (Kevin Tighe) and John (Kevin Tighe) a few episodes back has been fully restored, and is ready for the annual California Fire Fighters Parade. First, however, the paramedics will have to tackle a few emergencies, among them a department store fire with several casualties, a car accident caused by a heart patient, and a bitter child-custody battle which pours over into the hospital--with potentially tragic results. Featured in the supporting cast is buxom B-picture icon Yvette Vickers (Attack of the 50 Foot Woman etc.) ~ Hal Erickson, All Movie Guide

Having been burned by compromises to censors on his earlier films Cat on a Hot Tin Roof and Sweet Bird of Youth, Paul Newman decided to star in as uncompromising a property as he could find. That property was Hud, inspired by a portion of Larry McMurtry's novel, Horseman Pass By. Hud Bannon (Newman) is a young Texas rancher who lives with his cattleman father Homer (Melvyn Douglas) and his hero-worshipping nephew Lon (Brandon DeWilde). Hud is an amoral, cold-hearted creature; his father, who holds Hud responsible for the death of his other son, tries to imbue Lon with a sense of decency and responsibility to others, but Lon is devoted to Hud and isn't inclined to listen. When hoof and mouth disease shows up in one of the elder Bannon's cows, Hud is all for selling the herd before the government inspectors find out. But Homer orders the cattle destroyed (the film's most harrowing sequence), driving an even deeper wedge between himself and Hud. Finally, Hud steps over the line by attempting to rape Alma (Patricia Neal), the earthy but warm-hearted housekeeper. Paul Newman was so repellantly brilliant as an unregenerate heel that his Oscar nomination for Hud was a foregone conclusion. Although Newman lost the Oscar to Sidney Poitier in Lilies of the Field, Oscars did go to Neal for Best Actress, Douglas for Best Supporting Actor, and cinematographer James Wong Howe. ~ Hal Erickson, All Movie Guide

Unable to get through to a particularly hostile patient, psychiatrist Peter Falk goes to gray-haired senior shrink Sidney Poitier for advice. This prompts Poitier to recall his experiences during World War II. While working on behalf of the government, Poitier was assigned the case of psycho Nazi sympathizer Bobby Darin. A complex flashback structure reveals the various influences that led to Darin's warped state of mind and to his life of crime. Poitier perceives that Darin is potentially dangerous, and insists that he needs further treatment. The government sees things differently, and allows Darin, who on the surface shows signs of recovery, to leave the hospital. The horrible results of this decision serve to convince Poitier to follow his own gut feelings no matter what his fellow "experts" might advise, and to continue probing even the most recalcitrant or deceptively "cured" of patients. Essentially a conformist psychological melodrama, Pressure Point truly comes to life whenever Bobby Darin is on the screen. His performance was outstanding, far better than his Oscar-nominated turn in 1963's Captain Newman MD. Unfortunately, the critics were aligned against Darin, possibly because of the singer/actor's well-publicized arrogance; Judith Crist went so far as to compare Darin to Dr. Samuel Johnson's walking dog, quipping that the most remarkable aspect of Darin's performance was not that he did it well, but that he did it at all. ~ Hal Erickson, All Movie Guide

One of producer Walt Disney's more blatant efforts to duplicate the success of his early TV miniseries Davy Crockett, the eight-part Swamp Fox featured another flamboyant frontiersman hero who wore coonskin-style headgear and whose adventures were introduced with a catchy, memorable theme song. Based on a book by Dr. Robert D. Bass, The Swamp Fox stars Leslie Nielsen as real-life American patriot Francis Marion, a wealthy landowner who during the Revolutionary War led a hardy band of guerilla fighters against the Redcoats and pro-British tories in his native South Carolina. The villain of the piece (at least in the first few episodes) was another actual historical figure, the ruthless Banastre Tarleton (John Sutton), an officer in the British Green Dragoons (Marion and Tarleton later served as the models for the hero and villain, respectively, of the 1999 Mel Gibson film Patriot). In the first episode, Marion is prevailed upon by his friends and neighbors to help free South Carolina from the grip of British rule. His task is made difficult by the fact that his sweetheart, Mary Videaux (Joy Page), is from a pro-Tory family. "The Birth of the Swamp Fox" originally aired as part of the Walt Disney Presents anthology. ~ Hal Erickson, All Movie Guide

A father-son team of circus aerialists, Gino and Mario Patruzzio (Robert Carricart, Mike Conners), quarrel bitterly over Mario's slatternly young wife Carlotta (Yvette Vickers) just before beginning their act. An accident occurs in mid-air, causing Gino to plunge helplessly to the ground. Though exonerated of any blame, Gino still feels responsible for the tragedy and becomes dangerously suicidal. Can Gino save his son from destroying himself--even though the elder Patruzzio lies paralyzed in a hospital bed? ~ Hal Erickson, All Movie Guide

Attack of the 50 Foot Woman may well be one of the worst science-fiction films of all time, but that's not to say that it isn't thoroughly enjoyable. Allison Hayes achieved screen immortality as Nancy Archer, the wealthy, dipsomaniac wife of shameless philanderer Harry Archer (William Hudson). When she witnesses the crash landing of a alien spaceship -- whose occupant is a 30-foot giant, dressed in the manner of a medieval Frenchmen! -- Nancy goes to the local sheriff (George Douglas) with her story, only to be laughed off as a drunken crank. Even the local TV anchorman makes cruel fun of Nancy on his nightly newscast. Meanwhile, hubby Harry is making whoopee at a roadhouse with his latest tootsie, Honey Parker (Yvette Vickers). Not long afterward, Nancy, who's been exposed to the radiation of the spaceship, begins to feel queasy. Within a few days, she has grown to the height of 50 feet and is lumbering around the countryside clad only in a gigantic towel, smashing houses and trees in search of her faithless husband ("HARRY-HARRY!!!") Hilarious in its ineptitude (the special effects are particularly shoddy), Attack of the 50 Foot Woman is impossible to dislike, which cannot be said of its slicker but less entertaining 1993 cable-TV remake (with Darryl Hannah in the title role). ~ Hal Erickson, All Movie Guide

Juvenile Jungle looks suspiciously like a standard kidnap drama, rewritten to conform with the "juvernile delinquent" cycle of the late 1950s. Gang leader Hal McQueen (Corey Allen) goes out of his way to ingratiate himself with Caroline Elliot (Anne Whitfield), the daughter of a wealthy shopkeeper. It's all part of McQueen's master plan to fake Caroline's abduction and extort a great deal of money from her daddy. Trouble begins brewing when Hal falls in love with Caroline, while his hoodlum buddies intend to go through with the snatch for real. Director William Witney struggles manfully to inject some excitement into the plodding plotline. ~ Hal Erickson, All Movie Guide

In his second solo starring film after breaking with Dean Martin, Jerry Lewis plays cartoonist George Baker's classic GI misfit The Sad Sack. Lewis' constitutional inability to do anything right brings him under the scrutiny of gorgeous Army psychiatrist Phyllis Kirk. She discovers that Lewis possesses a photographic memory, making him valuable enough to be transferred to a top secret assignment in Morocco. Assigned along with buddies David Wayne and Joe Mantell to guard a new weapon, Lewis deviates from his task when he falls in love with sexy nightclub performer Lilliane Montevecchi. She spurns him, so the heartbroken Lewis deserts the army and joins the Foreign Legion. When enemy spy Peter Lorre discovers that Lewis has memorized the assembly instructions for the secret weapon, he and his minions kidnap Lewis, Wayne and Mantell. With the help of Montevecchi, Lewis thwarts the baddies and becomes a hero--but within minutes, he's fouled up again, so it's back to permanent KP duty. Jerry Lewis still needed a straight-man foil at the time of The Sad Sack so Paramount provided him with David Wayne and Joe Mantell. By the time Geisha Boy rolled around in 1958, Lewis was finally able to carry a picture by himself. ~ Hal Erickson, All Movie Guide

As a favor to an old friend, producer Alex Gordon, James Cagney turned director for the first and only time in his career with Short Cut to Hell. The film is a remake of the 1942 Veronica Lake-Alan Ladd starrer This Gun For Hire. Robert Ivers plays Kyle, a hired killer who is double-crossed by his employer Bahrwell (Jacques Aubuchon). Seeking revenge, Kyle is reluctantly teamed with Glory Hamilton (Georgann Johnson), who has been targeted for elimination by Bahrwell and his henchman Nichols (Murvyn Vye). Unfortunately, Glory is the girlfriend of detective Stan (William Bishop), forcing Kyle to go on the lam before he can settle accounts with the film's principal villain. Kyle is finally able to get even with Bahrwell, and in the process reveals his long-dormant "good" side. Though the film itself is nothing special, Cagney's direction is sharp and efficient; it's too bad that Short Cut to Hell was his only effort behind the cameras. ~ Hal Erickson, All Movie Guide