Peter Virgo Movies

In the fourth episode of a seven-part story arc, Samantha and Darrin are vacationing in Italy when Sam discovers that Esmerelda was the one who caused the tower of Pisa to lean way back in the 15th century. In endeavoring to make up for her past blunders, Esmerelda succeeds only in ruining the Pisa tourist trade. Everything is resolved by yet another "blast into the past," courtesy of Sam. Originally seen on October 6, 1971, "Samantha's Not So Leaning Tower of Pisa" was written by Ed Jurist. ~ Hal Erickson, All Movie Guide

Stanley Kramer's production unit at Columbia Pictures was known for its willingness to tackle subject matter that was not necessarily "box office" (much to the dismay, of course, of Columbia head man Harry Cohn!) Adapted by Michael Blankfort from the autobiography by Donald Powell Wilson, My Six Convicts is the true story of a prison psychologist and his efforts to "reach" his incarcerated patients. John Beal plays the Donald Powell Wilson counterpart, herein known simply as Doc. Convinced that psychological rehabilitation is, indeed, an option, Doc overcomes a great deal of opposition -- from both prison officials and prisoners -- to test out his theories. Once he's won the confidence of hardened safecracker James Connie (Millard Mitchell), Doc is able to bring five more convicts into his circle: murderous mobster Punch Pinero (Gilbert Roland); alcoholic, self-sacrificing Blivens Scott (Marshall Thompson); holdup man Clem Randall (Alf Kjellin); psychopathic killer Dawson (Harry Morgan -- yes, that Harry Morgan); and embezzler Steve Kopac (Jay Adler). These six cons learn to make their life behind bars not only tolerable but productive, and in so doing pass on their new outlook on life to their fellow inmates. Despite the seriousness of the subject matter, My Six Convicts is essentially a comedy, with the all-male cast working together in seamless perfection. ~ Hal Erickson, All Movie Guide

The Narrow Margin is generally considered a "model" B picture; some film buffs go farther than that, labelling this 1952 RKO suspenser as the best low-budget studio production ever made. Nail-hard detective Walter Brown (Charles McGraw) is assigned to protect gangster's widow Mrs. Neall (Marie Windsor) as she rides the train from Chicago to LA, en route to testifying at a grand jury. There's no love lost between the ill-tempered Neall and Brown, especially since Brown's partner (Don Beddoe) was killed by mobsters while shielding Neall from harm. On the train, Brown makes the acquaintance of a likeable woman (Jacqueline White) and her playful young son. He also comes in contact with a rather secretive fat man (Paul Maxey), who may well be a mob assassin. Not long before the train pulls into California, Brown is approached by small-time crook (Peter Brocco), who offers the detective a great deal of money if he'll permit Neall to be silenced. Brown appears to be tempted, but this is only a smokescreen to throw the crooks off the trail. The Narrow Margin was remade (and unnecessarily padded and attenuated) in 1990. ~ Hal Erickson, All Movie Guide

John Derek plays a Polish-American immigrant who excels in high school sports. Though no great shakes academically, Derek wins a scholarship at an exclusive Southern university. Sidney Blackmer is a wealthy alumnus who sees to it that Derek is allowed to coast in his classes so that he can play football--and help Blackmer win a series of lucrative wagers on the games. When Derek is sidelined by an injury, Blackmer loses interest, but the rich man's niece (Donna Reed) remains faithful to the boy. The cold business of subsidizing (and exploiting) college athletes is given a critical scrutiny in Saturday's Hero, though the film ends happily with Derek bearing down on his classroom work and making something of himself without relying on football. Featured in a supporting role is ex-athlete Aldo DaRe, later known as Aldo Ray. ~ Hal Erickson, All Movie Guide

Broderick Crawford plays Johnny Damico, a detective who suddenly finds himself up to his neck in trouble and his career on the line. Going home in the rain one night, he finds himself just a few feet from a shooting on a dark street, where the gunman claims to be a detective from another precinct, flashing a real badge -- and then slipping away. Damico discovers that the victim of the shooting was a witness who was to have appeared before a grand jury investigating waterfront crime, and that the same man who shot him also murdered the chief investigator on the case just a few hours earlier (which is where the badge came from). Damico could lose his job, but instead he's given the chance to redeem himself -- he's sent undercover and given a new identity as New Orleans tough-guy Tim Flynn, who insinuates himself onto the New York waterfront when he arrives on ship. He manages to hook up with union thug Joe Castro (Ernest Borgnine) and his strong-arm man Gunner (Neville Brand), who try to frame him for a murder that also gets a potential stoolie out of the way and that hooks Damico up with crooked police sergeant Bennion. After following one blind alley involving a federal agent (Richard Kiley) working as a longshoreman, Damico manages to get an intro to Blackie Clegg (Matt Crowley), the man working behind Castro, Gunner, et al, who's as cool and slippery as they come and as sadistic as he is vengeful. ~ Bruce Eder, All Movie Guide

A married team of diamond smugglers enter New York to fence their purloined gems unaware that the wife is carrying the highly contagious, deadly smallpox virus. The crooks ensconce themselves in a hotel without realizing that the wife's every move is being monitored by a Treasury agent. The husband directs her to stay put while he goes off on business. Actually he is going out to tryst with his conniving sister-in-law. Back in the room, the wife feels ill and so creeps out to see a doctor. The T-man loses her trail. The doctor doesn't recognize the dread disease until much later and so the woman is free to travel about leaving a trail of death behind her. Once again she is followed, but the agents have a hard time keeping up with her. Eventually she finds her husband and learns the truth. Not only has he been unfaithful, he and her sister are planning to abscond with the jewels. A struggle between man and wife ensues culminating in the husband's death. Afterward the woman goes to authorities and before succumbing to the disease, provides them with a badly needed list of those she contacted. ~ Sandra Brennan, All Movie Guide

Eliot Ness may have gotten lots of publicity (especially long after the fact) for breaking the Capone mob, but as Joseph H. Lewis' The Undercover Man reminds us, it was the accountants and the numbers-crunchers that brought down Capone and his mob. Frank Warren (Glenn Ford) started out as an accountant, but now serves as an investigator for the Treasury Department. His job has frequently required him to go undercover, masquerading as a criminal to get the goods on the top-level tax-law violators that his unit targets. But now his assignment is to gather evidence on the operations of the nation's number-one crime boss and get proof of the income that he and his lieutenants are not declaring, and this proves not only frustrating but dangerous. Potential stoolies are murdered and witnesses intimidated, and when one otherwise "respectable" lawyer (Barry Kelley) starts mentioning Warren's wife (Nina Foch) in casual conversation, he takes the hint. He's ready to quit until the mother (Esther Minciotti) of a witness-turned-victim tells him about what life was like in Italy under the Black Hand, and why she came to America to raise her sons. Warren and his men (James Whitmore, David Wolfe) make one last attempt to get the proof they need, tracing signatures and handwriting to get evidence implicating a small man in the operation, using it to turn him and going for bigger fish. Finally, even the shyster lawyer who has been dogging Warren every step of the way ends up in the sights of the feds, and the mob turns its attention to getting rid of this new "liability" and taking care of Warren as well. ~ Bruce Eder, All Movie Guide

Though Humphrey Bogart is the official star of Knock on Any Door, the film is essentially a showcase for Columbia's newest young male discovery John Derek. The first production of Bogart's Santana company, the film casts Bogart as attorney Andrew Morton. A product of the slums, Morton is persuaded to take the case of underprivileged teenager Nick Romano (Derek), who has been arrested on a murder charge. Through flashbacks, Morton demonstrates that Romano is more a victim of society than a natural-born killer. Though this defense strategy does not have the desired result on the jury thanks to the badgering of DA Kernan (George Macready), Morton does manage to arouse sympathy for the plight of those trapped by birth and circumstance in a dead-end existence. As Nick Romano, John Derek would never be better, nor would ever again play a character who struck so responsive a chord with the audience. Nick's oft-repeated credo--"Live fast, die young, and leave a good-looking corpse"--became the clarion call for a generation of disenfranchised youth. Director Nicholas Ray would later expand on themes touched upon in Knock on a Any Door in his juvenile delinquent "chef d'oeuvre" Rebel without a Cause. Viewers are advised to watch for future TV personalities Cara Williams and Si Melton in uncredited minor roles. Knock on Any Door spawned a belated sequel in 1960, Let No Man Write My Epitaph. ~ Hal Erickson, All Movie Guide

The relatively relaxed movie censorship in the postwar years enabled Columbia to produce To the Ends of the Earth, a film which dealt with the previously taboo subject of drug smuggling. T-man Dick Powell is sent to several foreign locales to track down an Opium ring. The villains are subversives (Red? Fascist?) who plan to take over the world by hooking everyone on the "hard stuff." The film is chock full of mysterious European and Oriental types like Vladimir Sokoloff, Ludwig Donath and Fritz Leiber; even leading lady Signe Hasso speaks with an accent, which in 1948 was enough to immediately put her under suspicion. Lending credence to this sprawling adventure yarn is the presence of several actual treasury agents in bit parts, including commissioner Harry J. Anslinger. ~ Hal Erickson, All Movie Guide

A Song is Born is a musical remake of the 1941 comedy Ball of Fire, with the same producer (Sam Goldwyn) and director (Howard Hawks) at the helm. It will be recalled that the original film, co-scripted by Billy Wilder, was an amusing spin on "Snow White and the Seven Dwarfs," wherein seven pedantic professors, working on a dictionary of slang, "adopted" an authority on the subject, breezy burlesque dancer Sugarpuss O'Shea. In the remake, the septet of scholars are working on an encyclopedia of music, but they're held up on the subject of "swing." When nightclub singer Honey Swanson (Virginia Mayo), escaping from her gangster suitor Tony Crow (Steve Cochran), takes refuge in the professors' home, she offers to introduce them to the world of popular music. This proves to be quite a tuneful undertaking, since two of the professors are played by Danny Kaye and Benny Goodman! The tang and zest of original plotline has been muted to the point of harmlessness, but the film is saved by the presence of Goodman, his fellow bandleaders Charlie Barnet, Tommy Dorsey and Mel Powell, and specialty performers Louis Armstrong, Lionel Hampton and Buck & Bubbles. A Song is Born was Danny Kaye's final starring vehicle for Sam Goldwyn. ~ Hal Erickson, All Movie Guide

In this courtroom drama, two opposing lawyers lead a double life. In the courtroom they are ruthless toward each other, but once the day is over they become passionate lovers. Unfortunately their newest case may well threaten their relationship as the defense attorney is defending a corrupt district attorney who happens to be her ex-husband. The prosecutor knows nothing of their past relationship; all he knows is he wants to nail the crook and his cronies to the wall. Unfortunately, the truth comes out in court and mayhem ensues. ~ Sandra Brennan, All Movie Guide

This riveting 1947 drama, regarded by many as the greatest boxing movie of all time, centers on a former pugilist who looks back on his life in and out of the ring and realizes that self-respect is a more important prize than winning. John Garfield is Charlie Davis, a former boxing champion who began fighting in order to save himself and his mother from poverty after his father was killed in a mob-related bombing. William Conrad plays Quinn, a veteran boxer-turned-trainer who discovers that Davis has the potential to be a professional fighter. Eager to take on all contenders, Davis eventually defeats the world champion, but winning has cost him more than he bargained for. He falls in with the mob and takes to a life of easy women and plentiful booze, winning easy bouts with second-rate opponents. In the end, Davis realizes the error of his ways -- but is it too late? With all the odds against him, and knowing that the fight has already been fixed, Davis is forced to make the choice between what's expected of him and what he expects of himself. The fight sequences were filmed on roller skates with a hand-held camera, adding a realism that strengthens the film's verisimilitude. ~ Don Kaye, All Movie Guide