Joseph Vitale Movies

In this western, the army commander of an Arizona outpost despises all Indians until he falls in love with a beautiful missionary girl. He must change his ways because one of her parents is an Apache. Unfortunately, his attempts to reform are nearly foiled by greedy gold-seekers. ~ Iotis Erlewine, Rovi

Bob Hope plays a 19th-century insurance agent whose miserable sales record prompts his boss to send him out West, where he can (supposedly) do little harm. Hope manages to sell a $100,000 life insurance policy--to outlaw Jesse James (Wendell Corey), one of the worst "risks" in history! In his efforts to get the policy back, Hope finds himself being mistaken for Jesse, which is all part of the outlaw's plan to get Hope killed and thereby collect the policy money himself. But with the help of beauteous Rhonda Fleming (the essentially honest beneficiary to Jesse's policy), Hope gains a reputation as a lightning-fast gunslinger. In the inevitable shoot-out with the James gang, Hope is helped out by several famous Westerners, including Gary Cooper, Roy Rogers, Gene Autry, James "Maverick" Garner, and even Tonto (Jay Silverheels). ~ Hal Erickson, Rovi

This drama is another adaptation of James Fenimore Cooper's popular novel that follows the exploits of a white scout who was raised by the Mohicans. He comes to the aid of a settler's colony that is plagued by warring Indians. He becomes entangled with an old white trader and his two daughters when he rescues them from the wrath of the Huron tribe. The trader hates the Indians because they killed his wife and took her scalp. Now he scalps any Indian he encounters. It turns out that all the Hurons want are the scalps he has taken so that the spirits of the dead can rest. ~ Sandra Brennan, Rovi

This tense tale of waterfront corruption was clearly inspired by the success of On the Waterfront; there's even a character named Joe Brindo, played by Michael Granger. Newcomer James Darren plays Jimmy Smigelski, a budding juvenile delinquent who is hired as a "muscle man" for corrupt union leader Brindo. Kicked out of his house by his father, who despises all forms of gangsterism, Smigelski begins regarding Brindo as a surrogate dad. Thus, it takes a lot out of him when Jimmy discovers that his father-figure is a no-good louse. Agreeing to testify before an investigating committee, Jimmy is marked for death by his former benefactor. Once again, producer Sam Katzman uses a timely topic and lurid title to turn a quick profit. ~ Hal Erickson, Rovi

The splendid physique of Tony Curtis is given generous screen exposure in the boxing melodrama The Square Jungle. Curtis plays Eddie Quaid, who turns to pugilism to bail his wino father (Jim Backus) out of jail. Gaining fame as "Packy Glennon," Quaid inevitably forgets the things in life that are truly important, including his faithful girlfriend Julie Walsh (Pat Crowley). Only after he nearly kills a longtime rival in the ring does Quaid get his act together. The most compelling performance is delivered by Ernest Borgnine as Quaid's trainer; Borgnine plays the character as a shy, studious type, adding a highly original touch to this otherwise predictable production. ~ Hal Erickson, Rovi

New York Confidential is based on the Jack Lait-Lee Mortimer bestseller of the same name. Richard Conte plays Nick Magellan, a "torpedo" for Manhattan crime boss Charlie Lupo (Broderick Crawford). Pleased with Magellan's work, Charlie promotes him to the topmost rungs of the Syndicate. He regrets this act of largesse when the powers-that-be demand that Lupo be rubbed out. . .by good old Magellan. The most fascinating aspect of New York Confidential is that there isn't a sympathetic character in the bunch; even Anne Bancroft as Lupo's maladjusted daughter is a bit on the obnoxious side. The original Lait-Mortimer book was later adapted into a 1958 TV series, starring Lee Tracy. ~ Hal Erickson, Rovi

Sterling Holloway returns as eccentric scientist Uncle Oscar, who while trying to cook up a formula for flavored stamp glue ends up with a powerful explosive. Rather than write down the entire formula, Uncle Oscar teaches vital segments of the formula to his talking parakeet Schuyler. A pair of foreign spies steal Schuyler and substitute a lookalike, then kidnap Oscar and his niece Nancy (Allene Roberts) in order to steal the explosive. This looks like a job for Superman (George Reeves)--but it may also prove to be his undoing, inasmuch as the loquacious Schuyler is savvy to Superman's "Clark Kent" guise. ~ Hal Erickson, Rovi

The innate dignity of leading-man Jeff Chandler lends credibility to the swashbuckling proceedings of Yankee Buccaneer. Set during the early 19th century, the film casts Chandler as David Porter, commander of a U.S. frigate sent to the Caribbean to quell the activities of pirates and privateers. Disguising his vessel as a pirate ship, Porter is able to drift into dangerous waters with little or no resistance. The trick, of course, is to complete his mission and return to safety. Complicating matters is Scott Brady as Porter's reckless, irresponsible second-in-command -- Lieutenant David Farragut. Joseph Calleila co-stars as Count Del Prado, the Spanish governor of the West Indies who is secretly orchestrating the pirate activities. The requisite damsel-in-distress is played by Suzan Ball, a promising Universal contractee who died only three years later at the age of 24. Yankee Buccaneer was hastily filmed on sets originally constructed for Against All Flags (1952) while the star of the latter film, Errol Flynn, was recuperating from an injury. ~ Hal Erickson, Rovi

Ezio Pinza stars as the title character, a prince who falls for nightclub singer Fredda Barlo (Lana Turner) when the two meet on vacation in Italy. After more than a decade, they reunite, only now Barlo is a Hollywood superstar and Imperium has ascended to the throne of king. ~ Jason Ankeny, Rovi

Fancy Pants is a musicalized remake of the oft-filmed Harry Leon Wilson story Ruggles of Red Gap, tailored to the talents of "Mr. Robert Hope (formerly Bob)". The basic plotline of the original, that of an English butler entering the service of a rowdy nouveau-riche family from the American West, is retained. The major difference is that main character (Bob Hope) plays a third-rate American actor who only pretends to be a British gentleman's gentleman. Social-climbing American heiress Lucille Ball hires Hope to impress her high-society English acquaintances, then takes him back to her ranch in New Mexico. Though there are many close shaves, Hope manages to convince the wild and woolly westerners that he's a genuine British Lord--even pulling the wool over the eyes of visiting celebrity Teddy Roosevelt (John Alexander). Never as droll as the 1935 Leo McCarey-directed Ruggles of Red Gap, Fancy Pants nonetheless works quite well on its own broad, slapsticky level. If the ending seems abrupt, it may be because the original finale, in which a fleeing Bob Hope and Lucille Ball were to be rescued by surprise guest star Roy Rogers, was abandoned just before the scene was shot. ~ Hal Erickson, Rovi

Taken (as far as possible) from the Cole Porter musical comedy of the same name, Red, Hot and Blue stars Betty Hutton as an ambitious chorus girl. Hutton gets a job with a musical comedy bankrolled by gangsters, and is the wrong girl at the wrong place when one of the show's backers (William Talman) is bumped off. She is arrested for suspicion of murder, then is kidnapped by the villains to keep her from spilling the beans. The plot requires that she be rescued by hero Victor Mature, though many disgruntled audience members may have been rooting for the boisterous Hutton to be dumped in the East River. The stage version of Red Hot and Blue starred Ethel Merman, Jimmy Durante, and Bob Hope. Hutton is no Merman, but she gives her all to the brassy production numbers and the self-absorbed ballads--written not by Cole Porter, whose score was dispensed with, but by Paramount's in-house tunesmith Frank Loesser, who also plays a small role as one of the gangsters. ~ Hal Erickson, Rovi

Though the Mark Twain original has been refashioned into a Bing Crosby vehicle, this 1949 musical adaptation of A Connecticut Yankee in King Arthur's Court is a lot more faithful to the Twain original than either of the two previous film versions. Crosby plays Hank Martin, a turn-of-the-century American mechanic who is conked on the noggin and awakens in sixth-century England. Captured by dull-witted Sir Sagramore (William Bendix), Hank is marched into the court of King Arthur (Cedric Hardwicke), where he uses his machine-age ingenuity to win the title of "Sir Boss." Even while incurring the wrath of the duplicitous wizard Merlin (Murvyn Vye), Hank woos and wins the lovely lady-in-waiting Alisande (Rhonda Fleming). Shocked by the appalling living conditions of the British peasants, Hank insists that King Arthur travel amongst the people in disguise so that he can experience their misery first-hand, and thereby bring about social reforms. Merlin schemes to use this opportunity to overthrow the king, but Hank foils the wizard's plans by pretending to demonstrate magical powers during a total eclipse. As a last-ditch effort to rid the kingdom of Hank, Merlin kidnaps Alisande and lures "Sir Boss" to certain doom. This scurrilous scheme segues into a much happier ending than one will find in the Twain novel. The expected "time displacement" routines are freshly handled by Crosby and company, while the songs are melodious and perfectly suited to the situations at hand. The film's Technicolor photography is another major asset. By present-day standards, the only drawback to A Connecticut Yankee in King Arthur's Court is that it goes on too long; even so, it is infinitely preferable to the recent remakes that have spewed forth from the Disney studio. Songs include: "Twixt Myself and Me," "Busy Doing Nothing," "Once and for Always", "When is Sometime," and "If You Stub Your Toe on the Moon."
~ Hal Erickson, Rovi

Bob Hope's Technicolor western spoof The Paleface was one of the comedian's biggest box-office hits. Hope plays Painless Potter, a hopelessly inept dentist who heads west to seek his fortune. Meanwhile, buxom female outlaw Calamity Jane (Jane Russell) is engaged in undercover work on behalf of the government, in the hopes of earning a pardon for her past crimes. Jane is on the lookout for notorious gun-runner Robert Armstrong. To put up an innocent front, Jane marries the befuddled Potter, then keeps the criminals at bay by convincing everyone that Potter is a rootin'-tootin' gunslinger (actually, it's Jane who's been doing all the shooting). Armstrong, who has been selling guns to the Indians, arranges for Jane to be captured by the scalp-hungry tribesmen, but Potter comes to the rescue. Somewhere along the way, Bob Hope and Jane Russell get to sing the Oscar-winning Jay Livingston/Ray Evans tune "Buttons and Bows". There are many hilarious moments in The Paleface, but screenwriter Frank Tashlin felt that director Norman Z. McLeod failed to get the full comic value out of his material. To prove his point, Tashlin directed the side-splitting sequel, Son of Paleface (1952), which once more teamed Hope and Russell. ~ Hal Erickson, Rovi