Charles Wagenheim Movies

Siren of Atlantis is the third movie version of Pierre Benoit's fantasy novel L'Atlantide, first film in 1921. Jean-Pierre Aumont and Dennis O'Keefe star as Foreign Legionnaires Andre and Jean, who while on a routine mission in the African desert stumble upon the sunken city of Atlantis. Once they've arrived in the subterranean metropolis, they are forbidden to leave by sultry Queen Antinea (Maria Montez). For her own perverse amusement, Antinea romances both Andre and Jean, then sits back and watches the two duke it out over her affections. One of the men survives to tell the tale-if he can find anyone to believe him, that is. To their credit, Henry Daniell and Morris Carnovsky play their supporting roles with utterly straight faces. Of the many deliriously awful Maria Montez vehicles of the 1940s, Siren of Atlantis may well be the worst, though it's not without its campy pleasures. ~ Hal Erickson, All Movie Guide

The opening scene of Robert Siodmak's grim film noir depicts police lieutenants Candella (Victor Mature) and Collins (Fred Clark) observing wounded cop killer Martin Rome (Richard Conte) receive last rites. Though Rome recovers, he still must elude Candella and Collins in his desperate attempt to escape his fate. Rome has two visitors in the hospital: his girlfriend, Teena (Debra Paget), who goes into hiding, and Niles (Berry Kroeger), a crooked lawyer. Niles tries to bribe Rome to take a jewel theft and homicide rap for a client of his since Rome is facing the electric chair anyway. When Rome refuses, Niles threatens to frame Teena as the client's female accomplice. Worried that Candella might find Teena, Rome breaks out of jail and goes to Niles' office to accept the offer, but he actually plans to leave the country with Teena. When Niles reneges, Rome kills him, but not before learning the accomplice's identity and discovering the stolen jewels in the lawyer's safe. Rome finds the accomplice, Rose Given (Hope Emerson), and offers to trade the jewelry for the means to leave the country. She agrees, and they arrange a meeting in the subway, but Rome informs Candella of the plan. When the police arrive, Candella is shot, Rose is arrested, and Rome escapes to meet up with Teena in a church. As he is trying to convince Teena to run away with him, a wounded Candella shows up and tells Teena how Rome uses people and that everyone who helped in his escape will be paying a price. Teena rejects Rome, and he runs again, only to be shot down by Candella. The moral order is ultimately restored, but no one has been left unscarred. ~ Steve Press, All Movie Guide

Steve Thompson (Burt Lancaster) returns home after a few years of knocking around the country following his divorce from good-time girl Anna (Yvonne De Carlo). Getting his old job back driving an armored car, and not even convincing himself that he's making a new start, he also wants his old wife back. When he finds Anna, he quickly learns that she is involved with gangster Slim Dundee (Dan Duryea). Nonetheless, they carry on a clandestine affair, with Steve foolishly believing that Anna will return to him. Even after she marries Slim, Steve, with her encouragement, masochistically clings to this doomed obsession. So when Slim catches them together, Steve ad libs plans for an armored car robbery that includes Slim. The two rivals form an uneasy and untrusting collaboration, but Steve and Anna plan to double cross Slim. However, the title of Robert Siodmak's film noir gem is, not incidentally, Criss Cross. ~ Steve Press, All Movie Guide

"Von Clausewitz said that war is the logical extension of diplomacy; Monsieur Verdoux feels that murder is the logical extension of business." With his controversial "comedy of murders" Monsieur Verdoux, Charles Chaplin makes his final, definitive break with the Little Tramp character that had brought him fame and fortune. Verdoux (Chaplin), a mild-mannered family man of pre-war France, has hit upon a novel method of supporting his loved ones. He periodically heads out of town, assumes an alias, marries a foolish, wealthy woman, then murders her for the insurance money. He does this thirteen times with success, but wife #14, brassy Martha Raye, proves impossible to kill (nor does she ever suspect what Verdoux has in mind for her). A subplot develops when Verdoux, planning to test a new poison, chooses streetwalker Marilyn Nash as his guinea pig. She tells him so sad a life story that Verdoux takes pity on her, gives her some money, and sends her on her way. Years later, the widowed and impoverished Verdoux meets Nash once more; now she is the mistress of a munitions magnate. This ironic twist sets the stage for the finale, when Verdoux, finally arrested for his crimes and on trial for his life, gently argues in his own defense that he is an "amateur" by comparison to those profiteers who build weapons for war. "It's all business. One murder makes a villain. Millions, a hero. Numbers sanctify..." Sentenced to death, Verdoux remains calmly philosophical to the end. As the condemned man walks to the guillotine, a priest prays for God to have mercy on Verdoux's soul. "Why not?" replies Verdoux jauntily. "After all, it belongs to him." The original idea of Monsieur Verdoux originated with Orson Welles, who'd wanted to make a picture about notorious modern "Bluebeard" Landru. Welles wanted to cast Chaplin in the lead; Chaplin liked the idea, but preferred to direct himself, as he'd been doing since 1914. It is possible that Chaplin might have gotten away with the audacious notion of presenting a cold-blood murderer as a sympathetic, almost lovable figure. Alas, Monsieur Verdoux was released at a time when Chaplin was under a political cloud for his allegedly Communistic philosophy; too, it came out shortly after a well-publicized paternity suit involving Chaplin and Joan Barry. Picketed in several communities, banned outright in others, Monsieur Verdoux was Chaplin's first financial flop. Today, it can be seen to be years ahead of its time in terms of concept, even though the execution is old-fashioned and occasionally wearisome. Monsieur Verdoux doesn't always hit the bull's-eye, but it remains one of Charles Chaplin's most fascinating projects. ~ Hal Erickson, All Movie Guide

In this romantic drama, Bill and Susan Cummings (Mark Stevens and Joan Fontaine), a couple from the Bronx, look back at the early days of their marriage. When they meet in 1938, Bill is working as a machinist, and Susan is a clerk in a bookstore. They fall in love and decide to wed, but it's not long after the honeymoon that Bill is drafted and sent to war. When Bill comes marching home, he finds that it's not easy to find a new job, and economic hardship puts their marriage to the test. The supporting cast includes Harry Morgan and Bobby Driscoll. ~ Mark Deming, All Movie Guide

Inspired by the radio program of the same name, Night Editor features Charles D. Brown as the editor of the New York Star. In flashback, the editor tells the tale of police lieutenant William Gargan, who forsakes his happy home life for the love of no-good society dame Janis Carter. Both Gargan and Carter begin cheating on their respective spouses, and while on a romantic rendezvous the couple witnesses a murder. They can't report the crime without revealing their own infidelities, a dilemma which leads to blackmail, double-crossing and a second murder attempt. A twist ending caps this snappy little 65-minute morality play. The script of Night Editor was based on the story "Inside Story" by Scott Littleton, previously dramatized on the Night Editor radio series. ~ Hal Erickson, All Movie Guide

The wonderfully suspenseful psychological drama Spiral Staircase is the prototype of the "old dark house, lady in distress" thriller, full of dark corners, flickering candles and featuring a mysterious, menacing killer whose true identity remains hidden until the end. Helen Capel (Dorothy McGuire), mute because of a childhood trauma, cares for the owner of the house, the wealthy Mrs. Warren (Ethel Barrymore), a demanding, widowed invalid. Helen has quietly fallen in love with one of Mrs. Warren's sons, Dr. Parry (Kent Smith), who she believes to be a gentle and understanding man. Helen's peaceful life is changed forever when three local women, all with physical handicaps, are found murdered. The movie builds to a suspenseful conclusion as Helen finds herself in the midst of a life-and-death battle in the house, as the true identity of the murderer is revealed. Dorothy McGuire is exquisite as the innocent, sweet Helen and gives a totally convincing performance in the difficult role. She uses her expressive face to perfectly convey Helen's emotions, fear and ultimate bravery. Ethel Barrymore won an Academy Award nomination for her performance as Mrs. Warren and plays the difficult "Grande Dame" with great relish. Director Robert Siodmak, noted for his stylish direction of atmospheric suspense films, uses all his plot devices with great skill and craftsmanship, increasing the suspense and sense of foreboding as Helen is observed through the eyes of her stalker, who the audience sees only as a pair of menacing eyes. ~ Linda Rasmussen, All Movie Guide

Filmed in semi-documentary fashion, House on 92nd Street is a "now it can be told" drama about the smashing of a Nazi spy ring operating the U.S. Thanks to covert surveillance, the FBI learns of the presence of several suspicious persons in NYC. William Eythe is a German-American college student approached by the spies to become a secret Nazi operative. Eythe instead heads directly to FBI chief Lloyd Nolan and offers his services as a double agent. His mission is to locate the head of the spy ring, an unseen figure known only as Mr. Christopher, and to that end Eythe infiltrates the ring, headquarted in a town house on 92nd street. Among the conspirators are an erudite German colonel (Leo G. Carroll) and the beautiful female owner of the house (Signe Hasso). Part of the plot involves the smuggling to Germany of America's atomic secrets by a weak-willed document clerk (played by Gene Lockhart, one of the best "cringers" in the business). Dwelling a bit too long on the meticulous research techniques of the FBI, House on 92nd Street picks up momentum in the final sequence, wherein "Mr. Christopher" is revealed and double agent Eythe barely escapes with his skin intact. ~ Hal Erickson, All Movie Guide

Based on a novel by Barry Fleming, Colonel Effingham's Raid stars Charles Coburn in the title role. Upon retiring from the army, Effingham returns to his home town of Fredericksville, Georgia. Dismayed by the town's paucity of civic pride, the Colonel begins writing a newspaper column honoring Fredericksville's old traditions and chastizing those who would tear those traditions down. His pet peeve is the city administration's plan to rename Confederate Square after the pompous, mildly corrupt town mayor (Thurston Hall). When it seems that his protests are falling upon deaf ears, Colonel Effingham literally stage a "military assault" against City Hall, which in real life would get him thrown in the looney bin but which in a whimsical comedy of this nature results in a smashing success for the "good guys". If Colonel Effingham's Raid seems to be popping up on TV at a rate of once a day, it is because the film lapsed into public domain in 1973. ~ Hal Erickson, All Movie Guide

Universal concluded their shoestring "Ape Woman" trilogy (beginning with Captive Wild Woman and continuing with Jungle Woman) with this passable installment, though without the participation of the sultry Acquanetta. Vicky Lane assays the role of the human-ape creature -- who died at the end of the previous film, but has again become the obsession of a mad scientist (Otto Kruger this time), who uses all the goofy monster-movie technology at his disposal to bring her back to life. Though it holds its own against its predecessors, there is little of interest not already covered by the other two films, and Kruger is the least-effective mad doc (after John Carradine and J. Carroll Naish, respectively) of the bunch. ~ Cavett Binion, All Movie Guide

This campy little drama launched the career of B-girl Yvonne De Carlo. It is set during the Franco-Prussian war and chronicles the exploits of Salome, a beautiful Viennese dancer who falls for an American reporter and for him gets involved in cloak-and-dagger activities involving the Bismarck, before returning to Arizona with him. There, she uses her talent and abundant charms to inspire the lawless residents of his hometown to reform. They in turn, name the town after her. She then goes to San Francisco where she seduces and marries a wealthy Russian who builds her an opera house and gives her the happy life she had always craved. ~ Sandra Brennan, All Movie Guide

Summer Storm is a remarkably effective Hollywood filmization of Anton Chekhov's The Shooting Party. Linda Darnell stars as the young and beautiful wife of a middle-aged Russian civil servant (Hugo Haas). Darnell becomes the object of the affections of her husband's employer, a lecherous count (Edward Everett Horton). The girl in turn is enamored of a provincial judge (George Sanders). At first, all flirtations are playful and harmless, but the judge takes Darnell so seriously that he ends up killing her in a jealous rage. Her husband is blamed for the crime, but the Count gets his comeuppance during the 1917 Bolshevik revolution (which didn't figure into the original Chekhov story, inasmuch as the author died in 1904). The big surprise in this is not that it works as well as it does, but that it features comic actor Edward Everett Horton in a straight, almost unsympathetic role, which he underplays beautifully. ~ Hal Erickson, All Movie Guide

Directed by Lewis Collins and Ray Taylor, Raiders of Ghost City is a 13-chapter serial account revolving around the highly dangerous trade of gold shipping during the civil war. The frequent thievery and corruption from within led these gold shipments to be a controversial occupation, particularly during a time of war. The series features Dennis Moore, Wanda McKay, Lionel Atwill, and Virginia Christine.

~ Tracie Cooper, All Movie Guide