Helen Wallace Movies

Nathan Juran, director of The Seventh Voyage of Sinbad, tries to make the magic happen again on a much more attenuated budget in Jack the Giant Killer. Torin Thatcher, another Sinbad alumnus, plays a wicked wizard who kidnaps toothsome-princess Judi Meredith. Kerwin Mathews, still another veteran of Sinbad, plays Jack, who rescues Meredith and promises to escort her to safety. Stop-motion animator Jim Danforth creates several fire-breathing perils along the same lines as Ray Harryhausen's special effects in Sinbad; happily, Danforth emulates the Harryhausen style without stooping to imitation. Prominent among the supporting actors is Don Beddoe as an impish genie. In the recently reissued prints of Jack the Giant Killer, most of the original voices have been dubbed over, and incongruous musical numbers added. ~ Hal Erickson, Rovi

In 1960, Alfred Hitchcock was already famous as the screen's master of suspense (and perhaps the best-known film director in the world) when he released Psycho and forever changed the shape and tone of the screen thriller. From its first scene, in which an unmarried couple balances pleasure and guilt in a lunchtime liaison in a cheap hotel (hardly a common moment in a major studio film in 1960), Psycho announced that it was taking the audience to places it had never been before, and on that score what followed would hardly disappoint. Marion Crane (Janet Leigh) is unhappy in her job at a Phoenix, Arizona real estate office and frustrated in her romance with hardware store manager Sam Loomis (John Gavin). One afternoon, Marion is given $40,000 in cash to be deposited in the bank. Minutes later, impulse has taken over and Marion takes off with the cash, hoping to leave Phoenix for good and start a new life with her purloined nest egg. 36 hours later, paranoia and exhaustion have started to set in, and Marion decides to stop for the night at the Bates Motel, where nervous but personable innkeeper Norman Bates (Anthony Perkins) cheerfully mentions that she's the first guest in weeks, before he regales her with curious stories about his mother. There's hardly a film fan alive who doesn't know what happens next, but while the shower scene is justifiably the film's most famous sequence, there are dozens of memorable bits throughout this film. The first of a handful of sequels followed in 1983, while Gus Van Sant's controversial remake, starring Vince Vaughn and Anne Heche, appeared in 1998. ~ Mark Deming, Rovi

The Jorgensons are a wealthy family spending the summer on a resort island. Ken (Richard Egan), Helen (Constance Ford) and daughter Molly (Sandra Dee) settle in to a beach house on the island where Ken was a young lifeguard twenty years ago. He rediscovers Sylvia (Dorothy McGuire), with whom he had an earlier affair before she married Bart Hunter (Arthur Kennedy). The Hunter's son Johnny (Troy Donahue) and Molly fall in love, much to the objection of her mother, a cold and cynical woman. When Ken and Sylvia start another torrid affair, the exposure of the liaison leads to the divorce of both married couples. After Johnny and Molly are stranded overnight on a beach, Molly is forced by her heartless mistrusting mother to undergo a physical examination and a pregnancy test. Tests results are negative, but more negative is the mother-daughter relationship. Ken and Sylvia get married and Molly gets pregnant. The newlyweds then compassionately guide unwed couple to marriage. ~ Dan Pavlides, Rovi

While often regarded as one of America's greatest novelists, William Faulkner produced work that did not always translate well to the screen; it's ironically appropriate that this movie, based on several of Faulkner's short stories, is often regarded as one of the best films based on his work, though not especially accurate to the original source material. Ben Quick (Paul Newman), a sullen but self-confident drifter, arrives in a small Mississippi town where his father had a bad reputation as a firebug. Will Varner (Orson Welles), the town's patriarch, still holds a grudge against Quick's dad, and when the young man decides to stay in town and sharecrop on Varner's land, Will goes out of his way to make his life difficult. However, Will develops a grudging respect for Quick's guts and determination, and he wishes that his weak-willed son Jody (Anthony Franciosa) could be more like him; Jody's wife Eula (Lee Remick) happens to agree. In time, Will gets the idea that Quick might be a good match for his daughter Clara (Joanne Woodward) and a better choice to take over his business dealings than Jody. However, neither Clara nor Quick care to be told what to do, and besides, Clara already has a beau -- though Alan Stewart (Richard Anderson) is even more of a milquetoast than Jody and is led by the nose by his mother (Mabel Albertson). However, sparks begin to fly between Clara and Quick, and when Jody fears he may lose his place as heir of Will's estate, he takes drastic action, trapping his father in a barn, setting it on fire, and planting evidence that would suggest that the blaze was Quick's doing. The Long, Hot Summer was the first film that Newman and Woodward made together, and they got married the same year. ~ Mark Deming, Rovi

In this routine possession potboiler, Peggie Castle plays a suburban housewife being slowly driven mad by the intrusive, restless spirit of her husband's first wife, whose soul has been tainted by her participation in a Satanic cult headed by high priest Father Renall (Otto Reichow). The woman's husband (Arthur Franz) and his sister (Marsha Hunt) decide to infiltrate the cult in order to put an end to its murderous practices, but it is only through the intervention of a former cultist (Marianne Stewart) that they are able to overthrow the evil master's reign of terror once and for all. The tepid screenplay by Catherine Turney is an adaptaion of her novel The Other One. ~ Cavett Binion, Rovi

In this tense murder mystery, a San Francisco traffic officer vows to find the killer of the kindly priest who raised him. Unfortuantely, his superiors assign the case to others. Angrily the cop quits the force and launches his own investigation. The cop's prime suspect is the priest's best friend. When this friend invites the cop to live with him and his lovely cousin, the cop accepts, hoping that he can prove the friend's innocence. Sure enough, the priest's friend is innocent. Relieved, the cop begins a romance with the cousin that culminates in their marriage. It is then that a terrible secret is revealed. ~ Sandra Brennan, Rovi

Ride a Violent Mile is an economically produced western with a Civil War background. Penny Edwards stars as Susan, a Union spy who poses as a dance-hall girl in a Confederate-friendly frontier town. Susan hopes to prevent the Mexican government from casting its lot with the South, and to do that she must halt a Confederate cattle drive. Enlisting the aid of boyfriend Jeff (John Agar), our heroine does her best to scare off the cattle. The heavy of the piece is sheriff Marshal Thorne (John Pickard), who turns out to be a secret operative for the Johnny Rebs. ~ Hal Erickson, Rovi

Even though Matt (James Arness) and Chester (Dennis Weaver) have just come across the mutilated remains of a white family murdered by a renegade band of Kiowas, Matt does his best to persuade farmer Sam Fraser (Lew Brown) not to give up on their property and return to Ohio. But Fraser is determined to bid the west goodbye for the sake of his pregnant wife Alice (Dorothy Schuyler), even though she herself is urging him to stick it out. The story is resolved in a surprising fashion when the renegade Indians suddenly descend upon Matt, Chester and Frasers. Seen briefly as a Cavalry lieutenant is future Bonanza costar Dan Blocker. Based on the Gunsmoke radio broadcast of September 10, 1955, this episode brings the first TV season of Gunsmoke to a close. ~ Hal Erickson, Rovi

Acting in self defense, Marshal Matt Dillon (James Arness) is forced to shoot down a rampaging farmer named Stoner (Paul Newlan). Not long afterward, Stoner's vengeance-driven widow (Helen Wallace) offers a $1000 dollar reward for anyone willing to kill the Marshal. With every would-be gunman in the territory out to get Matt, the Marshal's nerves are frayed to the breaking point--and, as expected, Mrs. Stoner's bounty results in even more needless bloodshed. This episode is adapted from the Gunsmoke radio broadcast of April 30, 1955. ~ Hal Erickson, Rovi

Tight Spot is based on Leonard Kantor's novel Dead Pigeon, which in turn was obviously inspired by Virginia Hill's appearance before the Kefauver Committee. Ginger Rogers plays hard-boiled model Sherry Conley, who is serving a prison term for a crime she didn't commit. Sherry is offered her freedom -- and immunity -- by U.S. attorney Lloyd Hallett (Edward G. Robinson) if she'll agree to appear as a material witness in the trial of mobster Benjamin Costain (Lorne Greene). Unfortunately, Costain has a long reach, and is able to coerce Vince Striker (Brian Keith), the detective assigned to guard Sherry, to allow Costain's hired guns to invade the hotel room where Sherry is being hidden. The star witness is surly and uncooperative, but she finally decides to testify when her escort, policewoman Willoughby (Katherine Anderson), is murdered by Costain's goons. But Striker is still around and about, still determined to do Costain's bidding. ~ Hal Erickson, Rovi

The Untamed West is the reissue title of the Pine-Thomas production The Far Horizons. This romanticized retelling of the Lewis and Clark expedition of 1803-06 stars Fred MacMurray as Meriwether Lewis and Charlton Heston as Bill Clark. The film doesn't delve much into the real-life animosity between the two, though it's clear that there's little love lost between the cerebral Lewis and the two-fisted Clark. Aiding the men in their expedition is Indian maiden Sacajawea, played with fist-in-the-air defiance by Donna Reed. Since interracial romances were still largely taboo in American films of the early 1950s, Sacajawea can only pine and sigh as Lewis and Clark square off over the affections of white-woman Julia Hancock (Barbara Hale). This Technicolor-and-Vistavision film works best as an outdoor adventure; its dramatic scenes tend to bog down in an excess of verbiage. The Far Horizons was based on Sacajawea of the Shoshones, a novel by Della Gould Edmonds. ~ Hal Erickson, Rovi

John Forsythe plays a successful television writer, Don Newell, who works on the "Crime of the Week" anthology series. Newell is being blackmailed by one of the program's actresses (Kathleen Hughes), who threatens to tell his wife of their clandestine affair. Arriving at the actress' apartment for a showdown, Newell discovers that the woman has been murdered. Though the writer is the principal suspect, the real killer is Henry Hayes (Edward G. Robinson), "Crime of the Week"'s research expert, who was also a blackmail victim. The inability of the police to solve the murder becomes the subject of the next "Crime of the Week" program. Hayes tries to deflect attention from himself by building up evidence against Newell, which the writer is compelled to use in his script. But Newelltumbles to Hayes' guilt, and includes this fatal clue in his "Crime of the Week" playlet. Hayes tries to kill Newell during the live broadcast, but the police arrive on the scene and shoot down Hayes. Although The Glass Web was originally released in 3-D, it is surprisingly light on "stereoptic" special effects. ~ Hal Erickson, Rovi