Katherine Warren Movies

Beaver (Jerry Mathers) is looking forward to his dramatic debut when he is cast in a school play. Alas, the script requires Beaver to kiss a girl -- which, to our hero, is a fate worse than death (well, almost). Nervously, Beaver tries to drop out of the production, but his parents force him to keep his commitment. The solution to this problem obliges Beaver to employ a bit of "sensory recall" during the play -- though chances are he's unaware that he is emulating the great Stanislavsky! ~ Hal Erickson, Rovi

When they both receive invitations for an upcoming cotillion, Beaver and Larry are forced into taking dancing lessons by their respective parents. And, as expected, both boys hate attending those lessons. After a grueling first session, Beav and Larry agree to skip their second lesson and spend the time hiding behind a barn. Surely, their parents will be none the wiser -- or will they? This was the only Leave It to Beaver episode directed by Bretaigne Windust, whose previous credits included several "grown-up" movies starring the likes of Bette Davis and Humphrey Bogart. ~ Hal Erickson, Rovi

This classic first-season episode was written by Clifford Goldsmith, the man who created the character of trouble-prone teenager Henry Aldrich in the Broadway play What a Life. It's also the one and only episode in which June Cleaver (Barbara Billingsley) mops the kitchen floor while wearing high heels -- and not by choice! In dire need of money for baseball uniforms, Wally (Tony Dow) and Beaver (Jerry Mathers) seek out odd jobs around the neighborhood. Hired to mow a lawn, Wally thinks he's pretty smart by working very slowly so that the hourly rate will increase. But in the end, it's Beaver who's the smart one: armed with the knowledge that the neighborhood's water supply is about to be temporarily shut off by the city, Beav amasses a small fortune selling water to one and all! ~ Hal Erickson, Rovi

One of the best of Elvis Presley's pre-Army films, Jailhouse Rock offers us the sensual, "dangerous" Elvis that had won the hearts of the kids and earned the animosity of their elders. Presley plays a young buck who accidentally kills a man while protecting the honor of a woman. Thrown into prison, Elvis strikes up a friendship with visionary fellow-con Mickey Shaughnessy. Shaughnessy suggests that Elvis perform in the upcoming prison show. Ol' swivel-hips scores a hit, and decides to stay in showbiz after his release. Together with pretty Judy Tyler (the former Princess Summerfall Winterspring on Howdy Doody, who would die in a horrible traffic accident shortly after completing this film), Elvis sets up his own record company. Alas, success goes to his head, and soon Elvis plans to ditch Tyler in favor of signing with a big-time label. Shaughnessy shows up long enough to punch out Elvis for his disloyalty; as a result, Elvis' vocal chords are damaged and he is unable to sing. Deserted by his flunkeys and hangers-on, Elvis learns the value of friendship and fidelity when Tyler and Shaughnessy stay by his side in his darkest hours. His voice restored, Elvis climbs back up the charts--but this time, he's a much nicer fellow, and a lot more committed to Tyler. Usually the musical numbers in a Presley picture (this one has a doozy, complete with chorus boys dressed as convicts!) are more compelling than the plot. Jailhouse Rock is a perfect balance of song and story from beginning to end; seldom would Elvis be so well showcased in the future. ~ Hal Erickson, Rovi

Domineering Hermione Carpenter (Isobel Elsom) wants to take a trip to America and then return home to home to England for Christmas, but her henpecked husband Herbert (John Williams) has other ideas. Murdering Hermione, Herbert buries her in the cellar and heads to America on his own. He is smugly certain that, by the time he's back in England, the cement covering Hermione will have hardened and he'll be in the clear. Unfortunately, it turns out that the late Hermione has planned a little homecoming surprise for Herbert. Based on a story by John Collier, "Back for Christmas" had previously been adapted several times on the radio anthology Suspense, most memorably with Peter Lorre in the leading role. ~ Hal Erickson, Rovi

Fury at Gunsight Pass is a brief, to-the-point "budget" western, well cast and excitingly staged. David Brian stars as bank robber Whitey Turner, whose outlaw gang takes over a small town. Beating gang leader Dirk Hogan (Neville Brand) to the punch by robbing the town bank ahead of schedule, Turner winds up empty-handed when crooked undertaker Boggs (Percy Helton) swipes the loot. Boggs is killed, whereupon his widow (Katherine Warren) gathers together the money and makes plans to skip town while the Law pursues Turner and Hogan. This is one of those stories in which no one emerges smelling like a rose; the suspense lies not in who will "get it", but how long will it be before someone halfway honest appears on screen. ~ Hal Erickson, Rovi

Rudolphe Maté directs the western The Violent Men, based on the novel Rough Company by Donald Hamilton. Edward G. Robinson plays Lee Wilkison, the bad-guy owner of Anchor Ranch with a plan to buy out all the smaller ranches to gain control of the valley. Barbara Stanwyck plays his wife Martha, who secretly has an affair with his brother, Cole (Brian Keith). Meanwhile, Cole hangs out with hired gun Wade Matlock (Richard Jaeckel) and his other girlfriend, Elena (Lita Milan). Glenn Ford plays ex-military man John Parrish, the good-guy small ranch owner who is willing to sell until one of his ranch hands turns up dead. He fights back with a vengance using his military training and sets his eyes on Wilkison's daughter, Judith (Dianne Foster). ~ Andrea LeVasseur, Rovi

Robert Francis is at the center of the story as Willis Keith, a newly-minted ensign assigned to the destroyer/minesweeper U.S.S. Caine during World War II. Soon after his arrival, the ship gets a new captain, Lt. Comdr. Philip Francis Queeg Humphrey Bogart, a tough, no-nonsense veteran officer who tries to turns the crew into proper sailors and the Caine into a tight ship, engendering resentment from some of the men and several of his officers. A veteran of difficult years of service for too long, Queeg has insecurities about himself, his command, and his career that begin to manifest themselves as spells of temper over small details that cause him to make mistakes. Lt.Keefer (Fred MacMurray), the glib-tongued communications officer, begins making suggestions to the ship's sincere but overburdened first officer, Lt. Steve Maryk (Van Johnson), that Queeg may have mental problems. Maryk initially rejects these suggestions, and tries to support the captain, but conditions deteriorate to the point where Maryk is forced to relieve Queeg of command, and is charged -- along with Keith, who supported him -- with mutiny. Enter Lt. Barney Greenwald (Jose Ferrer), a lawyer in civilian life, who reluctantly agrees to help them, mostly out of sympathy for the impossible predicament in which Maryk has found himself trapped. ~ Bruce Eder, Rovi

Young Robert Fontaine, Jr. (Billy Gray) lives with his hard-working father (George Murphy) and mother (Nancy Davis), who is soon to give birth to a second child, on their northern California citrus farm. He's lonely on the farm and has been saving to buy a dog. One day, a mysterious stranger (Kurt Kasznar), who gives his name as Matlock, moves into the empty house adjacent to the farm -- he's not only highly strung but downright hostile to any friendly overtures that Robert Sr. or anyone else makes. Meanwhile, young Robert finds a stray dog that he adopts, and his whole life seems to blossom with his new companion -- but one day he finds the dog dead. He becomes fixated on the notion that Matlock poisoned the dog, and insists that his father do something -- but when Matlock angrily denies knowing about it, the boy's frustrations start to build. He tries to report to the poisoning to the police; when they won't help, he tries to get Mr. Wardlaw (Lewis Stone), the owner of the newspaper that he delivers, to run a news story about it, and when Wardlaw tries to reason with the boy, his rage finally boils over and he goes out-of-control. The boy decides to try and gather evidence against Matlock and follows a trail that takes him across the state hitchhiking, to the home of the former owner of the house Matlock is living in, and there he confronts a rumor that the other man was murdered. Stories and whispers begin to spread through the town about Matlock that make him seem even more sinister. The populace are getting stirred up, and Robert Jr., in his rage, commits an act of vandalism that threatens the entire community. ~ Bruce Eder, Rovi

Joseph Cotten plays a assistant bank manager who steals $500,000 from the safe late on a Friday. He plans to fly to Brazil with his wife (Teresa Wright) and child. They get as far as New Orleans; the wife finds out about the robbery and walks out on Cotten. Stricken by guilt, Cotten must now return to his home town and replace the money before he's found out on Monday morning. Writer/director Andrew L. Stone smooths out the unrealistic elements of The Steel Trap by filming extensively at real locations. ~ Hal Erickson, Rovi

Some sources have indicated that Battles of Chief Pontiac was originally intended as the pilot for a TV series. Erstwhile Tarzan Lex Barker stars as 18th-century frontiersman Kent McIntyre, while Lon Chaney Jr. essays the title role of Chief Pontiac. On behalf of the British, McIntyre tries to negotiate a peace treaty with Pontiac, who is understandably wary of white-man promises. Sure enough, a fierce anti-Indian policy is placed into effect when McIntyre's commanding officer is replaced by bigoted Hessian colonel Von Weber (played with Fuehrer-like intensity by Berry Kroeger). Practicing a particularly insidious form of genocide, Von Weber tries to decimate the Indians with smallpox-infested blankets. Eventually, the cruel commandant is hoist on his own petard, and peace is restored for awhile. ~ Hal Erickson, Rovi

The Tall Target is based on a true story: the attempted assassination of President-elect Abraham Lincoln, even before he was able to assume his duties in Washington. Dick Powell stars as New York detective John Kennedy, who learns of the assassination plot early on. When his superiors refuse to believe his wild tale, Kennedy quits the force and boards the Presidential train, hoping to prevent the killing on his own. The problem: who can he trust on board, and who can't be trusted? Ginny Beaufort (Paula Raymond), the sister of the would-be assassin, might be able to prevent the tragedy -- if she isn't in on the conspiracy, that is. The supporting cast includes Adolphe Menjou, Marshall Thompson, Will Geer, and, as a slave, a young Ruby Dee. The film's nail-biting climax is brilliantly handled by Anthony Mann, whose directorial expertise was becoming sharper with each successive film in the early 1950s. ~ Hal Erickson, Rovi

Fish-market worker Johnny O'Hara (James Arness) is named as a suspect when his boss -- with whom he had a dispute the previous day -- is shot to death in an apparent robbery. When he's arrested, his family appeals to their old friend James Curtayne (Spencer Tracy), who was once a renowned criminal attorney but is now in civil practice. He resists their entreaties until he realizes that no decent attorney will handle the case properly; his daughter (Diana Lynn) watches with alarm, however, for we soon learn that Curtayne is an alcoholic, and that the major factor in his life that pushed him over the edge was the stress of having someone's life in his hands. He discovers soon enough just how much Johnny's life is in his hands when his client refuses to level with him about his real whereabouts on the night of the murder. He also realizes as the trial starts precisely how rusty he is in the courtroom, and the old stresses return -- and with them, his drinking. Curtayne not only manages to lose the case but destroys his career when he tries to buy off a larcenous prosecution witness. His client facing a death sentence and his own life and career in ruins, he's seemingly hit bottom, but then new evidence surfaces, of a nature that not even the ambitious prosecutor (John Hodiak) can ignore. Recognizing that his client was actually innocent and also acting in his silence -- however stupidly -- from the noblest of motives, Curtayne is willing to redeem himself by putting his own life on the line, confronting a killer who has taken more than one life without any compunction whatsoever, and who has no reason to spill anything.

The People Against O'Hara was a well-made, largely location-shot crime drama set in New York City, but it wouldn't have been nearly so prestigious a movie were it not for the presence of Spencer Tracy in the role of Curtayne. Ironically enough, he only agreed to do the film on the condition that his friend Pat O'Brien, who hadn't been in a major studio release in a couple of years, be given a large role, which he got as the lead detective on the case, and O'Brien and Tracy get a couple of really good scenes together. The film also includes an unbilled appearance by Charles Bronson, who was still working as Charles Buchinski in 1951, and is highlighted by a superb prominent supporting performance by William Campbell, who seems to quietly relish every nuance of his portrayal of a totally slimy character. ~ Bruce Eder, Rovi