Karin [Katharine] Booth Movies

Gregory Peck stars as the great American writer F. Scott Fitzgerald in this film based on a memoir by Sheilah Graham, who was Fitzgerald's paramour during his final days. Graham (played by Deborah Kerr) was a gossip columnist and aspiring novelist who met Fitzgerald during his latter days as a Hollywood screenwriter. Deep in debt thanks to his wife's stay in a mental hospital and his daughter's private school tuition, Fitzgerald took a job writing film scripts to pay the bills, as he attempted to complete another novel that would re-establish his position as one of the important American authors of his century. Graham became Fitzgerald's aid and inspiration as he tried to steer himself away from alcohol and focus on his work, but the author was no longer as strong or stable as he once was. While Graham and Fitzgerald were in love, they often fought, and their efforts came to naught when he died of heart failure before completing The Last Tycoon, with Graham at his side. Eddie Albert co-stars as Carter, a character based on Fitzgerald's close friend Robert Benchley. ~ Mark Deming, All Movie Guide

In this drama, a sea captain is accused of negligence when his ship sinks and 162 passengers drown. A zealous defense attorney, proud of his perfect track record, is assigned to defend the sailor. Though the captain is clearly guilty, the DA gets him acquitted. Afterward, the lawyer's wife and friends are utterly disgusted and end up leaving him. In the end, the lawyer vindicates himself by proving that the captain is indeed innocent. He then brings the guilty ship's mate to justice. ~ Sandra Brennan, All Movie Guide

On the eve of his execution for a crime he didn't commit, Gerald Daniels (Harry Guardino) makes one last request: a typewriter. Angrily, Daniels pounds out a damning critique of D.A. Bernard Butler (Hugh Marlowe), the man who had sent him to death row. Daniels reveals that, not only did Butler prosecute him unfairly, but that the D.A. had previously condemned an innocent man for a murder that Butler had actually committed! "Is this the sort of man you want for governor?" Daniels asks at the conclusion of his embittered harangue -- just before an ironic twist caps this episode. ~ Hal Erickson, All Movie Guide

There's a surprising lack of action in the Sam Katzman-produced western Seminole Uprising. George Montgomery heads the cast as Army lieutenant Cam Elliot, who is assigned to round up a group of renegade Seminoles who've left their Florida reservation and have escaped to Texas. Along the way, Elliot rekindles his romance with Susan Hannah (Karin Booth), who'd previously rejected him because she thought he was part Indian (this is not the most sympathetic heroine in screen history). Elliot proves his worth by rescuing Susan when she's kidnapped by Seminole leader Black Cat (Steve Ritch). Seminole Uprising is based on Bugle's Wake, a novel by Curt Brandon. ~ Hal Erickson, All Movie Guide

Gunman Sterling Hayden rides into a small frontier town in search of his mother's killer. William Bishop is a wealthy ranch owner who has married Karin Booth, Hayden's former girl friend. Hayden has reason to suspect that Bishop is the man he is gunning for. When the town marshal is shot down, Hayden takes his place, which establishes once and for all who the real hero is in this film. It is superfluous to add that this 1955 Top Gun bears no relationship to the 1985 stud-in-the-skies adventure film of the same name. ~ Hal Erickson, All Movie Guide

This children's sci-fi adventure chronicles the friendship between an 11-year-old and his grandfather's robot Tobor, who was designed to explore deep space. Tobor, unlike other machines, was endowed with human emotions. Trouble erupts when the communists kidnap him and try to make him do their evil bidding. Fortunately, Tobor is mind-linked to his creator and cannot be easily reprogrammed. The adventure begins when the boy and the scientists attempt to save the robot. ~ Sandra Brennan, All Movie Guide

Charge of the Lancers is an all too typical Columbia "B" adventure film of the 1950s, with inexpensive sets, fading stars, and miles of stock footage. Paulette Goddard, pushing 50, plays a lively gypsy girl who romance an British military officer (the robustly non-British Jean-Pierre Aumont) during the Crimean War of the 1850s. Goddard and Aumont are captured by the Russians, but escape to do some spying for the Allied cause. All of this leads up to the British victory at Sebastopol, staged with both eyes on the budget sheet by resourceful director William Castle. Charge of the Lancers was filmed in Technicolor, evidently the only real expenditure made by "quickie" producer Sam Katzman. ~ Hal Erickson, All Movie Guide

Warner Baxter made his final screen appearance in Columbia's State Penitentiary. Baxter plays airplane engineer Roger Manners, falsely accused of embezzling nearly half a million dollars from his company. Sent to prison, Manners escapes, hoping to track down the real culprit, his ex-partner Stanley Brown (Robert Shayne). Meanwhile, Manners' wife Shirley (Karin Booth) makes a play for Brown, hoping to help her husband trap the scoundrel. Onslow Stevens co-stars as government agent Jim Evans, who has a gut feeling that Manners is innocent, but must attempt to recapture him all the same. Though looking old and tired, Warner Baxter rises to the occasion, delivering an assured, convincing performance. Baxter died May 7, 1951, 11 months after the release of State Penitentiary. ~ Hal Erickson, All Movie Guide

Generous amounts of stock footage from 1950's Fortunes of Captain Blood made its way into the Sam Katzman production Last of the Buccaneers. Paul Henreid plays famed buccaneer Jean Lafitte, who, after being chased out of Louisiana following the Battle of New Orleans, sets up shop on the island of Galveston. The American authorities leave Lafitte alone, so long as he confines his raids to Spanish vessels. But when one of Lafitte's lieutenants attacks an American ship, it's open season on the handsome pirate. Though Karin Booth is the nominal leading lady, second billing in The Last of the Buccaneers is bestowed upon Jack Oakie, who makes the most of the few comic opportunities he is given. ~ Hal Erickson, All Movie Guide

MGM's all-purpose title The Big City was deployed once more for this treacly 1948 drama. To prevent orphaned Midge (Margaret O'Brien) from being sent to an institution, Protestant minister Andrews (Robert Preston), Jewish cantor Feldman (Danny Thomas) and Catholic cop Patrick O'Donnell (George Murphy) jointly "adopt" the girl. Midge grows up in Feldman's home, and all is rosy until O'Donnell, on the verge of marrying funloving "Shoe-Shoe" Bailey (Betty Garrett in her film debut), announces that he wants to take full custody of the child. It's up to Midge herself, with the help of kindly Judge Abercrombie (Edward Arnold), to sort things out. Meanwhile, the Reverend Andrews finds romance in the shapely form of Florence Bartlett (Karin Booth). Though it's hard to forget that Danny Thomas was one of show business' most prominent Catholics, he delivers a convincing performance as the tune-happy Cantor Feldman, at one point foregoing his usual Kol Nidres in favor of a rousing cowboy song! ~ Hal Erickson, All Movie Guide

William Powell plays a cynical con man who graduates from penny-ante operations to a big-time charity racket. The scam involves collecting money on behalf of St. Dismas, bringing Powell in close contact with several men of the cloth. As the racket rolls on, Powell is touched by the sincerity of the religious men and the plights of the charity's rightful recipients. He has a change of heart, confessing his original criminal intentions but seeing to it that the money goes to the right people. Hoodlum Saint was typical of the facile religiosity often found in MGM pictures of the period. The film is best remembered as the first non-aquatic performance of MGM swimming star Esther Williams. ~ Hal Erickson, All Movie Guide

The presence of William Powell as legendary showman Flo Ziegfeld at the beginning of Ziegfeld Follies might lead an impressionable viewer from thinking that this 1946 film is a Technicolor sequel to the 1936 Oscar-winning The Great Ziegfeld. Not so: this is more in the line of an all-star revue, much like such early talkies as Hollywood Revue of 1929 and Paramount on Parade. We meet a grayed, immaculately garbed Ziegfeld in Paradise (his daily diary entry reads "Another heavenly day"), where he looks down upon the world and muses over the sort of show he'd be putting on were he still alive. Evidently Ziegfeld's shade has something of a celestial conduit to Metro-Goldwyn-Mayer studios, since his "dream" show is populated almost exclusively by MGM stars. Vincente Minnelli is given sole directorial credit at the beginning of the film, though many of the individual "acts" were helmed by other hands. The Bunin puppets offer a tableau depicting anxious theatregoers piling into a Broadway theatre, as well as caricatures of Ziegfeld's greatest stars. The opening number, "Meet the Ladies", spotlights a whip-wielding (!) Lucille Ball, a bevy of chorus girls dressed as panthers, and, briefly, Margaret O'Brien. Kathryn Grayson and "The Ziegfeld Girls" perform "There's Beauty Everywhere." Victor Moore and Edward Arnold show up in an impressionistically staged adaptation of the comedy chestnut "Pay the Two Dollars". Fred Astaire and Lucille Bremer (a teaming which evidently held high hopes for MGM) dance to the tune of "This Heart is Mine." "Number Please" features Keenan Wynn in an appallingly unfunny rendition of an old comedy sketch (performed far better as "Alexander 2222" in Abbott and Costello's Who Done It?) Lena Horne, strategically placed in the film at a juncture that could be edited out in certain racist communities, sings "Love". Red Skelton stars in the film's comedy highlight, "When Television Comes"-which is actually Skelton's classic "Guzzler's Gin" routine (this sequence was filmed late in 1944, just before Red's entry into the armed services). Astaire and Bremer return for a lively rendition of "Limehouse Blues". Judy Garland, lampooning every Hollywood glamour queen known to man, stops the show with "The Interview". Even better is the the historical one-time-only teaming of Fred Astaire and Gene Kelly in "The Babbitt and the Bromide". The excellence of these sequence compensate for the mediocrity of "The Sweepstakes Ticket", wherein Fanny Brice screams her way through a dull comedy sketch with Hume Cronyn (originally removed from the US prints of Ziegfeld Follies, this sequence was restored for television). Excised from the final release print (pared down to 110 minutes, from a monumental 273 minutes!) was Judy Garland's rendition of "Liza", a duet featuring Garland and Mickey Rooney, and a "Baby Snooks" sketch featuring Fanny Brice, Hanley Stafford and B. S. Pully. A troubled and attenuated production, Ziegfeld Follies proved worth the effort when the film rang up a $2 million profit. ~ Hal Erickson, All Movie Guide