James Westerfield Movies

Hollywood films about the Revolutionary War almost invariably lost money at the box office, and The Howards of Virginia was no exception, despite the presence of Cary Grant in the lead. Most of the story takes place in the colonial capital city of Williamsburg, Virginia, where Matt Howard (Cary Grant) dedicates himself to the causes of Life, Liberty and the Pursuit of Happiness. Remaining faithfully at Matt's side through his early years as a frontiersman and on into his life among the "landed gentry" is his wife Jane Peyton Howard (Martha Scott), the sister of unregenerate royalist Fleetwood Peyton (Cedric Hardwicke).

Most of the high points of the Revolution are herein recreated, including the Stamp Act riots, the Boston Tea Party, and Patrick Henry's "Give me Liberty" speech. Curiously, however, director Frank Lloyd stages these scenes in a flat, near-throwaway fashion; even the inflammatory Henry (Richard Gaines) is hampered by unimaginative camera angles. Other historical personages parading through the film include Thomas Jefferson and George Washington, played respectively by Richard Carlson and George Houston. Though it's rather rough sledding in its feature-length version, The Howards of Virginia plays quite well in the half-hour abridgement prepared by Columbia for schoolroom showings. ~ Hal Erickson, All Movie Guide

Orson Welles' followup to Citizen Kane (1941) was utterly different from Kane in style and texture, but just as brilliant in its own way. Writer/director Welles does not appear on camera, but his voiceover narration superbly sets the stage for the movie's action, which fades in valentine fashion on Amberson Mansion, the most ostentatious dwelling in all of turn-of-century Indianapolis. Its mistress is the haughtily beautiful Isabel Amberson (Dolores Costello). When Isabel's beau, erstwhile inventor Eugene Morgan (Joseph Cotten), inadvertently humiliates her in public, she breaks off the relationship and marries colorless Wilbur Minafer (Donald Dillaway). The neighbors are certain that, since Isabel can't possibly love Wilbur, she will spoil her children rotten. As it turns out, she has one child, George Minafer (Tim Holt), and that one is enough as far as the rest of Indianapolis is concerned. There are those who live for the day that the arrogant, insufferable George will get his comeuppance. When George returns home from college, his mother and grandfather (Richard Bennett) hold a gala reception in his honor. Among the guests is the older-and-wiser Eugene, now a prosperous automobile manufacturer, and his pretty daughter Lucy (Anne Baxter). George takes to Lucy immediately, but can't warm up to Eugene, especially after learning from his uncle Jack Amberson (Ray Collins) and his maiden aunt Fanny (Agnes Moorehead) that Eugene and Isabel had once been sweethearts. After the death of Wilbur Minafer, the widowed Eugene feels emboldened enough to propose to Isabel again. This time she is willing, but the obstreperous George refuses to allow his mother to see Eugene. His imperious bullheadedness will lead to tragedy for all concerned--and, at long last, a chastened George Minafer will indeed receive his comeuppance. The film's real villain is not George but that old intangible bugaboo called "Progress." As the automobile age comes to fruition, the elegant, cloistered lifestyle of the Ambersons fades from view, finally disappearing altogether. This is superbly foreshadowed in the "winter outing" sequence (filmed in an L.A. icehouse) in which George's two-horse sleigh is abandoned in favor of Eugene's clunky horseless carriage. Welles evokes performances that his actors seldom (if ever) matched in later years; even the very limited Tim Holt is wholly believable-and even a bit pitiable-as the blinkered George Amberson Minafer. The current version, however, is but a pale shadow of Welles' original concept. Out of time and overbudget, the movie previewed badly and was eventually sliced down to an abrupt 88 minutes (by, among others, editor Robert Wise, who would go on to direct such films as West Side Story and The Sound of Music). Even though the film therefore must be regarded as a marred masterpiece, the remaining two-thirds of Welles' original concept is still a thrilling cinematic experience, especially whenever Agnes Moorehead is on the screen. ~ Hal Erickson, All Movie Guide

In this '40s film Kay Kyser parades an entertainment group all over the globe providing laughs for the boys in battle. This film realistically portrays the role of the USO during the WW II time period. ~ All Movie Guide

A change of pace for both director Vincente Minnelli and star Katharine Hepburn, this taut drama features the latter as Ann Hamilton, the daughter of a scientist (Edmund Gwenn), who after a whirlwind romance marries handsome but slightly mysterious inventor turned businessman Alan Garroway (Robert Taylor). But wedded bliss proves short-lived when Garroway refuses to discuss his brother Michael, whose presence is felt constantly despite the mystery surrounding his whereabouts. The missing Michael becomes an obsession for Ann, whose curiosity is piqued even more after a chance encounter with Sylvia Burton (Jayne Meadows), a young woman who figures in the lives of both brothers and who displays a strange resemblance to Ann herself. Despite Alan's dire misgivings, Ann feels compelled to solve the mystery of Michael, until, that is, she discovers that Alan may very well have murdered his own brother. Undercurrent marked the screen debut of Jayne Meadows and a breakthrough of sorts for Robert Mitchum, whom M-G-M borrowed from David O. Selznick for a reputed $25,000. ~ Hans J. Wollstein, All Movie Guide

Farley Granger plays a casually larcenous New York City mailman who steals a shipment of money. Granger's excitement over this windfall turns to terror when he discovers that the money was part of a transaction between gangsters. Harassed by both crooks and cops, Granger lives to regret his impulsive theft--especially when it is tied in with a murder. The story is wrapped up in spectacular fashion with a climactic car chase. Farley Granger's costar in Side Street is Cathy O'Donnell; both were on loan to MGM from Samuel Goldwyn, and both were banking on their previous successful teaming in RKO's They Live By Night. ~ Hal Erickson, All Movie Guide

In the tradition of Dragnet and The Lineup, this is devoted to a typically busy day at a police precinct station house. Despite the presence of such recognizable actors as Gary Merrill and Regis Toomey, the film successfully adopts a documentary approach. The plot concerns a new police chief (Gary Merrill) who is determined to clean up a crime-ridden slum district. The ads for The Human Jungle offered teasing full-body shots of costar Jan Sterling in a skimpy negligee; hopefully the fans lured in by this come-on weren't disappointed once they found how little they actually saw of Ms. Sterling (figuratively and literally) in the film itself. The Human Jungle was an "in between" production for Allied Artists, which in 1954 was trying to divest itself of the "poverty row" onus placed upon its predecessor, Monogram Pictures. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

William Gibson's novel The Cobweb was brought to the screen by MGM with an impressive, hand-picked cast. Richard Widmark plays the head of a posh psychiatric clinic. Widmark's wife Gloria Grahame jockeys for the honor of selecting new drapes for the hospital's library. One wouldn't think that such a trivial decision would spark so much melodrama; but thanks to those drapes, we are allowed to probe the disturbed psyches of martinet business affairs director Lillian Gish, philandering doctor Charles Boyer, lonely activities director Lauren Bacall, and suicidal patient John Kerr. Oscar Levant, who spent most of his life in and out of "little white rooms", is ideally cast as a neurotic musician, while Fay Wray has a superb cameo as Boyer's long-suffering wife. Cobweb served as the screen debuts for both John Kerr and Susan Strasberg. ~ Hal Erickson, All Movie Guide

The Man with the Gun in this well-paced western is played by Robert Mitchum. A notorious gunslinger, Mitchum has been hired by a group of concerned citizens to restore law and order to the wide-open town of Sheridan City. Before long, however, Mitchum holds the community in a grip of terror, behaving like a Law Unto Himself. So: Is the star of the film actually the villain of the piece? A last-reel plot twist effectively answers that question. Though Robert Mitchum dominates the proceedings, Man With the Gun also includes some good supporting work by Jan Sterling as Mitchum's saloon-gal wife, Henry Hull as an ageing marshal, John Lupton as an honest young farmer, and Emile Meyer as the town's leading citizen. ~ Hal Erickson, All Movie Guide

The infamous Benedict Arnold affair is the basis of the lively MGM costumer The Scarlet Coat. Arnold is played with suitably subtle menace by Robert Douglas, while his principal co-conspirator, Major John Andre, is essayed by Michael Wilding. The largely speculative storyline concerns the efforts of one Major John Boulton (Cornel Wilde), a colonial counterspy, to foil Arnold's plans. Thanks to some deft scriptwriting, the much-abused Major Andre emerges as the most sympathetic character in the film, if only because he is willing to face the consequences for his actions. Less sympathetic is George Sanders in another of his patented "cad" roles, while Anne Francis is the spunky (if unnecessary) heroine. ~ Hal Erickson, All Movie Guide

Based on the novel by Kenneth M. Dodson, Away All Boats stars Jeff Chandler as a tough Navy captain who takes charge of a group of raw, undisciplined sailors during World War 2. To keep his men from getting on each other's nerves, Chandler makes himself the target of their excess hatred by assuming the pose of a rigid martinet who cares nothing about his crew's wellbeing. He finds an ally in lieutenant George Nader, who catches on to Chandler's "act" and helps him maintain discipline. The crew survives numerous Japanese air and sea attacks with flying colors. ~ Hal Erickson, All Movie Guide

Jungle Heat is set in pre-WWII Hawaii. A group of pro-Japanese fifth columnists infiltrate the islands, intended to demoralize the populace long before the Pearl Harbor attacks. Specializing in sabotage, the spies target the pineapple and sugar plantations, not to mention the big-city industries. American doctor Jim Ransom catches on to what's happening (though it seems to take him forever), and, together with National Guard officer Richard Grey, foils the villains. It is worth noting that the principal villain in Jungle Heat is not Japanese, but an occidental traitor played (or overplayed) by James Westerfield. ~ Hal Erickson, All Movie Guide

The once-scandalous autobiography of Frank Harris was the source of the fascinating "adult" western Cowboy. Jack Lemmon plays Harris, who when first the audience meets him is a citified desk clerk in a frontier hotel. Harboring romantic notions of the West, Harris prevails upon hard-living, hard-drinking trail boss Tom Reece Glenn Ford to take him along on Reece's next cattle drive. In the months that follow, Harris' idealized notions of the West are cruelly dispelled, though he eventually becomes accustomed to the rough-and-tumble life on the trail and to the curious cameradie between the drovers. The film's most talked-about scene finds a group of cowboys planting a rattlesnake in one of their comrade's blankets as a joke; their regretful but oddly detached reaction when the bitten man dies speaks volumes about the Real West. Also memorable is the performance of Brian Donlevy as Doc Bender, an ageing gunfighter who can't stand the notion of becoming an anachronism. One of the more unorthodox westerns of the 1950s, Cowboy is also one of the best. ~ Hal Erickson, All Movie Guide