Marie Windsor Movies

Many viewers avoided Mail Order Bride upon its first release, assuming (thanks to MGM's shoddy promotional campaign) that the picture had been slapped together to capitalize on the popularity of Beverly Hillbillies star Buddy Ebsen. In truth, the film is an engaging and involving western drama, with Ebsen playing a character far removed from Jed Clampett. The mail order bride in question is not for Ebsen but for the wild young frontiersman in his charge (Keir Dullea). It is Buddy's hope that the girl will tame the boy (the son of an old friend) and give him some sense of responsibility. Lois Nettelton is the proper young lady who fills the bill. In the closing scenes, director Burt Kennedy restages the climactic shootout from 1962's Ride the High Country, which Kennedy scripted. Mail Order Bride is not only a satisfactory vehicle for Buddy Ebsen, but it also allows him an opportunity to sing the title song. ~ Hal Erickson, All Movie Guide

Those ever-sneaky Martians are at it again in this sci-fi horror outing that closely resembles Invasion of the Body Snatchers. This time, the crafty invaders are in the process of making exact doubles of an entire town and then killing the original models. The terrifying facts are discovered by a scientist working at Cape Canaveral who is trying to figure out why a recent Martian probe simply exploded after landing on the Red Planet. The fellow has been in Florida working on the project for so long that his wife in California is about to divorce him. Wanting to save his marriage and see his family, he goes home and suddenly ends up fighting for not only his own life, but for all Humanity. ~ Sandra Brennan, All Movie Guide

In yet another high-stakes poker game, Bart (Jack Kelly) wins part ownership of Diamond Jim Malone's gambling casino. Unfortunately, our hero also "wins" a certain Lucky Matt Elkins (Dan Haggerty), who has been blackmailing Diamond Jim (Robert J. Wilke) and doesn't intend to let up now that the casino is under new management. Film-noir stalwart Marie Windsor heads the supporting cast of this episode, which in some sources is listed as having originally aired on March 4, 1962. ~ Hal Erickson, All Movie Guide

Ira Levin wrote the stage comedy Critic's Choice as a good-natured retort to a comment made by critic Walter Kerr. In his essay How Not to Write a Play, Kerr noted that the worst possible scenario would involve a drama critic forced to review a play written by his wife (we should mention that Kerr's own wife was noted playwright Jean Kerr). Levin utilized this very scenario, and the result was a Broadway hit. Less successful artistically was the 1962 film version, though with Bob Hope and Lucille Ball as stars, the film couldn't help but clean up at the box office. Hope portrays theatrical critic Parker Ballantine, while Lucille Ball plays his wife Angela. Feeling "useless," Angela writes a play as a lark, then is amazed when it is optioned by a major producer. Parker does his best to get out of the responsibility of reviewing the play (which very well may be as bad as he thinks it is), but cannot escape the responsibility. Much of the verbal wit of the Levin original is sacrificed in favor of one-line quips; there is also an overabundance of gratuitous slapstick during a little-league game and the climactic "opening night" sequence. Still, Hope and Ball work together well as always. ~ Hal Erickson, All Movie Guide

Perhaps the greatest movie ever shot in two days, Little Shop of Horrors was originally conceived as a followup to Roger Corman's black comedy A Bucket of Blood (1959). Jonathan Haze plays Seymour Krelboin, a schlemiel's schlemiel who works at the Skid Row flower shop of Mr. Mushnick (Mel Welles). Experimenting in his spare time, Seymour develops a new plant species that he hopes will lead him to fame and fortune. Unfortunately, the mutated plant -- named Audrey Junior, in honor of Seymour's girlfriend Audrey (Jackie Joseph) -- subsists on blood and human flesh. It also talks, or rather, commands: "Feed Me! FEEEEED ME!" Before long, the luckless Seymour has fed his plant the bodies of a railroad detective, a sadistic dentist, and a flashy trollop. Meanwhile, Mr. Mushnik, who has stumbled onto Seymour's secret, has inadvertently offered up a burglar (played by Charles Griffith, who also wrote the script and supplied the plant's voice) as a midnight snack for the voracious, ever-growing Audrey Junior. (When the plant blooms, the faces of its various victims are reproduced in its flowers.) Ignored on its initial release, Little Shop of Horrors began building up a cult following via repeated TV exposure in the 1960s. By the mid-1970s, it had attained classic status, spawning a big-budget Broadway musical (and followup feature film) in the 1980s and a Saturday morning cartoon series in the 1990s. Enhancing the original Little Shop's reputation was the brief appearance by star-in-the-making Jack Nicholson as a masochistic dental patient (Nicholson is often incorrectly referred to as the star of the film, though in fact he barely receives billing). Much as we love Nicholson, our vote for the most memorable Little Shop cast member goes to the ubiquitous Dick Miller ("No thanks, I'll eat it here"). ~ Hal Erickson, All Movie Guide

While enmeshed in a vicious proxy war with business rival Warner Griffith (played by former western star Johnny Mack Brown), Daniel Conway (H.M.Wynant) is charged with murdering Griffith's secretary Rose Calvert (Pamela Duncan), who'd been spying on him. Agreeing to defend Conway, Perry (Raymond Burr) first tries to prove that Griffith is the guilty party, only to find out that the man has an airtight alibi. When all is said and done, Conway's fate may rest with a curious witness who is able to identify people by memorizing their shoes! This episode is based on a 1957 novel by Perry Mason creator Erle Stanley Gardner. ~ Hal Erickson, All Movie Guide

Set amidst the beauty of the Caribbean, this romance centers upon the captain of a sail boat who falls in love with a tourist. The happy couple encounter rough seas when he tourist's aunt decides she wants the handsome salt for herself. ~ Sandra Brennan, All Movie Guide

Parson and the Outlaw is a cheapjack rally of washed-up movie actors, leftover sets and cobwebbed cliches. Anthony Dexter, who failed to scale the heights after starring in the 1951 biopic Valentino, plays Billy the Kid, once more as a victim of society. The parson of the title is Sonny Tufts, who by 1957 was already a national joke ("Sonny TUFTS?") Billy the Kid tries to mend his ways thanks to the intervention of the parson, but he winds up plugged and planted trying to avenge the preacher's murder. Even such able supporting actors as Marie Windsor, Jean Parker and Bob Steele look embarrassed by their tawdry surroundings. One of the last and least of Columbia's programmer westerns, Parson and the Outlaw is best buried on Boot Hill and forgotten. ~ Hal Erickson, All Movie Guide

When Bret (James Garner) is accused of robbery, he seeks out John Stacey (John Vivyan), the only man who can clear him. Alas, John may not live long enough to provide testimony for Bret's defense: he is slated for a showdown with notorious gunslinger Doc Holliday (Gerald Mohr), who isn't inclined to Bret talk him out of adding another notch to his handle. Film noir icon Marie Windsor has a plum role in this episode. ~ Hal Erickson, All Movie Guide

The Killing was director Stanley Kubrick's first major film effort -- though, like Kubrick's earlier films, it was economically produced with an inexpensive cast. In a variation of his Asphalt Jungle role, Sterling Hayden plays veteran criminal Johnny Clay, planning one last big heist before settling down to a respectable marriage with Fay (Colleen Gray). Teaming with several cohorts, Johnny masterminds a racetrack robbery. The basic flaw is that all the crooks involved are losers and small-timers who find themselves in way over their heads despite their supposed cleverness. None of the participants is more pathetic than George Peatty (Elisha Cook Jr.), who is goaded into the robbery by his covetous and far-from-faithful wife (Marie Windsor). As in a Greek tragedy, Johnny's best-laid schemes go awry. Prominently featured in the cast of The Killing are offbeat character actors Tim Carey and Joe Turkel, who'd show up with equally showy roles in future Kubrick productions. The Killing is based on the novel Clean Break by Lionel White. ~ Hal Erickson, All Movie Guide

Carolyn Grant (Marie Windsor), a Monterey gallery owner, is playing the field and seems to have one too many men on her string, including her wealthy estranged husband, the local art critic, and even the fiancé of her shop assistant. So when Carolyn is murdered during an apparent break-in at her gallery, there are plenty of male suspects -- with the husband and father-in-law in the lead. Windsor's sultry temptress is the brightest spot in an otherwise so-so mystery, although her wickedness isn't quite at the level she achieved a year later as Sherry Peatty in The Killing. ~ Michael P. Rogers, All Movie Guide

Abbott and Costello Meet the Mummy is the last of the team's vehicles for Universal-International. Stranded in Egypt, Bud and Lou hire themselves out as travelling companions to archeologist Kurt Katch. Before long, Katch is murdered by a group of cultists, and a medallion, embossed with a map which leads to a sacred burial site, is accidentally swallowed by Costello. The boys become the unwilling pawns of the cultists, led by Richard Deacon, and a greedy adventuress, played by Marie Windsor. The last scene finds Costello being menaced by three mummies, two of them bogus. ~ Hal Erickson, All Movie Guide

Hell's Half Acre was written directly for the screen by Steve Fisher, whose I Wake Up Screaming remains one of the definitive "film noirs". The scene is a rundown section of Honolulu, where there dwells a group of wannabes, hasbeens and never-weres. While trying to go straight in this environment, ex-racketeer Chet Chester (Wendell Corey) is shaken down by his former criminal cohorts. Chester's girl friend Rose (Nancy Gates) kills one of his tormentors, whereupon Chester takes the blame, assuming that he's still got enough pull to get off with a light sentence. Meanwhile, Dona Williams (Evelyn Keyes) arrives on the scene, certain that Chester is her long-lost husband. When Rose is murdered, Chester escapes from jail, intending to prove Dona's innocence--and to square accounts with the 10-year-old son he never knew he had. Elsa Lanchester provides much-needed laughs as a dotty cabdriver. Dismissed upon its first release, Hell's Half Acre is now considered one of the most durable of Republic's mid-1950s features. ~ Hal Erickson, All Movie Guide