Willis B. Bouchey Movies

The 1954 musical remake of A Star is Born could have been titled A Star is Reborn, in that it represented the triumphal return to the screen of Judy Garland after a four-year absence. The remake adheres closely to the plotline of the 1937 original: An alcoholic film star, on his last professional legs, gives a career boost to a unknown aspiring actress. The two marry, whereupon her fame and fortune rises while his spirals sharply downward. Unable to accept this, the male star crawls deeper into the bottle. The wife tearfully decides to give up her own career to care for her husband. To spare her this fate, the husband chivalrously commits suicide. His wife is inconsolable at first, but is urged to go "on with the show" in memory of her late husband. In the original, Janet Gaynor played Esther Blodgett, who with no training or contacts came to Hollywood hoping for stardom. The remake, scripted by Moss Hart, is a shade more realistic: Garland's Esther, though far removed from fame, is a working professional singer/dancer when first we meet her. Both Gaynor and Garland are transformed from "Esther Blodgett" to "Vicki Lester" after being screen-tested, though Gaynor goes on to star in fluffy costume dramas while Garland more logically headlines big-budget musicals. The 1937 Star is Born costarred Fredric March as Norman Maine, Esther/Vicki's sponsor-cum-spouse. March patterned his performance after the tragic John Barrymore, reining in his emotions in favor of pure technique; James Mason's interpretation is more original, more emotional, and far more effective (who can forget the scene where Norman sobbingly overhears Vicki planning to give up her career for his sake?) As the studio's long-suffering publicist, the 1937 version's Lionel Stander is more abrasive and unpleasant than the 1954 version's introspective, intellectual Jack Carson; on the other hand, Adolphe Menjou and Charles Bickford are fairly evenly matched in the role of the studio head. Several important omissions are made in the remake. The 1937 Star is Born included Esther's indomitable old grandma (May Robson), a helpful assistant director (Andy Devine) and a soft-hearted landlord (Edgar Kennedy); all three characters are missing from the 1954 version, though elements of each can be found in the "best friend/severest critic" character played by Tommy Noonan. Wisely, both versions end with the grieving Vicki Lester coming out of her shell at a public gathering, greeting the audience with a proud, defiant "Good evening, everybody. This is Mrs. Norman Maine". Though directors William Wellman (1937 version) and George Cukor (1954 version) handle this finale in their own distinctive manners, the end result is equally effective emotionally. What truly sets the 1954 A Star is Born apart from other films of its ilk is its magnificent musical score by Harold Arlen and Ira Gershwin. The songs include The Man Who Got Away (brilliantly performed by Garland in one long take, sans dubbing), It's a New World, Somewhere There's a Someone, I Was Born in a Trunk, Lose That Long Face and Gotta Have Me Go With You. When originally previewed in 1954, the film ran well over three hours, thanks to the lengthy-and thoroughly disposable-Born in a Trunk number, added to the film as an afterthought without the approval or participation of director George Cukor. The Warner Bros. executives trimmed the film to 154 minutes, eliminating three top-rank musical numbers and several crucial expository sequences (including Norman's proposal to Vicki). At the instigation of the late film historian Ronald Haver, the full version was painstakingly restored in 1983, with outtakes and still photos bridging the "lost" footage. Though nominated in several categories, A Star is Born was left empty-handed at Academy Award time, an oversight that caused outrage then and still rankles Judy Garland fans to this day (Footnote: Judy Garland had previously played Vicki Lester in a 1942 Lux Radio Theatre adaptation of the original A Star is Born). ~ Hal Erickson, All Movie Guide

Adapted by Leon Uris from his own novel, the film follows a group of World War II marines, from Basic Training to Battlefield. Major Van Heflin knows that his men are spoiling for a real fight, but must make do with the desultory skirmishes assigned them by the Brass. All this changes with an onslaught of heavy-duty battling in the South Pacific. Aldo Ray plays a tough leatherneck who falls in love with demure Nancy Olson, while James Whitmore, Tab Hunter, Dorothy Malone and Raymond Massey costar. And watch for young Justus McQueen, cast as private L.Q. Jones; McQueen liked his character name so much that he adopted it as his professional cognomen. Composer Max Steiner's musical score earned him an Oscar nomination. ~ Hal Erickson, All Movie Guide

New York City is known for choosing colorful characters for its mayors. One its most illustrious was the wisecracking, dancing and singing Mayor James J. Walker (as played by Bob Hope in a rare, serious role) who helmed the Big Apple in the 1920s. This biopic chronicles his surprising rise to power and is adapted from a book by Gene Fowler. Walker owed his mayoral post to Tammany, a powerful political organization that used its tremendous clout to get him installed. Walker, who never takes his job seriously, then becomes a figurehead for Tammany, and while he is in power, corruption in the police force and other city offices runs rampant. Meanwhile Walker wrangles with his lover, dancer Betty Compton, and his jealous wife, from whom he is separated. ~ Sandra Brennan, All Movie Guide

The 14-season run of Bonanza began with this introductory episode, originally aired on September 12, 1959, entitled "A Rose for Lotta." Guest star Yvonne DeCarlo) plays renowned entertainer Lotta Crabtree, who finds herself duped into a plot against the Cartwright family and their ranch, the Ponderosa, located outside of Virginia City, Nevada. A cartel of businessmen led by Alpheus Troy (George Macready), Aaron Hopper (Barry Kelley) and George Garvey (Willis Bouchey), have been pressuring patriarch Ben Cartwright (Lorne Green) to sign over all the timber on the Ponderosa, to provide lumber that is essential for the continued operation of their mines; but Ben is equally adamant in his opposition, as the trees are essential to the future of the ranch and the land. Troy decides to use Lotta Crabtree as bait, to entice one of the Cartwright sons into Virginia City, where he plans to take them hostage and force Ben Cartwright to deal. Hot-headed youngest son Joe Cartwright (Michael Landon) falls the hardest for Lotta, goes to call on her, and finds himself trapped. But Troy hasn't reckoned with how the Cartwrights stick together, how far Ben and older sons Adam (Pernell Roberts) and Hoss (Dan Blocker) will go to protect one of their own -- even facing down a hired killer -- or just how resourceful Joe can be, even on the run, unarmed, from a pair of thugs who don't seem bright enough to know that they need him alive, or to avoid wrecking half the town. ~ Bruce Eder, All Movie Guide

John Ford's last western film, Cheyenne Autumn was allegedly produced to compensate for the hundreds of Native Americans who had bitten the dust in Ford's earlier films (that was the director's story, anyway). Set in 1887, the film recounts the defiant migration of 300 Cheyennes from their reservation in Oklahoma territory to their original home in Wyoming. They have done this at the behest of chiefs Little Wolf (Ricardo Montalban) and Dull Knife (Gilbert Roland), peaceful souls who have been driven to desperate measures because the US government has ignored their pleas for food and shelter. Since the Cheyennes' trek is in defiance of their treaty, Captain Thomas Archer (Richard Widmark), who agrees with the Indians in principle, reluctantly leads his troops in pursuit of the tribe. While there was never any intention to shed blood, the white press finds it politically expedient to distort the Cheyennes' action into a declaration of war. Thanks to the cruelties of such chauvinistic whites as Captain Oscar Wessels (Karl Malden), the Cheyennes are forced to defend themselves--and whenever Indians take arms against whites in the 1880s, it's usually misrepresented as a massacre. Only the intervention of US secretary of the interior Carl Schurz (Edward G. Robinson) prevents the hostilities from erupting into wholesale bloodshed. Based on a novel by Mari Sandoz, Cheyenne Autumn is a cinematic elegy--not only for the beleaguered Cheyennes, but for John Ford's fifty years in pictures. It is weakest when arbitrarily throwing in a wearisome romance between Richard Widmark and pacifistic schoolmarm Carroll Baker, who out of sympathy for the Indians has joined them in their 1500-mile westward journey. When the Warner Bros. people decided that the film ran too long, they chopped out the wholly unnecessary but very funny episode involving a poker-obsessed Wyatt Earp (James Stewart). Contrary to popular belief, this episode was included in the earliest non-roadshow prints of Cheyenne Autumn; the scene was excised only when the film went into its second and third runs in 1966 (it has since been restored). ~ Hal Erickson, All Movie Guide

James Garner stars as WWII hero Major William Darby in this characteristically gusty William Wellman combat film. Darby organizes a highly-trained group of rangers, to be deployed in behind-the-lines activities in Italy and Northern Africa. The first portion of the film details the training, with time out for a few comic and romantic interludes; the second part shows Darby's Rangers in full, ferocious action. In addition to Garner, Warner Bros. used Darby's Rangers to spotlight another of its TV stars, Edd "Kookie" Byrnes; Bill Wellman Jr. also shows up in the supporting role of Eli Clatworthy. The film was adapted from the book by Major James Altieri. ~ Hal Erickson, All Movie Guide

Frank Sinatra stars in this bawdy western satire as Dingus Magee, a would-be outlaw who robs Hoke Birdsill (George Kennedy) while Hoke is en route to Yerkey's Hole, New Mexico. Hoke reports the theft to Belle Knops (Anne Jackson), the mayor of Yerkey's Hole and proprietor of the town's biggest business, a brothel favored by the enlisted men at the nearby Army fort. Belle appoints Hoke as the new deputy, and he tracks down Magee as he's enjoying a roll in the bushes with Anna (Michele Carey), a very friendly Indian maid. Hoke brings in Magee, but Anna then helps him escape; Belle uses Magee's unscheduled release to convince the commanding officers at the Army base that an Indian uprising is imminent, and that their planned relocation to Little Big Horn (where they hope to arrive before Gen. Custer and his troops) might be a bit premature (not to mention bad for her business). Soon Hoke is after Magee for robbing a stage and stealing the strongbox (which, of course, he can't open), the Indians are after Magee for running off with Anna, a sexually repressed schoolmarm named Prudence (Lois Nettleton) is after Magee after he awakens the woman within her, and John Wesley Hardin (Jack Elam) is after Magee, well, just because. "Catch-22" author Joseph Heller co-wrote the screenplay. ~ Mark Deming, All Movie Guide

Arriving at a medical building, Friday (Jack Webb) and Smith (Ben Alexander) investigate the disappearance of society matron Louise Marston. Filing the missing-persons report is Louise's husband, dentist Robert Marston (Whit Connor), who explains that he waited two weeks to notify the police of his wife's absence because he has been receiving letters from her, postmarked New York City. Meanwhile, Louise's stepfather (Willis Bouchey) suspects Marston of killing his wife so that he could collect an inheritance and set up his own dental building. The two detectives finally learn the truth just before construction of Dr. Marston's "dream office" gets under way. This episode is adapted from the Dragnet radio broadcast of June 14, 1951. ~ Hal Erickson, All Movie Guide

When police officer Jack Conley is murdered in cold blood on New Years' Eve, Joe Friday (Jack Webb) has the unenviable task of breaking the news to Conley's wife Betty (June Whitley)--just as she is preparing a big party. Making it his personal mission to track down Conley's killer, Friday pieces together the evidence and determines that the assailant was a drug addict. Future TV producer Aaron Spelling contributes a memorable cameo as a former dope pusher who has "seen the light." This episode is based on the Dragnet radio broadcast of March 8, 1951. ~ Hal Erickson, All Movie Guide

Friday (Jack Webb) and Smith (Herb Ellis) investigate the trashing of a movie theater by a gang of teenagers. In typical Dragnet fashion, it turns out that the kids were all high on marijuana. Harold Everson Sr. (Willis Bouchey), the father of youthful drug pusher Hal Everson (Edwin Bruce), refuses to believe that his son is guilty of anything other than high spirits--but the boy ends up proving his Dad wrong in a spectaculary violent fashion. This episode is based on the Dragnet radio program first heard on September 6, 1951. ~ Hal Erickson, All Movie Guide

In this romance, an industrial designer is bitterly disappointed when he discovers that upon graduation his daughter decides to elope with her psychology professor rather than pursue a career. The professor's family is also not pleased by the union. Both families, who despise each other, try to get the newlyweds to annul their marriage. This quest unites the families and they become friends. When they finally catch up to the couple, both sides are appalled to discover that marital strife threatens to rip the couple apart. The families rally together and the marriage remains intact. ~ Sandra Brennan, All Movie Guide

Fireman Save My Child started out as an Abbott and Costello picture, but then Lou Costello became ill with rheumatic fever. Or Costello turned down the script. Or the team decided to film Abbott and Costello Meet Dr. Jekyll and Mr. Hyde instead. Whatever the reason, when the film was finally released, Hugh O'Brian and Buddy Hackett were playing the roles originally intended for Bud and Lou (A and C can still be seen in some long-shots, however). Set in San Francisco in the early 1900s, the film casts Hugh and Buddy as a pair of bumbling firemen. Buddy invents a new fire-extingushing device, which the bad guys attempt to steal. Naturally, the film affords plenty of opportunity for slapstick chase sequences, and even allows Buddy Hackett time to do a potted version of his "inferiority complex" monologue. Top-billed over O'Brian and Hackett is the zany musical aggregation of Spike Jones and His City Slickers, who likewise are given several opportunities to shine. ~ Hal Erickson, All Movie Guide