Ian Wolfe Movies

This episode finds Captain Kirk, Dr. McCoy and Mr. Spock exploring the planet Sarpeidon, whose sun is about to go nova. They discover cities and other components of an advanced civilization, but no inhabitants save one, a mysterious man (Ian Wolfe) who identifies himself as the "librarian." They learn that the "library" is a time portal, and that the inhabitants have escaped the doom of their world by taking new lives in past eras. Kirk accidentally steps through the portal and becomes trapped in this world's equivalent of the 17th century, and accused of witchcraft; Spock and McCoy, in turn, are stranded in the planet's brutal ice age, where they meet Zarabeth (Mariette Hartley), an unwilling prisoner of that era. Kirk must try to avoid execution, while Spock -- quickly reverting to his primordial Vulcan nature, brutal and lustful, as a result of moving into the past -- finds his growing love for Zarabeth interfering with his efforts at escape. And that escape becomes even more imperative when they learn that because of the particular way they were transported, they can only survive for a matter of hours. ~ All Movie Guide

The FBI launches a search for the thieves who stripped the abandoned car owned by wealthy kidnap victim John Graham (Jim McMullan). Inspector Erskine (Efrem Zimbalist Jr.) hopes that the thieves may have witnessed the crime and will be able to identify the abductor. Meanwhile, efforts to negotiate Graham's safe release hit a snag when the victim's brother Philip (Russell Johnson) refuses to pay the $300,000 ransom. In a fascinating bit of casting, the uncle-and-nephew team of kidnappers is played by Edward Asner and Martin Sheen. ~ Hal Erickson, All Movie Guide

This episode is set in a remote Oregon community plagued by a drought that has dragged on for over three months. A local religious sect headed by Adam MacDonald (John Anderson) has managed to incur the wrath of some bigoted townsfolk, who go out of their way to torment and persecute McDonald and his flock. But the case doesn't attract the attention of the FBI until a hate-maddened extortionist threatens to burn down the sect's settlement--an act which would also spell disaster for everyone else in the region. ~ Hal Erickson, All Movie Guide

Preparing for a visit from Mayberry's guest minister Rev. Leighton (Ian Wolfe), Aunt Bee worries that her natural hair-do won't survive the night. Thus, she quickly dons an attractive blonde wig, which duly impresses the visiting cleric. The problem: Aunt Bee grows fond of the minister, and hasn't the nerve to tell him that she isn't a natural blonde. The most amusing aspect of this episode is the fact that supporting actor Ian Wolfe is rather obviously wearing a "rug" himself! First shown on October 10, 1966, "Aunt Bee's Crowning Glory" was written by Ronald Axe. ~ Hal Erickson, All Movie Guide

This is the first of several Branded episodes in which fictional ex-military officer Jason McCord (Chuck Connors) has a significant influence upon actual American history. In this instance, Jason is hired to survey the vast territory of Alaska, recently purchased for the U.S. by William Henry Seward (Ian Wolfe). Jason soon discovers that the supposedly worthless land is rich with gold and oil--and so do a pair of scoundrels who plan to steal Jason's maps and bump him off before he can make his discoveries public. ~ Hal Erickson, All Movie Guide

Resentful over having to wait on her invalid Uncle Simon (Cedric Hardwicke) hand and foot, Barbara Polk (Constance Ford) perserveres only because she expects to inherit the old man's fortune. But Simon, a famed inventor, has a surprise in store for Barbara after he shuffles off his mortal coil. In order to claim Simon's legacy, Barbara must now service a talking robot -- who sounds and acts just like Uncle Simon. Robby the Robot of Forbidden Planet fame makes one of his several Twilight Zone "guest" appearances. Written by Rod Serling, "Uncle Simon" first aired November 15, 1963. ~ Hal Erickson, All Movie Guide

After rescuing several children from a burning school bus, a seriously injured Kimble (David Janssen)--alias "George Porter"--is brought into the home of Al Springer (Frank Overton), sheriff of Northoak. Unaware of Kimble's true identity, Al and his wife Wilma (Nancy Wickmire) take a strong liking to the recuperating stranger, as does everyone else in town. Will this surfeit of goodwill save Kimble from being taken into custody by Lt. Gerard (Barry Morse), or will Al place duty above friendship and turn the fugitive in? ~ Hal Erickson, All Movie Guide

This long, 135-minute feature is divided into four different segments, three highlighting fairy tales and the first introducing the two Brothers Grimm. Wilhelm (Laurence Harvey) is the dreamer, and Jacob (Karl Boehm) is the practical one, and between them, some marvelous fairy tales develop. Seguing into the first tale about the "Dancing Princess," co-directors Henry Levin and George Pal -- also the producer -- allow their special-effects artists full rein. In-between dancing, the princess (Yvette Mimieux) falls in love with a charming woodsman (Russ Tamblyn). In the second story about the "Cobbler and the Elves," a Christmas miracle of dedicated labor helps the cobbler out when he most needs it. In the last story, a fire-breathing dragon threatens the kingdom until a lowly servant (Buddy Hackett) saves the day. One of the highlights of this production are the Puppetoons, and another is Cinerama -- three projectors working to create a three-paneled (sometimes visibly so), wide-screen panorama. ~ Eleanor Mannikka, All Movie Guide

Tony Ryder (Dean Martin) thinks that Katie Robbins (Shirley MacLaine) was the mistress of a recently deceased millionaire. On this fragile plot peg hangs the rest of All in a Night's Work. The millionaire died with a smile on his face, and Tony, who stands to inherit the dead man's publishing business, suspects that Katie, who has been left a fortune, administered the "favors" that pushed the old coot into the great beyond. Katie, wholly innocent, resents Tony's implications and gives him the brush-off. All turns out for the good when Tony realizes that he loves Katie for herself and not for her legacy. It took three writers (five, if you count the authors of the play upon which this film is based) to cook up the tickle-and-tease souffle that we've come to know as All in a Night's Work. ~ Hal Erickson, All Movie Guide

Eleanor H. Porter's story of Pollyanna, "The Glad Girl," was first filmed in 1920 by Mary Pickford. While entertaining, the Pickford version tended to reduce the supporting characters to stereotypes. Disney's 1960 remake of Pollyanna wisely offers three-dimensional characterizations, enhancing the charm and believability of the story. In her first Disney film (indeed, her first American film), Hayley Mills stars as Pollyanna, an orphan girl sent to live with her wealthy aunt Polly (Jane Wyman). A humorless sort, Aunt Polly is taken aback by Pollyanna's insistence upon seeing the happy side of everything. With her best friend and fellow orphan, Jimmy Bean (Kevin "Moochie" Corcoran), Pollyanna spreads her sunshine all over town, transforming such local curmudgeons as hypochondriac Mrs. Snow (Agnes Moorehead), hellfire-and-brimstone Reverend Ford (Karl Malden), and reclusive Mr. Pendergast (Adolphe Menjou) into positive, life-affirming sorts. This she does not by being simpering or syrupy, but by applying common sense and refusing to indulge anyone's self-pity. Only Aunt Polly refuses to warm up. As the owner of the town orphanage, Aunt Polly will not hear of having a new, more modern facility built, and when handsome Dr. Chilton (Richard Egan) stages a charity bazaar in defiance of Aunt Polly, Pollyanna is forbidden to attend. She escapes to the bazaar by climbing down the tree next to her upstairs window; but when trying to return home, Pollyanna falls and injures her legs. Facing possible permanent paralysis, the "Glad Girl" is for the first time disconsolate and pessimistic. Her spirits are uplifted by the townsfolk whom she's helped, and finally by Aunt Polly, who's realized the folly of her stubbornness. Ebulliently optimistic once more, Pollyanna leaves town for an operation, as the townsfolk cheer her up and cheer her on. Possibly because it was perceived as having only little-girl appeal (a false perception indeed), Pollyanna was not the big hit that it should have been in 1960. Its latter-day reputation as one of Disney's finest features rests primarily on its many successful television showings. The film was remade for television with an all-black cast as Polly in 1989. ~ Hal Erickson, All Movie Guide

After the death of his father, a highly respected attorney, Daniel Gardner (played by a pre-Hawaii 5-0) finds that his inheritance includes an old, shuttered burlesque house. Unable to understand his father's interest in such a place, Dan conducts his own investigation. Ultimately, the younger Gardner is thrust into a different time and place, as events entirely beyond his control reveal a long-suppressed secret about his father. ~ Hal Erickson, All Movie Guide

The TV drama anthology Kraft Television Theatre celebrated its tenth year on the air with an original drama written by Anthony Spinner. Tommy Sands plays Vito Serrano, a teenager living in Italy with his grandparents. Though he regards himself as an orphan, Vito still has a father -- if you can call gangster boss Frankie Serrano (Victor Jory) a father. Despite his unsavory roots, Vito has a strong desire to go to the U.S., where his father resides. He may get his wish when Frankie makes a sentimental journey to the Italian village of his youth, where he fills his son's head with stories about his "glamorous" American lifestyle. Somehow or other, the teleplay manages to find time for two songs performed by Tommy Sands, who'd already made his Kraft Television Theatre mark as the Elvis-like hero of the series' January 30, 1957 presentation "The Singin' Idol." ~ Hal Erickson, All Movie Guide