Natalie Wood Movies

An Iowa drugstore owner (Don Ameche) becomes embittered when his son is killed in World War II. The druggist believes that the boy's life was cut short before he had an opportunity to truly appreciate his existence. The grieving father is shown the error of his assumption by the ghost of his grandfather (Harry Carey), who through flashbacks details the good things about the son's short term on Earth, and the wonderful life that the druggist himself has enjoyed. Frances Dee plays Don Ameche's wife, while Ann Rutherford portrays his son's girl (who in turn is played in a flashback sequence by former Little Rascal Darla Hood). Happy Land was suitable wartime propaganda, though it doesn't play quite as movingly today. ~ Hal Erickson, All Movie Guide

Charmless films like The Bride Wore Boots helped to kill the postwar revival of the "screwball comedy" genre almost before it began. Here's the deal: Breeding-farm owner Sally (Barbara Stanwyck) loves horses. Novelist Jeff (Robert Cummings) hates horses, but loves Sally. Jeff and Sally marry, only to break up over their equestrian differences. They spend the rest of the film trying to get back together again, despite such hurdles as flirtatious Southern belle Mary Lou Medford (Diana Lynn) and charming "other man" Lance Gale (Patric Knowles). Is it any surprise that the film ends with a Big Race, and that horse-hating Jeff is astride the winning steed? ~ Hal Erickson, All Movie Guide

Edmund Gwenn plays Kris Kringle, a bearded old gent who is the living image of Santa Claus. Serving as a last-minute replacement for the drunken Santa who was to have led Macy's Thanksgiving Parade, Kringle is offered a job as a Macy's toy-department Santa. Supervisor Maureen O'Hara soon begins having second thoughts about hiring Kris: it's bad enough that he is laboring under the delusion that he's the genuine Saint Nick; but when he begins advising customers to shop elsewhere for toys that they can't find at Macy's, he's gone too far! Amazingly, Mr. Macy (Harry Antrim) considers Kris' shopping tips to be an excellent customer-service "gimmick," and insists that the old fellow keep his job. A resident of a Long Island retirement home, Kris agrees to take a room with lawyer John Payne during the Christmas season. It happens that Payne is sweet on O'Hara, and Kris subliminally hopes he can bring the two together. Kris is also desirous of winning over the divorced O'Hara's little daughter Natalie Wood, who in her few years on earth has lost a lot of the Christmas spirit. Complications ensue when Porter Hall, Macy's nasty in-house psychologist, arranges to have Kris locked up in Bellevue as a lunatic. Payne represents Kris at his sanity hearing, rocking the New York judicial system to its foundations by endeavoring to prove in court that Kris is, indeed, the real Santa Claus! We won't tell you how he does it: suffice to say that there's a joyous ending for Payne and O'Hara, as well as a wonderful faith-affirming denouement for little Natalie Wood. 72-year-old Edmund Gwenn won an Oscar for his portrayal of the "jolly old elf" Kringle; the rest of the cast is populated by such never-fail pros as Gene Lockhart (as the beleaguered sanity-hearing judge), William Frawley (as a crafty political boss), and an unbilled Thelma Ritter and Jack Albertson. Based on the novel by Valentine Davies, Miracle on 34th Street was remade twice: once for TV in 1973, and a second time for a 1994 theatrical release, with Richard Attenborough as Kris Kringle. ~ Hal Erickson, All Movie Guide

George Seaton's 1948 comedy Chicken Every Sunday was based on the play by Julius J. Epstein and Philip G. Epstein as well as the original memoirs of Rosemary Taylor. Set during the turn of the century on the American frontier, Emily Heffernan (eleste Holm) is the practical wife of foolish would-be businessman Jim Heffernan (Dan Dailey). While Emily struggles to keep the household together by renting out rooms to boarders, Jim wastes the family's earnings on get-rich-quick schemes. Told in flashback, Emily recalls her 20-year marriage before filing for divorce. Emily has had enough and wants to leave, but their friends try to get them back together. Also starring Colleen Townsend, Alan Young, and a ten-year-old Natalie Wood. ~ Andrea LeVasseur, All Movie Guide

First came 20th Century-Fox's Mother Was a Freshman; then, a few months later, the same studio's Father Was a Fullback. Fred MacMurray stars as college football coach George Cooper, whose team can't win a game to save its life. George finds some comfort in the arms of his wife Elizabeth (Maureen O'Hara), but his young daughters Connie (Betty Lynn) and Ellen (Natalie Wood) are too concerned with boys to pay their dad any attention. Connie causes no end of trouble for George by printing a highly imaginative article about her various romances. On the verge of losing his job, George is saved by the arrival of football champ Joe Burch (Richard Tyler). Rudy Vallee virtually repeats his stuffy-suitor characterization from Mother is a Freshman in Father Was a Fullback. ~ Hal Erickson, All Movie Guide

In this 1951 comedy Irene Dunne stars as Kay, a Manhattan-based songwriter who marries widowed rodeo cowboy Chris (Fred MacMurray). In the tradition of The Egg and I, Kay suffers a great deal of culture shock when she moves into Chris' western ranch. When she isn't being bedeviled by her new step-children, poor Kay is subjected to bumps and bruises as she tries to become an expert horsewoman. Nothing happens in Never a Dull Moment that isn't thoroughly predictable, though the stars bring a degree of freshness to the proceedings. This film was one of several produced for RKO by Harriet Parsons, daughter of gossip columnist Louella Parsons. ~ Hal Erickson, All Movie Guide

Joyfully preparing for her high-school graduation, and her 18th birthday, Gail Macauley (Ann Blyth) stumbles across a family secret. Contrary to what she's been raised to believe, Gail's parents (Jane Wyatt, Donald Cook) are not her biological parents; she was adopted. Setting a precedent that would be followed by many adoptees of the 1970s and 1980s, Gail will not rest until she tracks down her natural mother. A soap opera deluxe, Our Very Own should not be too closely scrutinized in terms of plot and logic. It is best to revel in the performances by such surefire veterans as Ann Dvorak (as Gail's biological mother) and Gus Schilling (as a flustered television installer), and by such talented "youngsters" as Joan Evans, Phyllis Kirk and Natalie Wood. And as a bonus to Baby Boomers, the film offers a glimpse of the legendary "Indian Head" TV test pattern (yes, it goes back that far!) Our Very Own was written by F. Hugh Herbert, produced by Sam Goldwyn, and directed by David Miller, none of whom make a false move throughout the film's 93 minutes. ~ Hal Erickson, All Movie Guide

The Blue Veil was the single most successful effort from the production team of Jerry Wald and Norman Krasna. Jane Wyman pulls out all the emotional stops as a young Frenchwoman named Louise, who, after losing her husband and child in WW I, devotes the rest of her life to selflessly caring for other people's children. In true "woman's story" fashion, Louise ages and ages beautifully, sacrificing all for the sake of others. On the brink of destitution, she is rescued by her former charges, all nicely grown up and boundlessly grateful. A remake of the French Le Voile Bleu, The Blue Veil was adapted for the American screen by radio's Norman Corwin. The sterling supporting cast includes Charles Laughton as a widowed manufacturer, Joan Blondell as a blowsy actress, Natalie Wood as Blondell's neglected daughter, and Richard Carlson, Audrey Totter, Agnes Moorehead and Don Taylor. ~ Hal Erickson, All Movie Guide

An actress who once knew the heights of fame is forced to confronts the depths of defeat in this show business drama. Margaret Elliot (Bette Davis) was once one of Hollywood's great stars, but as she edges into her 50's, both her career and her life have reached an unfortunate crossroads. Margaret hasn't worked for several years, her marriage has fallen apart, her former husband has custody of her daughter Gretchen (Natalie Wood), and she's running short of money. Margaret's agent Harry Stone (Warner Anderson) can't get her a part, and isn't willing to lend her the money to pay her bills. When they learn that Margaret is all but penniless, her sister (Fay Baker) and brother-in-law (David Alpert) turn their back on her, and Margaret's landlady (Katherine Warren) is threatening to evict her. Depressed and desperate, Margaret goes on a drinking binge, and ends up in jail on a drunk driving charge. No one comes to her aid but Jim Johannson (Sterling Hayden), an former actor who worked with Margaret years ago and has long been in love with her. Jim urges Margaret to leave Hollywood behind, and offers to care for her if she'll have him, but when Margaret's pleas to Harry finally result in an audition with producer Joe Morrison (Minor Watson), she holds on to the desperate hope she may have one more chance at regaining her stardom. Bette Davis's performance in The Star earned her an Academy Award nomination for Best Actress, but she lost to Shirley Booth for Come Back, Little Sheba -- a role that had been first offered to Davis. ~ Mark Deming, All Movie Guide

Nancy Thorne, 1952's Tournament of Roses queen, makes an extended guest appearances in this Monogram "special." In her first important film role, Vera Miles plays Denny Burke, one of Thorne's attendants, whom stuck-up football hero Steve Davis (Marshall Thompson) mistakes for an heiress. Upon meeting Denny's blue-collar family and learning the truth, Davis is briefly set aback. Eventually it dawns on him that he's been behaving like an insufferable snob -- and he almost instantly turns into a "regular guy" and all-around good fellow. Beyond the promotional value of its Rose Bowl setting and authentic color footage of the Tournament of Roses Parade, The Rose Bowl Story is at base an endearingly old-fashioned college football yarn; all that's missing is Pat O'Brien. ~ Hal Erickson, All Movie Guide

Paul Newman made his screen debut in the gloriously nonsensical costume epic The Silver Chalice. Freely adapted from a novel by Thomas B. Costain, the film casts Newman as Basil, a first century Greek sculptor who is sold into slavery by his wicked uncle. Transported to Rome, Basil manages to enjoy a measure of freedom when his captors discover his sculpting talents; he also marries another slave, the demure Deborra (Pier Angeli) and dallies with the sensuous Helena (Virginia Mayo), the mercenary partner of court magician Simon (Jack Palance). The plot congeals when Basil is commissioned to create a silver receptacle for the chalice from which Jesus Christ drank at the Last Supper. Lorne Greene, likewise making his screen bow, is all portentous speeches and prophetic observations as the apostle Peter. Of the many silly highlights, the silliest -- and most memorable -- occurs when the unhinged Simon is possessed with the notion that he can fly with the gods (Palance's performance in this episode must be seen to be believed). When The Silver Chalice was first released, poor Paul Newman was roundly panned as a third-rate Brando; one reviewer noted that he "delivers his lines with the emotional fervor of a Putnam Division conductor announcing local stops." No one has been more vocal in the drubbing of Newman's performance than Newman himself. When the film was first aired on TV in Los Angeles in 1961, the actor took out a full-page apology in the trade papers. In recent years, however, Paul Newman has pointed to The Silver Chalice with pride, observing that he was able to overcome a bad beginning and endure as a screen favorite for over four decades. ~ Hal Erickson, All Movie Guide

This landmark juvenile-delinquent drama scrupulously follows the classic theatrical disciplines, telling all within a 24-hour period. Teenager Jimmy Stark (James Dean) can't help but get into trouble, a problem that has forced his appearance-conscious parents (Jim Backus and Ann Doran) to move from one town to another. The film's tormented central characters are all introduced during a single night-court session, presided over by well-meaning social worker Ray (Edward Platt). Jimmy, arrested on a drunk-and-disorderly charge, screams "You're tearing me apart!" as his blind-sided parents bicker with one another over how best to handle the situation. Judy (Natalie Wood) is basically a good kid but behaves wildly out of frustration over her inability to communicate with her deliberately distant father (William Hopper). (The incestuous subtext of this relationship is discreetly handled, but the audience knows what's going on in the minds of Judy and her dad at all times.) And Plato (Sal Mineo), who is so sensitive that he threatens to break apart like porcelain, has taken to killing puppies as a desperate bid for attention from his wealthy, always absent parents.

The next morning, Jimmy tries to start clean at a new high school, only to run afoul of local gang leader Buzz (Corey Allen), who happens to be Judy's boyfriend. Anxious to fit in, Jimmy agrees to settle his differences with a nocturnal "Chickie Run": he and Buzz are to hop into separate stolen cars, then race toward the edge of a cliff; whoever jumps out of the car first is the "chickie." When asked if he's done this sort of thing before, Jimmy lies, "That's all I ever do." This wins him the undying devotion of fellow misfit Plato. At the appointed hour, the Chickie Run takes place, inaugurated by a wave of the arms from Judy. The cars roar toward the cliff; Jimmy is able to jump clear, but Buzz, trapped in the driver's set when his coat gets caught on the door handle, plummets to his death. In the convoluted logic of Buzz' gang, Jimmy is held responsible for the boy's death. For the rest of the evening, he is mercilessly tormented by Buzz' pals, even at his own doorstep. After unsuccessfully trying to sort things out with his weak-willed father, Jimmy runs off into the night. He links up with fellow "lost souls" Judy and Plato, hiding out in an abandoned palatial home and enacting the roles of father, mother, and son. For the first time, these three have found kindred spirits -- but the adults and kids who have made their lives miserable haven't given up yet, leading to tragedy. Out of the bleakness of the finale comes a ray of hope that, at last, Jimmy will be truly understood.

Rebel Without a Cause began as a case history, written in 1944 by Dr. Robert Lindner. Originally intended as a vehicle for Marlon Brando, the property was shelved until Brando's The Wild One (1953) opened floodgates for films about crazy mixed-up teens. Director Nicholas Ray, then working on a similar project, was brought in to helm the film version. His star was James Dean, fresh from Warners' East of Eden. Ray's low budget dictated that the new film be lensed in black-and-white, but when East of Eden really took off at the box office, the existing footage was scrapped and reshot in color. This was great, so far as Ray was concerned, inasmuch as he had a predilection for symbolic color schemes. James Dean's hot red jacket, for example, indicated rebellion, while his very blue blue jeans created a near luminescent effect (Ray had previously used the same vivid color combination on Joan Crawford in Johnny Guitar). As part of an overall bid for authenticity, real-life gang member Frank Mazzola was hired as technical advisor for the fight scenes. To extract as natural a performance as possible from Dean, Ray redesigned the Stark family's living room set to resemble Ray's own home, where Dean did most of his rehearsing. Speaking of interior sets, the mansion where the three troubled teens hide out had previously been seen as the home of Norma Desmond in Sunset Boulevard. Of the reams of on-set trivia concerning Rebel, one of the more amusing tidbits involves Dean's quickie in-joke impression of cartoon character Mr. Magoo -- whose voice was, of course, supplied by Jim Backus, who played Jimmy's father. Viewing the rushes of this improvisation, a clueless Warner Bros. executive took Dean to task, saying in effect that if he must imitate an animated character, why not Warners' own Bugs Bunny? Released right after James Dean's untimely death, Rebel Without a Cause netted an enormous profit. The film almost seems like a eulogy when seen today, since so many of its cast members -- James Dean, Natalie Wood, Sal Mineo, Nick Adams -- died young. ~ Hal Erickson, All Movie Guide