Natalie Wood Movies

In this routine business-story-cum-romantic-comedy, James Garner is Cash McCall, a wheeling and dealing tycoon, and Natalie Wood is Lory Austen, the daughter of failing businessman Grant (Dean Jagger). McCall's expertise lies in acquiring businesses about to go belly up, attaching them to successful enterprises and then taking a large tax deduction on the resultant equation. Those deals are enhanced when the once-failing business is then sold at a profit. This is a savvy gambit for late '50s movie fare, but its proponent begins to have second thoughts when he comes up against the attractive Lory -- who is not afraid of baring all for a good cause. The well-known co-stars and others like Nina Foch and E.G. Marshall do their best with a limited script. ~ Eleanor Mannikka, All Movie Guide

Adapted by Merle Miller from the novel by Joe David Brown, Kings Go Forth stars Frank Sinatra and Tony Curtis as, respectively, a tough army lieutenant and a cocky radio operator. Serving in Southern France during World War II, Sinatra and Curtis vie for the affections of mademoiselle Natalie Wood. Upon learning that Wood's father was black, both men succumb to their inbred prejudices. Sinatra manages to overcome his latent bigotry, but Curtis does not. In fact, he's so vocal in his race hatred that audiences are virtually cheering for his inevitable demise. After the war, Sinatra, who has lost an arm in combat, relocates Wood. The film ends ambiguously, possibly because miscegenation was still a touchy topic amongst Hollywood censors. Kings Go Forth was universally popular - except, perhaps, with those ex-GIs who were still resentful that Frank Sinatra had in real life been spared wartime service due to a questionable physical ailment. ~ Hal Erickson, All Movie Guide

Karl Malden plays an air force sergeant who is tempted by a better-paying civilian job. Malden's daughter Natalie Wood is in love with a young colonel (Efrem Zimbalist Jr.) whom her father regards as an insolent hothead. The younger man proves his worth during jet maneuvers, while Malden decides that he's of more value in the service than as a working stiff. Bombers B-52 has some excellent moments, including a well-staged variation of the obligatory "breaking the news to the pilot's widow" scene. The film earned latter-day notoriety in the 1980s when a prominent movie historian analyzed the script (by Irving Wallace) and found an overabundance of sexual innuendo--including such in-flight dialogue as "She's unable to receive fuel" and "Request jet penetration!" ~ Hal Erickson, All Movie Guide

Natalie Wood plays what was touted as her first "grown up" role in the tense melodrama A Cry in the Night. Based loosely on the Caryl Chessman case, the film showcases Raymond Burr as a psycho who stalks and attacks young couples on Lover's Lane. Overpowering Wood's boyfriend, Burr kidnaps the girl and locks her up in a seedy one-room apartment. Though he barely lays a hand on her, Wood has every reason to be terrified of her captor, who has a disturbing habit of brutally killing small animals. Meanwhile, Wood's police-captain father Edmond O'Brien brusquely ignores all manner of civil liberties as he and fellow officer Brian Donlevy turn the town inside out in search of the girl and her abductor. Carol Veazie appears as Burr's blowsy, dominating mother, while Mary Lawrence offers an interesting characterization as Wood's plain-Jane sister, who is jealous of all the attention showered on her missing sibling. Cry in the Night is a surprisingly lively offering from the normally uninspired director Frank Tuttle. ~ Hal Erickson, All Movie Guide

The plot of The Burning Hills is motivated by revenge, which only a few years earlier had been on the Motion Picture Code's no-no list. Cattleman Trace Jordan (Tab Hunter) seeks retribution for the murder of his brother, killed at the behest of cattle baron Joe Sutton (Ray Teal). Before long, however, it is Jordan who is being pursued by Sutton's henchmen. Accompanying Jordan on his flight is his Anglo-Latino girlfriend Maria Colton (a miscast Natalie Wood). Clearly designed to cash in on the teenaged fan following of Tab Hunter and Natalie Wood, Burning Hills is nonetheless entertaining enough to please even nonfans of the stars. The film is based on a novel by Louis L'Amour. ~ 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

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

Just for You is based very loosely on Stephen Vincent Benet's Famous. Widowed Broadway producer Jordan Blake (Bing Crosby) is too busy with work to pay much attention to his teenaged kids Jerry (Robert Arthur) and Barbara (Natalie Wood). One thing he hasn't noticed is that Jerry isn't really a kid any more. This point is driven home when Jerry develops a crush on Blake's latest leading lady--and erstwhile sweetheart--Carolina Hill (Jane Wyman). Only Allida de Bronkhart (Ethel Barrymore), owner of the girl's school attended by Barbara, is wise enough to figure out a satisfactory solution to everyone's dilemmas. Capitalizing on their previous successful musical teaming in Here Comes the Groom, Bing Crosby and Jane Wyman perform several sprightly tunes, both solo and in tandem. ~ 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

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

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