Frederic Worlock Movies

This romantic comedy stars Rock Hudson as Carter Harrison, an executive rising through the ranks of a major oil company. When he meets Toni Vincente (Gina Lollobrigida), a beautiful but hot-tempered artist, it's love at first sight and they quickly marry. The bloom is soon off the rose, however, and, five years later, Carter and Toni are about to finalize their divorce. However, just as the final paperwork is about to go through, Carter learns that he's up for a major promotion which would hinge on his being married. Carter is able to engineer a reconciliation with Toni with the help of his friend Richard Bramwell (Gig Young), a PR agent with the firm who hopes that a happy marriage will improve Carter's reputation. Since his separation from Toni, Carter has become known as something of a lothario, a reputation that the family-oriented company would like to avoid. But even though the couple patches things up, Richard has his work cut out for him when Toni announces that she'll be reenacting Lady Godiva's naked ride as part of a protest organized by an artists' group. ~ Mark Deming, Rovi

This uneven farce by director Richard Quine has its hilarious and witty moments as American diplomat William Gridley (Jack Lemmon) inadvertently gets caught up in a jewel theft and mayhem. After William lands in London to take up his new position and get settled in his new digs, he becomes involved with his gorgeous landlady Carlye Hardwicke (Kim Novak). Carlye's husband is missing, and she is suspected of doing him in. But then he unexpectedly comes back home where an argument with Carlye over some jewels makes him as dead as everyone had assumed -- with her wielding the murder weapon. Carlye is eventually acquitted thanks to a witness who has designs on the jewels herself -- but the story is far from over. First there is an exciting helicopter ride and a wild chase to decide just who will end up with the loot. ~ Eleanor Mannikka, Rovi

On the verge of marrying jazz musician Eddy King (James Drury), Polly Courtland (Jo Morrows) lets out a shriek and runs out of the church. It turns out that Polly had seen George Sherwin (Grant Richards), who was waving an envelope containing compromising photos of Polly's sister Midge (Lorrie Richards). Later confronting Polly, Sherwin promises to destroy the photos if she will give up Eddy and marry him. Inevitably, Sherwin is murdered and Eddy is charged with the crime--obliging Perry Mason (Perry Mason), who'd been a guest at the interrupted wedding, to handle his defense. Cast as nightclub singer Jonny Baker, future daytime-drama diva Constance Towers) sings "The Man I Love" and "The Thrill is Gone"; also, Barney Kessel, who composed the episode's jazzy musical score, appears as Spec Hollister. Finally, Karl Held joins the cast in the semi-regular role of Mason's legal assistant David Gideon, a character introduced (as a defendant!) in the previous episode "The Case of the Grumbling Grandfather". (Trivia note: though originally listed in TV Guide as Perry Mason's fifth-season opener, this episode was actually that season's third entry, preceded by two "leftover" episodes from Season Four). ~ Hal Erickson, Rovi

Someone has stolen the confidential tapes of conversations between psychiatrist David Craig (Dick Foran) and his patients, and is using those tapes for blackmail. It so happens that Dr. Craig is in love with his nurse Edith (Marianne Stewart), whose brother Mark (Barry McGuire) who is in big trouble with the "mob" and is the primary suspect in the theft of the tapes. When Mark is murdered, Craig is charged, and Perry Mason (Raymond Burr) swings into action. ~ Hal Erickson, Rovi

Wealthy widow Matilda Benson (Kathryn Givney) rules over her children like a dowager empress, threatening to cut them out of her will for the slightest infraction. Even so, the children can't help but get involved with crooked gambler Danny Barker (Robert Strauss), who ends up murdered after threatening to bring scandal upon the Benson family. It is Sylvia Benson (Patricia Cutts) whom the police arrest for the crime, and it is Perry Mason (Raymond Burr) who rushes to Sylvia's defense. This episode is based on a 1937 novel by Perry Mason creator Erle Stanley Gardner, which was previously adapted as the 1940 theatrical film Granny Get Your Gun--with Perry Mason written out of the story! ~ Hal Erickson, Rovi

A onetime pilot, now a convicted killer in the custody of the FBI, is the only hope of an overseas flight carrying a bomb. ~ Jason Ankeny, Rovi

Shortly after murdering Arthur Chaundry (Arthur Gould-Porter), Jack Lyons (Denholm Elliott) marries Arthur's widow, Phyllis (Hazel Court). Although she is naturally distraught over her first husband's demise, Phyllis seems equally concerned with her missing crocodile-skin makeup case. To mollify Phyllis, Jack reports the loss of the case, providing the police with a thorough description of the missing item -- a description which, alas, turns out to be just a wee bit too thorough. ~ Hal Erickson, Rovi

One of the first important distinctions to be made about this version of King Lear is that it is not the same version directed by Peter Brook in 1971. Brook was responsible for the staging of this 1953 version, but it was Andrew McCullough who put it to film. Orson Welles portrays the titular character, one of the most memorable and important characters from the Shakespearean canon. The story begins with the famous request Lear makes of his daughters: to express how much they love him. In exchange, Lear will divide his land and power amongst them based on the extent of their answers. Cordelia (Natasha Parry), the youngest and the one whom Lear loves the most, answers very modestly -- yet honestly --and incurs the wrath of Lear, who not only withholds his gift to her, but banishes her as well. Lear divides his lands and power between the two older daughters, Goneril (Beatrice Straight) and Regan (Margaret Phillips), who intend to take swift and complete control of their father's power almost instantaneously. Lear is reduced to an angry, bitter man who realizes too late what has happened. After a series of indignities are inflicted upon him by his daughters, he retreats into a storm, vowing revenge. This film is an above-average adaptation with a very capable cast and a well-staged presentation. The subplot of Gloucester and his sons has been removed, however, presumably in interests of time conservation, but it doesn't seriously hinder the story. ~ Ryan Shriver, Rovi

Sharkishly handsome Zachary Scott is right in his element in the Eagle-Lion melodrama Ruthless. Told in flashback, this is the story of the rise and fall of unscrupulous financier Horace Vendig (Scott). Hiding behind a veneer of respectability, Vendig steps on and rolls over anyone who stands in his way, including his lifelong friend Vic Lambdin (Louis Hayward), utilities executive Buck Mansfield (Sydney Greenstreet) and various and sundry women, among them Susan Duane (Martha Vickers) and Christine Mansfield (Lucille Bremer). Poor Diana Lynn is subjected to Vendig's cruelties twice, in the dual role of Martha Burnside and Mallory Flagg. It is a tribute to the acting skills of Zachary Scott that he makes his despicable character somehow likeable and, in the end, rather pathetic. Based on a novel by Dayton Stoddart, Ruthless, like many Eagle-Lion films of its period, was topheavy with loaned-out Warner Bros. contract players. It was also one of the few big-budgeted projects helmed by "cult" director Edgar G. Ulmer. ~ Hal Erickson, Rovi

The Woman in White attempts to translate the archaic prose of 19th century gothic-mystery writer Wilkie Collins to the medium of film. Gig Young plays a 19th century painter who, while en route to a country estate, encounters a strange, ethereal young lady (Eleanor Parker) who both begs his help and insists that he keep their meeting a secret. He will meet the girl again at several crucial junctures -- though she will fail to recognize him. The painter has unknowingly stumbled upon a scheme by the diabolical Count Fosco (Sydney Greenstreet) to claim an inheritance on behalf of a dissipated nobleman (John Emery); the plan involves a marriage of convenience to the hapless lady of the house (Alexis Smith), blackmail, hidden siblings, and the suppression of a dark family secret involving Fosco's neurotic wife (Agnes Moorehead). The full plotline is far too labyrinthine to go into detail here -- in fact, it can barely be followed in the film itself. While The Woman in White suffers from excess verbiage, the film is at its best in its shadowy, nocturnal "conspiracy" set pieces and in the scenes with timorous aristocrat John Abbott, to whom every raised voice is a threat to his fragile health. And keep an eye on Sidney Greenstreet's pet monkey, Iago, easily the most well-adjusted character in the film. ~ Hal Erickson, Rovi

They said it couldn't be done, but they did it: Kathleen Winsor's "notorious", bestselling bodice-ripper Forever Amber actually made it to the screen in 1947 with full censorial approval. Of course, it was necessary to tone down the more erotic passages of Winsor's novel, but the end result pleased fans of the book and bluenosed nonfans alike. A last-minute replacement for British import Peggy Cummins, Linda Darnell steps into the role of 17th century blonde bed-hopper Amber as though she'd been born to play it. Feeling suppressed by her Puritan upbringing, Amber heads to London, finding considerable success as a courtesan (that's the polite word for it). The first real love of her life is dashing soldier Bruce Carlton, who leaves her pregnant and penniless when he marches off to war. Subsequent amours include the sadistic Earl of Radcliffe (a superbly loathsome performance by comic actor Richard Haydn), handsome highwayman Black Jack Mallard (John Russell) and privateer Captain Rex Morgan (Glenn Langan). Surviving the Plague and the Great London Fire with nary a hair out of place, Amber ends up in the arms of no less than King Charles II (wittily portrayed by George Sanders), but true love, as personified by Bruce Carlton, will always elude her. Taking no chances, 20th Century-Fox sent out Forever Amber with a spoken prologue, heard over the opening credits, which explained that the film in no way endorsed its heroine's libertine behavior, and that she would be amply punished for her sins before fadeout time (that prologue has thankfully been removed from current prints). A model of restraint by today's standards, Forever Amber was sufficiently titillating in 1947 to post an enormous profit, far in excess of its $4 million budget. ~ Hal Erickson, Rovi

When a man dies under suspicious circumstances, the law must decide if it was murder or an accident. Francis Macomber (Robert Preston) is a wealthy, carefree gentleman who hires Robert Wilson (Gregory Peck), an expert hunter, as his guide when he sets off on a safari in Kenya. Francis' wife Margaret (Joan Bennett) regards her husband as a fool and a coward, and before long, she develops a strong attraction to Robert -- which she does not bother to keep secret. However, Robert informs her that as a matter of personal ethics, he would not consider becoming involved with her. After several weeks on the African savannah, Francis feels himself changing; he's developed a new bravery and sense of confidence, and as a test of himself, he one day stands in the path of a charging buffalo as he prepares to shoot. However, shots ring out from behind him, and Francis falls dead. Margaret insists that she was trying to kill the animal before it could trample Francis and missed, but given her well-documented contempt for her husband, the widow finds herself on trial for murder. The Macomber Affair was based on the short story "The Short Happy Life of Francis Macomber" by Ernest Hemingway, though director Zoltan Korda found it necessary to rework the material (with the input of the featured cast) in order to appease the industry censors of the day. ~ Mark Deming, Rovi