Keenan Wynn Movies

Tony Curtis stars as The Great Leslie, a hero among heroes whose purity of heart is manifested by his spotlessly white wardrobe. Leslie's great rival, played by Jack Lemmon, is Professor Fate, a scowling, mustachioed, top-hatted, black-garbed villain. Long envious of Leslie's record-setting accomplishments with airships and sea craft, Professor Fate schemes to win a 22,000-mile auto race from New York City to Paris by whatever insidious means possible. The problem is that Fate is his own worst enemy: each of his plans to remove Leslie from the running (and from the face of the earth) backfires. Leslie's own cross to bear is suffragette Maggie Dubois (Natalie Wood), who also hopes to win the contest and thus strike a blow for feminism. The race takes all three contestants to the Wild West, the frozen wastes of Alaska, and, in the longest sequence, the mythical European kingdom of Carpania. This last-named country is the setting for a wild Prisoner of Zenda spoof involving Professor Fate and his look-alike, the foppish Carpanian king. When Leslie and Fate approach the finish line at the Eiffel Tower, Leslie deliberately loses to prove his love for Maggie. Professor Fate cannot stand winning under these circumstances, thus he demands that he and Leslie race back to New York. The supporting cast includes Peter Falk as Fate's long-suffering flunkey Max, Keenan Wynn as Leslie's faithful general factotum, Dorothy Provine as a brassy saloon singer, Larry Storch as ill-tempered bandit Texas Jack, and Ross Martin as Baron Von Stuppe. The film also yielded a hit song, Henry Mancini and Johnny Mercer's The Sweetheart Tree. The Great Race was dedicated to "Mr. Laurel and Mr. Hardy". ~ Hal Erickson, All Movie Guide

Based on Howard Fast's novel The Winston Affair, this WW II-era crime drama is set in India and chronicles the attempts of an American military attorney to defend a lieutenant who shot a British officer in cold blood. Many witnesses were present and the question the lawyer must answer is whether the defendant is sane enough to stand trial. His investigation leads him to believe that his client is not. Unfortunately, his general is anxious to resolve the case to quell mounting tensions between British and American troops. ~ Sandra Brennan, All Movie Guide

In this western adventure, a sheriff prepares to retire and finds himself forced to deal with his past when he is assigned to round up a gang of outlaws comprised of the sons of the man who raised him after his own parents were killed. The sheriff has to kill one of the desperadoes. The other he will transport to jail on the stage coach. He ends up waiting at the station owned by the parents of his ex-lover. The hapless lawman is watched over by a hired gun who is to make sure the sheriff does indeed deliver the criminal. ~ Sandra Brennan, All Movie Guide

The lively but somehow slightly distasteful The Americanization of Emily stars James Garner as a WWII naval officer who happens to be a craven coward. While his comrades sail off to their deaths, Garner makes himself scarce, generally hiding out in the London flat of his lothario navy buddy James Coburn. Garner falls in love with virtuous war widow Julie Andrews (the "Emily" of the title), but she can't abide his yellow streak. Meanwhile, crack-brained admiral Melvyn Douglas decides that he needs a hero--the first man to die on Omaha Beach during the D-Day Invasion. Coburn is at first elected for this sacrifice, but it is the quivering Garner who ends up hitting the beach. He survives to become a hero in spite of himself, winning Andrews in the process. Paddy Chayefsky's script, based on the novel by William Bradford Huie, attempts to extract humor out of the horrors of war by using broad, vulgar comedy instead of the light satirical touch that would seem to be called for. Americanization of Emily was Julie Andrews' second film; it should have led to a steady stream of adult-oriented roles, but the box-office clout of Mary Poppins and The Sound of Music consigned her to "wholesome family entertainment". ~ Hal Erickson, All Movie Guide

Toward the end of Jerry Lewis's Paramount studio period, Lewis slapped together this bitter comedy about Hollywood phoniness and fame that has to be the most rancid portrait of the Hollywood star system in the Rat Pack era this side of Clifford Odets. When a famous entertainer suddenly is killed in an airplane crash, his team of flunkies -- producer Caryl Fergusson (Everett Sloane), writer Chic Wymore (Phil Harris), press agent Harry Silver (Keenan Wynn), director Morgan Heywood (Peter Lorre in his final film role), valet Bruce Alden (John Carradine), and secretary Ellen Betz (Ina Balin) -- decide to continue their life style by finding a complete unknown and manufacturing him into a Hollywood star. That unknown turns out to be the nervous and inept bellboy Stanley Belt (Jerry Lewis). They train Stanley to become an over-night singing sensation, and despite a disastrous recording session and a failed nightclub performance, the public relations blitz makes Stanley's recording of "I Lost My Heart in a Drive-In Movie" a smash single. So much so that Stanley is given a shot at appearing on "The Ed Sullivan Show." Expecting the worst, Stanley's management team abandons him right before his performance. But Stanley musters up enough confidence to go on the live program alone and manages to surprise his pessimistic ex-staff. A collection of Hollywood celebrities circa 1964 --George Raft, Ed Wynn, Ed Sullivan, Mel Torme, Rhonda Fleming and Hedda Hopper -- make cameo appearances. High spots include an apocalyptic music lesson with voice teacher Dr. Mule-rrr (Hans Conried), Ed Sullivan performing a bizarre impersonation of himself, and an ending that would make even Jean-Luc Godard blush. ~ Paul Brenner, All Movie Guide

In 1964, with the Cuban Missile Crisis fresh in viewers' minds, the Cold War at its frostiest, and the hydrogen bomb relatively new and frightening, Stanley Kubrick dared to make a film about what could happen if the wrong person pushed the wrong button -- and played the situation for laughs. Dr. Strangelove's jet-black satire (from a script by director Stanley Kubrick, Peter George, and Terry Southern) and a host of superb comic performances (including three from Peter Sellers) have kept the film fresh and entertaining, even as its issues have become (slightly) less timely. Loaded with thermonuclear weapons, a U.S. bomber piloted by Maj. T.J. "King" Kong (Slim Pickens) is on a routine flight pattern near the Soviet Union when they receive orders to commence Wing Attack Plan R, best summarized by Maj. Kong as "Nuclear combat! Toe to toe with the Russkies!" On the ground at Burpleson Air Force Base, Group Capt. Lionel Mandrake (Peter Sellers) notices nothing on the news about America being at war. Gen. Jack D. Ripper (Sterling Hayden) calmly informs him that he gave the command to attack the Soviet Union because it was high time someone did something about fluoridation, which is sapping Americans' bodily fluids (and apparently has something to do with Ripper's sexual dysfunction). Meanwhile, President Merkin Muffley (Sellers again) meets with his top Pentagon advisors, including super-hawk Gen. Buck Turgidson (George C. Scott), who sees this as an opportunity to do something about Communism in general and Russians in particular. However, the ante is upped considerably when Soviet ambassador de Sadesky (Peter Bull) informs Muffley and his staff of the latest innovation in Soviet weapons technology: a "Doomsday Machine" that will destroy the entire world if the Russians are attacked. ~ Mark Deming, All Movie Guide

This hour-long Western drama was originally an episode of the popular award-winning television show The Dick Powell Show. Directed by Sam Peckinpah one year after his feature-film debut, The Deadly Companions, The Losers stars Lee Marvin, Keenan Wynn, Rosemary Clooney, and Charles Boyer. The film is especially noteworthy for the employment of Peckinpah's trademark slow-motion shots, which would later help define his classic The Wild Bunch. ~ Matthew Tobey, All Movie Guide

The Spanish/Italian Gringo stars Richard Harrison as a combatant in the Mexican civil war. In between bloody skirmishes with the enemy, Harrison takes time out to settle a personal score with his hated foster father. With its Lone Avenger protagonist and its excessive violence, the film has all the earmarks of a "spaghetti western"--even though it was filmed in 1963, a year before Sergio Leone popularized that gore-encrusted genre. Gringo was not released in the US until 1968, after the success of Leone's Clint Eastwood vehicles. Originally released as Duello Nel Texas, Gringo is currently available on videotape under the title Gunfight at Red Sands. ~ Hal Erickson, All Movie Guide

David Janssen is hardly perfect casting for the role of 1920s gambling king Arnold Rothstein (Rod Steiger or Gene Barry may have been better choices), but the sure-handed direction of Joseph Newman smooths over all the rough spots in this fanciful biopic. Set up in the gambling business by crooked politico Jack Carson, Rothstein cheats his partner Mickey Shaughnessy, cheats on his lovely wife Dianne Foster, and does his best to discredit his bitterest enemy, on-the-take police detective Dan O'Herlihy. When O'Herlihy engineers the death of Rothstein's pal Mickey Rooney, Rothstein pulls strings in the New York judicial system, assuring the conviction and execution of the rogue cop. As quickly as he rises to the top of the dung-heap, Rothstein falls with equal rapidity, and ends up riddled with mob bullets. Curiously, King of the Roaring Twenties bypasses Rothstein's involvement in the "Black Sox" baseball scandal of 1919, perhaps because too many participants in that debacle were still alive in 1960 (this incident would later be covered in toto in the 1988 film Eight Men Out, which co-starred Michael Lerner as Rothstein). While King of the Roaring Twenties ignores the facts, for the most part the film is to be treasured if for no other reason than the fact that director Newman managed to draw uncharacteristically subtle performances from Mickey Rooney and Jack Carson. ~ Hal Erickson, All Movie Guide

Third-rate escape artist Joe Ferlini (Keenan Wynn) hopes to make the big time with a particularly dangerous stunt, in which he will be manacled hand and foot and locked into a submerged trunk. Both Joe's wife Wanda (Jan Sterling) and his manager Phil (Dennis Patrick) try to talk Joe out of this stunt, but only Phil is sincere; the faithless Wanda intends to use Joe's big escape as a cover for her plan to murder him. As things turn out, Wanda "wins" -- at least until the day of Joe's funeral, that is. ~ Hal Erickson, All Movie Guide

A navy jet piloted by Captain Dale Heath (Efrem Zimbalist Jr.) and carrying an enlisted man (Troy Donahue) has already taken off when Heath realizes that both his radio and his navigation equipment have malfunctioned. They might be on the right course, but he can't tell if they're at the right altitude -- 500 feet too high or too low would put him in the path of a plane headed in the opposite direction -- and he can't get through to ground control to get a fix. Heath is quietly terrified at the prospect of what may happen, not just for the obvious reason but also because he's experienced this situation once before and saved himself at the cost of the other plane and its crew. Meanwhile, flying in the opposite direction on the same course is a DC-7 commercial airliner flown by Dick Barnett (Dana Andrews, a veteran pilot, and carrying a full load of passengers, each with their own worries. Much of the first 85 minutes of this thriller is devoted to the passengers and crew of the airliner struggling with their personal problems, told in extensive flashbacks. Both Barnett and Heath have their personal trials, the latter including an unhappy marriage to a faithless wife (Rhonda Fleming); Barnett's troubles are more complicated, and concern long-time problems with his co-pilot, Mike Rule (John Kerr), whose own personal conflicts involve his artist father, his own conflicting love of flying and art, and his relationship with head stewardess Anne Francis (who never looked better than she does in this movie). The extensive flashbacks will push the patience of modern audiences almost to the breaking point, but they do pay off -- and except for the archaic late 1950s slang (which, ironically, was intended to make the movie seem up-to-date) that litters the dialogue, and a silly subplot involving a Broadway method actor on his way to Hollywood, the material is worth watching, despite the soap-opera-ish elements, as the suspense gets ratcheted up gradually. The movie piles on hints and clues (some of them false) about the impending danger that turn the last 20 minutes or so into a neat cinematic thrill-ride for its time. ~ Bruce Eder, All Movie Guide