William Alland Movies

The final directorial project the legendary Orson Welles completed during his lifetime, F for Fake is less a documentary than an example of cinematic free association on the topic of trickery. Much of the film is in fact drawn from other sources, most notably an unfinished documentary by Francois Reichenbach on the notorious Elmyr de Hory, whose extremely skillful forgeries of famous paintings caused scandals amongst art collectors and experts. In an additional bit of irony, de Hory's interviewer is author Clifford Irving, who became infamous due to a forgery of his own: a falsified autobiography of Howard Hughes. Welles openly re-edits and manipulates this footage, using it as a spine for his own commentary, arguing that there is an extremely close relationship between art and lying, and citing instances from his own career to prove the point. Through a combination of documentary and staged footage, Welles attempts to illustrate the artifice behind all filmmaking, even that of a supposedly non-fiction variety. ~ Judd Blaise, All Movie Guide

In this remake of Johnny Dark (1954) an ex-GI and college dropout would rather play with cars than anything else until he meets the lovely Eady with whom he falls passionately in love. They get engaged and go to San Francisco where he begins working on building a prototype car for a millionaire. When the arrogant young man ignores the millionaire's advice and destroys the car, he is immediately fired. The young man, determined to make his engine work, manages to scare up enough cash to get his engine back from the millionaire. He then goes on to enter the Tri-State Endurance Race. After it is all over, the young fellow finds that he has become a serious young man. He then marries his girl, and goes back to college. ~ Sandra Brennan, All Movie Guide

In her second film for Universal-International, Esther Williams stars as Laura, a high-priced fashion model. While working in Rome, Laura succumbs to the charms of international playboy Wally (Carlos Thompson), agreeing to join him on a chartered plane flight across the Mediterranean. When the plane crashes, Laura and Wally are rescued by mysterious loner Moore (Jeff Chandler). Chafing at the thought of remaining on Moore's sparsely populated island, Wally finds the wreckage of a yacht. While he repairs the vessel in hopes of returning to the mainland, Laura and Moore draw ever closer, leading to a potentially explosive situation. Is it just imagination, or does Carlos Thompson sound as though his voice has been dubbed by Paul Frees? ~ Hal Erickson, All Movie Guide

According to Universal-International publicity, The Lady Takes a Flyer is partially based on fact. The "lady" is Maggie Colby (Lana Turner) and the "flyer" is former Air Force colonel Mike Dandridge (Jeff Chandler). The two form a partnership when Mike decides to inaugurate an air-ferry service with Maggie as his chief pilot. Mike's wartime buddy Al Reynolds (Richard Denning) also signs on with the new service, though Al's hopes for a romance with Maggie are dashed when she marries Mike. Trouble arises when Maggie becomes pregnant and Mike insists that she give up her perilous lifestyle and become just another housewife. All conflicts are resolved during an exciting finale, wherein a fogbound Maggie is guided across the Atlantic via the radioed instructions of her loving husband. ~ Hal Erickson, All Movie Guide

Dave Brewster (Adam Williams) arrives to take his new job as an electronics technician at a top-secret Air Force base in California. With him are his wife Anne (Peggy Webber) and their two children, Bud (Mikel Ray) and Ken (Johnny Crawford), who are all apprehensive about this sudden transplant, as well as the spartan existence that all of the families live under. No sooner do they arrive, however, then Bud and Ken see a strange light in the sky pointing to the beach, and soon after that seem to be receiving increasingly powerful -- and detailed -- telepathic communications from an unseen source. The boys are drawn, along with the children from the other families, to a lonely cave near the beach, where an alien presence, in the form of a huge (and ever-growing) brain, has hidden itself. At first, it uses the children to try and persuade the more reasonable of the parents that their project -- a missile called The Thunderer, which will place a hydrogen bomb in orbit, capable of being used on any target in the event the United States is threatened -- is too dangerous to complete. But the parents aren't prepared to listen, either because they don't understand the danger, or because they genuinely believe in the conduct of the Cold War, as in the case of Hank Johnson (Jackie Coogan); or because they're too angry and belligerent, like Joe Gamble (Russell Johnson), who is at a dead-end in his job and has taken to alcoholism and abusing his wife (Jean Engstrom) and stepson (Johnny Washbrook). As the launch approaches and the children's entreaties are ignored, the alien takes more direct action with their help, and they soon find a potential ally in in Dr. Wahrman (Raymond Bailey), the inventor of The Thunderer, who is also the only man on the project smart enough to realize that he may not have all the answers. But the military head of the project (Richard Shannon) is stil prepared to launch The Thunderer, regardless of its inventor's doubts. ~ Bruce Eder, All Movie Guide

This is the one in which the "villain" is a huge, carnivorous praying mantis. After the titular insect has attacked several people in a remote Arctic region, Col. Joe Parkham (Craig Stevens) swings into action. Parkham and his associates, Dr. Ned Jackson (William Hopper) and Ned's assistant Margie Blake (Alix Talton), track the predatory mantis as it heads southward to Washington DC (how did it get past customs?) The green monstrosity meets its Waterloo in "Manhattan Tunnel", where it is bombarded with poison gas (a little Raid or Black Flag might have come in handy). Some of the Arctic scenes in The Deadly Mantis were clumsily culled from the 1933 drama SOS Iceberg and a handful of Air Force training films. ~ Hal Erickson, All Movie Guide

Generous portions of The Secret Land, the 1948 documentary on the Byrd Antarctic Expedition, were worked into the action of The Land Unknown. Jock Mahoney and William Reynolds play Hal and Jack, leaders of an expedition to the South Pole. Along for the ride is girl reporter Maggie (Shawn Smith), over whose affections Hal and Jack constantly battle. Making a forced landing in the Antarctic, our intrepid explorers find that they've descended well below sea level. Before long, they are attacked by prehistoric beasts which have been preserved in this heretofore uncharted region. When not fending off Tyrannosauri and Pterodactyls, Hal, Jack, Maggie and copter pilot Steve (Phil Harvey) try to steer clear of an unwieldly carnivorous plant. Further complicating things is the presence of a long-lost, slightly demented scientist (Henry Brandon) who craves companionship...specifically the female companionship of Maggie. Its reasonably convincing special effects notwithstanding, The Land Unknown is much ado about nothing. ~ Hal Erickson, All Movie Guide

This is the final installment in Universal's uneven "Gill Man trilogy," which began with Creature From the Black Lagoon and was followed by Revenge of the Creature, is the least interesting of the bunch. The story finds the prehistoric amphibian far from his Amazon home, kept under close scientific scrutiny in a special facility in Florida. After a laboratory fire severely damages the creature's gills, the head of the research team (Jeff Morrow) initiates an operation that will allow their subject to breathe through a set of latent lungs. After some attempts are made to acclimate the creature to life among human beings, Morrow's plans are destroyed by his own pettiness when one of his colleagues (Gregg Palmer) makes romantic overtures toward his wife, leading to a violent confrontation that leaves the creature badly injured. Alone in alien territory, the Gill Man resolutely shuffles off into the sea -- presumably to commit suicide, since he no longer possesses the ability to breathe underwater. This disappointing conclusion to the series makes little use of the 3-D thrills that enlivened the original and forsakes the opportunity to present a literal fish-out-of-water story in favor of hackneyed melodrama. Champion diver Ricou Browning again portrays the creature in the underwater sequences, with Don Megowan donning the gill-less Gill Man suit on land. ~ Cavett Binion, All Movie Guide

Revenge of the Creature is, of course, the sequel to Universal's fabulously successful The Creature from the Black Lagoon--and like its predecessor, the film was lensed in 3-D (though released "flat" in most theatres). Though the audience had seen the Gill-Man shot full of holes in the first picture, he still resides in the Black Lagoon in the sequel, apparently none the worse for wear. Two oceanographers (John Bromfield and Robert B. Williams) capture the creature and put him on display at Florida's Ocean Harbor Park (actually Marineland of the Atlantic). Here the hapless Gill-Man is taught a few words of English by compassionate icthyologists John Agar and Lori Nelson. Eventually, however, the creature reverts to type, kills one of his captors and goes on a rampage. And once again, he manages to briefly abduct the heroine and carry her off. Not nearly as good as the first Creature, this followup is saved by the underwater photography of Charles S. Welbourne--and by the effective performance by Ricou Browning as the Gill-Man. ~ Hal Erickson, All Movie Guide

A man with a strangely misshapen face wanders out of the desert near a small town and falls to the ground dead. The county sheriff (Nestor Paiva) tentatively identifies the dead man as Eric Jacobs, a laboratory assistant to Professor Deemer (Leo G. Carroll), a research scientist living a few miles out in the desert. But there's something strange about Jacobs; his facial features and bodily extremities are distorted to a point where he's barely recognizable. The sheriff calls in Dr. Matt Hastings (John Agar), the local physician, who makes a diagnosis of acromegalia, a glandular disorder that affects the body's growth. He also tells the sheriff that it can't possibly be acromegalia, because symptoms as pronounced as those he sees in this case take years to develop, and the man was in perfect health just three months earlier. Hastings refuses to believe the professor's account of Jacobs' rapid deterioration, but the sheriff takes the word of the scientist. Back in his laboratory, Deemer continues his work, going over tests of a chemical on various animals, all of which are jumbo-sized, including guinea pigs the size of rabbits, baby mice the size of full-grown rats, and a tarantula three feet long. Suddenly, the professor is attacked by his assistant (Eddie Parker), whose face and hands are distorted in the same manner as Jacobs, and who injects the helpless scientist with the experimental chemical before collapsing dead. A fire starts during the attack and in the confusion, the tarantula's glass cage is broken and it escapes the burning laboratory, wandering out into the desert. Weeks go by, and a new assistant, Stephanie "Steve" Clayton (Mara Corday), arrives to begin work for the professor. When Hastings gives her a ride to Deemer's home, the scientist explains to the doctor that he's been working on a radioactive nutrient, that, if perfected, could feed the entire world's population. He also says that Eric Jacobs made the mistake of testing the chemical on himself and it caused the disease that killed him. Hastings and Steve begin a romance, unaware that wandering around the desert is the tarantula from Deemer's laboratory, now grown to the size of an automobile and getting bigger with each passing day. Soon livestock and then people begin disappearing, and the sheriff is at a loss to explain any of it, or the one clue left behind in each case: large pools of what seems to be some kind of venom next to the stripped skeletons of the victims. Hastings takes some of the material in for a test; meanwhile, Steve notices that Deemer is going through some bizarre changes. His mood has darkened and his features now appear to be changing, as the acromegalia, caused by the injection, manifests itself. Hastings learns that one of the professor's test animals was a tarantula, which was presumed destroyed. When he learns that the pools near the deaths are composed of spider venom -- equivalent to what it would take many thousands of spiders to generate -- he's certain that the tarantula from the laboratory survived. By this time, the title creature is bigger than a house and ravaging the countryside, killing everything in its path and knocking down power lines and telephone poles as it moves. Hastings arrives just in time to rescue Steve from the attacking creature, which destroys Deemer's house and kills the professor. The sheriff and the highway patrol are unable to slow the creature, now the size of a mountain and moving at 45 miles an hour, even with automatic rifle fire, as it follows the road through the desert toward the town. Even an attempt to blow it up with dynamite fails when the monster walking right through the blast. Finally, the creature is poised to attack the town, when jets scrambled from a nearby Air Force base (led by a young Clint Eastwood, barely recognizable behind an oxygen mask) swoop in. When rockets fail to divert the monster from its path, the jets roar in for a second pass and drop enough napalm to incinerate the creature. ~ Bruce Eder, All Movie Guide

Actor Richard Carlson learned how to direct while starring in his popular TV series I Led Three Lives, then extended his directorial expertise to such theatrical second features as Four Guns to the Border. Rory Calhoun, George Nader, and Jay "Tonto" Silverheels play three desperate bank robbers who are halted in their escape by the plight of Colleen Miller and Walter Brennan. Miller and Brennan will be at the mercy of marauding Apaches unless the three desperadoes offer their services. Miller shows her gratitude to Calhoun with a steamy love scene that must have given the censors of 1954 conniptions. Four Guns to the Border ends on a sorrowful note, indicating that Richard Carlson wasn't preoccupied by cliches when occupying the director's chair. ~ Hal Erickson, All Movie Guide

Universal Pictures introduced audiences to yet another classic movie monster with this superbly crafted film, originally presented in 3-D. The story involves the members of a fossil-hunting expedition down a dark tributary of the mist-shrouded Amazon, where they enter the domain of a prehistoric, amphibious "Gill Man" -- possibly the last of a species of fanged, clawed humanoids who may have evolved entirely underwater. Tranquilized, captured, and brought aboard, the creature still manages to revive and escape -- slaughtering several members of the team -- and abducts their sole female member (Julie Adams), spiriting her off to his mist-shrouded lair. This sparks the surviving crewmen to action -- particularly those who fancy carrying the girl off themselves. Director Jack Arnold makes excellent use of the tropical location, employing heavy mists and eerie jungle noises to create an atmosphere of nearly constant menace. The film's most effective element is certainly the monster itself, with his pulsating gills and fearsome webbed talons. The creature was played on land by stuntman Ben Chapman and underwater by champion swimmer Ricou Browning -- who was forced to hold his breath during long takes because the suit did not allow room for scuba gear. The end result was certainly worth the effort, proven in the famous scene where the Gill Man swims effortlessly beneath his female quarry in an eerie ballet -- a scene echoed much later by Steven Spielberg in the opening of Jaws. ~ Cavett Binion, All Movie Guide

It Came From Outer Space is one of a handful of science fiction films from the 1950s that plays as well today as it did on its original release, this despite the fact that its original 3-D elements seem to be lost. It was also the first science fiction effort of director Jack Arnold, and one of three excellent 3-D features that he made (the others were Creature From the Black Lagoon and Revenge of the Creature) during that format's short-lived history. It was also, along with The Incredible Shrinking Man, one of the two most sophisticated films he ever made in that genre. Additionally, it was Arnold's first opportunity to use the desert setting that seemed to inspire him in some of his best subsequent movies. Based on a story by Ray Bradbury, the movie starts off in a gentle, lyrical mode, almost reminiscent of Our Town, as the narrator introduces the tiny Arizona town where the action will take place. Writer John Putnam (Richard Carlson), a new arrival to the town and an amateur astronomer, is looking at the skies with his fiancée, schoolteacher Ellen Fields (Barbara Rush), when they see what looks like a huge meteor crash into the desert. Putnam and Ellen go to the site of the crash and find a huge crater. When he goes down inside, Putnam sees what is very obviously some kind of vehicle or device embedded in the ground, but before he can show it to anyone, a rock slide buries what he saw. He reports that a spacecraft of some kind is buried there and is duly ridiculed by the local press and some of his own colleagues in the astronomical community, and even Ellen has her doubts. The local sheriff, Matt Warren (Charles Drake), is downright hostile because he believes that Putnam is not only an interloper, but has also taken Ellen away from him. Putnam is at a loss as to what to do, and doing something -- or, perhaps, not doing anything -- becomes a critical matter when various townspeople start to disappear, including Ellen, to be replaced by alien "duplicates." A small but significant part of this action is told from the standpoint of the aliens, who are only glimpsed in brief flashes as they move through the desert and the underground caves where they are hiding. Putnam ultimately comes to understand that the aliens are actually benign and only need time to repair their ship and leave; but by then, the sheriff and the rest of the town have started taking his original warning seriously and their intervention threatens the lives of everyone. Reason and a peaceful approach prevail, but only just barely, and the space travelers are allowed to go on their way -- in return, they restore the real townspeople. The movie ends on a hopeful note as Putnam predicts that someday, when we're ready here on Earth, the visitors will be back to make formal, peaceful introductions. ~ Bruce Eder, All Movie Guide