Ruth Brady Movies

A pre-I Dream of Jeannie Barbara Eden guest stars as Diana Jordan, a sexy young lass who attends a country club dance along with the Ricardos, the Mertzes, and the Ramseys. Much to their wives' dismay, Ricky Ricardo (Desi Arnaz), Fred Mertz (William Frawley), and Ralph Ramsey (Frank Nelson) are all much smitten by the flirtatious Diana. In order to regain their husbands' attentions, Lucy Ricardo (Lucille Ball), Ethel Mertz (Vivian Vance), and Betty Ramsey (Mary Jane Croft) all purchase expensive new clothes and subject themselves to an elaborate "glamour" treatment. ~ Hal Erickson, Rovi

The Swedish The True and the False was produced by actress Signe Hasso, who also stars in the film, which was lensed in two different languages to broaden its appeal. On the eve of her wedding a young bride-to-be (Hasso) decides to do a little light reading. Her first selection is Balzac's La Grande Breteche, a story of infidelity and revenge in which the girl imagines herself and her fiancé (William Langford) in the leading roles. She then looks over DeMaupassant's The Old Maid, imagining herself as the tragic heroine and her future husband as the soldier who loves her. As she puts down her books, the girl sees her marital future in a whole new light. Signe Hasso does just fine in her multiple roles; less successful are the other cast members, who seem to have been hired for their physical suitability rather than their thespic talents. ~ Hal Erickson, Rovi

It doesn't take a nuclear scientist to figure out that Smith Ohrig, the character played by Robert Ryan in Caught, is a thinly disguised takeoff of Howard Hughes. But whereas Howard Hughes was merely paranoid and eccentric, Smith Ohrig is an all-out psycho. Impulsively marrying ambitious model Leonora Eames (Barbara Bel Geddes), Ohrig keeps the poor girl a virtual prisoner in his palatial mansion, tormenting her with twisted mind games while he continues his premarital playboy activities. Coming to the realization that wealth and creature comforts are no substitute for stability, Leonora takes a "normal" job in the offices of society doctor Larry Quinada (James Mason). Falling in love with her boss, Leonora nonetheless returns to Ohrig when he turns on his patented charm. Only an act of God (accelerated by Ohrig's hedonistic lifestyle) rescues Leonora from a life of lavish bondage. Billed as Max Opuls on the credits of Caught, director Max Ophuls manages to implant his own distinctive style upon what is essentially a slick Hollywood studio product. ~ Hal Erickson, Rovi

Strange Mrs. Crane stars Marjorie Lord, later famous as the TV wife of Danny Thomas (and the real-life mother of actress Anne Archer) in the atypical role of female crook Gina Crane. Hoping to bury her criminal past, Gina settles into a comfortable existence as the wife of politician Clinton Crane (Pierre Watkin). When her former associate Floyd Durant (Robert Shayne) shows up to blackmail Gina, she has no choice but to murder the man. Things take a bizarre turn when Barbara Arnold (Ruthe Brady) is charged with Durant's murder-and Gina Crane is selected to serve on the jury! Director Sherman Scott was actually the prolific Sam Newfield, taking a brief respite from his multitude of B-western series. ~ Hal Erickson, Rovi

On the whole, the films of producer-writer-director Arch Oboler seldom came up to the lofty standards of his radio work, but each of his movie projects had a few meritorious moments. One of the better Oboler film efforts was The Arnelo Affair, produced by MGM in 1946. Frances Gifford delivers what may be her best performance as Anne Parkson, the loving but neglected wife of busy Chicago attorney Ted Parkson (George Murphy). Upon meeting one of Ted's clients, shady nightclub owner Tony Arnelo (John Hodiak), Anne finds herself inexorably drawn to the charismatic Arnelo. He in turn is equally fascinated by Anne, but his fascination deepens into love. Upon realizing that Arnelo is essentially a cold-blooded thug, Anne tries to break off their relationship. But Arnelo has murdered his cast-off mistress Claire Lorrison (Joan Woodbury), and has arranged the evidence so as to implicate Anne in the killing. To Arnelo's way of thinking, if he can't have Ann, no one can-certainly not her scrupulously honest husband, who has gone on record insisting that he'd prosecute any criminal to the fullest extent of the law, even if that criminal was a friend or relative. Told in Arch Oboler's traditional stream-of-consciousness manner, the story comes to a violent but logical conclusion when Arnelo exhumes his own long-suppressed sense of decency. Despite competition from the three stars, and from such reliable supporting players as Eve Arden and Dean Stockwell, The Arnelo Affair is stolen by Warner Anderson as a soft-spoken, philosophical Chicago detective. ~ Hal Erickson, Rovi

MGM's newest child star Jackie "Butch" Jenkins--lisp and all--is the title character in this overlong family drama. The setting is a postwar army camp, where returning GIs live in Quonsets with their families. Jenkins' mother dies, whereupon his soldier dad becomes an alcoholic. Both father and son are saved by the realization that life goes on. It was MGM's notion to reteam three of the stars from the previous season's Our Vines Have Tender Grapes (Butch Jenkins, James Craig and Frances Gifford) in hopes of lightning striking twice at the box office; no such strike occurred. Little Mr. Jim was adapted from the Tommy Wadelton novel Army Brat. ~ Hal Erickson, Rovi

The Secret Heart is a psychological drama starring June Allyson as a disturbed teenager obsessed with the memory of her dead father and unable to embrace her stepmother. Following the suicide of her father, Penny Addams (Allyson) begins to behave strangely, even locking herself in her room and playing the piano in his memory. Greatly worried, Penny's brother, Chase (Robert Sterling), and stepmother, Lee (Claudette Colbert), consult a psychiatrist, Dr. Rossiger (Lionel Barrymore), who suggests that Penny be returned to the family's country home. Since the site is where the suicide took place, Rossiger believes that confronting the scene will force the young woman to mentally face the reality of her father's death. Once there, however, Penny becomes disenchanted with her father's memory -- which causes her to become even more despondent than ever. Eventually, Penny tries to kill herself in the same manner of her father, but she fails, and the healing process proceeds for all concerned. This dark tale, offbeat for its time, was narrated by Hume Cronyn. ~ Karl Williams, Rovi

Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner). ~ Hal Erickson, Rovi

In this provocative WW II drama, an American agent sneaks into a Nazi spy ring to learn the identities of certain double-agents. The hero works for the FBI, but was born in Germany and speaks the language like a native. First he assumes a dead spy's identity and in that guise, contacts the Nazi superiors. He is then placed aboard a U-boat and sent to the US. Things go well until his cover is blown. Fortunately, he manages to escape. He then is forced to appear in a lengthy court case to help convict the treacherous spies. ~ Sandra Brennan, Rovi