Edwin Blum Movies

Michael Keaton stars as a wheeler-dealer who hopes to save a failing Pennsylvania automobile-assembly factory from having to close its doors. Keaton persuades a Japanese auto firm to reopen the factory, retrain its staff, and streamline the operation. It isn't long before the American-born workers grow to resent the disciplinary demands of their new Japanese bosses, setting the stage for a comic clash of cultures. The day is saved when it turns out that the poker-faced owner of the auto company possesses a really strange sense of humor. Gung Ho was later spun off into a short-lived TV sitcom, starring Scott Bakula of Quantum Leap fame. ~ Hal Erickson, Rovi

George Nader plays a reporter whose career is ruined by liquor. A comeback opportunity presents itself when Nader is a bystander at the arrest of a well-known criminal. The reporter knows that the crook, who has been accused of an ambush murder, is innocent, and he sets about to collar the real killer. Nader goes "cold turkey" on the booze despite tempations at every turn, and gets his man. Appointment with a Shadow is one of a handful of films directed by onetime I Led 3 Lives star Richard Carlson. ~ Hal Erickson, Rovi

In this tense murder mystery, a San Francisco traffic officer vows to find the killer of the kindly priest who raised him. Unfortuantely, his superiors assign the case to others. Angrily the cop quits the force and launches his own investigation. The cop's prime suspect is the priest's best friend. When this friend invites the cop to live with him and his lovely cousin, the cop accepts, hoping that he can prove the friend's innocence. Sure enough, the priest's friend is innocent. Relieved, the cop begins a romance with the cousin that culminates in their marriage. It is then that a terrible secret is revealed. ~ Sandra Brennan, Rovi

The scene is a German POW camp, sometime during the mid-1940s. Stalag 17, exclusively populated by American sergeants, is overseen by sadistic commandant Oberst Von Schernbach (Otto Preminger) and the deceptively avuncular sergeant Schultz (Sig Ruman). The inmates spend their waking hours circumventing the boredom of prison life; at night, they attempt to arrange escapes. When two of the escapees, Johnson and Manfredi, are shot down like dogs by the Nazi guards, Stalag 17's resident wiseguy Sefton (William Holden) callously collects the bets he'd placed concerning the fugitives' success. No doubt about it: there's a security leak in the barracks, and everybody suspects the enterprising Sefton -- who manages to obtain all the creature comforts he wants -- of being a Nazi infiltrator. Things get particularly dicey when Lt. Dunbar (Don Taylor), temporarily billetted in Stalag 17 before being transferred to an officer's camp, tells his new bunkmates that he was responsible for the destruction of a German ammunition train. Sure enough, this information is leaked to the Commandant, and Dunbar is subjected to a brutal interrogation. Certain by now that Sefton is the "mole", the other inmates beat him to a pulp. But Sefton soon learns who the real spy is, and reveals that information on the night of Dunbar's planned escape. Despite the seriousness of the situation, Stalag 17 is as much comedy as wartime melodrama, with most of the laughs provided by Robert Strauss as the Betty Grable-obsessed "Animal" and Harvey Lembeck as Stosh's best buddy Harry. Other standouts in the all-male cast include Richard Erdman as prisoner spokesman Hoffy, Neville Brand as the scruffy Duke, Peter Graves as blonde-haired, blue-eyed "all American boy" Price, Gil Stratton as Sefton's sidekick Cookie (who also narrates the film) and Robinson Stone as the catatonic, shell-shocked Joey. Writer/producer/director Billy Wilder and coscenarist Edmund Blum remained faithful to the plot and mood the Donald Bevan/Edmund Trzcinski stage play Stalag 17, while changing virtually every line of dialogue-all to the better, as it turned out (Trzcinski, who like Bevan based the play on his own experiences as a POW, appears in the film as the ingenuous prisoner who "really believes" his wife's story about the baby abandoned on her doorstep). William Holden won an Academy Award for his hard-bitten portrayal of Sefton, which despite a hokey "I'm really a swell guy after all" gesture near the end of the film still retains its bite today. ~ Hal Erickson, Rovi

A semi-sequel to Here Comes Mr. Jordan, Columbia's Down to Earth is a camp- and kitsch-lover's delight. More beautiful than ever, Rita Hayworth stars as Terpsichore, the Goddess of Dance. From her perch Up Above, Terpsichore discovers that Broadway producer Danny Miller (Larry Parks) intends to put together a musical satire, lampooning herself and her fellow Greek Gods. Eliciting the aid of Heavenly emissary Mr. Jordan (Roland Culver, taking over from the earlier film's Claude Rains), Terpsichore descends to Earth in human form, landing a role in Miller's play. Through her bewitching influence, Miller agrees to abandon his plans for a satire, transforming his production into a portentiously serious "work of art"-which lays a large and noxious egg with the opening-night crowd. Somehow, our ethereal heroine manages to set things right, but there's still one nagging problem: Will she, a goddess, ever be permitted to fall in love with a mere mortal like Miller? Repeating their Here Comes Mr. Jordan roles, James Gleason and Edward Everett Horton appear respectively as the eternally flustered Max Corkle (formerly a fight promoter, now a theatrical agent) and the pompous, rule-bound Heavenly messenger #7013. Silly but immensely entertaining, Down to Earth was remade as the sillier but decidedly less entertaining Xanadu in 1980. ~ Hal Erickson, Rovi

The whimsical Oscar Wilde fantasy yarn The Canterville Ghost is updated to WW2 in this economical but attractively produced MGM filmization. Charles Laughton plays Sir Simon de Canterville, a feckless 17th century British aristocrat who, after proving himself a coward on the field of honor, is walled up alive in his own castle by his unforgiving father (Reginald Owen). Sir Simon's ghost is doomed to haunt the corridors of Canterville Hall until one of his descendants performs a conspicuous act of bravery. 300 years later, the castle is billetted by a platoon of American soldiers-one of whom, Cuffy Williams (Robert Young), is of course a distant relation to Sir Simon. The ghost of Canterville Hall does his best to frighten away the American "intruders", but he's a fairly incompetent spirit, incapable of frightening even the young mistress of the castle, 8-year-old Lady Jessica (Margaret O'Brien). Upon learning of his family legacy, Cuffy begins worrying that he, too, will prove to be a coward when the chips are down, but with the help of the Ghost and the stalwart Lady Jessica, Cuffy is able to summon up his innate courage. Sharp-eyed viewers will spot Peter Lawford in a tiny role as Sir Simon's ill-fated brother, and cult figure Tor Johnson as Simon's fearsome jousting opponent. Though never remade theatrically, The Canterville Ghost resurfaced in TV-movie form 1986 and 1996. ~ Hal Erickson, Rovi

In this silly but enjoyable rip-off of Arsenic and Old Lace, Boris Karloff plays an addlepated scientist who is experimenting with bringing the dead back to life. To do this, he has "killed" several travelling salesmen and placed them in suspended animation in his basement. Karloff is fiercely protected by his housekeeper (Maude Eburne), who is none too normal herself. Beauteous real estate agent Jeff Donnell approaches Karloff to buy his New England home; Donnell wishes to turn the ramshackle domicile into a rustic inn. Other visitors to the Karloff manse are Donnell's ex-husband Larry Parks, and the local sheriff/justice of the peace (Peter Lorre)! who holds the high-interest mortgage on the house. Travelling peddler Maxie Rosenbloom also shows up, and is promptly made a subject of Karloff's experimentation. It turns out that Karloff has really killed no one--all the salesmen are merely stunned, especially the dimwitted Rosenbloom--but the plot is complicated by a real murder, committed by person or persons unknown. As the convoluted storyline runs down, the Karloff home is invaded by an Italian P.O.W. (Frank Puglia) who is wired with explosives, and finally by representatives of the local booby hatch. ~ Hal Erickson, Rovi

"Over the hill" at the tender age of 12, Shirley Temple closed out her 20th Century-Fox contract with the musical seriocomedy Young People. After years of trodding the boards in vaudeville, Wendy Ballantine (Temple) and her adoptive parents Joe (Jack Oakie) and Kit (Charlotte Greenwood retire) to a small town so that the youngster can receive a proper upbringing. Alas, the town is full of Babbitt-like bigots who disapprove of "show people", and who make no secret of their desire that Wendy and her family leave town immediately. But when a dangerous storm arises, the courage of Wendy, Joe and Kit-coupled with their rescue of several stranded children-forces the townsfolk to realign their thinking and welcome the family into their fold. The best moments in Young People occur at the very beginning, wherein Shirley Temple literally grows up before the audience's eyes via filmclips from her earlier starring vehicles (watch how Jack Oakie suddenly turns into James Dunn-from the waist down-in a musical number lifted from 1934's Stand Up and Cheer). ~ Hal Erickson, Rovi

Robert Louis Stevenson's adventure tale of a young 18th century boy betrayed by his wicked uncle didn't need a romantic subplot, but that didn't stop 20th Century Fox from including a female love interest (Arleen Whelan). Bypassing that plot point, Kidnapped stars Freddie Bartholomew as the heir to a Scottish estate, whose supposedly beneficent uncle (Reginald Owen) arranges for the boy to be kidnapped and spirited off to sea. The lad is rescued by Scottish rebel leader Alan Breck (Warner Baxter), and together the pair fight against the British Army troops as they head back through Scotland. Baxter doesn't quite liberate his homeland, but Bartholomew sees to it that his uncle gets his just deserts. Kidnapped was remade in 1947 with Roddy McDowell (just old enough to be given a girlfriend of his own by the screenwriters), then twice more in 1960 and 1971. ~ Hal Erickson, Rovi