Peter Breck Movies

Deadline at Dawn represented not only the sole film directorial effort of Broadway's Harold Clurman, but also the only cinematic collaboration between Clurman and his former Group Theatre associate, screenwriter Clifford Odets. While on shore leave in New York, sailor Alex (Bill Williams) is slipped a doped-up drink by B-girl Edna (Lola Lane). When he awakens, Alex discovers that she has been murdered. Though he believes that he's the killer, our hero is talked into locating the actual miscreant by philosophical cab driver gus (Paul Lukas) and nightclub dancer June (Susan Hayward). Adapted from a novel by Cornell Woolrich, Deadline at Dawn leans towards pretentiousness at times, but is redeemed by the no-nonsense performance by Susan Hayward. ~ Hal Erickson, All Movie Guide

Paladin (Richard Boone) comes to the defense of a strong-willed schoolteacher named Molly Stanton (Marian Seldes). It seems that Molly has been instructing her pupils in the facts concerning an infamous band of Civil War vigilantes, incurring the wrath of several former members of the organization who have threatened to burn the schoolhouse down unless the teacher retracts her statements. This is one of several episodes wherein Paladin surreptitiously acts as spokesman for all those blacklisted filmmakers who had been denied the right of free speech during the "Red Scare" of the 1950s. Among the child actors appearing as the schoolkids is Lana Wood, the younger sister of film star Natalie Wood. ~ Hal Erickson, All Movie Guide

Robert Mitchum (who also wrote the story and served as executive producer) stars in Thunder Road as Lucas Doolin, a Korean War veteran who returns home and promptly rejoins the family's bootlegging business. His father, Vernon (Trevor Bardette), runs the still and heads the family, while Lucas handles the driving and transporting of the moonshine (mostly to Memphis), and his younger brother, Robin (James Mitchum), takes care of the car he uses to outrun the competition and the Treasury agents; and their mother, Sarah (Frances Koon), keeps the home. Lucas is a better driver than anyone around, and he and Robin have rigged a few tricks on the car that surprise the Treasury men -- but Robin is nearly 17 and tired of just working under the hood; he wants to drive like Lucas. Lucas doesn't want his brother to become a transporter, though, preferring that the teenager stay in school and stay straight with the law. But Lucas is pretty easy to idolize, looked up to by most of their neighbors for his driving skills, among other attributes, and the object of affections of lots of women between Harlan and Memphis, most especially teenaged neighbor Rozanna Ledbetter (Sandra Knight). He appreciates her admiring and lustful gaze, though he has all the woman he can handle and wishes that she were that interested in Robin, who's her own age and just as attracted to her in his own awkward way. Lucas and his family have always been able to outrun the revenue agents, even with a new man, Troy Barrett (Gene Barry), assigned to the territory and out to get him -- they're dedicated and tough, but they're not killers. However, now they're hearing of a new threat in the guise of a Memphis-based gangster named Carl Kogan (Jacques Aubuchon), who wants to take over the Doolins' operation and all the other moonshining activity in Harlan County. He's already offered a lot of money, but the Doolins and most of their neighbors running stills are too independent for that, and now he's sending in muscle, and that gets a young neighbor of theirs (Jerry Hardin) killed. But Lucas was pretty tough before the war, and he learned a thing or two about combat in Korea, and is not about to let either revenue agents or a bunch of strong-arm men from the city get in his way, and he has the car and the firepower to back up those sentiments.

When Kogan goes too far and kills a Treasury man, Lucas also picks up an unintended ally in agent Barrett, whose highest priority becomes indicting Kogan. The problem is that indictments and prosecutions aren't what Lucas is about -- he means to meet shot-for-shot and take more personal action, especially when his family becomes involved in Kogan's machinations. One thing he always swore to any and all within hearing range was that he'd keep Robin from becoming a transporter, and kill anyone who tried to make him one. And when Kogan manipulates a situation where Robin is lured into driving, Lucas means to make good on that vow. Director Arthur Ripley (1895-1961), a music and dance student-turned-editor-turned-gagman and short-subject specialist and academic (whose preceding feature film, 12 years earlier, had been the eerie Cornell Woolrich-based thriller The Chase), working in tandem with second unit directors James Casey and Jack Lannan and second unit photographer Karl Malkames, keeps the action moving at a brisk pace. Robert Mitchum is the center of gravity to the movie, though, which contains the quintessential Mitchum performance, the actor making his work look so easy that he could almost seem lazy if he weren't so magnetic in the role. He helped make Thunder Road into a national success, but the movie always had an extra-special resonance in the South, where it was shot and set. Thunder Road continued to generate annual five- and six-figure ticket sales from drive-ins in the border and Southern states for 25 years after its original release, a factor that caused United Artists and its successor organizations to purposefully delay its release on home video until the end of the 1980s. ~ Bruce Eder, All Movie Guide

Learn the grim truth about the lifestyles of those colorful beatniks in this exploitation drama that tells the story of a naive aspiring performer who meets an agent who promises to make him a star. Unfortunately, when the young man's friend murders someone, his dreams are shattered. ~ Sandra Brennan, All Movie Guide

Bart (Jack Kelly) is determined to force George Parker (Alan Hewitt), the crooked town boss of Parkersville, to repay an outstanding gambling debt. Hoping to get rid of his nemesis without getting his own hands dirty, Parker prevails upon the notorious gunslinger Doc Holliday (Peter Breck, making his first appearance in this role) to kill Bart. But Holliday turns out to have an agenda of his own: He takes out a huge life insurance policy on Mr. Maverick--knowing full well that Parker owns the insurance company. ~ Hal Erickson, All Movie Guide

Once again, Bart (Jack Kelly) wins big in a poker game. And once again, his prize is not a pile of cash but instead a piece of property--in this case, a bank. What Bart doesn't know is that the bank is about to go bust...and there are quite a few gun-toting depositors who will be sorely annoyed when their assets disappear. Featured in the cast as Blackjack Carney is Frank DeKova, who went on to play the timorous Indian chief Wild Eagle on F Troop. ~ Hal Erickson, All Movie Guide

To square a gambling debt, Bart Maverick (Jack Kelly) is forced to take the job of marshal in a dusty frontier town. Before long, Bart runs up against a local joker named Archie Walker (John Dehner), who gets his kicks by posing as various famous gunslingers. Right now, Archie is claiming to be none other than Wyatt Earp--a guise that may prove detrimental to everyone's health when the real Wyatt Earp (Med Flory) shows up. ~ Hal Erickson, All Movie Guide

The final episode of Maverick finds Bart Maverick (Jack Kelly) crossing the path of his brother Bret's old nemesis Modesty Blaine (played in earlier episodes by Mona Freeman, and here enacted by Kathleen Crowley). Hoping that Bart will marry her, Modesty goes ballistic (even though that word didn't exist in the 1870s) when he turns her down--and to get even, she tells the authorities that Bart tried to "have his way" with her. Somehow or other, all this nonsense is prelude to the climactic sequence, in which both Bart and Modesty are key players in a spectacular train robbery, which also involves real-life luminaries Diamond Jim Brady (Barry Kelley) and Doc Holliday (Peter Breck). ~ Hal Erickson, All Movie Guide

A young woman named Linda (Antoinette Bower) arrives in the town of Ladera, claiming to be the daughter of wealthy Addison Blake--who died seven years earlier, presumably a bachelor. Floyd Grant (played by Bill Williams, in real life the husband of Perry Mason costar Barbara Hale) insists that he has documented proof that Linda is a phony, but apparently doesn't trust the local DA to do anything about it. Otherwise, why would Grant arrange for Linda to be killed in an "accidental" explosion at the Ladera dairy? As it turns out, Grant is the one who ends up dead, and Perry Mason (Raymond Burr) is called upon to defend Linda on a murder charge. ~ Hal Erickson, All Movie Guide

Shock Corridor represents filmmaker Samuel Fuller at his most excessive, but few would have it otherwise. Peter Breck plays a ruthless journalist who believes that the quickest way to a Pulitzer Prize is to uncover the facts behind a murder at a mental hospital. To glean first-hand information, Breck pretends to go insane and is locked up in the institution. While pursuing his investigation, Breck is sidetracked by the loopy behavior of his fellow inmates. During a hospital riot, Breck is straightjacketed and subjected to shock treatment. By now almost as crazy as he's previously pretended to be, Breck begins imagining that his exotic-dancer girlfriend Constance Towers (a Samuel Fuller "regular") is actually his sister! Typical of the Fuller ouevre, the characters in Shock Corridor are either saved or destroyed by their individual obsessions. ~ Hal Erickson, All Movie Guide

Recovering alcoholic William Sherwood (Peter Breck) falls off the wagon when he sees his wife Ruth (Janet Dey)--who was supposed to have died five years ago! Later, Sherwood finds Ruth's body--again--and calls Perry Mason (Raymond Burr) for help. He'll need all the help he can get: with his bloody fingerprints all over the murder scene, Sherwood is charged with his wife's murder (and she's dead for keeps this time). ~ Hal Erickson, All Movie Guide

The Big Valley was the last major successful network Western series of the 1960s, running four seasons, from 1965 through 1969; none of the others that came after it, Branded, Hondo, Lancer, etc., even came close to that kind of longevity. Most of its appeal, besides high production values, lay in its casting and the starring role played by Barbara Stanwyck (or "Miss Barbara Stanwyck" as she was referred to in the credits) as Victoria Barkley, the matriarch ruling over a huge ranch outside of Stockton, CA, and the San Joachin Valley. Stanwyck was also a partner in the series' production company, Four Star. The Big Valley opens in the year 1876, six years after the death of Victoria's husband, Thomas Barkley, who was shot to death amid a battle with the railroad, and in the first episode the railroad is once more trying to take the land of the homesteaders adjacent to the Barkley ranch. The series' model was very obviously Bonanza (along with elements of the movie Duel in the Sun), which, with a relatively inexperienced cast, was already a hit in its fourth season at the time this series was conceived. The sensibilities of the period being what they were, Victoria Barkley could not have produced four siblings from different husbands, as Lorne Greene's Ben Cartwright had by different wives on Bonanza -- but her offspring were still as varied as the Cartwright family. The Barkleys, in the opening, include three brothers, Jarrod (Richard Long), the oldest and the lawyer, mature and deliberative; Nick (Peter Breck), the ramrod of the ranch, bold but also very hot-tempered; and Eugene (Charles Briles), the youngest, who looks up to both of his brothers (who goes off to college and, after the first season, is never seen or mentioned again); and one daughter, Audra (Linda Evans), who is by turns spoiled and vulnerable, and solitary.

In the first episode, a mysterious young man named Heath (Lee Majors) arrives at the ranch, claiming to be Tom Barkley's illegitimate son -- which sends Nick into a rage that nearly has him killing the visitor, until he joins the Barkley brothers in defending their neighbors from the railroad. The Barkley ranch may not have been as big as the Ponderosa on Bonanza, but it was just as attractive to would-be interlopers and troublemakers, and across four seasons the series managed to put some fresh twists on a lot of Western conventions, mostly by virtue of what Stanwyck's presence allowed in the way of scripting. With more acting and filmmaking experience than the rest of the cast combined, she could put her own stamp and fresh, interesting interpretations on stories as old as the "Vanishing Lady" ("The Disappearance") -- the same story that inspired Hitchcock's The Lady Vanishes -- and even prison stories ("Four Days to Furnace Creek") in later seasons. The other prime actor in the series was, oddly enough, Lee Majors, who, at the outset of his career, understood the notion of less being more. His approach to the role of Heath in the first seaon is reminiscent of Steve McQueen with a touch of James Dean and Dennis Hopper. Whereas Richard Long did his best with a role that was usually fairly dullish, Breck tended to overact in his role, which, when it wasn't very physical, tended to get difficult speeches that required more subtlety than he had as an actor. As for Linda Evans, she was so untrained as an actress that she was actually occasionally interesting to watch in her scattershot approach to the role, which, as a solitary romantic dreamer, lent itself to a certain amorphous quality. To the audience's relief, she also got better during the later seasons of the show and was a fully competent actress by the series' end.

The first season of the series was devoted principally to establishing who the Barkleys were, the dimensions of their 30,000-acre ranch (which, in addition to cattle, included a mine, timber, a vineyard, orange groves, and -- in keeping with the sensibilities of the mid-'60s -- included at least one black ranch hand), and establishing the characters' individual personalities. Stanwyck evidently believed that scarcity created demand, and in many of the episodes, her work was confined to no more than two or three major scenes, enough to keep audiences satisfied while not overexposing her on the small screen. By the end of the season, youngest son Eugene was gone from memory and Jarrod, Nick, Heath, and Audra were the focus of the series, along with Victoria. The series was the creation of renowned author A.I. Bezzerides and Louis F. Edelman, and produced by Arthur Gardner, Arnold Laven, and Jules Levy. ~ Bruce Eder, All Movie Guide

In the conclusion of a three-part story, Jason McCord (Chuck Connors) manages to lure a gang of Mexican bandits into a trap at a US Army post, as part of his undercover mission on behalf of President Grant. Unfortunately, Jason is unable to convince the post's commanding officer Major Whitcomb (Wendell Corey), that he himself is not a bandit. Savoring the opportunity of executing "the coward of Bitter Creek", Whitcomb turns down McCord's demand to contact the President's office in Washington--and as time runs short, Jason must place his life is in the hands of the condemned Mexicans, the only ones in the fort who know the whole story. Unlike the rest of Branded's first-season episodes, "The Mission" was filmed in color (though whether or not it was originally broadcast in color is still a matter of dispute). ~ Hal Erickson, All Movie Guide