Al Bridge Movies

Columbia Pictures once again trotted out the old tale of rival stage lines competing for the valuable government mail contract in this routine entry in the long-running Durango Kid series. This time, the Halliday stage line of Quanto Basin is all but forced out of business when old man Halliday (Nolan Leary) finds himself falsely accused of killing Dan Waring (Steve Clark), the manager of the competing Brent line. In reality, Brent (Alan Bridge) has been sabotaging Halliday's efforts to win the contract by having Jim McMasters (Mauritz Hugo) and his hired gunmen perform one hold-up after another. Vociferously disagreeing with these methods, Waring was shot by McMasters, who then framed Halliday. Enter Waring's nephew Jeff (Charles Starrett) and his young friend Tex Harding, who quickly side with Halliday's daughter Mary (Carole Mathews) and the only driver left in the company, Cannonball (Dub Taylor). Donning the disguise of noted avenger The Durango Kid, Jeff gets the goods on Brent, who subsequently loses the deciding stagecoach race for the contract. McMasters is revealed as the killer, and Jeff leaves Quanto Basin in the capable hands of Mary Halliday and young Tex. ~ Hans J. Wollstein, All Movie Guide

This sequel to 1943's My Friend Flicka stars Roddy McDowell, recreating his role in the earlier film. The son of a horse rancher (Preston S. Foster), McDowell takes it upon himself to train Thunderhead, a white colt with the same rebellious streak that distinguished its mother (Flicka). Thunderhead helps McDowell round up several horses that had been stolen from his father, and also attracts the attention of a racing aficionado (Ralph Sanford). Once fully grown, Thunderhead indicates that he'd be happier running wild, so McDowell tearfully but proudly gives the horse his freedom. Like My Friend Flicka, Thunderhead, Son of Flicka was based on a novel by Mary o'Hara. The original film would engender one more sequel, Green Grass of Wyoming (48), and later would inspire a brief TV series. ~ Hal Erickson, All Movie Guide

Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making. ~ Linda Rasmussen, All Movie Guide

The Unwritten Code is an offbeat, better-than-average Columbia wartime "B" picture. Though Ann Savage and Tom Neal are top-billed, the central character is supporting-actor Roland Varno. He plays a Nazi spy who sneaks into the U.S., hoping to release hundreds of German prisoners. He fails, but not until plenty of bullets have been spent. The most interesting aspect of The Unwritten Code is the casting of Savage and Neal as the "good" characters: in 1945, these two cult favorites would play the decidedly unsavory protagonists of the film noir classic Detour. ~ Hal Erickson, All Movie Guide

In his second film for producer Sam Goldwyn, Bob Hope is felicitously teamed with luscious Goldwyn contractee Virginia Mayo. Hope plays Sylvester the Great, a two-bit entertainer "touring" the West Indies in the 18th century. Mayo is Princess Margaret, who is kidnapped by a rough, tough buccaneer known only as The Hook (Victor McLaglen). Through a series of unbelievable circumstances, Sylvester rescues Margaret, and the two of them pose as travelling troubadors in a treacherous Pirate colony, where people are stabbed and dumped in the ocean for nonpayment of rent and other such offenses. Disguising himself as The Hook, Sylvester is befriended by corrupt colonial governor La Roche (Walter Slesak), but only until the real Hook shows up. Things look bleak for Sylvester and Margaret, but salvation is on the way-as well as a surprising romantic denoument, when a "bit player from Paramount" (guess who?) shows up to steal the Princess away from Sylvester ("Boy, this is the last picture I make for Goldwyn!") No fewer than six writers teamed up for this Technicolor extravaganza, which though not as consistently hilarious as other Hope farces still holds up beautifully. The best performance is offered by Walter Brennan as an addled pirate named Featherhead, a character right out of a Tex Avery cartoon! ~ Hal Erickson, All Movie Guide

After producing, writing and directing one hit film after another, Preston Sturges finally misfired with the biopic The Great Moment. Sturges was always fascinated with the saga of W.T.G. Morton, the 19th century Boston dentist who, after inventing the first truly effective anesthesia, was forced to give up his proprietary interest in the invention and ended up dying in poverty and obscurity. Joel McCrea stars as Morton, a young oral surgeon determined to find a painless method for exracting teeth-which he does, virtually by accident. Betty Field costars as Morton's faithful spouse Elizabeth, while Sturges regular William Demarest offers a gem of a performance as Morton's best friend-guinea pig Eben Frost (his persistence upon recalling his first meeting with Morton -- "I was in excru-ci-ating pain"-is one of the film's highlights). Completed in 1942, The Great Moment was taken out of Sturges' hands and heavily re-edited and re-arranged by the Paramount executives: as a result, the story is confusing and downright incomprehensible at times (the film's present ending, for example, originally occured in the middle of the film). The result was varying runtimes for the film of 80, 83, 87, and 90 minutes. An enormous box-office flop in 1944, the film proved to be the beginning of the end for Sturges, who was never able to completely recover from its failure. ~ Hal Erickson, All Movie Guide

At 70 minutes, the Roy Rogers musical western Idaho was packaged and promoted as a "special", rather than just another B-flick. The story concerns the efforts by kindly judge Grey (Harry Shannon) to establish a "Boy's Town"-style establishment for wayward youngsters. The judge is opposed by gambling-house proprietress Belle Bonner (Ona Munson), who is a prositute in everything but name. Belle hopes to discredit Grey by revealing the judge's criminal record, but state ranger Roy Rogers comes to the rescue. The climax finds Rogers, heroine Terry Grey (Virginia Grey) and the ex-delinquent kids (played by members of the Robert Mitchell Boy Choir) capturing Belle's bandit gang. Gabby Hayes, Roy Rogers' former sidekick, is conspicuous by his absence in Idaho; Hayes was replaced on this occasion by the ubiquitous Smiley Burnette, as always cast as "Froggy Millhouse." ~ Hal Erickson, All Movie Guide

Best described as "cute," Petticoat Larceny was intended as a showcase for RKO Radio's latest juvenile discovery, 11-year-old Joan Carroll. The story concerns a bratty radio star (Carroll) who wants to inject some blood-and-thunder plotlines and gangster lingo into her broadcasts. To this end, she arranges to be "kidnapped" by a trio of dimwitted burglars, played by Tom Kennedy, Jimmy Conlin and Vince Barnett. When a genuine kidnapper spoils the plan, it's up to the handsome fiancé (Walter Reed) of the girl's aunt (Ruth Warrick) to come to the rescue. This is the sort of film that Late Late Show aficionados never seem to see in its entirety: they usually doze off in the first reel and wake up at fadeout time. ~ Hal Erickson, All Movie Guide

As she burns at the stake, a 17th century witch, Jennifer (Veronica Lake), places a curse on her accuser (Fredric March), so that from this day forward, all of his descendants (each played by him) will be unhappy in marriage. After several hilarious through-the-years examples (the Civil War-era Fredric March runs off to battle rather than endure his wife's nagging), we are brought up to 1942. Wallace Wooley (March) is a gubernatorial candidate, preparing to wed snooty socialite Estelle Masterson (Susan Hayward) -- the well-to-do daughter of a publisher who is backing him. A bolt of lightning strikes the tree where Jennifer had been executed three centuries earlier, thereby freeing the spirits of Jennifer and her warlock father, Daniel (Cecil Kellaway). Wallace meets Jennifer when she materializes in a burning building, obliging him to save her life. The revivified sorceress does everything in her power to induce Wallace to fall in love with her -- even destroying the ceremony in which the wedding is supposed to take place. The attempts succeed, and the two marry, but on their wedding night, Wallace refuses to believe Jennifer's claims that she is a witch. Frustrated, she attempts to convince him by doctoring the gubernatorial election -- in his favor. Based on the Thorne Smith novel The Passionate Witch, the rollicking I Married a Witch can be considered the forerunner of the TV series Bewitched, but only on a surface level. The film had been scheduled to be directed by Preston Sturges and to be released by its producing studio, Paramount; the end result was helmed by René Clair (his second Hollywood film), and was distributed by United Artists. ~ Hal Erickson, All Movie Guide

As for the opening reels, the principal motivating factor is money. After a deliberately confusing pre-credit sequence (not explained until the film's punch line), Tom Jeffers (Joel McCrea) and Gerry Jeffers (Claudette Colbert) are married. "And so they lived happily ever after," exults a title card, "...or did they?" Well, they didn't. After five years of marriage, Tom hasn't raised a dime with his pie-in-the-sky inventions. Using the sort of logic common to Sturges heroines, Gerry decides that the only way to help her husband is to divorce him, marry a wealthy man, and use the second husband's money to finance Tom's schemes. Borrowing money from a generous self-made business mogul known only as the Wienie King (Robert Dudley), Gerry boards a train to Palm Beach, FL, where all the rich folk go. En route, she is "adopted" by the Ale & Quail Club, a group of perpetually drunken millionaires whose idea of a good time is to shoot their rifles at everything that moves (among the club members are such Sturges regulars as William Demarest, Robert Warwick, Jimmy Conlin, Robert Greig, Jack Norton, and Dewey Robinson). Taking refuge from this rowdy crew, Gerry makes the acquaintance of likeable stuffed shirt John D. Hackensacker III (Rudy Vallee), who happens to be one of the wealthiest men in the Western Hemisphere. While Gerry spoons with Hackensacker in Palm Beach, the confused Tom (remember him?) dallies with Hackensacker's man-crazy sister, Princess Centimillia (Mary Astor). How all this straightens itself out is better seen than described, which is pretty much the case whenever one discusses Sturges' singular work, and The Palm Beach Story is vintage Sturges with one side-splitting sequence after another. ~ Hal Erickson, All Movie Guide

Irene Dunne plays a flibbetygibbet socialite who inherits a farm in Arizona. She can't seem to manage either her money or her private life, thus seeks advice from outside sources. Irene falls in love with fledgling Manhattan psychiatrist Patric Knowles, and marries him in the hope that he'll solve all her problems. Lady in a Jam was advertised as one of the most expensive comedies ever made; the studio was banking on the reputations of star Irene Dunne and director Gregory LaCava to draw crowds. But when the film failed (it shifted emotional gears a bit too often for 1942 film fans), both the lady and the gentleman found their careers in "a jam"--from which Dunne recovered but LaCava didn't. ~ Hal Erickson, All Movie Guide

Charles Starrett rides again as the Durango Kid. This time Durango investigates the murder of a town marshal, in which an innocent man has been implicated. In the course of his investigation, Durango becomes the target of the murderers himself. He plays his cards close to his vest and traps the culprits. Bad Men of the Hills was released in Great Britain as Wrongly Accused, deftly disguising the fact that it was a "Yankee" western. ~ Hal Erickson, All Movie Guide

Cecil B. DeMille's Technicolor historical spectacle Reap the Wild Wind was to have starred Gary Cooper, but Cooper's prior commitment to Goldwyn's Pride of the Yankees compelled DeMille to recast the leading role with John Wayne. The film, set in the mid-19th century, centers around Key West, Florida, where piracy reigns unchecked. Wayne plays the captain of a salvage business, working on behalf of Raymond Massey to rescue valuables from the merchant ships wrecked by pirates. During one expedition, Wayne is rescued from drowning by Paulette Goddard, the hoydenish manager of a rival salvage firm. Goddard arranges for Wayne to go to work for her boss, Ray Milland, and a romantic rivalry ensues. Later on, Goddard's cousin Susan Hayward is lost at sea when her ship is attacked by pirates. Wayne is accused of engineering the wreck, thanks to the duplicity of Massey, the real brains of the pirate operation. Wayne and Milland both don deep-sea diving gear and swim to the bottom in search of evidence. When Milland is attacked by an octopus, Wayne saves his rival's life at the expense of his own. Massey is exposed, and Milland wins Goddard. Essentially a standard maritime meller, Reap the Wild Wind takes on the veneer of importance thanks to DeMille's epic treatment of the material. Though competition is fierce, Ray Milland steals the show with a truly offbeat characterization (he even gets to indulge in a little ventriloquism!) ~ Hal Erickson, All Movie Guide