Gene Corman Movies

During World War II, a sergeant tries to lead his division against German commander Rommel in the desert of North Africa. ~ John Bush, Rovi

Samuel Fuller's valedictory war picture, The Big Red One follows the First Infantry Division from Africa to Europe during the years 1942 through 1945. Lee Marvin portrays the division sergeant; he's tough and experienced, to be sure, but he takes on his job with cool professionalism rather than Hollywood bravado. Based on Fuller's own experiences, the film is a loosely constructed series of anecdotes. Among them are an insane asylum under bombardment while the inmates applaud and a climactic vignette in which a very young concentration camp internee dies while a friendly soldier plays piggy-back with the boy. ~ Hal Erickson, Rovi

F.I.S.T. is author Norman Jewison's chronicle of an innocent and idealistic young man corrupted by power and success as seen through the rise of the United States labor movement. Sylvester Stallone plays a Jimmy Hoffa-inspired figure who rises through the union ranks during turbulent labor times. The film begins in 1937 during the burgeoning of the labor movement. Johnny Kovak (Sylvester Stallone) works on the dock unloading trucks for Win Talbot's (Henry Wilcoxon) trucking company. He turns to organizing the truckers for union representative Mike Monahan (Richard Herd). When Monahan is killed in a fight by strong-arm men hired by the company, Johnny becomes involved with Vince Doyle (Kevin Conway), the local gangster. After an angry response by the union, culminating in a massive riot, Johnny firmly aligns himself with Doyle, and the mob gets its meathooks further into the union. Thanks to the infusion of mob support, the union grows rich and powerful, along with Johnny. By the end of the 1950s, Johnny has so much power that he even manages to blackmail international union leader Max Graham (Peter Boyle) out of his job. Johnny is sitting on top of the world -- that is, until crusading United States senator Andrew Madison (Rod Steiger) targets Johnny's union for a federal investigation. ~ Paul Brenner, Rovi

In this violent low-budget actioner from Roger and Gene Corman, two battered prisoners decide they've had enough and attempt to escape the notorious island. Papillon it isn't. ~ Sandra Brennan, Rovi

Featuring an all-African American cast, this crime drama is basically a retread of the movie Get Carter. It is the story of a former football player who has become involved with pornographers and seeks revenge upon the gangster who killed his brother, who in turn was out to avenge the rape of his daughter. ~ Sandra Brennan, Rovi

A teenage runaway gets more than she bargained for when she moves into an old hotel in this wildly offbeat shocker from director Paul Bartel. Cheryl (Ayn Ruymen) fled an unhappy home in Ohio for the sunny skies of California with her best friend in tow; however, after they have a falling out, Cheryl is left with no place to stay. Remembering that her Aunt Martha (Lucille Benson) runs a hotel, Cheryl arrives at the King Edward, a decaying residential inn located in one of L.A.'s less desirable neighborhoods, and persuades Martha to give her a room for a few days. Cheryl soon discovers the King Edward is home to a wide variety of eccentrics -- defrocked priests with muscle-men fetishes, falling-down alcoholics, senile old women, and a voyeuristic photographer named George (John Ventantonio). Cheryl, who indulges her own voyeuristic impulses by sneaking into the rooms of her fellow boarders, is attracted to George and enjoys playing dress-up as he watches her though a peephole, despite Aunt Martha's warnings not to interact with the other guests. But when Cheryl decides to cross the line into physical action with George, she learns his obsessions are more dangerous than she imagined -- and that both he and Aunt Martha have some rather surprising secrets. Private Parts was cult figure Paul Bartel's first feature film; it was produced for MGM, but was released through their Premier Productions subsidiary, perhaps in deference to the film's kinky sexual content. ~ Mark Deming, Rovi

This film of the wartime exploits of Baron Von Richthoven, who was also known as the "Red Baron," was a relatively lavish Corman-brothers production, and is directed by Roger Corman. The film's airborne dogfight sequences are among its most notable features. Vintage World War I airplanes were used, and accidents during filming resulted in one death and several injuries. The evolution of airborne warfare from being a sporting game between gentlemen to its use as an instrument of total war is integral to the story. Von Richthoven (John Phillip Law), who becomes an air ace and an important German hero, was an early aeronautical rival of Hermann Goering (Barry Primus). So important was he to German morale that he was asked to retire from fighting, so that he could assume a position in the post-war German government. He refused, and was killed by a young Canadian (Don Stroud) in an airborne battle. Spookily enough, even though he died in the air, his plane is reputed to have landed intact. ~ Clarke Fountain, Rovi

Arthur Hiller directed this exciting World War II drama starring Rock Hudson as Major Donald Craig of the British North African Army. In 1942, Craig is captured by the Vichy French, rescued by Palestinian Jews, and taken to the headquarters of Col. John Harker (Nigel Green). Harker explains that since Craig is an expert on the desert, he has been recruited to mount a suicidal raid upon the fuel bunkers at Rommel's key source of supplies at Tobruk. In order to get to Tobruk, a band of Palestinian Jews, commanded by Captain Kurt Bergman (George Peppard), will pose as German soldiers escorting a group of British prisoners. Making their way across the Libyan desert, the band endures a series of close calls until two Nazis spies are captured. When the spies suddenly escape, Harker and Craig realize someone in their group is a traitor. But by this point they have reached their destination and have to table the problem of the traitor as they battle the Germans around the fuel depot at Tobruk. ~ Paul Brenner, Rovi

Producer/director Roger Corman briefly abandoned Edgar Allan Poe for The Secret Invasion, a commendable attempt to make a war epic on a "B" budget. The story is a scaled-down precursor to The Dirty Dozen: Five criminals are given a chance at a pardon by agreeing to participate in a suicide mission for British Intelligence. They are smuggled into Yugoslavia (where this film was made) to conduct several commando raids against the Nazi invaders. The quintet is comprised of veterans of internationally-produced war films: Stewart Granger, Raf Vallone, Mickey Rooney, Edd "Kookie" Byrnes and Henry Silva (observe the cast and guess who gets killed first). Corman's skill at generating excitement through quick cutting and careful camera composition is given an exhilarating workout in The Secret Invasion. ~ Hal Erickson, Rovi

Roger Corman's success with low-budget adaptations of Edgar Allan Poe tales continued with this third installment, the first to lack the commanding presence of Vincent Price. Instead, we have Ray Milland as tormented protagonist Guy Carrell, who is so traumatized by the death of his father -- whom he believes was entombed alive after suffering a cataleptic attack -- that he becomes convinced that he will meet a similar demise. Guy's mounting dementia rapidly undermines his recent marriage to the lovely Emily (Hazel Court), particularly after he begins the construction of a specially designed crypt rigged with numerous escape devices. Encouraged by Emily to face his fears, Guy decides to view his father's remains, to prove once and for all whether he died peacefully. When the crypt is opened, however, what he finds there is so horrifying that he succumbs to a cataleptic episode himself, which doctors misdiagnose as a fatal heart attack... and Guy's worst fear soon becomes a reality. Milland's performance conveys the requisite amount of hand-wringing torment (in the mode of The Lost Weekend), even if he fails to capture the manic intensity that Price brought to the other Poe films. Corman's deft direction, employing a rich palette of colors and superb widescreen compositions, is on a par with the series' finest installments. ~ Cavett Binion, Rovi

The Intruder was not only Roger Corman's most daring and unusual film, but a unique movie in the history of cinema, as one of the few theatrical feature films to deal with school desegregation in the South. William Shatner gives the performance of a lifetime as Adam Cramer, a sly, rabble-rousing racist who travels the South in the wake of the Supreme Court's Brown vs. Board of Education decision, fomenting protests and riots and organizing white citizens groups with himself at their head. By turns quietly soft-spoken and boldly charismatic, Cramer arrives in a small town where the local white high school is about to get its first black students and manipulates the men, women, and students around him, quietly taking control of the debate and the agenda, and turning a tense situation into a riot. He's opposed by Frank Maxwell, playing a local newspaper editor who pays a terrible price for his thoughtful and reasonable nature, Jeanne Cooper as a woman whom he tried to seduce, and Leo V. Gordon (in a rare benevolent role) as her husband, a working man without a lot of patience for rabble-rousers. In the end, after maiming one man and nearly killing another, Cramer is stopped when he is exposed for what he is -- weak and pathetic when confronted directly. The film was shot on-location in the South despite the active opposition of local authorities and threats from members of the Ku Klux Klan, and once finished, Corman discovered that there was hardly a theater anywhere in America that was willing to play it, because the movie's subject was so incendiary. Thus, The Intruder became just about the only movie Corman ever made that lost money, and was much more widely seen in Europe, where it was greeted simply as a bold, unusual, and well-made film. For reasons not entirely clear, The Intruder turned up on various "public domain" lists in the early '80s and showed up on different cable channels specializing in such fare, but it was never actually out-of-copyright, and finally surfaced in an authorized DVD edition in April of 2001. In addition to future television star Shatner, the cast includes the future soap opera star Jeanne Cooper. Charles Beaumont, a regular contributor to The Twilight Zone, among other anthology series, and whose novel was the source for the film, portrays the school principal. William F. Nolan and George Clayton Johnson, best-known as the authors of the novel Logan's Run, also play small roles. ~ Bruce Eder, Rovi

Two film neophytes are of note in this otherwise lengthy, routine murder mystery by director William H. Witney -- Peter Falk as Webber, the villain, and Richard Chamberlain as Dean, a younger brother to the main protagonist Mark Christopher (Jeff Richards). Mark and his brother become suspicious about the circumstances of their father's drowning death in the Caribbean. There is no reason why the family boat should have gone down in calm seas, none that seems free of foul play at least. So the brothers take off for the tropical island on which the boat had been moored, anxious to find out what really happened. ~ Eleanor Mannikka, Rovi