Virginia Brissac Movies

So often wasted in passive roles, Evelyn Keyes is virtually the whole show in The Mating of Millie. Keyes is cast as pretty businesswoman Millie McGonigle, who hopes to fill a gap in her life by adopting orphan boy Tommy Bassett (Jimmy Hunt, future star of 1953's Invaders from Mars). But this is 1948: self-supporting though she may be, Millie must have a husband to qualify as an adoptive parent. With the help of her neighbor Doug Andrews (Glenn Ford), Millie tries to trap an acceptable hubby. Guess who Millie falls in love with in the last reel. Just guess. Columbia mounted an elaborate and expensive promotional campaign for The Mating of Millie, resulting in excellent returns at the box office. ~ Hal Erickson, All Movie Guide

Even star Joan Bennett and director Fritz Lang regarded The Secret Beyond the Door as the weakest of their collaborative efforts. Bennett plays spoiled socialite Celia, who falls recklessly in love with the handsome but emotionally complex Mark Lamphere (Michael Redgrave, in his first American film). After their wedding, Celia becomes uncomfortably aware that Mark's mild distrust of women is actually a deep-set, and potentially dangerous, hatred. Even when facing the possibility that she'll be murdered in her sleep, Celia remains loyal to her unbalanced husband. The slowly mounting tension is enhanced by the mood-drenched cinematography of Stanley Cortez and the feverish musical score by Miklos Rozsa. But when it's all over, The Secret Beyond the Door fails to linger in the memory in the manner of such earlier Lang-Bennett efforts as The Woman in the Window and Scarlet Street. ~ Hal Erickson, All Movie Guide

"A woman loses her mind and is confined to a mental institution." That's the usual TV-listing encapsulation of The Snake Pit -- and like most such encapsulations, it only scratches the film's surface. Olivia de Havilland stars as an outwardly normal young woman, married to loyal, kindly Mark Stevens. As de Havilland's behavior becomes more and more erratic, however, Stevens comes to the sad conclusion that she needs professional help. She is sent to an overcrowded state hospital for treatment -- a curious set-up, in that, while de Havilland is treated with compassion by soft-spoken psychiatrist Leo Genn, she is sorely abused by resentful matrons and profoundly disturbed patients. Throughout the film, she is threatened with being clapped into "the snake pit" -- an open room where the most severe cases are permitted to roam about and jabber incoherently -- if she doesn't realign her thinking. In retrospect, it seems that de Havilland's biggest "crime" is that she wants to do her own thinking, and that she isn't satisfied with merely being a loving wife. While this subtext may not have been intentional, it's worth noting that de Havilland escapes permanent confinement only when she agrees to march to everyone else's beat. Amazingly, Olivia de Havilland didn't win an Academy Award for her harrowing performance in The Snake Pit (the only Oscar won by the film was for sound recording). While some of the psychological verbiage in this adaptation of Mary Jane Ward's autobiographical novel seems antiquated and overly simplistic today, The Snake Pit was rightly hosannahed as a breakthrough film in 1948. ~ Hal Erickson, All Movie Guide

In this big-budget historical adventure, Tyrone Power stars as Pedro De Vargas, a young and impetuous nobleman in 16th Century Spain. Pedro helps to free a slave who belongs to Diego De Silva (John Sutton), but this proves to be a mistake, as Diego is one of the leaders of the Inquisition. Diego soon brands Pedro a heretic, puts his family behind bars, and subjects his 12-year-old sister to torture so horrible it kills her. An outraged Pedro plots his escape, with the help of his friend Juan Garcia (Lee J. Cobb) and hot-blooded peasant girl, Catana Perez (Jean Peters). Pedro and his friends help his parents make their way out of Spain, and he soon joins forces with Hernando Cortez (Cesar Romero), who has an ambitious plan to sail to the new world in search of gold. However, a vengeful Diego uses his powers to foil Cortez, and when Diego is murdered, Pedro becomes the key suspect in the crime. Captain From Castile was shot on location in Morelos, Mexico, where the active volcano Paricutin slowed production, causing delays that expanded the film's budget to a then-extravagant $4.5 million. ~ Mark Deming, All Movie Guide

"Von Clausewitz said that war is the logical extension of diplomacy; Monsieur Verdoux feels that murder is the logical extension of business." With his controversial "comedy of murders" Monsieur Verdoux, Charles Chaplin makes his final, definitive break with the Little Tramp character that had brought him fame and fortune. Verdoux (Chaplin), a mild-mannered family man of pre-war France, has hit upon a novel method of supporting his loved ones. He periodically heads out of town, assumes an alias, marries a foolish, wealthy woman, then murders her for the insurance money. He does this thirteen times with success, but wife #14, brassy Martha Raye, proves impossible to kill (nor does she ever suspect what Verdoux has in mind for her). A subplot develops when Verdoux, planning to test a new poison, chooses streetwalker Marilyn Nash as his guinea pig. She tells him so sad a life story that Verdoux takes pity on her, gives her some money, and sends her on her way. Years later, the widowed and impoverished Verdoux meets Nash once more; now she is the mistress of a munitions magnate. This ironic twist sets the stage for the finale, when Verdoux, finally arrested for his crimes and on trial for his life, gently argues in his own defense that he is an "amateur" by comparison to those profiteers who build weapons for war. "It's all business. One murder makes a villain. Millions, a hero. Numbers sanctify..." Sentenced to death, Verdoux remains calmly philosophical to the end. As the condemned man walks to the guillotine, a priest prays for God to have mercy on Verdoux's soul. "Why not?" replies Verdoux jauntily. "After all, it belongs to him." The original idea of Monsieur Verdoux originated with Orson Welles, who'd wanted to make a picture about notorious modern "Bluebeard" Landru. Welles wanted to cast Chaplin in the lead; Chaplin liked the idea, but preferred to direct himself, as he'd been doing since 1914. It is possible that Chaplin might have gotten away with the audacious notion of presenting a cold-blood murderer as a sympathetic, almost lovable figure. Alas, Monsieur Verdoux was released at a time when Chaplin was under a political cloud for his allegedly Communistic philosophy; too, it came out shortly after a well-publicized paternity suit involving Chaplin and Joan Barry. Picketed in several communities, banned outright in others, Monsieur Verdoux was Chaplin's first financial flop. Today, it can be seen to be years ahead of its time in terms of concept, even though the execution is old-fashioned and occasionally wearisome. Monsieur Verdoux doesn't always hit the bull's-eye, but it remains one of Charles Chaplin's most fascinating projects. ~ Hal Erickson, All Movie Guide

We prefer Rosalind Russell when she's making us laugh; judging by such films as Mourning Becomes Electra and The Velvet Touch, Russell preferred herself in heavy dramatics. In Sister Kenny, Rosalind Russell is all grim determination and pursed lips as Elizabeth Kenny, tireless battler of infantile paralysis. It is in the Australian outback that nurse Kenny first confronts the debilitating illness. Forsaking her private life (as well as any romantic entanglements), Kenny battles with the medical establishment in order to bring her radical theories towards conquering the disease to the public. Her ultimate triumph is solidified upon the formation of Minneapolis' Kenny Institute. Based on Elizabeth Kenny's autobiography, A solid piece of film craftsmanship, Sister Kenny was the sort of glossy prestige picture that always made Hollywood look good in the eyes of its staunchest critics; it was also the sort of picture that almost invariably lost a fortune at the box office (Sister Kenny took a bath to the tune of $660,000). ~ Hal Erickson, All Movie Guide

In this drama two wandering WW II vets visit the family of a former buddy who had been killed in action. Finding the family nearly destitute and their trucking business on the brink of ruin, the friends decide to stay and help them fight the rival companies behind the mayhem. Unfortunately, the rivals play hard ball and kill the youngest son in the family causing the two vets to combine their know how and fight back in earnest. ~ Sandra Brennan, All Movie Guide

One-time movie song-and-dance man James Dunn won an Academy Award for his "comeback" performance in A Tree Grows in Brooklyn. Based on the best-selling novel by Betty Smith, the film relates the trials and tribulations of a turn-of-the-century Brooklyn tenement family. The father, Dunn, is a likable but irresponsible alcoholic whose dreams of improving his family's lot are invariably doomed to disappointment. The mother, Dorothy McGuire, is the true head of the household, steadfastly holding the family together no matter what crisis arises. The story is told from the point of view of daughter Peggy Ann Garner, a clear-eyed realist who nonetheless would like to believe in her pie-in-the-sky father, whom she dearly loves. Joan Blondell co-stars as the family's brash, freewheeling aunt, whose means of financial support is a never-ending source of neighborhood gossip. This first film directorial effort of Elia Kazan earned a special Oscar for "Most Promising Juvenile Performer" Peggy Ann Garner. A Tree Grows From Brooklyn was remade for TV in 1974, and also served as the basis of a Broadway musical. ~ Hal Erickson, All Movie Guide

In this action western, the notorious Dalton Boys have decided to go straight and move to Argentina. Just before they leave, they learn of a friend whose land is about to be seized by a greedy land company. Before they can help, the man is killed by a company assassin. The brothers do manage to rescue his widow and head for the hills. There, they decide to revert back to outlaw life. Meanwhile, a newspaper publisher's daughter falls for one of the brothers. The boys decide to rob a bank. The robbery goes horribly wrong and three of the four are killed. The remaining brother stands trial and is given a life sentence. The publisher's daughter vows to wait for him. ~ Sandra Brennan, All Movie Guide

In this romantic comedy, set during WW II, an newlywed army couple are unable to consummate their marriage, as on their wedding night the husband is called away to sentry duty. Later they try again, but as he has just completed a 37-mile hike, he finds himself too tired to work up any enthusiasm for conjugal bliss. Fortunately, the bride's understanding aunt intervenes with the young man's colonel and the frustrated couple is at last able to share a night of love. ~ Sandra Brennan, All Movie Guide

The Dolly Sisters is the heavily Hollywoodized biopic of Jennie and Rosie Dolly, Hungarian-born entertainers who took Broadway by storm in the early 1900s. Betty Grable plays Jennie and June Haver plays Rosie; their uncle is the inevitable "funny foreigner" S.Z. Sakall, who manages their career from childhood. Passing an important audition for Oscar Hammerstein, the Dolly girls become international stage headliners, but in so doing they find that their private life is strained. Jennie in particular is perplexed by the dilemma of devoting herself to a career while still finding time to romance handsome composer John Payne. The Dolly girls are separated permanently when Rosie is fatally injured in an auto accident, but Jennie finds lasting happiness with her composer. Despite the pre-World War I ambience of the film, both Grable and Haver show off a lot more skin than would have been permissible in earlier times. But Dolly Sisters producer George Jessel knew what he was doing, and the Technicolor film was a major hit in 1945. ~ Hal Erickson, All Movie Guide

Twentieth Century-Fox couldn't make a film version of Richard Rodgers and Oscar Hammerstein's Oklahoma in 1945--that particular Broadway musical would remain a "hot ticket" until the end of the decade--so the studio did the next best thing by hiring Rodgers & Hammerstein to pen the score for the Technicolorful State Fair. Fox had previously made a non-singing movie of Philip Stong's novel in 1933, with Janet Gaynor and Will Rogers in the leads. The musical remake downplayed the older characters in favor of the younger members of the cast. Set during the annual Iowa State Fair, the story concentrates on the Frakes family: father Charles Winninger, mother Fay Bainter, and grown-up children Jeanne Crain and Dick Haymes. Each has his or her own reason for attending the fair: Winninger intends to win the "prize hog" ribbon, Bainter hopes to defeat her longtime snooty rival in the "best pickle contest" (she wins when the judges get schnockered on the alcoholic "special ingredient" in her pickles), Crain falls in love with fast-talking journalist Dana Andrews, and Haymes woos footloose and fancy-free vocalist Vivian Blaine. Musical highlights include the Oscar-winning "It Might as Well be Spring," "It's a Grand Night for Singing," and the title number. To avoid confusion with the 1962 remake, the 1945 State Fair was for many years retitled It Happened One Summer for TV showings. ~ Hal Erickson, All Movie Guide

Three's a Crowd is the misleadingly lighthearted title for this tense Republic murder mystery. When her fiance is mysteriously killed, heiress Diane Whipple (Pamela Blake) reluctantly agrees to marry Jeffrey Locke (Charles Gordon). Since both Diane and Jeffrey visited the dead man just before the murder, both are under suspicion-and neither completely trusts the other. Screenwriter Dane Lussier characteristically overloads the film with red herrings, misleading clues and surprise plot twists. When it's all over, it's a wonder that even the people on screen know exactly what's happened! ~ Hal Erickson, All Movie Guide