Michael Curtiz Movies

Michael Curtiz's The Comancheros was a deceptively complex movie -- so enjoyable, that it masked some of the best character development seen in a John Wayne vehicle that was not directed by John Ford or Howard Hawks, and so well made that it got by with some of the most violent action seen in a major studio release of the era. It also bridged the gap between Ford's The Searchers and the upbeat buddy movies of the late '60s and '70s (The Sting, Butch Cassidy and the Sundance Kid, etc.). It's 1843 in the Republic of Texas, and Jake Cutter (John Wayne) is a two-fisted Texas Ranger who runs across a gang of white renegades, called the Comancheros, who are trading guns and other contraband with marauding Comanches from a secret hideout in Mexico. Substituting for a repentant gun-runner, he goes undercover as a partner with Crow (Lee Marvin), a vicious half-breed who is a contact man with the Comancheros and knows the whereabouts of their hideout in Mexico. But Crow manages to get himself killed, and Cutter is forced to throw in with Paul Regret (Stuart Whitman), a bystander who also happens to be an itinerant gambler wanted for killing a man in a duel in New Orleans, to complete his mission. It turns out that Regret is a more decent man than most, and he and Cutter, despite some different outlooks on right and wrong, take a liking to each other. Their quest eventually takes them south of the border, where they find the Comancheros and their leader, Graile (Nehemiah Persoff), a bitter, brilliant cripple -- think of The Sea Wolf's Wolf Larsen in a wheelchair -- who has established a landlocked pirate society, and his daughter Pilar (Ina Balin). The only thing that keeps Cutter and Regret alive when they enter the camp is that Pilar and Regret have a history, and she still has feelings for him, enough so that she won't tell what she knows about Cutter and who he is. The two men must play on Graile's greed and Pilar's love in the explosive surroundings of the Comancheros' camp, while figuring out a way to stay alive long enough to get word to the rangers about where they are -- and to survive the attack that must inevitably follow.

Director Michael Curtiz was ill for part of the shoot, and Wayne took up the slack, but The Comancheros displays some of the same freewheeling charm and deep passions that informed classic films of his such as Captain Blood, The Adventures of Robin Hood, and The Sea Hawk. Wayne and Whitman between them manage to evoke some of the rambunctiousness of Errol Flynn, and when Balin (one of the sexiest leading ladies ever to grace a John Wayne movie) arrives onscreen, the testosterone level shoots up even higher and the sexual sparks fly. The film's 105 minutes go by very fast, and this is a movie whose ending comes almost too soon. Curtiz's final film is one that leaves audiences with a smile, but also wanting more, which was a pretty good way to go out. John Wayne's daughter, Aissa Wayne (who subsequently went into a law career) appears in a small role. ~ Bruce Eder, Rovi

Based on the Ferenc Molnar play Olympia, A Breath of Scandal serves as an elegant vehicle for a ravishing Sophia Loren. The star plays Princess Olympia, who despite her station in life cannot resist the urge to satisfy her sexual appetites. Exiled to the countryside, Olympia falls in love with American millionaire Charlie Foster (John Gavin). Meanwhile, a marriage of state is arranged between the princess and Prince Ruprecht of Prussia (Carlo Hintermann). Jealous rival Countess Lina (Angela Lansbury) endangers this union by threatening to tell all about Olympia and Foster. A cute, continental plot twist brings this harmless confection to a close. Maurice Chevalier dispenses his usual all-knowing glances and sly smiles as Olympia's understanding father. A Breath of Scandal was directed by Michael Curtiz, who uncharacteristically allows the pace to lag at crucial junctures. Scriptwriter Sidney Howard was credited with the script posthumously, some 21 years after his death. ~ Hal Erickson, Rovi

This undistinguished murder muddle by director Michael Curtis involves an artist and his alcoholic psychologically disturbed wife -- who disappears one day. John Hamilton (Alan Ladd) has retreated to the New England countryside to pursue a potential career as an artist, but his wife Linda (Carolyn Jones) wants to go back to New York. She is observed as being both drunk and a little strange, while John is clearly the anchor in the relationship. When Linda disappears, John is immediately suspected of doing away with his troublesome wife, and so a net of suspicion and circumstantial evidence closes in ever-tightening circles around him. ~ Eleanor Mannikka, Rovi

A gentler but no less resourceful Alan Ladd stars in The Proud Rebel. Ladd is cast as civil war veteran John Chandler, while the star's son David (who grew up to become a powerful Hollywood producer) plays Chandler's emotionally disturbed son David. Since suffering a traumatic shock during the war, David has not spoken a single word. With his son in tow, John wanders the frontier in search of a doctor who might cure David's muteness. Along the way, he runs afoul of sheep baron Harry Burleigh (Dean Jagger), and for a brief period is forced into indentured servitude to pay a debt to farm woman Linnet Moore (Olivia de Havilland). Falling in love with Linnet, John vows to protect her land from the covetous machinations of Burleigh and his brood. It is during the climactic set-to between good guys and bad that David at long last finds his voice again. ~ Hal Erickson, Rovi

Ann Blyth plays famed "torch singer" Helen Morgan, from her humble beginnings as a carnival dancer to the height of her nightclub fame in the 1920s. Helen spends most of her spare time anguishing over the on-and-off affections of her boorish boyfriend (Paul Newman), who had discovered Helen during her carnival days and promoted her to stardom. By 1927, Helen is headlining in her own nightclub, with further fame and fortune greeting her when she is cast as Julie in the blockbusting Broadway hit Show Boat. But when she realizes that her erstwhile boyfriend has been using her as a "meal ticket", Helen turns to drink. Losing her fortune to Revenue agents and the Stock Market crash of 1929, Helen hits rock bottom, ending up in the Bellevue alcoholic ward. Her boyfriend suddenly has a change of heart and declares his love for Helen, arranging for a lavish testimonial in her honor, hosted by Walter Winchell. The film ends at this point, suggesting that Helen Morgan is on the road to lasting success and happiness (tragically not the case in real life). For reasons unknown, Ann Blyth, an excellent singer in her own right, was dubbed in The Helen Morgan Story by songstress Gogi Grant. ~ Hal Erickson, Rovi

The Rudolf Friml operetta The Vagabond King was first filmed in 1930, with Dennis King in the lead. On both sides of this adaptation, audiences were treated to non-singing versions of the story, bearing titles like The Beloved Rogue and If I Were King. In all instances, the plot remained the same: in 15th-century France, irreverent beggar poet Francois Villon, crowned "king for a day" by capricious Louis XVI, patriotically rallies his fellow beggars to pick up their weapons when Paris is invaded by the Burgundians. In the 1956 remake of Vagabond King, new "singing sensation" Oreste (of whom little was heard afterwards) stars as Villon, with Cedric Hardwicke as the droll, doddering King Louis, Kathryn Grayson as the high-born heroine, and Rita Moreno as the lusty low-born wench whose love for Villon eventually costs her the use of her life. Vincent Price narrates the film, which if nothing else is elaborately mounted and colorfully photographed. Sharp-eyed viewers will be able to spot Phyllis Newman, whose meaty supporting role was pared down to a one-line bit in the release prints. ~ Hal Erickson, Rovi

Samuel and Bella Spewack's English adaptation of French playwright Albert Husson's morbidly humorous stage piece My Three Angels was brought to the screen as the heavily laundered but still wickedly funny We're No Angels. The scene is French Guiana, a few days before Christmas. Humphrey Bogart, Peter Ustinov and Aldo Ray play three Devil's Island "lifers" who escape from the infamous prison and hide out amongst the free colonists. In need of clothing and money, the trio makes plans to rob milliner Leo G. Carroll and his family. "We'll cut their throats for a Christmas present", Bogie, a convicted forger, remarks laconically. "That might spoil one's belief in Santa Claus" replies philosophical wife-murderer Ustinov. The three escapees are deflected from their larcenous intent when they grow fond of Carroll, his wife Joan Bennett and their daughter Gloria Talbott. Discovering that Carroll is on the verge of bankruptcy, the convicts offer their services as household help (the sight of Bogie in an apron is worth the admission price in itself). Complications ensue when Carroll's nasty, wealthy cousin Basil Rathbone comes calling to audit the store's books. Not wishing to see the family evicted, the convicts calmly discuss the possibilities of murdering the troublesome Rathbone. They are saved the trouble when Adolphe, the pet poisonous snake owned by Ray, slithers out of its box and accomplishes what the convicts had only contemplated. Adolphe also helps smooth the path of happiness for Carroll's daughter Gloria, who thinks she's in love with Rathbone's duplicitous nephew John Baer. From all reports, the set of We're No Angels was a happy one, a fact reflected in the warm, engaging performances of its stars. The film represented the final screen collaboration between star Humphrey Bogart and director Michael Curtiz. ~ Hal Erickson, Rovi

White Christmas, Paramount's belated follow-up to the 1942 hit Holiday Inn, was the studio's first VistaVision production. A veritable warehouse full of oldie-but-goodie Irving Berlin tunes are woven into the film's simplistic plotline, along with a handful of new songs, of which "What Can You Do With a General?" is the least memorable. Bing Crosby and Danny Kaye (replacing an ailing Donald O'Connor) play nightclub entertainers Bob Wallace and Phil Davis, while Rosemary Clooney and Vera-Ellen are cast as singing-sister act Betty and Judy. The foursome travel to Vermont to visit Bob and Phil's WII commanding officer, General Waverly (Dean Jagger, who looks and sounds like Dwight D. Eisenhower!), who now runs a rustic old inn. Discovering that the general is in dire financial straits, the four entertainers secretly make plans to bail the old guy out with a big musical show, enlisting the aid of Bob and Phil's army buddies. Corny in the extreme, White Christmas evidently struck a responsive note with film fans; it was the high-grossing picture of 1954, and a decade later proved to be a ratings bonanza when it was given its network-TV premiere. Of the four stars, Crosby comes off best, especially when singing the title song at the beginning and end of the film; Kaye is a bit overshadowed this time out, though he's quite funny camping it up in a "drag" version of Irving Berlin's "Sisters." Still a big favorite on the home-video circuit, White Christmas may not be the best Bing Crosby musical on the market, but it's certainly one of the most heartwarming. ~ Hal Erickson, Rovi

"Winning isn't everything -- it's the only thing." These words were spoken not by Green Bay Packers coach Vince Lombardi but by Steve Williams, the fictional college athletics instructor played by John Wayne in Trouble Along the Way. Recently divorced, Williams has trouble finding a job due to his inability to get along with his superiors. If he doesn't find work soon, he'll lose custody of his daughter Carole (Sherry Jackson). Meanwhile, St. Anthony's College, heavily in debt, may have to close its doors. Father Burke, rector of St. Anthony's, reasons that the school could get back on its feet if it had a winning football team, thereby securing the support of the alumni. Thus, against his better judgment, Father Burke hires the troublesome Steve Williams, who'll stop at nothing to assemble a winning team. Somehow, Williams has to turn into a regular human being, and that's where social worker Alice Singleton (Donna Reed) comes in. More sentimental than most Wayne vehicles, Trouble Along the Way is well worth the ride. ~ Hal Erickson, Rovi

This simplified (but lavish) remake of the 1933 melodrama The Mystery of the Wax Museum was the most financially successful 3-D production of the 1950s. In his first full-fledged "horror" role, Vincent Price plays Prof. Henry Jarrod, the owner of a wax museum, whose partner, Matthew Burke (Roy Roberts), intends to burn the place down for the insurance money. When Jarrod tries to prevent Burke from torching the museum, he himself is trapped in the conflagration. Years pass: though now confined to a wheelchair, Jarrod manages to open up a new museum in New York, boasting the most incredibly lifelike wax statues ever seen. At the same time, a masked prowler has been stalking the city, murdering people and then stealing their bodies from the mortuary. One of the victims is Jarrod's old nemesis Burke; another is Cathy Gray (Carolyn Jones), the roommate of art student Sue Allen (Phyllis Kirk). On a visit to the wax museum, Sue can't help but notice that the wax likeness of Joan of Arc is a dead ringer for her deceased friend Cathy -- while the courtly Jarrod declares joyously that Sue is the living image of Marie Antoinette. Guess where this is going to wind up? Frank Lovejoy and Paul Picerni co-star as the nominal heroes, while Charles Bronson -- still billed as Charles Buchinsky -- is a menacing presence as Jarrod's deaf-mute chief sculptor (appropriately named "Igor"). No opportunity to show off the 3-D process is wasted during House of Wax; the most memorable stereoscopic moments are provided by garrulous "paddle-ball man" Reggie Rymal. Ironically, Andre De Toth, the film's director, had only one good eye, and had to constantly ask his cast and crew if the various 3-D effects had come off properly. ~ Hal Erickson, Rovi

The ultra-sentimental I'll See You in My Dreams is based on the life and work of composer Gus Kahn. The story is told from the point of view of Kahn' wife Grace, who was still alive when the film was made (Kahn died some ten years earlier). Danny Thomas stars as the prolific tunesmith, whose fortunes take an upswing in 1908 when he meets and falls in love with Grace LeBoy (Doris Day, who receives top billing, not to mention most of the best musical numbers). Kahn's career ascends to spectacular heights via such hits as "Pretty Baby", "My Buddy", "Toot Toot Tootsie" and "Making Whoopee", only to go into eclipse when he loses his savings in the 1929 stock-market crash. Convinced that he's lost his touch and that he's sacrificed true happiness to the evil goddess success, Kahn is ultimately gratified by the love and recognition of his peers. Among the famous personages imitated in I'll See You In My Dreams are Kahn's writing partner Walter Donaldson (Frank Lovejoy) and producers Sam Harris (Jim Backus) and Flo Ziegfeld (William Forrest). ~ Hal Erickson, Rovi

Burt Lancaster stars as Jim Thorpe, the Native American sports whiz whom many consider the greatest athlete of the 20th century. We first see Thorpe as a child on the reservation, highly resistant to the notion of going to school. He proves to be an excellent student, eventually attending the all-Indian college in Carlisle, Pennsylvania. Still, Thorpe doesn't feel like mixing much with the other students until coach Charles Bickford encourages the lad to go out for the track team. Thorpe finds that he can be more "articulate" as an athlete than as a scholar, and soon excels at all school sports. He also marries his college sweetheart, non-Indian Phyllis Thaxter. After graduation, Thorpe tries to get a coaching job, but is frozen out by the white establishment. Determined to make a name for himself, he enters the 1912 Olympics at Stockholm, where he earns more gold medals than anyone else and is praised as the world's greatest athlete by the King of Sweden. Unfortunately, the fact that Thorpe briefly played semi-professional baseball while attending Carlisle costs him his amateur status--and every one of his medals. Things go from bad to worse for Thorpe after this; his son dies, his marriage disintegrates, and he crawls into a bottle. Thorpe has hit rock bottom when he is reunited with his old coach Bickford, who offers Jim a ticket to the 1932 Olympics in Los Angeles. It is the first small step on the road to regeneration for Jim Thorpe (alas, real life was not so kind; Thorpe died in near-poverty, and it was not until years after his death that his Olympic medals were restored). Jim Thorpe, All American was directed by Michael Curtiz, who previously had secured small acting roles for the real Thorpe in such films as Knute Rockne: All American (1940). ~ Hal Erickson, Rovi

This second screen version of Ernest Hemingway's To Have and Have Not is closer in spirit to the original than the first version, though it still is far from faithful to its source. John Garfield stars as Harry Morgan, who has metamorphosed from Hemingway's gun-runner to an ex-PT boat captain, now running a charter boat service in Southern California. Deeply in debt, Morgan agrees to smuggle aliens and later tries to sneak a bunch of gangsters out of the country. By the time he's been given a wake-up call by his conscience, Morgan has caused the death of a close friend. Patricia Neal and Phyllis Thaxter make the most of their limited footage as, respectively Harry Morgan's casual mistress and faithful spouse. Many critics feel that The Breaking Point represents Michael Curtiz' finest directing job--no small praise for a man who helmed such classics as Casablanca and Yankee Doodle Dandy. ~ Hal Erickson, Rovi