Richard Day Movies

The TV movie Tribes struck a responsive chord with young TV hounds of the early 1970s. Jan-Michael Vincent plays a long-haired hippie who, despite his anti-war sentiments, ends up in the Marines. Though forced to endure the torture of a buzz-cut, Vincent remains flippant and rebellious. Nail-hard drill instructor Darren McGavin is determined to "break" Vincent and transform him into a lean, mean fighting machine. It was all done before in Jack Webb's 1957 theatrical feature The DI, but Tribes had a timeliness lacking in the earlier film, thanks to the ongoing Vietnam crisis. Tracy Keenan Wynn (son of Keenan, grandson of Ed) and Marvin Schwartz won Emmy Awards for their teleplay. A big ratings success when it first aired November 10, 1970, Tribes was later released theatrically in England and Europe under the title The Soldier Who Declared Peace. ~ Hal Erickson, All Movie Guide

On California's Malibu Beach in the late 1960s, young people are enjoying a life with few responsibilities and plenty of romantic opportunities. Denny McGuire (Michael Sarrazin) is a beach bum without ambition. His roommate Collie Ransom (Tony Franciosa) is a professional tennis player who soaks up the admiration of other beach dwellers. Denny is attracted to Vickie Cartwright (Jacqueline Bisset), a mostly-out-of-work actress, and would like to settle down with her, but she is more enamored with a series of meaningless sexual encounters with men she meets on the beach or during acting jobs. The film turns more serious with the brutal beating death of Vickie. Denny pulls himself together and decides to become a more responsible adult by taking a job at a hardware store. Also working there is Choo-Choo Burns (Bob Denver), an off-the-wall jazz pianist. Choo-Choo joins Denny and Collie as another roommate. Pop music is provided by the San Francisco psychedelic band Moby Grape and the British balladeer Dusty Springfield. The script by Tom Mankiewicz was based on a novel by William Murray. ~ Michael Betzold, All Movie Guide

Filmmaker George Stevens chose Monument Valley, Utah for his exterior sequences in The Greatest Story Ever Told, this ($20 million) adaptation of Fulton Oursler's best-selling book. The "Greatest Story" is, of course, the life of Jesus Christ, played herein by Max Von Sydow. The large supporting cast includes Dorothy McGuire as Mary, Claude Rains as Herod the Great, Jose Ferrer as Herod Antipas, Charlton Heston as John the Baptist, Donald Pleasence as Satan (identified only as "The Dark Hermit"), David McCallum as Judas Iscariot, Sidney Poitier as Simon of Cyrene, Telly Savalas as Pontius Pilate and Martin Landau as Caiaphas. Even Robert Blake as Simon the Zealot, Jamie Farr as Thaddaeus, and motorcyle-flick veteran Richard Bakalyan as Dismas, the repentant thief, are well-suited to their roles. Originally roadshown at 260 minutes, Greatest Story Ever Told was later available in a 195-minute version. ~ Hal Erickson, All Movie Guide

George Axelrod's Goodbye Charlie flopped on Broadway with Lauren Bacall in the lead, but fared a little better as a film vehicle for Debbie Reynolds. Charlie (Harry Madden) is an inveterate philanderer who is shot dead by jealous husband Walter Matthau. Through a celestial fluke, Charlie's soul enters the well-rounded body of Debbie Reynolds. In this form, Charlie/Debbie seeks to settle old scores with her murderer as well as several other enemies. As if these aren't complications enough, Charlie's best friend Tony Curtis falls in love with Debbie, knowing full well that Debbie isn't really Debbie. If you liked Goodbye Charlie once, you'll love it twice: Blake Edwards retooled the whole megillah for Ellen Barkin, added a trendy feminist underlining, and came up with Switch (1991). ~ Hal Erickson, All Movie Guide

Produced and directed by Otto Preminger, Exodus is a 212-minute screen adaptation of the best-selling novel by Leon Uris. The film is concerned with the emergence of Israel as an independent nation in 1947. Its first half focuses on the efforts of 611 holocaust survivors to defy the blockade of the occupying British government and sail to Palestine on the sea vessel Exodus. Paul Newman, a leader of the Hagannah (the Jewish underground), is willing to sacrifice his own life and the lives of the refugees rather than be turned back to war-ravaged Europe, but the British finally relent and allow the Exodus safe passage. Once this victory is assured, 30,000 more Jews, previously interned by the British, flood into the Holy Land. ~ Hal Erickson, All Movie Guide

Never Love a Stranger--especially if it's young hoodlum Frank Kane (John Drew Barrymore). When it is discovered that his natural parents were Jewish, Kane is removed from the Catholic orphanage that has been his only home. Seething with resentment, he vows to succeed at gangsterdom. He rises spectacularly to the top before his inevitable downfall-and has a high old time doing so. The basis for Never Love a Stranger was a Harold Robbins novel, which obviously drew upon actual people and events; it's quite entertaining to guess who the fictionalized characters are supposed to be. Of the stellar supporting cast, Robert Armstrong is a standout as a soft-spoken gunman. ~ Hal Erickson, All Movie Guide

Upon beginning production on his Korean-war drama I Want You, producer Sam Goldwyn lamented "I've just brought those boys back from the war, and now I have to send them out again!" Goldwyn, of course, was referring to his Oscar-winning "homecoming" drama Best Years of Our Lives. He'd hoped that I Want You would be 1951's "answer" to that post-WW II classic, and while the later film falls short of that goal, it still has much to recommend it. The scene is a small town in the Eastern United States, where the outbreak of hostilities in Korea has a profound effect on several people. WW II veteran Martin Greer (Dana Andrews) wants to re-enlist, much to the dismay of his wife Nancy (Dorothy McGuire). Draftee Jack Greer (Farley Granger) fears that his military service will permanently shelve his plans to marry Carrie Turner (Peggy Dow). Jack's mother Sarah (Mildred Dunnock), having already lost one son in the war, resents the pro-American jingoism of her husband Thomas (Robert Keith). And George Kress, Jr. (Martin Milner) must contend with his possessive father George Kress, Sr. (Walter S. Baldwin), who'll do anything to keep his son out of uniform (Incidentally, both Dana Andrews and Walter S. Baldwin had previously appeared in Best Years of Our Lives). Screenwriter Irwin Shaw adapted I Want You from a series of human-interest articles by Edward Newhouse, which first appeared in The New Yorker. ~ Hal Erickson, All Movie Guide

Joyfully preparing for her high-school graduation, and her 18th birthday, Gail Macauley (Ann Blyth) stumbles across a family secret. Contrary to what she's been raised to believe, Gail's parents (Jane Wyatt, Donald Cook) are not her biological parents; she was adopted. Setting a precedent that would be followed by many adoptees of the 1970s and 1980s, Gail will not rest until she tracks down her natural mother. A soap opera deluxe, Our Very Own should not be too closely scrutinized in terms of plot and logic. It is best to revel in the performances by such surefire veterans as Ann Dvorak (as Gail's biological mother) and Gus Schilling (as a flustered television installer), and by such talented "youngsters" as Joan Evans, Phyllis Kirk and Natalie Wood. And as a bonus to Baby Boomers, the film offers a glimpse of the legendary "Indian Head" TV test pattern (yes, it goes back that far!) Our Very Own was written by F. Hugh Herbert, produced by Sam Goldwyn, and directed by David Miller, none of whom make a false move throughout the film's 93 minutes. ~ Hal Erickson, All Movie Guide

Producer Samuel Goldwyn dishes up sentiment by the bowlful with My Foolish Heart. Susan Hayward is (somewhat unconvincingly) cast as a wide-eyed girl from Idaho who meets bon vivant Dana Andrews at a Manhattan party. Their brief affair results in a pregnancy, but since Andrews has been killed in the war, Hayward marries a man she doesn't love to give her child a name. The experience turns the girl into an embittered alcoholic, but she sees the light before she can cause grief for her baby. Based on a story by J. D. Salinger (the only one of this reclusive author's stories ever translated to film), My Foolish Heart strains credulity to the breaking point, but was popular enough to yield a hit title song, which is still a standard on "easy listening" FM radio stations. ~ Hal Erickson, All Movie Guide

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, All Movie Guide

A woman looks back at her childhood in show business in this musical comedy. At the turn of the century, Myrtle McKinley (Betty Grable) is working her way through business school and gets a job dancing at a San Francisco vaudeville house. She meets fellow hoofer Frank Burt (Dan Dailey), and they soon fall in love. Marriage follows, and Myrtle and Frank begin performing a song and dance act on the road. Myrtle leaves the act when she becomes pregnant with the first of two children, but when the kids are old enough to go out on tour, she and Frank work them into the act, and they learn to live out of a suitcase like their parents. Years later, Iris (Mona Freeman) and Mikie (Connie Marshall) are attending college when they learn that Mom and Dad have pulled their act out of mothballs -- and are booked to perform at a theatre near their campus. Mother Wore Tights won an Academy Award for Best Musical Score, and it was nominated for Best Song ("You Do") and Best Color Cinematography; the great Mexican ventriloquist Senor Wences appears as himself. ~ Mark Deming, All Movie Guide

Like its TV-sitcom counterpart of the 1960s, the original film version of The Ghost and Mrs. Muir was based on the novel by R.A. Dick. Gene Tierney plays turn-of-the-century widow Lucy Muir, who escapes her impossible in-laws by moving into an old house on the English seacoast. Despite the warnings of realtor Combe (Robert Coote) that the house might be haunted, the tenacious young widow calmly establishes residence with her young daughter Anna (Natalie Wood) and housekeeper Martha (Edna Best) in tow. Sure enough, the place is haunted by the spirit of its previous owner-a bombastic, profane, yet somehow attractive sea captain named Daniel Gregg (Rex Harrison). When Lucy steadfastly refuses to be frightened by Captain Gregg, he takes a liking to her, and the two become close friends (in standard ghost-movie tradition, only Lucy can hear or see the Captain). Realizing that Lucy is in dire financial straits, the Captain offers to dictate his colorful memoirs to her, which she promptly parlays into a best-seller and a lasting literary career. Slowly but surely, Gregg falls in love with Lucy. ~ Hal Erickson, All Movie Guide

Boomerang, directed by Elia Kazan, is a chilling film noir, the true story about the murder of a priest, the subsequent arrest and trial of a jobless drifter, and the efforts of young state's attorney Henry Harvey (Dana Andrews) to uncover the truth. Closely based on the actual 1924 murder of Fr. Hubert Dahme in Bridgeport, Connecticut, the film was directed by the young Elia Kazan in a highly effective, semi-documentary style. Kazan shot most of the film on location, using high-contrast cinematography and an extremely mobile camera to create a palpable sense of urgency. The screenplay, expertly crafted by Richard Murphy received an Academy Award nomination. ~ Linda Rasmussen, All Movie Guide