Adolph Deutsch Movies

Gina Lollobrigida plays a Lady of the Evening who is wooed by wealthy young Anthony Franciosa. She leaves him in the dark concerning her checkered past. Alas, Franciosa's father Ernest Borgnine knows everything about Lollobrigida, and breaks the bad news to his son. Aghast at first, Franciosa is willing to forgive Lollobrigida. But since the Production Code was still tenuously in effect, Lollobrigida can't possibly enjoy a happy ending, so she obligingly kills herself. Based on a novel by Tom T. Chamales, Go Naked in the World was written and directed by Ranald MacDougall, and did you know that MacDougall was the husband of Nanette Fabray? ~ Hal Erickson, All Movie Guide

The launching pad for Billy Wilder's comedy classic was a rusty old German farce, Fanfares of Love, whose two main characters were male musicians so desperate to get a job that they disguise themselves as women and play with an all-girl band in gangster-dominated 1929 Chicago. In this version, musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) lose their jobs when a speakeasy owned by mob boss Spats Columbo (George Raft) is raided by prohibition agent Mulligan (Pat O'Brien). Several weeks later, on February 14th, Joe and Jerry get a job perfroming in Urbana and end up witnessing a gangland massacre in a parking garage. Fearing that they will be next on the mobsters' hit lists, Joe devises an ingenious plan for disguising their identities. Soon they are all dolled up and performing as Josephine and Daphne in Sweet Sue's all-girl orchestra. En route to Florida by train with Sweet Sue's band, the boys (girls?) make the acquaintance of Sue's lead singer Sugar Kane (Marilyn Monroe, in what may be her best performance). Joe and Jerry immediately fall in love, though of course their new feminine identities prevent them from acting on their desires. Still, they are determined to woo her, and they enact an elaborate series of gender-bending ruses complicated by the fact that flirtatious millionaire Osgood Fielding (Joe E. Brown) has fallen in love with "Daphne." The plot gets even thicker when Spats Columbo and his boys show up in Florida. Nominated for several Oscars, Some Like It Hot ended up the biggest moneymaking comedy up to 1959. Full of hilarious set pieces and movie in-jokes, it has not tarnished with time and in fact seems to get better with each passing year, as its cross-dressing humor keeps it only more and more up-to-date. ~ Hal Erickson, All Movie Guide

For his film directorial debut, producer Dore Schary selected a longtime pet property: Miss Lonelyhearts, Nathaniel West's trenchant 1933 novel. Montgomery Clift delivers a haunting performance as journalist Adam White, assigned by his cynical editor Adam Shrike (Robert Ryan) to take over a newspaper advice column. Signing himself Miss Lonelyhearts, White is appalled by the human misery pouring out of the letters sent to him (one of his correspndents was born without a nose), but Shrike insists that anyone who'd write to such a column is fake. To find out for himself, White looks up one of the correspondents, unhappily married Fay Doyle (Oscar-nominated Maureen Stapleton). His pity for the seriously disturbed Fay nearly leads to tragedy (in the novel, there's no "nearly"). Meanwhile, Shrike tries to contend with his own tottering marriage to his wife Florence (Myrna Loy). In additional to shortening the title to Lonelyhearts, Dore Schary made a number of radical changes in the original, adding an overabundance of "meaningful" dialogue and softening the character of Florence Shrike. Purists were enraged by Schary's liberties, while critics carped at his perfunctory direction; audiences, however, seemed to like the film. ~ Hal Erickson, All Movie Guide

This filmed version of the 1927 George Gershwin Broadway musical Funny Face utilizes the play's original star, Fred Astaire, and several of the original tunes, then goes merrily off on its own. Astaire is cast as as fashion photographer Dick Avery (a character based on Richard Avedon, the film's "visual consultant"), who is sent out by his female boss Maggie Prescott (Kay Thompson) to find a "new face". It doesn't take Dick long to discover Jo (Audrey Hepburn, who does her own singing), an owlish Greenwich Village bookstore clerk. Acting as Pygmalion to Jo's Galatea, Dick whisks the wide-eyed girl off to Paris and transforms her into the fashion world's hottest model. Along the way, he falls in love with Jo, and works overtime to wean her away from such phony-baloney intellectuals as Professor Emile Flostre (Michel Auclair). The Gershwin tunes include the title song, "S'wonderful", "How Long Has This Been Going On" and "He Loves and She Loves"; among the newer numbers is Kay Thompson's energetic opener "Think Pink". For years available only in washed-out, flat prints, Funny Face was eventually restored to its full Technicolor and VistaVision glory. ~ Hal Erickson, All Movie Guide

The Korean conflict of the early '50s saw widespread use of psychological torture by the North Korean communists on enemy prisoners of war. That young American GIs cracked under this brainwashing at higher rates than the troops of our allies led to much soul searching within the military and the nation during that era. In Hollywood, this was most famously reflected in The Manchurian Candidate (1962), and lesser-known films like Time Limit (1955) and The Rack. The failure of all three films at the box office suggests that the public didn't care to be reminded of this painful issue. Paul Newman stars as Captain Edward W. Hall Jr., a career soldier being tried by a military court for collaborating with the enemy. As the son of a highly distinguished career officer (Walter Pidgeon), and with a brother who had been killed in the war, he is especially tormented by the accusations which have been brought against him. Although reluctant to take the case, Major Sam Moulton (Wendell Corey) elicits incriminating testimony from Hall, comparing him unfavorably with soldiers like Captain John Miller (Lee Marvin), who were able to withstand similar punishment. But defending attorney Lt. Colonel Frank Wasnick (Edmond O'Brien), makes the case that this new type of torture is a new and barely understood weapon, to which some will be more innately immune than others. ~ Michael Costello, All Movie Guide

Interrupted Melody is the inspirational filmed biography of world-renowned Australian soprano Marjorie Lawrence. Eleanor Parker plays Ms. Farrell, while her vocal renditions, ranging from selections from Madame Butterfly to MGM's own Over the Rainbow, were dubbed by Eileen Farrell, who would be with the Met from 1960-1966. The story traces Marjorie's long, hard road to the top, her success on two continents, and her turbulent marriage to American doctor Thomas King. While touring South America, Lawrence is stricken with polio, which not only abruptly ends her career but briefly robs her of the will to live. The rest of the film is devoted to Ms. Lawrence's emergence from depression and her triumphant comeback. William Ludwig and Sonya Levien shared an Academy Award for their cinemadaptation of Marjorie Lawrence's autobiography. ~ Hal Erickson, All Movie Guide

Based extremely loosely on the Stephen Vincent Benet story Sobbin' Women," Seven Brides for Seven Brothers is one of the best MGM musicals of the 1950s. Most of the story takes place on an Oregon ranch, maintained by Adam Pontabee (Howard Keel) and his six brothers, played by Jeff Richards, Russ Tamblyn, Tommy Rall, Mark Platt, Matt Mattox, and Jacques d'Amboise (it is no coincidence that five of those six boys are played by professional dancers). When Adam brings home his new bride Milly (Jane Powell), she is appalled at the brothers' slovenliness and sets about turning these unwashed louts into immaculate gentlemen. During the boisterous barn-raising scene, the brothers get into a scuffle with a group of townsmen over the affection of six comely lasses: Virginia Gibson, Julie Newmeyer (later Newmar), Ruth Kilmonis (later Ruth Lee), Nancy Kilgas, Betty Carr, and Norma Doggett (yep, most of the girls are dancers, too). Yearning to become husbands like their big brother, they ask Adam for advice. Alas, he has been reading a book about the abduction of the Sabine Women (or, as he puts it, the Sobbin' Women); and, in order to claim their gals, Adam explains, the boys must kidnap them--which they do, after blocking off all avenues of escape. Vowing to remain on their best behavior, the boys make no untoward advances towards their reluctant female guests--not even during one of the coldest winters on record. Comes the spring thaw, the angry townsfolk come charging up the mountain, demanding the return of the stolen girls (who, by this time, have "tamed" their men). A happy ending is ultimately had by all in this delightful if politically incorrect concoction. ~ Hal Erickson, All Movie Guide

One of the most subtle and sophisticated of the musical comedies that came out of MGM's Arthur Freed Unit in the '40s and '50s, The Band Wagon stars Fred Astaire as Tony Hunter, a movie star whose career is in a downturn. Looking for a boost, Tony decides to try starring in a Broadway musical. His friends Lester and Lily Marton (Oscar Levant and Nanette Fabray) have written a show they feel would be just right for Tony, and the three team up with Jeffrey Cordova (Jack Buchanan), a self-styled "genius" director, who gets the idea to turn the play into a revised version of Faust. Cordova's more pretentious ideas don't always sit well with the Martons, and Tony isn't too happy with his leggy co-star, Gaby Gerard (Cyd Charisse), whom he's convinced is too tall (then again, she thinks he's too old). But when the show proves a disaster in out-of-town tryouts, everyone realizes they have to put aside their differences if they want a show that will be on Broadway for longer than four hours. The Band Wagon featured a rare American appearance for British musical star Jack Buchanan, who does a fine soft-shoe with Fred Astaire on "I Guess I'll Have to Change My Plan." Astaire also shines in the numbers "Shine on Your Shoes" and "The Girl Hunt," a witty Mickey Spillane parody. ~ Mark Deming, All Movie Guide

Who else but Esther Williams could star in a romantic drama (with musical numbers) bearing a title like this? In Million Dollar Mermaid, Williams plays Annette Kellerman, a real-life Australian swimming star who took up the sport as a child to strengthen her legs, which were severely weakened by a birth defect. The treatment proves effective, and as she grows to adulthood, Annette shows that she has the talent to be a champion swimmer, though she prefers to follow her dream of becoming a ballet dancer. When Annette's father Frederick (Walter Pidgeon) accepts a position in London teaching music, Annette opts to go with him, and along the way she meets James Sullivan (Victor Mature) and Doc Cronnol (Jesse White), the joint-owners of a boxing kangaroo they intend to exhibit in London. James is already aware of Annette's abilities as a competitive swimmer, and he offers to be her manager and help her earn a living from her aquatic skills. At first Annette isn't interested, but when Frederick's job falls through and she can't find work as a dancer, Annette reluctantly agrees to work with James. He arranges a publicity stunt in which Annette swims 30 miles down the Thames River, which attracts the avid attention of the British press and wins her some work as a dancer. Convinced that the big money is in America, James persuades Annette to travel with him to the U.S., where she creates a scandal in Boston by staging another long swim in a one-piece bathing suit, considered shockingly-revealing at the turn of the Century. The stunt nearly lands Annette in jail, but she escapes the long arm of the law and becomes the star of a water ballet revue. Annette had fallen in love with James, but after an argument, he resigns as her manager and Annette takes up with Alfred Harper (David Brian), the male lead in her show. Annette and Alfred agree to marry while working on a movie together, but James returns on the last day of shooting, determined to win back the heart of the woman he loves. Legendary choreographer Busby Berkeley staged the film's elaborate water-ballet sequences. ~ Mark Deming, All Movie Guide

The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat falls just short of greatness but is still a whale of a show. Howard Keel and Kathryn Grayson are in fine fettle as irresponsible gambler Gaylord Ravenal and showboat ingenue Magnolia Hawks. The plot adheres closely to the Broadway original making several welcome improvements in the final act (which was always a bit shaky). Magnolia, daughter of showboat impresario Captain Andy (Joe E. Brown) and Parthy Hawkes (Agnes Moorehead), falls head over heels in love with the raffish Ravenal. When the show's leading lady, Julie (Ava Gardner), and leading man, Steve (Robert Sterling), are forced to leave when Julie's mulatto heritage is revealed by disgruntled suitor Pete (Leif Erickson), Magnolia and Gaylord step into the vacant stage roles and score a hit. Eventually, the two are married and for several months are quite happy. After incurring serious gambling losses, however, Gaylord walks out of Magnolia's life never realizing that his wife is expecting a baby. With the help of her former showboat colleagues Ellie and Frank Schultz (Marge and Gower Champion) and a behind-the-scenes assist from the tragic Julie, Magnolia secures work as a Cabaret singer in Chicago. Her new year's eve debut threatens to be a bust until her father Captain Andy quells the rowdy crowd and guides his daughter through a lovely rendition of After the Ball (a Charles K. Harris tune that pops up in every stage version of Show Boat). Magnolia returns to her family, with her daughter Kim in tow. Upon learning from Julie that he has a daughter, Gaylord returns to Magnolia and Kim, setting the stage for a joyous ending.

Virtually all of the Kern-Hammerstein songs are retained for this version of Show Boat (though none of the songs specially written for the 1936 film version are heard). These cannot be faulted, nor can MGM's sumptuous production values. Still, the 1951 Show Boat leaves one a bit cold. Perhaps it was the removal of the racial themes that gave the original so much substance (as black stevedore Joe, William Warfield exists only to sing a toned-down version Ol' Man River while Joe's wife Queenie is virtually written out of the proceedings). Also, MGM reneged on its original decision to cast Lena Horne as Julie; the role was recast with Ava Gardner and rewritten with an excess of gooey sentiment). Or perhaps it was the production's factory-like slickness; typical of the film's smoothing out of the original property's rough edges was the casting of Marge and Gower Champion, who are just too darn good to be convincing as the doggedly mediocre entertainers Frank and Ellie. Even so, Show Boat does have Howard Keel and Kathryn Grayson at their peak, not to mention the peerless Joe E. Brown as Captain Andy. And the film was a financial success, enabling MGM to bankroll such future musical triumphs as Singin' in the Rain and Seven Brides for Seven Brothers. ~ Hal Erickson, All Movie Guide

Stars in My Crown is an episodic movie about a rural Southern community in the 19th century. Though the film features a number of characters, it focuses on a preacher who moves into the city and helps solve the town's problems. ~ Stephen Thomas Erlewine, All Movie Guide

Spencer Tracy received an Oscar nomination for his performance in this classic comedy. Stanley T. Banks (Tracy) is a securely middle-class lawyer whose daughter Kay (Elizabeth Taylor) announces that she's going to marry her beau Buckley Dunstan (Don Taylor). From that point on, everything in Stanley's life is turned upside down. His wife Ellie (Joan Bennett) wants Kay to have the kind of formal wedding that she and Stanley never had, and between meeting his soon-to-be in-laws, the socially prominent Herbert and Doris Dunstan (Moroni Olsen and Billie Burke), his man-to-man talk with the groom, hosting the engagement party, financing the increasingly lavish wedding, and wondering if Kay and Buckley will resolve their differences before arriving at the altar, Stanley barely has time to deal with his own considerable anxieties about his advancing age and how his "little girl" became a grown woman. Director Vincente Minnelli reunited with the principal cast a year later for a sequel, Father's Little Dividend; and the movie was remade in 1991 with Steve Martin and Diane Keaton. ~ Mark Deming, All Movie Guide

Pagan Love Song derives its title from a 1929 tune written by Arthur Freed and Nacio Herb Brown. The plot is cut from the same cloth as MGM's previous Esther Williams musicals. Sporting a black wig and deep tan, Williams plays American lass Mimi Bennett, who while on vacation in the South Seas is mistaken for a native girl by visiting schoolteacher Hazard Endicott (Howard Keel). Instantly falling in love with Mimi, Hazard attempts to court her according to Tahitian traditions. And that's about it for the plot; the rest of the film consists of Esther Williams swimming and Howard Keel singing. Based on the novel Tahiti Landfall by William S. Stone, Pagan Love Song was to have been directed by Stanley Donen, but Williams vetoed Donen in favor of Robert Alton. ~ Hal Erickson, All Movie Guide