William Dieterle Movies

In this murder mystery, a man is killed during the carnival before Ash Wednesday right in front of a cathedral. Now a detective must solve the case. Initially, there are four suspects, the carnival prince, the dead man's father, and two women. A second murder occurs on Ash Wednesday. This leads the gumshoe to the real murderer. ~ Sandra Brennan, Rovi

This is an out-dated, old-fashioned remake of the 1935 film by Alexander Ivanovsky, a Russian director. Based on a tale by Alexander Pushkin, Dubrovsky (John Forsythe) is a young nobleman whose land is confiscated by a greedy and powerful aristocrat. Determined to get justice one way or another, Dubrovsky gathers together a band of serfs and goes on the rampage like another Robin Hood or Pancho Villa, stealing from the rich and giving to the poor. Along the way, Dubrovsky falls in love with the daughter (Rossana Schiaffino) of his arch-nemesis, a mistake that takes its toll in the end. This film was an entry at the 1959 Pula Film Festival. ~ Eleanor Mannikka, Rovi

Filmed in Germany (where it was released in 1954), Republic's Magic Fire is the life story of controversial 19th century composer Richard Wagner. Alan Badel comes off more as villain than hero as Wagner, which though historically accurate makes it hard for the audience to pull for the central character. Wagner's bizarre relationship with Ludwig II (Gerhard Riedmann), the "mad king" of Bavaria, is downplayed, while the composer's vitriolic anti-semitism is ignored altogther. The women in Wagner's life are played by Yvonne de Carlo, Valentine Cortese and Rita Gam, while Carlos Thompson does the "best friend/severist critic" bit as fellow composer Franz Liszt. Dramatically uneven, Magic Fire is rescued by Erich Wolfgang Korngold's orchestrations of Wagner's most famous operatic and symphonic works. ~ Hal Erickson, Rovi

"Her Salome Will Steal Your Breath Away" was the classic advertising slogan attached to this opulent Rita Hayworth epic -- a slogan which became laughable whenever a radio announcer would mispronounce Salome as "salami." Using the very sketchy Biblical story of the death of John the Baptist as its springboard, Salome depicts its title character, the stepdaughter of King Herod, as a victim of circumstance rather than a wanton temptress. Banished from Rome because of an unfortunate romance with the nephew of Caesar, Salome (Rita Hayworth) declares that all men are her enemies, but her resolve weakens when she falls in love with Claudius (Stewart Granger), the military commander of Galilee. Meanwhile, Salome's wicked mother, Herodias (Judith Anderson), plots the demise of John the Baptist (Alan Badel), who currently enjoys the protection of the superstitious Herod (Charles Laughton). At this point, the story departs radically from Scripture. Salome is no longer coerced by Herodias to demand the head of John the Baptist; instead, Herodias, on her own, promises Herod that Salome will perform the "Dance of the Seven Veils" for him -- but only if he beheads John first (Salome has been misinformed that the dance will save John from the headsman's sword). Somehow, scriptwriter Jesse Lasky Jr. even manages to concoct a happy ending for poor Salome, which is a lot more than Oscar Wilde or Richard Strauss were able to do. Considered an artistic flop in 1953, Salome seems somewhat better today, if only because of that powerhouse cast. ~ Hal Erickson, Rovi

Peking Express was the second remake of Josef vonSternberg's Shanghai Express. In the original film, a group of railroad passengers escaping war-torn China are overtaken by Chinese; in the first remake, Night Plane to Chungking, a plane is forced down in a jungle surrounded by Japanese troops. In Peking Express, the chief villains are Chinese again, but the passengers are now refugees of the Communists. Joseph Cotten (as a doctor) and Corinne Calvet (as a "woman of the world") are among the pilgrims threatened by Oriental outlaw Marvin Miller and his gang. The elements of social and religious hypocrisy in the original Shanghai Express are downplayed in the 1951 version, as is the shady past of leading lady Calvet (who inadequately fills the role originated by Marlene Dietrich). Peking Express is not the classic that the vonSternberg film had been, but on its own is a snappy little melodrama. ~ Hal Erickson, Rovi

The rugged Colorado Territory provides the setting for this epic Civil War-era western chronicle of a Southern rebel who sets off to join Captain Quantrill's raiders. Along the way, the rebel kills a Union supporter who had stolen the rebel's land. Unfortunately, he leaves a different Confederate to shoulder the blame. Fortunately, just before the falsely-accused is to get lynched, the rebel dashes up to save him. Not realizing his savior is also the one who got him into the fix, the grateful man takes the rebel to his isolated cabin to hide. There the rebel meets his new friend's fiancee. Things are fine until she learns the truth about the rebel. He takes off into the wilderness with the lovers in hot pursuit. They all end up lost and forced to seek shelter in a cave after the woman's hapless lover slips and breaks his leg. While delirium overtakes the injured man, romantic sparks fly between the rebel and the girl. One day, the rebel sees Quantrill's band and rides down to meet them. It is then that he discovers an awful truth and so rides off to set things right. The character of Captain Quantrill is based on an actual historical figure. ~ Sandra Brennan, Rovi

Lizabeth Scott and Diana Lynn are both effectively cast against type in Paid in Full. Scott plays Jane Langley, the spectacularly self-sacrificial older sister of selfish, reckless Nancy Langley (Lynn). Though she is in love with Bill Prentice (Robert Cummings), Jane gives him up to Nancy. And when Jane accidently causes the death of Nancy's child, she vows to makes amends by the most direct means possible. What follows is within the Production Code guidelines of the era -- but just barely. An unabashed "woman's picture" (that's what they called them back in 1949), Paid in Full doesn't always play well today, since viewers might be tempted to yell "Get real, Lizabeth!" at the screen. Still, it worked beautifully for its original target audience, especially those who'd read the factual Reader's Digest article upon which it was based. ~ Hal Erickson, Rovi

With location scenes lensed in Italy, September Affair is consistently good to look at, even when the pacing flags and the dialogue becomes too verbose. Joan Fontaine and Joseph Cotten star as married couple Manina and David. Trouble is, they're not married to each other. Through a series of misunderstandings, Manina and David are listed among the victims of a plane crash. Since the world at large considers them dead, the couple decides to start a whole new life together. Eventually, however, the guilt they share regarding their respective spouses overrides their passions. September Affair is remembered today as the film that catapulted a 12-year-old record -- Walter Huston's rendition of "September Song" -- to the top of the 1950 hit parade. ~ Hal Erickson, Rovi

In Portrait of Jennie, Joseph Cotten plays an artist, Eben Adams, who is unable to bring any true feeling to his work. While painting in Central Park one morning, Eben makes the acquaintance of a schoolgirl named Jennie (Jennifer Jones), who prattles on about things that happened years ago. Intrigued at her thorough knowledge of the past, Eben is about to converse with her further, but Jennie has vanished. Over the next few months, Eben meets Jennie again and again -- and each time she seems to have aged by several years. He paints her portrait, which turns out to be more full of expression and emotion than anything he's previously done. His curiosity peaked by Jennie's enigmatic nature, Eben uncovers evidence that he has been conversing -- and falling in love -- with the ghost of a girl who died years earlier in a hurricane. On the eve of the hurricane's anniversary, Eben rushes to meet Jennie at the site where she was supposedly killed. As a new storm rages, Jennie vanishes for good, but not before declaring that the love she and Eben have shared will live forever. Rescued from the storm, Eben convinces himself that Jennie was a mere figment of his imagination. Then he notices that he stills clutches her scarf in his hand. He looks at his portrait of Jennie (the only Technicolor shot in this otherwise black-and-white film) and understands what she meant when she said that their love would endure throughout eternity; it will do so through Cotten's art, both the portrait at hand and all future portraits. Based on the novel by Robert Nathan, Portrait of Jennie is one of the most beautifully assembled fantasies ever presented onscreen. Producer David O. Selznick's unerring eye for "rightness" enabled him to select the perfect stars, supporting cast (Lillian Gish, Ethel Barrymore, David Wayne, Cecil Kellaway, et al.), director, cinematographer (Joseph August), and composer (Dimitri Tiomkin, who based his themes on the works of Debussy), and blend everything into one ideally balanced package. ~ Hal Erickson, Rovi

The troublesome years "between the wars" provide the backdrop for the romantic drama The Searching Wind. Adapted by Lillian Hellman from her own stage play, the film stars Robert Young as Alex Hazen, an idealistic but incredibly naïve US ambassador who fails to heed the warning signals when Mussolini and then Hitler ascend to power in Europe. Feeding into Hazen's ingenuousness is his beautiful but shallow wife Emily (Ann Richards), who is far more preoccupied with tuxedos and dinner gowns than with brown shirts and Nazi armbands. Only journalist Cassie Bowman (Sylvia Sidney), a character obviously based on playwright Hellman, can foresee the impending horror-even when her judgment is occasionally clouded by her undying love for Hazen. Benefiting from the mistakes of his elders is the Hazens' son Sam (Douglas Dick), who represents the "Never Again" viewpoint of the post-WW2 years. The Searching Wind was the sort of politically supercharged fare that earned Hellman condemnation as a "premature anti-fascist" during the infamous Hollywood Blacklist. ~ Hal Erickson, Rovi

Doctor Charles Korvin walks out on his musician wife Merle Oberon when he suspects her of infidelity. Twelve years later their paths cross again; Oberon is now saddled with an abusive husband. Possessed of a protective instinct that he hadn't evinced in the first part of the film, Korvin rescues his ex-wife from her miserable marriage, and the two fall in love all over again. Based on a play by Luigi Pirandello (no, it wasn't called Two Characters in Search of a Movie, This Love is Ours is worth watching only when supporting player Claude Rains is on the scene. The 1956 remake Never Say Goodbye was no improvement, not even with Rock Hudson taking over from the stolid Charles Korvin. ~ Hal Erickson, Rovi

Ginger Rogers gives a dramatic performance in this moving romantic drama in which a woman named Mary Marshall, who was convicted of manslaughter (she defended herself when her lecherous boss attempted to rape her and she accidentally killed him), is granted a ten-day furlough for Christmas to visit relatives. Once out, she encounters a shell-shocked vet (Joseph Cotten) on leave from the VA psych ward on a train. The unstable vet has been allowed out by his doctors to see if he is ready to function in normal society. At first, the vet is nervous around Mary, but something clicks and she invites him to stay at her house during their respective breaks. Together they attempt to have a happy Christmas while dealing with the vet's problems. At first Mary keeps her own past and troubles to herself, but as they begin falling in love, she decides to tell him the whole story. In this way, the two reconcile their pasts and move closer toward forming a relationship. ~ Sandra Brennan, Rovi