King Donovan Movies

In this suspenseful drama, a policeman is shot in the line of duty and is later cared for by a nurse with a disturbing fascination with reincarnation and the supernatural. ~ Sandra Brennan, All Movie Guide

In this follow-up to the previous week's episode "The Clampetts are Overdrawn," unemployed actor J.D. Clampett (King Donovan) continues taking advantage of the fact that the Commerce Bank has confused his account with that of hillbilly millionaire Jed Clampett. Passing himself off as Jed's cousin, J.D. talks the "other" Clampetts into financing a bogus Hollywood movie project -- with the hillbillies themselves as the star. Shirley Mitchell appears as J.D.'s blowzy wife, Opal. "The Clampetts Go Hollywood" first aired on November 20, 1963. ~ Hal Erickson, All Movie Guide

Jayne Mansfield bares almost all (and became the first Hollywood actress to do so) in this nearly universally panned sex comedy from the early 1960s. In the story, poor Sandy is desperate to get pregnant. Unfortunately, her husband, a television script writer, is too wound up over his high stress job to make love to her at night even though he too, wants a child. To help him loosen up, they go on a relaxing cruise and meet another couple. The foursome hit it off and begin drinking heavily. They soon exchange partners and retire to their rooms. Later both wives show up pregnant, but now the question remains: which baby belongs to which father? ~ Sandra Brennan, All Movie Guide

Gary Cooper plays a frontier doctor with a checkered past who works in a rowdy Montana mining camp. Cooper falls in love with Maria Schell, a young Swiss girl whom he has treated for shock after she was the victim of a holdup. He finances Schell's grubstake, which makes her rich. When Schell's unscrupulous partner Karl Malden tries to have his way with the girl, Cooper kills Malden. Sentenced to an immediate hanging, Cooper is saved when Schell offers to give the town her valuable mine. A surprise hit in 1959, The Hanging Tree was based on an award-winning novel by Dorothy M. Johnson. The film not only yielded a hit theme song by Mack David and Jerry Livingston, but also served as the film debut of George C. Scott, who plays Cooper's doctor predecessor. ~ Hal Erickson, All Movie Guide

In this frothy romantic comedy, a hard-working female Army shrink (Janet Leigh) devises the "perfect furlough" for battle weary men and convinces the brass to let her try it on selected men stationed at her base. According to her plan, selected men would be given three weeks, tailor made to fit their deepest desires. Her first test-case is a handsome ladies' man (Tony Curtis) who chooses to go to Paris with his favorite movie star. Naturally the psychologist chaperones. Romantic mayhem ensues and eventually the furloughed soldier and the shrink fall in love. The story is also titled Strictly for Pleasure. ~ Sandra Brennan, All Movie Guide

Frontier peacekeeper Sheriff Galt (Sterling Hayden) faces a crisis of conscience in The Iron Sheriff. In the aftermath of a robbery-murder, Galt follows the trail of evidence directly to his own son, Benjie (Darryl Hickman). Sworn to uphold the law at all costs, Galt is grimly determined to see that Benjie will receive a fair trial without any coercion on his part. But the townsfolk have already decided that the sheriff will try to spring the boy, and a lynch-mob mentality slows festers its way through the community. As the trial proceeds, it becomes obvious that Benjie is going to hang for his alleged crime, but there's still one or two surprises in store. ~ Hal Erickson, All Movie Guide

Don Siegel's classic exercise in psychological science fiction has often been interpreted as a cautionary fable about the blacklisting hysteria of the McCarthy era. It can be read as a political metaphor or enjoyed as a fine low-budget suspense movie, and it works well either way. Kevin McCarthy stars as Miles Bennel, a doctor in the small California community of Santa Mira, where several patients begin reporting that their loved ones don't seem to be themselves lately. They look the same but seem cold, emotionally distant, and somehow unfamiliar. The longer Miles looks into these reports, the more stock he places in them, and in time he makes a shocking discovery: aliens from another world are taking over Santa Mira, one citizen at a time. Emissaries from a distant planet have sent massive seed pods containing creatures that can assume the exact physical likeness of anyone they choose. When Santa Mirans go to sleep, the pod creatures take on the shape of their victims and then destroy their bodies. The aliens may look the same, but they possess no human emotions and, like plants, are concerned only with propagating themselves and eventually subsuming the earth. Needless to say, Miles and his friends are terrified, but since it's hard to tell who's a person and who's a pod, they're at a loss for what to do, especially when it seems that there are increasingly more aliens than humans. Invasion of the Body Snatchers builds tension slowly and steadily, dealing not in the shock of bug-eyed monsters common to other 1950s science-fiction movies but in the unnerving possibility that the enemy is among us -- and impossible to tell from our allies. The ultra-paranoid conclusion of Siegel's original cut was softened by Allied Artists, who added a framing device that suggested help was on the way. This coda was as effective in blunting the film's grim conclusion as giving a Band-Aid to a beheading victim; few films of the era make it more painfully clear that for these people (and maybe for ourselves), there's no turning back and no way home. Keep an eye peeled for a bit part by soon-to-be-legendary Western director Sam Peckinpah, who plays a meter reader and also (uncredited) helped write the screenplay. Based on a novel by Jack Finney, Invasion of the Body Snatchers was remade in 1978 by Philip Kaufman and in 1993 by Abel Ferrara (as Body Snatchers); and its influence can be felt from The Stepford Wives (1975) to The X-Files. ~ Mark Deming, All Movie Guide

With his movie career fading in 1955, Bob Hope was amenable to writer/director Mel Shavelson's suggestion that Hope try something different. The Seven Little Foys was the first of Hope's two "straight" biopics (the second was 1956's Beau James). Though not completely abandoning his patented persona, Hope does an admirable job of impersonating legendary Broadway song-and-dance man Eddie Foy, right down to the soft-shoe shuffle and affected lisp. A successful "single" in vaudeville, Foy meets and marries lovely Italian songstress Madeleine Morando (Milly Vitale). The union results in seven children, moving the Foys' priest to comment "we're running out of Holy water" after the seventh baptism. Hardly an ideal family man, Foy leaves Madeleine and her sister Clara (Angela Clarke) behind in their Connecticut home to raise the kids, while he rises to spectacular career height. Returning home after attending a testimonial for George M. Cohan (James Cagney, who played this unbilled cameo on the proviso that Hope turn over Cagney's salary to charity), Foy discovers that his wife has died of pneumonia. Months pass: Foy sulks in his rambling house, while his seven kids run roughshod. Foy's manager (George Tobias) suggests that the entire family be assembled into a vaudeville troupe called The Seven Little Foys. Though the kids are profoundly bereft of talent, the act gets by on its charm, and before long Foy is a bigger success than ever. But when Foy and the kids are booked into the Palace on Christmas Day, Aunt Clara decides that the kids are being cruelly exploited, and arranges for the authorities to arrest the act on charges of violating a state law barring children from singing and dancing. The authorities decide to drop the charges when the kids rally around their father, declaring their genuine love for him--but the deciding factor is a quick demonstration that the kids can't sing or dance to save their lives! The Seven Little Foys is a standard Hollywood whitewash job, emphasizing Eddie Foy's virtues (including his on-stage heroism during the infamous Iroquois Theatre fire of 1903) and soft-pedaling or ignoring his faults (e.g. his capacity for alcohol). Wisely, the scenes between Bob Hope and the seven children playing the Little Foys (including Father Knows Best's Billy Gray, The Real McCoys' Lydia Reed and Leave It to Beaver's Jerry Mathers) are refreshingly free of cloying sentiment. Also, Hope is a good enough natural actor to convince us that he deeply cares for his children without gooey effusions of emotion. The film's hands-down highlight is the "challenge dance" between Foy (Bob Hope) and Cohan (James Cagney)--a lasting testament of the superb terpsichorean talents of both men. The Seven Little Foys was narrated by Eddie's son Charley Foy, a fine comedian in his own right. ~ Hal Erickson, All Movie Guide

Moving from NBC to CBS for its second season, Love That Bob (originally The Bob Cummings Show) also moved to a more advantageous time slot, Thursday nights at 8:00 PM. Here it would remain for the next two years -- never a huge ratings hit, but always consistently popular with its target audience, which seemed to be comprised of women who were attracted to star Bob Cummings, and men who envied Cummings' incredible luck with the opposite sex (at least on his TV show!) As was the case back at NBC, the CBS version of Love That Bob finds professional photographer Bob Collins (Cummings) ardently pursuing every beautiful and unattached girl who sashays into his studio.
Meanwhile, Bob's "gal Friday" Schultzy (Ann B. Davis) employs a full arsenal of wisecracks to cover up the fact that she carries a torch for her boss; and Bob's widowed sister Margaret (Rosemary de Camp), with whom he lives in a suburban L.A. bungalow , wishes that Bob would stop chasing about and get married, if only to provide a worthwhile role model for her teenaged son Chuck (Dwayne Hickman) -- who, more than ever during season two, is exhibiting a desire to emulate his uncle's Lothario tactics. In another carryover from season one, overprotective Bob is determined to save Margaret from the "lecherous" clutches of his airline pilot pal Paul Fonda (Lyle Talbot), even though Paul is basically a nice guy and a gentleman. Once he decides that Paul and Margaret should be together after all, Bob nearly louses up the relationship by being an overbearing buttinsky. And near the end of the season, Margaret tires of Bob's interference and sets about to "trap" Paul all by herself by shedding her sweet, domestic image and transforming into a Sadie Thompson-like vamp. Season two inagurates the series' policy of featuring story arcs that carry over from one episode to the next, a technique producer Paul Henning would hone to a fine science on such series as The Beverly Hillbillies and Petticoat Junction. Typical is the two-episode arc in which Bob Collins follows guest star Jack Carson to Hawaii, hoping to dally amongst the sun-kissed island lovelies -- only to inadvertently become engaged to a local girl with a large and rather intimidating family! The most amusing development during Love That Bob's second season is the introduction of a "new" character: Bob's peppery, harmlessly wolfish grandfather Josh Collins -- also played by Bob Cummings. ~ Hal Erickson, All Movie Guide

In this Western with curiously Shakespearean undertones, Matt Devereaux (Spencer Tracy) is a ranch owner who has tried to raise his sons to carry on the fierce, hard-working spirit that helped make him a success. However, as a consequence, he never learned to show them affection and treats his boys little better than the hired help. Joe (Robert Wagner), is Matt's son by Native American wife Señora (Katy Jurado). Because of Joe's mixed ethnicity, he is treated prejudicially by his three half-brothers, Ben (Richard Widmark), Mike (Hugh O'Brian), and Danny (Earl Holliman) -- all Caucasian sons of Matt's first wife. Joe loves his father and would do nearly anything for him, but his siblings resent Matt's emotional distance. When Matt discovers a nearby copper mine is polluting a stream where he waters his cattle, he becomes furious and leads a raid on the mine that causes the law to visit the ranch; the police have a warrant to arrest whoever was responsible for the attack. To spare his father the agony and humiliation of a stay behind bars, Joe claims responsibility and spends several years in prison. When he's released, he discovers that Ben and his other brothers rebelled against their father with such extremity that the old man suffered a fatal stroke. While Señora tries to persuade Joe not to seek revenge, Ben is more than willing to fight his brother for taking his father's side. Screenwriter Philip Yordan won an Academy Award for his work on Broken Lance, while Katy Jurado received a Best Supporting Actress nomination for her performance as Señora. ~ Mark Deming, All Movie Guide

In this vintage sci-fi adventure, a team of scientists is studying meteors and is baffled by how and why they are often destroyed when they enter the Earth's atmosphere. In a desire to better understand this process, three astronauts with a background in research -- Richard Stanton (William Lundigan), Jerry Lockwood (Richard Carlson), and Walter Gordon (Robert Karnes) -- are sent into space in a specially designed spaceship to capture a meteor and bring it back safe and sound. Richard Carlson, who played Lockwood, also directed Riders to the Stars; noted sci-fi scribe Curt Siodmak wrote the screenplay. ~ Mark Deming, All Movie Guide

Though it isn't obvious at first glance, Three Sailors and a Girl is the fourth screen version of the George S. Kaufman stage comedy The Butter and Egg Man. The titular gobs are Jones, Twitch, and Parky, played respectively by Gordon MacRae, Gene Nelson, and Jack E. Leonard. On leave in New York with their pockets full of money, our trio of heroes are convinced by wheeler-dealer Joe Woods (Sam Levene) to invest their money in a musical show. It soon becomes obvious that the boys have backed a turkey, but with the help of pert leading-lady Penny (Jane Powell), a potential disaster is converted into a smashing success. The Sammy Cahn-Sammy Fain musical score is tuneful if forgettable, while LeRoy Prinz' choreography is first-rate. A cute celebrity cameo appearance caps this happy little film. ~ Hal Erickson, All Movie Guide