King Donovan Movies

Based on the Pulitzer Prize-winning novel by Robert Penn Warren, All the King's Men is a roman à clef inspired by the career of Louisiana governor Huey Long. Broderick Crawford won an Academy Award for his portrayal of Willie Stark, a backwoods Southern lawyer who wins the hearts of his constituents by bucking the corrupt state government. Journalist Jack Burden (John Ireland) is impressed by Willie's seeming sincerity, and aids Stark on the road to political power. Once he's reached the governor's mansion, however, Willie proves himself to be as dishonest and despotic as the crooks whom he's replaced. He also cheats shamelessly on his wife with both his campaign manager (Mercedes McCambridge, another Oscar winner) and with Anne Stanton (Joanne Dru), the sister of idealistic doctor Adam Stanton (Sheppard Strudwick). Fiercely protective of his power, Willie organizes a fascistic police force and arranges for "accidents" to befall those who oppose him; even so, he retains the love of the voters by lowering the poverty level, improving the school system, and financing building projects. Even when Willie all but orchestrates the suicide of Anne's uncle, a highly respected judge (Raymond Greenleaf), those closest to him are unable to escape his power and the charismatic hold he has over people. Stockton, CA, stands in for the unnamed state capitol where most of the film's action occurs. In addition to its Oscars for Crawford and McCambridge, All the King's Men won the Best Picture prize. Warren's novel would later be adapted into a stage play, a TV special, and even an opera. ~ 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

James Cagney plays a once great newspaper reporter ruined by liquor. Thanks to the help of reformed alcoholic James Gleason, Cagney pulls himself out of the gutter and restores his journalistic reputation. Because of his own redemption, Cagney is asked by his editor to straighten out the editor's nephew (Gig Young), a drunken wastrel. The task is made dicey by the fact that the nephew's wife (Phyllis Thaxter) is Cagney's former girlfriend. The nephew's involvement in gangsters results in the death of Cagney's old friend Gleason, but Cagney swallows his rage, vanquishes the crooks, and puts the nephew on the right track. Come Fill the Cup was a little too melodramatic to succeed as an anti-alcohol tract, but it was well acted throughout, especially by Gig Young, who received an Oscar nomination for his efforts. ~ Hal Erickson, All Movie Guide

The once-scandalous autobiography of Frank Harris was the source of the fascinating "adult" western Cowboy. Jack Lemmon plays Harris, who when first the audience meets him is a citified desk clerk in a frontier hotel. Harboring romantic notions of the West, Harris prevails upon hard-living, hard-drinking trail boss Tom Reece Glenn Ford to take him along on Reece's next cattle drive. In the months that follow, Harris' idealized notions of the West are cruelly dispelled, though he eventually becomes accustomed to the rough-and-tumble life on the trail and to the curious cameradie between the drovers. The film's most talked-about scene finds a group of cowboys planting a rattlesnake in one of their comrade's blankets as a joke; their regretful but oddly detached reaction when the bitten man dies speaks volumes about the Real West. Also memorable is the performance of Brian Donlevy as Doc Bender, an ageing gunfighter who can't stand the notion of becoming an anachronism. One of the more unorthodox westerns of the 1950s, Cowboy is also one of the best. ~ Hal Erickson, All Movie Guide

Sir James Barrie's whimsical play Rosalind was updated and urbanized as the 1953 film Forever Female. Ginger Rogers plays a veteran Broadway star who has optioned a play written by William Holden. Though on the less sunny side of 40, Rogers expects to play the leading role, that of a 19 year old girl. Producer Paul Douglas--who also happens to be Rogers' husband--insists that Holden alter the age of the main character. Meanwhile, iron-willed ingenue Patricia Crowley, who is far more suited to the part than Rogers, begins her own campaign to win the role. Far more enjoyable than the plot mechanics of Forever Female are the sly showbiz inside jokes, courtesy of screenwriters Julius and Philip Epstein. It's also fun to tick off the familiar faces in the supporting cast, including George Reeves as a stuffy suitor, future Mrs. Bing Crosby Katherine Grant as an auditioning actress, and Gunsmoke and Dragnet villain Vic Perrin as an effeminate set designer. ~ 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

Ninety per cent of Little Big Horn takes place before Custer's Last Stand; thus, the emphasis is on character and suspense rather than spectacle (just as well, since spectacle was well out of the range of parsimonious Lippert Studios). Lloyd Bridges heads a small band of cavalrymen who desperately try to reach the Little Big Horn in time to warn Custer of a Sioux ambush. One by one, the men are picked off by Indian sharpshooters. The only survivors are Bridges and John Ireland, longtime enemies who may very well knock each other off before ever getting to Custer. Little Big Horn was the first directorial assignment for western-writer Charles Marquis Warren. It was hardly the last: Warren would later be one of the most prolific contributors to the Gunsmoke TV series of the 1950s, 1960s and 1970s. ~ Hal Erickson, All Movie Guide

Moving from its familiar Thursday night time slot to a Tuesday evening berth, and leaving CBS to return to NBC in the bargain, Love That Bob (originally The Bob Cummings Show) enters its fourth season. Even after all these years, Bob Collins (Bob Cummings), the series' cheerfully lascivious photographer hero, exhibits no signs of fatigue as he continues pursuing the lovely ladies who show up at his photographer's studio -- or even those who don't show up there! Likewise as hale and hearty as ever is Bob's supporting cast: Ann B. Davis as Mr. Collins' "gal Friday" Schultzy, who, though she has a few beaux of her own, still carries a torch for her boss; Rosemary de Camp as Bob's widowed sister Margaret, tireless in her efforts to marry her roguish brother off to a decent, homespun girl; and Dwayne Hickman as Bob's nephew Chuck, now in his second year of college and as determined as ever to prove himself every inch the ladies' man that his Uncle Bob is. Also on hand are such sideline players as Bob's Air Force pal Harvey Helm (King Donovan) and Harvey's benignly domineering spouse Ruth (Mary Lawrence); bandy-legged bird watcher Pamela Livingston (Nancy Kulp), who'd like to get Bob in her sights on a permanent basis; and rascally old "Grandpa" Josh Collins, who fancies himself as much a Lothario as his grandson Bob (and who, like Bob, is played by Bob Cummings).
While many of the Love That Bob episodeshave the "ageless" quality enjoyed by such sitcoms as The Honeymooners and I Love Lucy, a number of the fourth season installments are firmly locked into a 1957-1958 timeframe, notably "Bob Digs Rock 'n' Roll," "Bob Goes to the Moon" and the TV-Western spoof Bob the Gunslinger." And at least one episode is a portent of things to come: "Bob Goes Hillbilly," which anticipates producer Paul Henning's even more successful sitcom venture The Beverly Hillbillies by five years. As a bonus, several '50s vintage guest stars show up this season, among them Alan Ladd, Connie Stevens, Don Knotts, and Rose Marie. The last episode filmed for the season (though not the last one shown) is "Bob Frees Schultzy for Romance," which looks suspiciously like the pilot for a spin-off series starring Ann B. Davis. That the pilot (if it is one) did not sell is evidenced by the opening episode of Love That Bob's next season, "Bob and Schultzy Reunite." ~ Hal Erickson, All Movie Guide

Blonde good-time girl Vivian Heldon (Jan Sterling), who lives in a cheap rooming house in a working-class section of Boston, run by the inquisitive and neurotic Mrs. Smerrling (Elsa Lanchester), goes out one night after a phone conversation with her boyfriend, proclaiming that she's got big plans and might even move to a nicer place. After putting in her shift as a waitress at a cheap dive called The Grass Skirt, she latches onto Henry Shanway (Marshall Thompson), an innocently drunk patron, who's trying to wash away his sadness over his wife's stillborn child. She uses Henry's car with him in tow to drive out to Cape Cod, then strands him on foot and meets her boyfriend -- but when she arrives, he puts a bullet into her, then strips the body, throws it into the sea, and drops the clothes and the car into a lake. Six months later, an ornithologist from the cape spots the skeleton of a human foot sticking up through the sand.

Enter Lt. Peter Morales (Ricardo Montalban) of the Boston PD; he and his partner on this case, Det. Sharkey (Wally Maher), bring the bones to Dr. McAdoo (Bruce Bennett), of Harvard University's forensic medical laboratory. Over the next few days, McAdoo and his staff are able to determine the gender, age, and general appearance of the person to whom the bones belonged, and that this is a case of murder -- and that the victim was pregnant. Morales and Sharkey, combing through what they know about the victim and the missing persons records of six nearby states, eventually tie the skeleton up with Vivian Heldon, who disappeared on just about the same day the victim was killed, and also to Shanway's car, which he reported stolen that day. The poor slob, who is merely trying to cover up a drunken lapse from his wife (Sally Forrest), acts guilty enough and lies about just enough so that Morales is certain that he's the murderer. His investigation isn't helped by the interference of Mrs. Smerrling, who sold Vivian's belongings when she didn't return to her room, and now seems fixated, even obsessed with the details of the case and its connection to her rooming house. While the police tighten the screws on Shanway, she backtracks Vivian's phone calls and makes contact with the woman's boyfriend, James Joshua Harkley (Edmon Ryan), member of a wealthy Boston family, and a married man; she also manages to steal a vital piece of evidence. But instead of turning it over to the police, she uses it to blackmail Harkley.

Meanwhile, the district attorney sets an early trial date for Shanway, but with the opening arguments only a week away, Morales begins to develop doubts about Shanway's guilt, in addition to harboring his own sympathy for Grace Shanway, whose life is being gradually destroyed by the prosecution on her husband -- not that Morales thinks he's innocent, but there's enough that's not right about the case, including the missing murder weapon, that he's not 100-percent sure. And that's when Vivian's friend and neighbor, Jackie Elcott (Betsy Blair) reports how strangely Mrs. Smerrling is acting, and the fact that she's got a gun. But before they can question her, Harkley kills Mrs. Smerrling -- now it's a race between Morales and Harkley to see who can get to the murder weapon first. ~ Bruce Eder, All Movie Guide

Photographer Paul Lester (John Ireland) and his wife, Nancy (Jane Randolph), are invited to share an apartment with Paul's ex-army buddy Ed Stevens. They arrive to find Stevens gone, and a mysterious phone call gets Paul to the other end of town. While he's away, Nancy is assaulted by a would-be burglar. Paul thinks there's something more going on than a missing persons case or a burglary and tries to interest Detective Frontelli (Sheldon Leonard) of the police department in looking into it, but Frontelli is initially skeptical. When Stevens turns up under the wheels of a truck along with evidence tying him to an earlier hit-and-run murder, Paul is certain that there's some kind of organized conspiracy afoot. What he finds is a town slowly coming under siege from a secret band of anti-Semitic thugs masquerading as a patriotic organization, with whom Stevens had been involved and tried to quit. Paul and Nancy's situation goes from bad to dangerous when they accidentally stumble upon evidence that could hang the murderers. ~ Bruce Eder, All Movie Guide

Private Hell 36 was one of the last feature-length efforts by Filmmakers, a company created by producer Collier Young and his then-wife Ida Lupino. Young and Lupino also wrote the script for this grim crime melodrama, wherein two detectives Cal Bruner (Steve Cochran) and Jack Farnham (Howard Duff Lupino's future husband) are assigned to track down $300,000 stolen in a bloody hold-up. The two cops manage to locate $80,000 of the booty, whereupon Bruner, not the most ethical of men, suggests that he and Farnham split the money 50-50 and keep their mouths shut. Also involved in this conspiracy is a nightclub singer (Ida Lupino), whose motivations are a tad on the mysterious side. When Farnham decides to turn honest and hand the money over to his superiors, Bruner responds with the business end of his revolver. The very small cast is rounded out by Dean Jagger as the detectives' boss and Dorothy Malone as Duff's understandably worried wife. ~ Hal Erickson, All Movie Guide

Ten years after the cancellation of the cornpone comedy series The Beverly Hillbillies, the property was revived -- mercifully briefly -- in the form of a two-hour movie. Originally titled Solving the Energy Crisis, The Return of the Beverly Hillbillies found Buddy Ebsen, Donna Douglas and Nancy Kulp recreating their sitcom roles as millionaire hillbilly Jed Clampett (who'd moved back to the hills after dividing up his fortune amongst his loved ones), his daughter Elly May (now the owner of a small petting zoo), and bank secretary-turned-government functionary Jane Hathaway. Max Baer Jr. took a pass on the project, thus the role of Jed's nephew Jethro Bodine-now a "sophisticated Hollywood producer"-was played by Ray Young. And with Irene Ryan (Granny) and Raymond Bailey (Milburn Drysdale) having passed on, their replacements were Imogene Coca, and former Hogan's Heroes regular Werner Klemperer as government bureaucrat C. D. Medford, Jane Hathaway's new boss. Also on hand was bluegrass musician Earl Scruggs, who with his late partner Lester Flatt has composed and performed the original Beverly Hillbillies theme song "The Ballad of Jed Clampett"; Shug Fisher and Shad Heller, who'd appeared in several 1969 episodes of the original series; and two veterans from The Beverly Hillbillies' sister series Petticoat Junction, Linda Kaye Henning and Charles Lane. The plot, if anyone cares, finds the Clampetts joining forces with Miss Jane to solve the energy shortage, using Granny's "white lightning" as a fuel substitute. As the film draws to a close, it looks as if Miss Jane and her boss Mr. Medford are about to be hitched in a good ol' Ozark wedding. Originally telecast on October 6, 1981, Return of the Beverly Hillbillies was intended as the pilot for a full-scale revival of the earlier series, but this was not to be. ~ Hal Erickson, All Movie Guide

Right Cross stars Dick Powell as cynical sportswriter Rick Gavery and Powell's wife June Allyson as boxing manager Pat O'Malley. Subbing for her incapacitated father (Lionel Barrymore), Pat grooms prizefighter Johnny Monterez (Ricardo Montalban) for the championship. Johnny holds a grudge against the world because he feels that his Mexican heritage has made him an outcast, though curiously the audience never sees any prejudice levelled against him. Gradually, Pat falls in love with the tempestuous Monterez, while Gavery, who's always carried a torch for Pat, observes from the sidelines. The film wisely avoids the usual boxing-flick cliches, most commendably during the climactic Big Bout. Marilyn Monroe appears unbilled in the opening scene as Dick Powell's dinner companion. ~ Hal Erickson, All Movie Guide