Sammy Fain Movies

Woody Allen's gentle and nostalgic tribute to the glory days of radio and coming-of-age during World War II plays like Fellini's Amarcord filtered through Neil Simon. The nominal star is Seth Green as Joe, a teenage Jewish boy, growing up with a house full of relatives in Brooklyn. Allen cuts between Joe's working class neighborhood of Rockaway Beach, Queens, and the glittery and glamorous world of radio in Manhattan. ~ Paul Brenner, Rovi

A handsome lawyer begins a passionate affair with an extraordinarily beautiful woman, not realizing that she is a paid assassin out to fulfill a contract with his name on it. ~ Sandra Brennan, Rovi

James Lake (Raymond St. Jacques) is an escaped black convict imprisoned for a murder he didn't commit. Leslie Whitlock (Kevin McCarthy) offers James money to kill his wife, Ellen (Dana Wynter). He declines and tries to look up his old flame Lily (Barbara McNair), but discovers his own brother is now married to the sultry nightclub singer. James returns to Leslie, and the trio travel towards a mountain retreat. James and Ellen escape and try to find the murderer who had framed James years before. He experiences prejudices from police and civilian alike before the trail leads to the dead girl's stepfather. Due to the constant sexual and racial overtones this film is considered an exploitation feature. ~ Dan Pavlides, Rovi

In this amusing fantasy, a combination of live-action and animated effects, Don Knotts plays scrawny bookkeeper Henry Limpet, who longs to help the U.S. after the outbreak of World War II. He becomes depressed after being turned down by the Navy, particularly after his pal George (Jack Weston) is accepted. When Henry takes a walk on the Coney Island pier with his wife Bessie (Carole Cook), he falls into the water and is transformed into a fish, complete with his reading spectacles. Henry finally gets to help the war effort by helping to track down Nazi U boats for the Navy. Andrew Duggan and Larry Keating play the admirals who spearhead the secret mission involving the transformed Henry. Longtime Disney production associate John Rose was the producer of this film, and the influence of the animation is evident. ~ Dan Pavlides, Rovi

A man falls for an exotic "bad girl," unaware he's already met the nice girl lurking beneath the surface, in this romantic comedy. Samantha Blake (Joanne Woodward) works for a large department store in New York City as a sort of industrial spy; while ostensively a buyer, Blake's greatest responsibility is to find out what the hot new fashions are going to be, so her store can have cut-price knockoffs on the racks once they hit the boutiques. Samantha is flying to Paris with her co-workers Leena (Thelma Ritter) and Joe (George Tobias) when she meets Steve Sherman (Paul Newman), a no-nonsense reporter who has been assigned to cover the unveiling of the new designer lines. Samantha and Steve don't exactly hit it off, and after arriving in Paris, a depressed Samantha makes her way to a beauty salon after a few cocktails too many. Decked out in a new wig and dressed to the nines, Samantha bumps into Steve, who is convinced she's one of the city of lights' glamorous high-priced call girls. Samantha plays along, and Steve writes a story about her which proves to be a hit with his readers, but as she finds herself falling for Steve, she isn't sure how to tell him that she's really the mousy woman he met on his flight to Paris. A New Kind Of Love also features cameo appearances from Maurice Chevalier and Frank Sinatra, the latter of whom sings the title song. ~ Mark Deming, Rovi

David O. Selznick had intended to film an adaptation of F. Scott Fitzgerald's Tender is the Night as a vehicle for his wife Jennifer Jones. But financial difficulties compelled Selznick to sell the property (including Ms. Jones' services) to 20th Century-Fox. Jones stars as a wealthy but disturbed woman of the 1920s who marries her psychiatrist (Jason Robards Jr.). They live together at her Riviera estate, where the doctor's analytical skills atrophy. As Jones grows stronger, the doctor becomes totally dependent upon her emotionally and financially. The film's supporting characters are equally self-destructive, notably an alcoholic composer (Tom Ewell) and Jones' avaricious sister (Joan Fontaine). Perhaps if Selznick had produced Tender is the Night, the film wouldn't have wallowed in misery for its own sake; on the other hand, we still would have been stuck with Jennifer Jones, who is woefully miscast. ~ Hal Erickson, Rovi

Victor Mature, in one of his last leading man performances, plays Hank Whirling, the owner of a financially shaky circus who is trying to get back on his feet, despite cutthroat competition from a rival organization. He also has a younger sister (Kathryn Grant) to watch out for. After arranging for a bank loan, he discovers that he's got two new members of "management" to contend with: persnickety bank officer Randy Sherman (Red Buttons), who is put there to safeguard the loan, and press agent Helen Harrison (Rhonda Fleming), who is hired by Sherman to help get the Whirling Circus some publicity. Hank can't abide the presence of either of them, or, more to the point, the idea of sharing his authority, though Randy means well and Helen is very good to look at and does know her job. The circus owner can barely take the time to deal with either of them, however, with shows to give and an apparent saboteur at work, who grows bolder with each passing day and finally starts getting people killed. In the course of trying to save the show, aerialist Zack Colino (Gilbert Roland) commits himself to a headline-making publicity stunt -- covered heavily by television news as well -- that Helen merely rattles off without thinking, of walking a wire across Niagara Falls. Colino also figures heavily in the denouement, a tense chase under the big top that develops as the man responsible for the train wrecks, escaped animals, fires, and other sabotage is identified and goes on the run. ~ Bruce Eder, Rovi

Marjorie Morgenstern (Natalie Wood) is an 18-year-old, middle-class, Jewish girl from New York who wants nothing more than to be an actress, despite the hopes and wishes of her parents (Everett Sloane and Claire Trevor) that she graduate from college, marry, and settle down to have a family. At the urging of her more worldly friend Marsha Zelenko (Carolyn Jones), she takes a job at an upstate camp, and, one night when sneaking onto the grounds of a neighboring resort, meets and falls wildly in love with the entertainment director, Noel Airman (Gene Kelly). A Lothario with a gift of song as well as dance, Airman romances Marjorie and tries to teach her something of theater, suggesting that she change her name to Marjorie Morningstar, which she does. He intends to enjoy her company for the summer, until her aging uncle Samson (Ed Wynn), who is also working at the resort, tells him of the family's concerns for the girl. Noel and Marjorie end up linked romantically, despite their best efforts to stay away from each other. Marjorie gives up a potential romance with a slightly older, successful doctor (Martin Balsam) and resists the honest entreaties of Airman's assistant, Wally Wronken (Martin Milner), and tries to get Airman to straighten up and fly right; she can't get her own acting career off the ground, but she owns Airman's heart. Instead of biding his time at writing a musical that he's been working at for four years, and spending his summers working in the Catskills, Noel tries to work in the advertising world -- he also finds himself just as troubled by the stable family life and religious life that Marjorie comes from as he is attracted to her personally. He is also bitterly disturbed by the fact that his one-time assistant Wally Wronken is now a successful Broadway playwright, the darling of critics and audiences, with backers eager to sign checks to produce his work. Unable to pursue a life in business, or remain faithful to Marjorie, he reaches a crisis point from which only she can rescue him -- together they try to build a life and he tries to finish his long-gestating masterpiece, which proves a disaster when it gets to Broadway. Noel abandons Marjorie, and when she goes to find him, Wally warns her off, explaining that Noel has to return to a place where he can feel successful, like the Catskills resort where they met, where he can be the big fish in the tiny pond. Her marriage over and her girlish ideals behind her, she sees Noel back in his element, wowing young acting students with his skills, and finally turns to the one man who has loved her for precisely who she is all along, Wally. ~ Bruce Eder, Rovi

April Love is a musicalized remake of 1944's Home in Indiana. Pat Boone stars as a potential juvenile delinquent who is sent to work on a Kentucky farm. When he meets apple-cheeked local girl Shirley Jones, Boone decides that mending his ways might be an option. Before long, he is devoting himself to the task of training a horse to become a winning trotter. Nominated for an Academy Award, the film's title song proved to be one of Pat Boone's most durable hits. April Love benefits from its actual Lexington, Kentucky locations, lovingly photographed in CinemaScope and Deluxe Color by Wilfred Cline. ~ Hal Erickson, Rovi

Based on the autobiographical novel by Han Suyin, Love is a Many Splendored Thing was evocatively location-filmed in Hong Kong. Jennifer Jones plays Ms. Suyin, a Eurasian doctor and the widow of a Chinese general. She falls in love with American news correspondent Mark Elliot (William Holden), who unfortunately cannot obtain a divorce from his present wife. This, together with the disapproval of Dr. Suyin's tradition-bound relatives and Hong Kong's strict racial laws, forces the couple to carry on their romance in a clandestine fashion. The romance ends in tragedy, but with renewed hope for a happier future. The one lasting legacy of Love is a Many Splendored Thing is its Oscar-winning title song, written by Paul Fain and Sammy Webster; Oscars also went to Alfred Newman's musical score and Charles LeMaire's costume design. ~ Hal Erickson, Rovi

Doris Day looks no more like the real Calamity Jane than you or I do, but this 1953 film is intended as a lighthearted musical, not a historical tract. As portrayed by the freckled Ms. Day, Jane is a rootin', tootin' shootin' hoyden in the western town of Deadwood. When she isn't tearing up the town, Jane spends her time cussing out Wild Bill Hickok (Howard Keel). The plot gets under way when Jane promises the citizens of Deadwood that she can persuade classy Chicago stage star Adelaide Adams (Gale Robbins) to perform at the local opry house. Through a case of mistaken identity, Jane brings Adelaide's maid Katie (Allyn Ann McLerie) back to town. Katie proves to be a success all the same, and out of gratitude promises to make a "lady" out of Jane, who is sweet on handsome Lt. Gilmartin (Philip Carey). When the lieutenant chooses Katie over Jane, our heroine is heartbroken--until she realizes that she has loved Wild Bill Hickok all along, and that the feeling is mutual so far as Hickok is concerned. The peppy musical score by Sammy Fain and Paul Francis Webster includes the Oscar-winning Secret Love, which became a million-selling hit for Doris Day. ~ Hal Erickson, Rovi

This Disney feature-length cartoon combines the most entertaining elements of Lewis Carroll's Alice in Wonderland and Through the Looking Glass. Chasing after the White Rabbit, who runs into view singing "I'm Late! I'm Late!," Alice falls down the rabbit hole into the topsy-turvy alternate world of Wonderland. She grows and shrinks after following the instructions of a haughty caterpillar, attends a "Very Merry Unbirthday" party in the garden of the Mad Hatter and the March Hare, stands in awe as the Cheshire Cat spouts philosophy, listens in rapt attention as Tweedledum and Tweedledee relate the story of the Walrus and the Carpenter (a sequence usually cut when Alice is shown on TV), and closes out her day with a hectic croquet game at the home of the Red Queen. The music and production design of Alice in Wonderland is marvelous, but the film is too much of a good thing, much too frantic to do full honor to the whimsical Carroll original, and far too episodic to hang together as a unified feature film. One tactical error is having Alice weep at mid-point, declaring her wish to go home: This is Alice in Wonderland, Walt, not Wizard of Oz! Its storytelling shortcomings aside, Alice in Wonderland is superior family entertainment (never mind the efforts in the 1970s to palm off the picture as a psychedelic "head" film). ~ Hal Erickson, Rovi