John Farrow Movies

More noted in its day for its underwater photography than for any distinction in its script or characters, this simple crime drama evolves around the retrieval of a priceless emerald from a sunken ship. Stuart Godfrey (John Farrow) is the black-hearted leader of a diving expedition to get the gem. He has forced the winsome Joanne (Nan Adams) to pretend to be his wife and has conned an outfit of frogmen into diving for the emerald. Dave Courtney (Jon Hall) heads up the divers, who mysteriously start to die off after one discovers an underwater skeleton with Godfrey's belt still tightly wound around its neck. The underwater mayhem continues right up to the above-water ending. ~ Eleanor Mannikka, All Movie Guide

Bob Hope plays a 19th-century insurance agent whose miserable sales record prompts his boss to send him out West, where he can (supposedly) do little harm. Hope manages to sell a $100,000 life insurance policy--to outlaw Jesse James (Wendell Corey), one of the worst "risks" in history! In his efforts to get the policy back, Hope finds himself being mistaken for Jesse, which is all part of the outlaw's plan to get Hope killed and thereby collect the policy money himself. But with the help of beauteous Rhonda Fleming (the essentially honest beneficiary to Jesse's policy), Hope gains a reputation as a lightning-fast gunslinger. In the inevitable shoot-out with the James gang, Hope is helped out by several famous Westerners, including Gary Cooper, Roy Rogers, Gene Autry, James "Maverick" Garner, and even Tonto (Jay Silverheels). ~ Hal Erickson, All Movie Guide

Director John Farrow's Back From Eternity is a virtual scene-for-scene remake of Farrow's 1939 film Five Came Back. The earlier film is the better of the two, if only because it is 22 minutes shorter. The plot concerns a small passenger plane that crashlands in South America, square in the heart of headhunter country. Pilot Robert Ryan is able to get the plane back into flying condition; unfortunately he discovers that the plane will only be able to carry five of its eleven passengers to safety. Who will have to be left behind: condemned murderer Rod Steiger, socialite Phyllis Kirk, her weak-willed fiance Gene Barry, copilot Keith Andes, elderly married couple Beulah Bondi and Cameron Prud'homme, songstress Anita Ekberg, foul-tempered cop Fred Clark, soft-hearted crook Jesse White, or tousle-haired kid Jon Provost? Rod Steiger is just fine in the role orginally played by Joseph Calleia, but Ekberg is no match for the original's Lucille Ball. ~ Hal Erickson, All Movie Guide

John Wayne plays anti-Nazi Prussian sea captain Karl Erlich in Sea Chase, one of the many film commentaries released post WWII. Though staunchly opposed to the Nazi regime, Karl (Wayne) feels it would nevertheless be unpatriotic should he refuse to save his ship from destruction. His ship--an old, rusty 5,000 ton freighter named the Ergenstrasse--is being pursued by a British warship on his journey from Australia back to Germany. Captain Erlich does everything he can to save his ship and his crew, but the process is long and dangerous, particularly without a plentiful supply of fuel and provisions. Erlich must face obstacles ranging from horrendous sea storms and shark attacks to false murder accusations, and it seems his only devotee is Elsa (Lana Turner), a beautiful German spy. Despite nearly falling to the determined English ship and a mutiny attempt by his own crew, Captain Erlich manages to survive what was anything but a routine trip back to his home country. ~ Tracie Cooper, All Movie Guide

Hondo is so "perfect" a John Ford western that many people assume it was directed by John Ford--or at the very least, Andrew McLaglen. Actually the director was suspense expert John Farrow, who worked with the "Duke" only twice in his career (the second film was an oddball war drama, The Sea Chase [55]). In Hondo, John Wayne plays a hard-bitten cavalry scout who is humanized by frontierswoman Geraldine Page and her young son (Lee Aaker, star of TV's Rin Tin Tin). Try as he might, Wayne can't convince Page to move off her land in anticipation of an Apache attack. He leaves her ranch, only to be ambushed by desperado Leo Gordon--who happens to be Page's long-absent husband. Having killed Gordon, Hondo returns to the ranch to protect Page from the Indians, and to rekindle the woman's hesitant love for him. The climactic attack sequence is enhanced by Hondo's 3-D photography, one of the few truly effective utilizations of this much-maligned process. Long unavailable thanks to the labyrinthine legal tangles of the John Wayne estate, Hondo was finally released to videotape in the early 1990s. ~ Hal Erickson, All Movie Guide

Set in the southernmost regions of Texas, Ride, Vaquero stars Robert Taylor as a steely-eyed gunman named Rio. In league with Mexican bandit Jose Esqueda (Anthony Quinn), Rio participates in the sacking of Brownsville. Only one man seems to have the intestinal fortitude to stand up to the villains: homesteader King Cameron (Howard Keel), who's already been burned out of one home by Esqueda and doesn't intend to allow it to happen again. Cameron's wife Cordelia (Ava Gardner) stands by her husband, which of course puts her in harm's way when Rio sets his romantic sights upon her. ~ Hal Erickson, All Movie Guide

This remake of John Ford's The Black Watch (29) stars Tyrone Power as British army captain stationed in India in 1857. Shunned by his fellow officers because he is a half caste, Power defies the social structure of the era by falling in love with the daughter (Terry Moore) of his superior officer. Power proves his loyalty to the Crown by quelling an uprising, led by his Indian boyhood friend (Guy Rolfe). The actors do their best, but the storyline is trite and stilted when dwelling on matters of honor and romance. King of the Khyber Rifles works best as an action picture--and in this respect it is immensely superior to the earlier John Ford film, which almost plays like a comedy when seen today. ~ Hal Erickson, All Movie Guide

His Kind of Woman directed by veteran John Farrow, is a convoluted mystery thriller which tries unsuccessfully to combine slapstick comedy with excessive violence, resulting in a film that depends more on stereotypes than on plot development. Nick (Raymond Burr), is a deported gang boss who needs to get back to the United States to run his operation. Dan Miller (Robert Mitchum) is a hard-up guy, who is persuaded, both by a series of beatings and a substantial sum of money, to sell his identity to Nick. Lenore (Jane Russell) a singer, poses as a heiress, trying to marry a millionaire. They all meet up in a resort in Mexico where Nick intends to have plastic surgery to alter his looks. There, a number of double-crosses, shootings, and chases all culminate in an exciting confrontation aboard ship. His Kind of Woman, a Howard Hughes production designed to be a showcase for Jane Russell, is entertaining when viewed as a comedy. As a serious film-noir thriller, it lacks suspense and depth. However, the film has its moments, and Robert Mitchum is in his element as the loner anti-hero. ~ Linda Rasmussen, All Movie Guide

Faith Domergue, the latest of Howard Hughes' protegees, made her film debut in 1950's Where Danger Lives. Domergue plays Margo Lannington the wife of Frederick Lannington (Claude Rains), an elderly millionaire possessed of a sadistic streak. Robert Mitchum co-stars as Jeff Cameron, a poor soul who falls in love with Margo without knowing that she's married. During a violent confrontation with the jealous Frederick, Cameron knocks the older man out and stumbles out of the room. Upon his return, he discovers that Frederick is dead. Margo had smothered her husband during Cameron's absence, but she insists that Cameron is the killer. The desperate lovers flee to Mexico, where Cameron at long last discovers that his travelling companion is more than a little unhinged. Masterfully directed by John Farrow, Where Danger Lives might have been one of the classic "film noirs," were it not for the acting deficiencies of Faith Domergue, who flounders in a role that Jane Greer could have played blindfolded. ~ Hal Erickson, All Movie Guide

This modern-day "Faust" variation benefits from a superb cast. Thomas Mitchell plays Joseph Foster, an honest judge who wants to become governor. Blocked by corrupt political forces, Foster would practically have to make a deal with the Devil to reach his goal. Enter Nick Beal (Ray Milland), a diabolically handsome gent with a slick line of patter and a smooth, infallible method of getting things done. Failing to recognize his benefactor's true identity (after all, Nick has no horns or cloven hooves) Foster agrees to the deal when Nick assures him that the end result is for the good of the people. To bind the bargain, Nick sends out one of his most trusted associates, Donna Allen (Audrey Totter), to keep Foster in line. When Foster finally realizes that he's sold his soul, there seems to be no way out..but that's when the forces of Good, represented by Foster's wife Martha (Geraldine Wall) and his clergyman friend Thomas Gaylord (George Macready), switch into high gear. ~ Hal Erickson, All Movie Guide

John Farrow's movie adaptation of Kenneth Fearing's The Big Clock, based on a screenplay by Jonathan Latimer (and produced by future James Bond screenwriter Richard Maibaum), is a near-perfect match for the book, telling in generally superb visual style a tale set against the backdrop of upscale 1940s New York and offering an early (but accurate) depiction of the modern media industry. Told in the back-to-front fashion typical of film noir, it opens with George Stroud (Ray Milland) trapped, his life in danger, his survival measured in the minute-by-minute movements of the huge central clock of the office building where he's hiding. In flashback we learn that Stroud works for media baron Earl Janoth (Charles Laughton), loosely based on Henry Luce, as the editor of Crimeways magazine. Janoth is a manipulative, self-centered megalomaniac with various obsessions, including clocks; among other manifestations of the latter fixation, the skyscraper housing his empire's headquarters has as one of its central features a huge clock that reads out the time around the world down to the second.

Twenty-four hours earlier, on the eve of a combined honeymoon/vacation with his wife, Georgia (Maureen O'Sullivan), that has been put off for seven years, Stroud was ordered by Janoth to cancel the trip in order to work on a special project, and he resigned. As the narrative picks up speed, in his depression, Stroud misses the train his wife is on and crosses paths with Pauline York (Rita Johnson), a former model for Janoth's Styleways magazine, who is also Janoth's very unhappy mistress, and the two commiserate by getting drunk together in a night on the town. While hurriedly leaving Pauline's apartment, he glimpses Janoth entering. Janoth and York quarrel, and the publisher kills her in a jealous rage, using a sundial that she and Stroud picked up the night before while wandering around in their revels. Janoth and his general manager, Steve Hagen (George Macready), contrive to pin the murder on the man that Janoth glimpsed leaving York's apartment, whom he thinks was named Jefferson Randolph -- the name Stroud was drunkenly bandying about the night before. He gets Stroud back to Crimeways to lead the magazine's investigators in hunting down "Jefferson Randolph," never realizing that this was Stroud. And Stroud has no choice but to return, desperately trying to gather evidence against Janoth and, in turn, prevent the clues gathered by the Crimeways staff from leading back to him. The two play this clever, disjointed game of cat-and-mouse, Janoth and Hagen planting evidence that will hang "Randolph" (and justify his being shot while trying to escape), while Stroud, knowing what they don't about how close the man they seek to destroy is, arranges to obscure those clues and, in a comical twist, sends the least capable reporters and investigators to follow up on the most substantial clues.

Janoth sometimes seems to be unraveling at the frustrating pace and lack of conclusion to the hunt, but Stroud can't escape the inevitable, or the moments of weakness caused by fear and his own guilt over his near-unfaithfulness to his wife or the inscrutable gaze of Janoth's mute bodyguard Bill Womack (Harry Morgan), a stone-cold killer dedicated to protecting his employer. The trail of proof and guilt winds ever tighter around both men, taking some odd twists courtesy of the eccentric artist (Elsa Lanchester) who has seen the suspect. Milland is perfect in the role of the hapless Stroud, and Laughton is brilliant as the vain, self-centered Janoth, but George Macready is equally good as Hagen, his smooth, upper-crust Waspy smarminess making one's skin crawl. Also worth noting is Harry Morgan's sinister, silent performance as Womack, and sharp-eyed viewers will also recognize such performers as Douglas Spencer, Noel Neill (especially memorable as a tart-tongued elevator operator), Margaret Field (Sally's mother), Ruth Roman, and Lane Chandler in small roles. Additionally, the Janoth Publications building where most of the action takes place is almost a cast member in itself, an art deco wonder, especially the room housing the clock mechanism and the lobby and vestibules, all loosely inspired by such structures as the Empire State Building and the real-life Daily News headquarters on East 42nd Street. This film was later remade as No Way Out. ~ Bruce Eder, All Movie Guide

An older soldier enters West Point but remains haunted by nagging guilt. It all began in Tunisia during a tremendous battle. The soldier passed out during the fight, and when he awoke he discovered his commanding officer was dead. He blames himself for the death and after being released from the army, he goes to see the officer's wife. Love blossoms, and with her help he enrolls in West Point where he becomes a model cadet until a jealous plebe begins making trouble that eventually sends the soldier to a court-martial hearing. There the truth of the incident is finally revealed. ~ Sandra Brennan, All Movie Guide

In this aerial melodrama, four brothers working as stunt pilots for a flying circus leave their jobs to become mail pilots. Because their job requires that they constantly travel, they are advised to not settle down with wives and kids. Still, one pilot falls in love and marries. Unfortunately, the woman dislikes his brothers and constantly worries that he will be killed during a flight. Her fears are not unfounded and much tragedy ensues as the story unfolds. ~ Sandra Brennan, All Movie Guide