Robert M. Fellows Movies

Novelist Mickey Spillane portrays his own creation, Mike Hammer, in The Girl Hunters. Hammer has spent seven years in an alcoholic funk after the supposed death of his secretary, Velda. He is brought back to the land of the living by his old friendly enemy, police lieutenant Pat Chambers (Scott Peters), who wants Hammer to extract some information out of a dying federal agent. This puts Mike on the trail of a subversive communist organization, the key to which seems to be sexy Laura Knapp (Shirley Eaton), the widow of a murdered senator. When Hammer determines that following this espionage trail may lead to relocating Velda, who might not be dead after all, he pursues matters with his usual fascistic tendency to pummel first and ask questions later. The Girl Hunters is the film in which Mike Hammer incapacitates an opponent by literally nailing the latter's hands to the floor. But that's kid stuff compared to the fate in store for the treacherous Laura Knapp. The Girl Hunters was filmed in its entirety in England. ~ Hal Erickson, All Movie Guide

In this experimental 1954 Western, director William Wellman uses black-and-white backgrounds with occasional splatches of color on certain characters' bodies and clothes. On a snowbound ranch in northern California, the Bridges family is trapped by winter weather and its own internal conflicts. It is run by a stern matriarch, Ma Bridges (Beulah Bondi), who lords it over her weak, alcoholic husband (Philip Tonge) and her bitter, unmarried daughter, Grace (Teresa Wright). The three sons squabble constantly. Staying at the ranch is a young neighbor, Gwen Williams (Diana Lynn), who is smitten with one of the sons, Harold (Tab Hunter). But the arrogant Curt (Robert Mitchum) wants to take control of the ranch and take possession of Gwen too. During the winter, a black panther has been killing the cattle on the ranch. Curt and the third brother, the quiet Arthur (William Hopper), set out to kill the panther, but when Curt leaves to get more food, the cat kills Arthur. The grief-stricken family blames Curt, who then sets out on his own to kill the beast. ~ Michael Betzold, All Movie Guide

A real "must see" for devotees of 1950s pop culture, Ring of Fear boasts a script co-written by character actor Paul Fix and a cast which includes the likes of animal trainer Clyde Beatty and pulp-fiction novelist Mickey Spillane. The story takes place in Beatty's travelling circus, where a homicidal maniac named Dublin (Sean McClory) is doing his best to wreck the show. It's all because Dublin is in love with Valerie (Marian Carr), the wife of aerialist Armond St. Denis (John Bromfield). Since the cops don't know who's behind all the trouble, they call in crime expert Spillane (cast as himself). Dublin nearly succeeds in bumping off Spillane before he himself is dispatched by a giant tiger. Representing the Law is Pat O'Brien, who delivers his silly dialogue with conviction. ~ Hal Erickson, All Movie Guide

During World War II, a Military Air Transport Command DC-3 piloted by a civilian crew is forced down in northern Labrador. The five men, led by Dooley (John Wayne), have barely any food and almost no way to keep warm, and their power supply is fading fast, but they have to find a way of staying alive until search planes find them. At first, even Dooley is overwhelmed by the responsibility for his crew's safety, and he is too lax in handling them -- but after one man dies, frozen to death just steps from help, he takes over and pushes his men and himself to the limits of their endurance; he even seems ready to crack himself at one moment. Meanwhile, the men who fly with Dooley push themselves and their machines past their endurance limits searching the arctic wastes for the downed plane. Island in the Sky -- based on the book by Ernest K. Gann (perhaps the best aviation novel ever written), which was, in turn, based on a true incident that happened during the war -- is one of the most startling movies in Wayne's output. He doesn't even look like the "star" John Wayne, but like a real pilot, and the cast, made up of familiar faces, all look like the real article; indeed, this movie should have been in the running for Academy Awards for costuming and makeup, just for making these familiar performers, such as Lloyd Nolan (in maybe his best performance) and Andy Devine (ditto), look like real pilots and ordinary men, rather than familiar actors. You end up feeling like you're watching a documentary, and the effect is bracing and unsettling, and dramatically unparalleled in Wayne's entire output. ~ Bruce Eder, All Movie Guide

Of all the "kill the commies" cold war films of the 1950s, John Wayne's Big Jim McLain may well be the worst. Certainly it's the hardest one to sit through today. The Duke and his partner Jim Arness (Wayne's real-life protege) head to Hawaii to investigate a subversive pro-Red organization. Feigning love for suspect Nancy Olson, Wayne ferrets out the name of the Big Cheese, played by Gayne Whitman. After a long wild-goose chase, peopled by such oddball types as Hans Conried and Alan Napier, Wayne catches up with his quarry, who has--egad!--already murdered Arness. Wayne exacts vengeance, paving the way for a final clinch with Nancy Olson, who turns out to be true-blue and not red after all. To quote Spike Jones: "Peeeeee.....yewwwww." ~ Hal Erickson, All Movie Guide

Fred Astaire and Betty Hutton make a surprisingly copacetic screen team in Let's Dance. Hutton plays a more sedate role than usual as war widow Kitty McNeil. Not wishing to have her young son Richard (Gregory Moffatt) grow up in the stiff and stuffy environs of her Boston in-laws' mansion, Kitty sneaks off with the kid and resumes her prewar show-business career. She is reunited with her USO dancing partner Donald Elwood (Astaire), who hopes to give up performing in favor of the business world. Inevitably, Kitty and Donald resume their old act, while, equally inevitably, Kitty's Bostonite grandmother-in-law Serena Everett (Lucille Watson) sets the legal wheels in motion to gain custody of little Richard. Fred Astaire manages to match Betty Hutton's patented raucousness during the hillbilly musical number "Oh, Them Dudes", though he is given the opportunity to do the sort of dancing he does best--notably a brilliant routine atop and around a piano. ~ Hal Erickson, All Movie Guide

Taken (as far as possible) from the Cole Porter musical comedy of the same name, Red, Hot and Blue stars Betty Hutton as an ambitious chorus girl. Hutton gets a job with a musical comedy bankrolled by gangsters, and is the wrong girl at the wrong place when one of the show's backers (William Talman) is bumped off. She is arrested for suspicion of murder, then is kidnapped by the villains to keep her from spilling the beans. The plot requires that she be rescued by hero Victor Mature, though many disgruntled audience members may have been rooting for the boisterous Hutton to be dumped in the East River. The stage version of Red Hot and Blue starred Ethel Merman, Jimmy Durante, and Bob Hope. Hutton is no Merman, but she gives her all to the brassy production numbers and the self-absorbed ballads--written not by Cole Porter, whose score was dispensed with, but by Paramount's in-house tunesmith Frank Loesser, who also plays a small role as one of the gangsters. ~ Hal Erickson, All Movie Guide

Though the Mark Twain original has been refashioned into a Bing Crosby vehicle, this 1949 musical adaptation of A Connecticut Yankee in King Arthur's Court is a lot more faithful to the Twain original than either of the two previous film versions. Crosby plays Hank Martin, a turn-of-the-century American mechanic who is conked on the noggin and awakens in sixth-century England. Captured by dull-witted Sir Sagramore (William Bendix), Hank is marched into the court of King Arthur (Cedric Hardwicke), where he uses his machine-age ingenuity to win the title of "Sir Boss." Even while incurring the wrath of the duplicitous wizard Merlin (Murvyn Vye), Hank woos and wins the lovely lady-in-waiting Alisande (Rhonda Fleming). Shocked by the appalling living conditions of the British peasants, Hank insists that King Arthur travel amongst the people in disguise so that he can experience their misery first-hand, and thereby bring about social reforms. Merlin schemes to use this opportunity to overthrow the king, but Hank foils the wizard's plans by pretending to demonstrate magical powers during a total eclipse. As a last-ditch effort to rid the kingdom of Hank, Merlin kidnaps Alisande and lures "Sir Boss" to certain doom. This scurrilous scheme segues into a much happier ending than one will find in the Twain novel. The expected "time displacement" routines are freshly handled by Crosby and company, while the songs are melodious and perfectly suited to the situations at hand. The film's Technicolor photography is another major asset. By present-day standards, the only drawback to A Connecticut Yankee in King Arthur's Court is that it goes on too long; even so, it is infinitely preferable to the recent remakes that have spewed forth from the Disney studio. Songs include: "Twixt Myself and Me," "Busy Doing Nothing," "Once and for Always", "When is Sometime," and "If You Stub Your Toe on the Moon."
~ Hal Erickson, 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

Officially based on a novel by Margaret Carpenter, Experiment Perilous would seem to be more inspired by MGM's psychological thriller Gaslight. Set at the turn of the century, the film stars Hedy Lamarr as Allida, the beautiful young wife of an elderly "gentleman" named Nick (Paul Lukas). Treating his wife like a possession, Nick keeps her a virtual prisoner in their London town house, cutting off all contact with the outside world. The situation is exacting a terrible emotional toll on Allida and her stepson Alec (George N. Neise). Enter kindly psychiatrist Huntington Bailey (George Brent), who takes it upon himself to free Allida and Alec from the despotic control of the insanely jealous Nick. The film's "money scene" is a frenzied gun battle in an aquarium, replete with shattered glass, gushing water and floundering fish; this sequence would be imitated ad nauseum in such future films as Lethal Weapon (1988) and Mission: Impossible (1996). ~ Hal Erickson, All Movie Guide

Edward Dmytryk's Back to Bataan stars John Wayne as Colonel Joe Madden. After General MacArthur decides to follow his order and leave the Philippines, Madden agrees to stay behind and organize an underground resistance movement. Anthony Quinn plays Andres Bonifacio, a captain who falls in love with a local woman (Fely Franquelli) who helps the army keep their rag-tag forces as organized as possible. Bonifacio must also deal with the pressure of being the grandson of a beloved Filipino leader. ~ Perry Seibert, All Movie Guide

Previously filmed as a so-so Marx Brothers vehicle in 1938, the John Murray-Alan Boretz Broadway hit Room Service was effectively musicalized in 1944 as Step Lively. The plot remains intact: Fly-by-night theatrical producer Gordon Miller (Groucho Marx in the 1938 film, George Murphy in the remake) struggles to keep his production and cast together, despite severe deficiencies in the money department. Hotel-chain supervisor Wagner (Adolphe Menjou) threatens to throw Miller and his actors off the premises, an eventuality Miller hopes to forestall until he can obtain $50,000 from a wealthy backer. Meanwhile, Glen Davis (Frank Sinatra), the author of Miller's play, shows up to see how things are going. Before long, Glen is swept up in a desperate plot hatched by Miller and his underlings Binion (Wally Brown) and Harry (Alan Carney) to stay in the hotel despite Wagner's efforts to oust them. Caught in the middle are hapless hotel manager Gribble (Walter Slezak), potential backer Jenkins (Eugene Pallette), Glen's sweetheart Miss Abboli (Anne Jeffreys) and Miller's leading lady Christine (Gloria DeHaven). This being a musical, the outcome hinges on Glen's hitherto untapped singing ability, which might save the day if he overcomes a bout of psychosomatic laryngitis. ~ Hal Erickson, All Movie Guide