Michael Fessier Movies

A distant relative of Ben Cartwright, preteen tomboy Samantha Dorcas (Linda Sue Risk is delivered to the Ponderosa in the hope that Ben will be able to "tame" the troublesome girl. Meanwhile, Sam's mother Martha (Antoinette Bower) struggles desperately to escape her existence as a saloon girl. Further complications ensue when Sam's grandfather Calvin (George Mitchell) arrives on the scene. First shown on November 3, 1968, "Little Girl Lost" was written by Michael Fessier. ~ Hal Erickson, Rovi

Breaking from tradition, Bonanza offered two first-run episodes amidst the usual sea of reruns in the summer of 1968. The first of these, "A Severe Case of Matrimony", aired on July 7, 1968. Susan Strasberg plays Rosalita, a fiery gypsy girl who aspires to a career in opera-and never mind that she can't carry a tune in a washbucket. Willing to marry one of the Cartwrights to finance her singing career, Rosalita fabricates a story of relentless abuse at the hands of her father Anselmo (J. Carroll Naish). Also in the cast are Andre Philippe as Paco and Lili Valenty as Dolores. Written by Michael Fessnier, this episode went into production under the title "A Slight Case of Matrimony." ~ Hal Erickson, Rovi

This classic episode can be described as an outer-space western, as cowardly Dr. Smith (Jonathan Harris) comes face to face with his coldblooded lookalike Zeno (also Jonathan Harris), a notorious intergalactic gunslinger. Forced to trade his clothes with Zeno's, Smith is arrested by the Law, who sentence him to be boiled in oil. Once the Robinsons figure out what is happening, they gallop (figuratively speaking) to Smith's rescue--but it may already be "High Noon" for the hapless medico. Not surprisingly, this episode is a showcase for Jonathan Harris, who requested that the script be written for him to display his versatility. ~ Hal Erickson, Rovi

Paladin (Richard Boone) is hired by Colonel Lathrop (Robert F. Simon), a wealthy and aristocratic ex-military man who claims to be writing a history of the West. Lathrop wants Paladin to find out what became of a legendary saloon queen who once presided over a now-deserted Nevada mining town. The job turns out to be a lot more dangerous than it first appears: no one previously hired by the Colonel to find the missing lady has ever returned alive. Supporting players Denver Pyle (Clay Sommers) and Peggy Rea (Lulu) were later reteamed on another popular TV series, The Dukes of Hazzard. ~ Hal Erickson, Rovi

Reminiscent of Destry Rides Again, this feature is about peaceable young lawyer Tom Brewster (Will Rogers Jr.), who sets up shop in a rowdy western town. Though perfectly able to wield a six-gun, Brewster refuses to use brawn when brain will do. He is galvanized into action when his old pal Wallace Ford is murdered by the villains. Brewster cleans up the town and wins the heroine (Nancy Olsen) in the bargain. One of two Will Rogers Jr. vehicles produced at Warner Bros. (the other was the life story of Rogers' famous father), The Boy From Oklahoma served as the basis for Warners' later TV series, Sugarfoot. Watch for a supporting appearance by a young and callow Merv Griffin! ~ Hal Erickson, Rovi

Slave Girl is the sort of fare that the Universal higher-ups used to dismiss as "tits and sand;" nonetheless, this kind of entertainment (along with the equally lowbrow Abbott and Costello and Ma and Pa Kettle pictures) paid the bills for the studio's more ponderous projects. The slave girl of the title is Yvonne DeCarlo, one of many in servitude to a 19th century Tripoli potentate (Albert Dekker). Two-fisted American diplomat George Brent, accompanied by brawling sailors Broderick Crawford and Andy Devine, has been sent by his government to negotiate the release of hostages captured by the potentate. When negotiations break down, DeCarlo agrees to help Brent free the prisoners through more direct means, provided he takes her away with him. If Slave Girl was supposed to have been taken with a straight face, Universal would never have included brief cutaways to a wisecracking camel (!), whose name is "Humpy" and whose voice is provided by Buddy Hackett. ~ Hal Erickson, Rovi

The producer/screenwriter team of Michael Fessler and Ernest Pagano turned out several offbeat comedies for Universal in the 1940s; curiously, the one with the most fanciful plot, That's the Spirit, is the most conventional of the bunch. On the verge of fatherhood, happy-go-lucky Steve (Jack Oakie) innocently finds himself in the company of a breathtaking blonde who isn't his wife. Before Steve can explain, he abruptly dies and his soul ascends to Heaven. Each year for the next 18 years, Steve shows up at the celestial complaint department, demanding an opportunity to return to earth and square himself with his wife, Libby (June Vincent), and his now-grown daughter, Sheila (Peggy Ryan). Finally, departmental head L.M. (played by Buster Keaton, a "regular" in the Fessler-Pagano films) agrees to send Steve back, though no one will be able to see or hear him. The rest of the film concerns the invisible Steve's efforts to guide his family toward true happiness -- no small task, as it turns out. Featured in the cast of That's the Spirit is Jack Oakie's real-life wife, Victoria Horne. ~ Hal Erickson, Rovi

In this musical comedy, a young singer becomes so desperate to appear on Broadway that she goes to a prominent producer and tells him that she is the daughter who resulted from his day-long marriage to a young woman he knew years ago. The producer is delighted and soon puts his daughter up on stage. The trouble begins when the girl's "mother" suddenly pays a call. For her own reasons, the woman decides to play along with the girl's ruse. Fortunately, by the story's end, the truth is revealed, all differences are reconciled and happiness ensues. Songs include: "Once Upon a Dream" (Jack Brooks, Hans J. Salter), "Market Place," "Shadows," and "Largo al Factotum" (from Rossini's Barber of Seville). ~ Sandra Brennan, Rovi

The Merry Monahans is one of the higher-budgeted Universal musicals of the 1940s, even though the storyline is strictly grade-B material. During the first two decades of the 20th century the film concerns a family vaudeville troupe headed by patriarch Pete Monahan (Jack Oakie). Because of his love affair with the bottle, Pete manages to get himself and his family blacklisted from every major vaude house in the country. Though Pete's kids Jimmy (Donald O'Connor) and Patsy (Peggy Ryan) love their dad, they're forced to break away from the act and go off on their own to survive. Eventually, the whole gang is reunited in a shamelessly lachrymose musical finale. Producer-scripters Michael Fessier and Ernest Pagano, whose other works include such offbeat comedies as San Diego I Love You, Frontier Gal and That's the Spirit, manage to keep the proceedings relatively cliché-free, though it's an uphill climb. The film's best moments include a series of celebrity impressions performed by Donald O'Connor and Peggy Ryan, and a handful of songs rendered by promising newcomer Ann Blyth. Some curious coincidences: The plot of Merry Monahans bears a startling resemblance to the early career of comedian Buster Keaton; Keaton was featured in three of Fessier and Pagano's Universal productions of the 1940s; and Donald O'Connor and Ann Blyth later starred in Paramount's The Buster Keaton Story! ~ Hal Erickson, Rovi

Louise Allbritton, a talented but neglected film star of the 1940s, plays the oldest sister in a large motherless family. Papa (Edward Everett Horton) is an erstwhile inventor working on a collapsible life raft, which Allbritton tries to promote to a handsome financier (Jon Hall) who mistrusts women. It isn't hard to guess who will fall in love with who in this one, but the true appeal of this film lies in the performance of Louise Allbritton, who directly and indirectly encourages all with whom she comes in contact to break the shackles of tradition and normality and to follow the dictates of the Heart. The most famous sequence in San Diego I Love You concerns cynical bus driver Buster Keaton, who thanks to Allbritton's influence decides to break loose from his tiresome routine and takes his delighted passengers on an impromptu bus trip to the moonlit seashore. At the end of this enchanting vignette, Buster Keaton the actor drops his own deadpan "tradition" and breaks out in a warm smile! ~ Hal Erickson, Rovi

The second and last of the Fred Astaire-Rita Hayworth vehicles, You Were Never Lovelier takes place in Argentina (courtesy of the Columbia Pictures art-direction department). Fred plays an American dancer whose fondness for betting on horse races has left him broke. Rita is the daughter of wealthy Argentinian nightclub owner Adolphe Menjou, who has vowed that his daughters will marry in the order of their ages-and since older sister Leslie Brooks is about to walk to the altar, Rita is next in line. To encourage his daughter to seek out an eligible husband, Menjou sends Rita unsigned love notes so that she'll think she has a secret admirer. Through a series of misunderstandings that could only happen in the movies, Rita becomes convinced that Fred is the man who's been plying her with notes and gifts. Menjou hires the impoverished Astaire as a potential son-in-law. Fred bridles at the thought of being a "bought spouse", but changes his mind when he falls in love with Rita on his own. ~ Hal Erickson, Rovi

In this boxing drama, champion fighter Johnny Rocket decides to leave the ring to please his new bride. Unfortunately, his greedy manager, unwilling to get off the gravy train engineers things so that the fighter cannot find work and must return to the squared circle to make a living. His ploy works, and the fighter resumes his career. He also begins falling in love with a sexy female sports writer. This causes his marriage to disintegrate. The avaricious manager decides to make a lot of money fast and so sets his fighter up to take a dive and betting against him. The doped up fighter loses the fight. He also loses the sportswriter. Fortunately his true love is around to pick him up and help him start anew. ~ Sandra Brennan, Rovi

In this drama, set in Paris, a devout communist is slowly seduced into becoming a capitalist by a persuasively pretty young woman. The tale begins as the young man shoots at a banker and then flees the police. He runs into the woman's apartment, and for some reason, she decides to let him stay. She then tells him that she is the banker's ex-wife, and they begin to converse; she is fascinated by communist philosophies and in turn shares her views on capitalism with him. He comes to like them and so abandons his other ideologies for the bourgeois life. ~ Sandra Brennan, Rovi