Garrett Elsden Fort Movies

In this horror tale, Ellen Hardy (Stella Stevens) shares a home with widow Gladys Armstrong (Shelley Winters). Ellen is engaged to marry Gladys' stepson, Sam Aller (Skip Ward). Ellen receives word that her brother and sister are soon to be released from a mental institution and need a place to stay; Ellen asks Gladys if they can live with them, and Gladys agrees. But Ellen hasn't told Gladys the whole truth. It seems that the siblings were institutionalized because their parents were murdered, and it was widely believed that they were responsible (though their guilt in the crime could not be proven). Not long after the now-teenage brother and sister move in with Ellen and Gladys, Gladys finds out about their secret -- and she is soon discovered brutally murdered. The kids, however, both claim that they had nothing to do with Gladys' death, and that the other must have done it. In the meantime, Ellen has to dispose of the body without raising suspicion, but after Ellen buries the corpse in the garden, the dog digs up a severed hand, and now Ellen must make sure the dog doesn't give away her family's ugly secret. The original version of The Mad Room included two songs by the pop group Nazz, which included songwriter, guitarist, and producer Todd Rundgren several years before he reached stardom as a solo artist; due to licensing restrictions, the songs do not appear on all video releases of the film. ~ Mark Deming, All Movie Guide

In his first film in two years, James Cagney stars as Nick Condon, the American editor of a pre-WW2 Tokyo newspaper. When two of his best friends are horribly murdered, Condon suspects that the "peaceful" Japanese military government is up to no good. He dedicates himself to getting his hands on the "Tanka Plan," a Japanese blueprint for conquering the world, and bringing this document to the attention of the Free World. As a result, he is targeted for persecution by the corrupt Tokyo police and betrayed by a traitorous fellow journalist. On a pleasanter note, Condon makes the acquaintance of half-Chinese Iris Hilliard (Sylvia Sidney), who agrees to help him foil the Japanese High Command. As was customary in wartime films, virtually all the Japanese characters in Blood on the Sun are played by Chinese, Korean, and Caucasian actors; for example, Robert Armstrong is cast as Colonel Tojo, while Premiere Tenaka is enacted by John Emery. Having lapsed into the public domain, Blood on the Sun is available from several distributors and also exists in a computer-colorized version. ~ Hal Erickson, All Movie Guide

Based on Cornell Woolrich's novel The Black Curtain (later dramatized several times on the radio series Suspense), Street of Chance top-bills Burgess Meredith as an amnesia victim. He awakens in the middle of the street, with nary a clue of who he is or what he's done. Meredith comes to learn that his past year of darkness has been a crowded one--and that he might be a murderer! Louise Platt plays Meredith's wife, but it's total stranger Claire Trevor who seems most interested in probing Meredith's past. Street of Chance is worth spending 74 minutes with, even though the true identity of the killer becomes obvious halfway through. ~ Hal Erickson, All Movie Guide

One of the eerier chillers of its period -- and one of the best ever to come out of Paramount -- Stuart Heisler's Among the Living is a strange and compelling mix of social drama, horror film, and suspense thriller. The story opens with the funeral of Maxim Raden, the patriarch who was pretty much responsible for building up the town that bears the family name, and which has been dominated for decades by the now-idle mill that he owned. Present at the funeral is Dr. Ben Saunders (Harry Carey Sr.), Raden's oldest friend, and the surviving Raden son John (Albert Dekker), who has been away for most of the last 25 years and recently married Elaine (Frances Farmer), a beautiful young woman from New York. John was one of a pair of twin boys; the other, Paul, died in an accident a quarter century ago, just after John was sent away to school. But Saunders and Maxim Raden had a secret between them -- that Paul Raden didn't die, but went dangerously insane, and has kept been alive all of this time, in a hidden room in the decaying Raden mansion, tended to by the doctor and the faithful family servant Pompey (Ernest Whitman). Paul was a victim of abuse by his overbearing father, and suffered brain damage from a beating he received while trying to protect his mother. He has never stopped "hearing" his father's threats or his mother's weeping, and they leave him prone to violent, potentially murderous outbursts of rage. Worse still, the death of his father has agitated him into a state where he is able to escape the mansion. Once freed and relieved of his quarter century of isolation, Paul is at once confused by and delighted with the company of people; he heads to the town and rents a room at a seedy boarding house, where he immediately attracts the attention of the landlady's frisky (and avaricious) daughter Millie (Susan Hayward) with his large bankroll, free-spending habits, and lost-puppy-dog demeanor. Meanwhile, the doctor reveals the truth about Paul to John, who wants to notify the authorities that his brother is loose and potentially dangerous -- but the doctor won't hear of it, fearing that news of the insane son will tarnish the Raden name and the reputation of the clinic that Maxim founded and funded on the doctor's behalf, in return for his covering up the son's existence.
The stakes get raised higher when the coroner reveals that a death the doctor tried to cover up was, in fact, a murder, and then a young woman is found strangled. While John is torn between sympathy for his brother, who never got the help or care he needed, and his feeling of responsibility to the town, the doctor tries to continue the cover-up by posting a 5,000-dollar reward for the capture of the killer. This sets off an orgy of assaults and destruction as the work-starved townspeople, led by Millie's ex-boyfriend Bill Oakley (Gordon Jones), begin rounding up anyone who looks even the least bit suspicious or out of place, trying to get the reward. Millie's greed is also brought to the fore and she persuades her new boyfriend, Paul, to go with her to the one place no one has searched yet -- the Raden mansion. Paul's veneer of calm unravels as he finds himself back in the location of his imprisonment, and in the course of the fight and the chase that ensues, John is caught and accused, by Millie and all of the other witnesses to Paul's outbursts, as the killer. Now it looks like a lynching is in the offing as hundreds of angry, drunken, greedy townspeople gather together to mete out justice -- and John must make them believe that he has a twin who is responsible for the murders. ~ Bruce Eder, All Movie Guide

This is perhaps the best of the many Zorro films as Tyrone Power gives an outstanding performance as the alternately swishing and swashbuckling son of a 19th century California aristocrat. As a champion of the oppressed, Zorro must face a wicked governor portrayed by J. Edward Bromberg, who, of course, has a beautiful niece whom our hero loves. Basil Rathbone is a delightfully evil assistant to the governor. Based on Johnston McCulley's novel The Curse of Capistrano, The Mark of Zorro was a remake of the 1921 silent film and by far superior to all the Zorro incarnations. Interspersed with humor and one-liners but still keeping up with the highest of swashbuckling traditions, it is an action-packed story of one man standing against a corrupt, oppressive government on behalf of those less able to bear their burdens. ~ Tana Hobart, All Movie Guide

Hankies are not optional for this grim melodrama that tells the story of a kindly producer who mentors a beautiful young girl and helps her to become a big Broadway star. In time the two fall in love and decide to wed. Unfortunately, en route to a justice of the peace, tragedy strikes the happy couple and the would-be groom ends up permanently paralyzed. Still, his girl remains devoted to him and the marriage proceeds. Nine years pass and the woman decides she wants to adopt a child. All things seem to be in place for the adoption, but unfortunately, a widower shows up to claim the child. The wife and the widower begin an affair soon after meeting. When the husband finds out, he selflessly executes his final option to ensure his wife's future happiness. ~ Sandra Brennan, All Movie Guide

This being a Republic picture, it should come as no surprise that Storm Over Bengal was filmed in its entirety in the San Fernando Valley. Within its concise 65 minutes, the film manages to accommodate a Bengal Lancers main plot, a romantic subplot, the obligatory coward who makes good, intrigue aplenty from a villainous Indian potentate, and an outsized climactic battle between the rebels and the British forces. Patric Knowles, previously one of the leads in the British-India epic Charge of the Light Brigade, heads the cast. Worth noting is the presence in the cast of Richard Cromwell as secondary romantic lead Neil Allison and Douglass Dumbrille as the despicable Khan. Three years earlier, Cromwell had been tortured by Dumbrille's minions in Lives of a Bengal Lancer, and he undergoes much the same treatment here-"just to make him feel at home" observed film historian Roger Dooley. ~ Hal Erickson, All Movie Guide

It may be sacrilege to say so, but Dracula's Daughter is an immense improvement over the original 1931 Dracula, despite the absence of Bela Lugosi in the cast. Gloria Holden is first-rate as the title character, alias "Countess Marya Zaleska," who after stealing her father's body from the authorities with the help of her faithful hunchbacked assistant Sandor (Irving Pichel), sets fire to the corpse in hopes of obliterating the family curse of vampirism. Try as she might, though, the "Countess" is unable to resist the temptation to go for the jugular vein; in one of the kinkier plot developments, she seems to favor the blood of female victims. Lest anyone read anything into this, however, it is established that she is hopelessly in love with handsome scientist Jeffrey Garth (Otto Kruger), and by film's end she has kidnapped Garth's sweetheart Janet Blake (Marguerite Churchill), hoping to lure him to Transylvania where he will be forced to become her mate throughout Eternity. Edward Van Sloan returns in his Dracula role as tireless vampire hunter Van Helsing, who once again comes to the rescue with a generous supply of garlic necklaces, crucifixes and wooden stakes. Full of clever and often surprising little touches (few other films of the mid-1930s would kill off a comedy-relief character in the second reel!), Dracula's Daughter is among the best of the vintage Universal horror films. ~ Hal Erickson, All Movie Guide

In this adaptation of author de la Roche's chronicle of the passionate lives of the strange Whiteoaks of Jalna, their beautiful family estate located in souther Ontario. The story begins as a young Whiteoak, a novelist travels to New York where he encounters a charming woman, marries her, and takes her back to Jalna. There she encounters many difficulties as she attempts to adjust to life with his odd family. It does not help that several soap-operatic events transpired while he was gone when his brother married the illegitimate daughter of a despised neighbor. One day a "sexy dame" suddenly shows up on the family porch. Soon she and the novelist are trysting away, but before he can consummate their affair he is killed during a terrible fall. The new widow then realizes that it is a different brother that she loves. They soon marry. ~ Sandra Brennan, All Movie Guide

Previously filmed in 1929, Philip MacDonald's novel Patrol was lensed by director John Ford as The Lost Patrol in 1934. Sergeant Victor McLaglen is in charge of a World War I-era British cavalry regiment, stranded somewhere in the Mesopotamian desert. McLaglen hasn't asked for the responsibility: the commanding officer has been killed by an Arab sniper, leaving McLaglen to take over. One by one, McLaglen's men are picked off as they desperately fend off the enemy, waiting for reinforcements to arrive. The most spectacular death scene goes to Boris Karloff, playing a religious zealot who goes insane and begins marching towards the Arabs while bearing a makeshift cross. Max Steiner's relentless musical theme for The Lost Patrol would later be adapted into his score for Warner Bros' Casablanca. Lost Patrol would itself be adapted as the 1939 western Bad Lands. Originally running 74 minutes, Lost Patrol is now generally available only in its 69-minute reissue form. ~ Hal Erickson, All Movie Guide

In his first starring role, George Raft plays Nick Darrow, a fence convinced by the police to go undercover after his father is killed in a Wall Street heist. Teaming up with Lora Madigan (Nancy Carroll), yet another victim of the gang, Nick gets close to the gang boss, Mason (Lew Cody), and his moll (Noel Francis), but is almost killed when Mason becomes suspicious. In the end, however, Nick manages to kill the man who murdered his father, a vile Russian (Gregory Ratoff), and is able to hand over Mason to the authorities. ~ Hans J. Wollstein, All Movie Guide

Eternal movie trollop Helen Twelvetrees is more sinned against than necessary in Panama Flo. Stranded in Panama, honky-tonk entertainer Flo (Twelvetrees) picks up some quick change by divesting roughneck mining engineer Charles Bickford of his pocketbook. Rather than turn her over to the cops, Bickford demands that Flo accompany him to his jungle mining camp. The girl naturally assumes he's got a few carnal pleasures in mind, but this is not the case: Bickford merely wants Flo to work off her debt as his housekeeper. By the time the two have fallen in love, their lives are complicated by snake-in-the-grass Robert Armstrong, whose abrupt transformation from hero to heel is one of the most abrupt -- and unbelievable -- in movie history. Suitably cleaned up to conform to the tighter Production Code, Panama Flo was remade in 1939 as the Lucille Ball vehicle Panama Lady. ~ Hal Erickson, All Movie Guide

"I am....Drac-u-la. I bid you velcome." Thus does Bela Lugosi declare his presence in the 1931 screen version of Bram Stoker's Dracula. Director Tod Browning invests most of his mood and atmosphere in the first two reels, which were based on the original Stoker novel; the rest of the film is a more stagebound translation of the popular stage play by John Balderston and Hamilton Deane. Even so, the electric tension between the elegant Dracula and the vampire hunter Professor Van Helsing (Edward Van Sloan) works as well on the screen as it did on the stage. And it's hard to forget such moments as the lustful gleam in the eyes of Mina Harker (Helen Chandler) as she succumbs to the will of Dracula, or the omnipresent insane giggle of the fly-eating Renfield (Dwight Frye). Despite the static nature of the final scenes, Dracula is a classic among horror films, with Bela Lugosi giving the performance of a lifetime as the erudite Count (both Lugosi and co-star Frye would forever after be typecast as a result of this film, which had unfortunate consequences for both men's careers). Compare this Dracula to the simultaneously filmed Spanish-language version, which makes up for the absence of Lugosi with a stronger sense of visual dynamics in the lengthy dialogue sequences. In 1999, a special rerelease of Dracula was prepared featuring a new musical score written by Philip Glass and performed by The Kronos Quartet. ~ Hal Erickson, All Movie Guide