Paul H. Frees Movies

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, All Movie Guide

So far as their fans were concerned, Mario Lanza and Kathryn Grayson could have stood up against a blank wall and sung uninterruptedly for 96 minutes in Toast of New Orleans. MGM, however, adhered to the policy that all movies must have plots. This one finds Lanza playing Pepe Abellard Duvalle, a shrimp fisherman from Louisiana's bayou country, while Grayson plays Suzette Micheline, a famed opera singer. After he witnesses an impromptu duet between Pepe and Suzette at an outdoor restaurant, Suzette's manager Jacques Riboudeaux (David Niven) decides to groom Pepe for singing stardom. In so doing, Jacques has put the kibosh on his own romance with Suzette, but that's why he gets third billing. Toast of New Orleans is a typical Joe Pasternak production, all bright smiles, lilting songs and happy people in Living Technicolor. ~ Hal Erickson, All Movie Guide

Gig Young was just beginning to toughen up his previously lightweight screen image when he starred in Hunt the Man Down. In a tense, tight, 68 minutes, public defender Paul Bennett (Young) dedicates himself to freeing an innocent man who has already spent 12 years in jail. Accused of murder, transient Richard Kinkaid (James Anderson) had been unable to afford proper legal representation at his first trial. With no new evidence, Bennett is obliged to solve the murder himself, and to do that he must track down the original witnesses to the crime. The cast is a film buff's paradise, ranging from leading ladies Lynne Roberts and Carla Balenda to featured players Harry Shannon, Iris Adrian, Mary Anderson, Gerald Mohr, Cleo Moore and prolific voiceover artist Paul Frees. ~ Hal Erickson, All Movie Guide

Previously filmed in 1931 under its original title, Theodore Dreiser's bulky but brilliant novel An American Tragedy was remade in 1951 by George Stevens as A Place in the Sun. Montgomery Clift stars as George Eastman, a handsome and charming but basically aimless young man who goes to work in a factory run by a distant, wealthy relative. Feeling lonely one evening, he has a brief rendezvous with assembly-line worker Alice Tripp (Shelley Winters), but he forgets all about her when he falls for dazzling socialite Angela Vickers (Elizabeth Taylor). Alice can't forget about him, though: she is pregnant with his child. Just when George's personal and professional futures seem assured, Alice demands that he marry her or she'll expose him to his society friends. This predicament sets in motion a chain of events that will ultimately include George's arrest and numerous other tragedies, including a vicious cross-examination by a D.A. played by future Perry Mason Raymond Burr. A huge improvement over the 1931 An American Tragedy, directed by Josef von Sternberg, A Place in the Sun softens some of the rough edges of Dreiser's naturalism, most notably in the passages pertaining to George's and Angela's romance. Even those 1951 bobbysoxers who wouldn't have been caught dead poring through the Dreiser original were mesmerized by the loving, near-erotic full facial closeups of Clift and Taylor as they pledge eternal devotion. A Place in the Sun won six Oscars, including Best Director, Best Adapted Screenplay, and Best Cinematography, although it lost Best Picture to An American in Paris. ~ 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

The Big Sky is based on a popular novel by A.B. Guthrie. Kirk Douglas and Dewey Martin play a pair of Kentucky frontiersmen who embark upon the first keelboat trip up the Missouri River way back in 1830. Joining Douglas and Martin are Martin's grizzled old uncle Arthur Hunnicutt and garrulous Frenchman Steven Geray. Running afoul of various Indian tribes, Douglas nonetheless romances Sioux princess Elizabeth Threatt (their off-screen relationship was on the kinky side, as an embarrassed Douglas reveals in his autobiography). Director Howard Hawks leavens the Boys' Own Adventure atmosphere of the film with a few isolated comic sequences, including a sidesplitting scene in which Douglas' gangrenous finger is cut off. Produced for RKO Radio by Hawks' own Winchester Pictures, The Big Sky was released at 141 minutes, though the TV print runs 122 minutes. ~ Hal Erickson, All Movie Guide

Who else but Esther Williams could star in a romantic drama (with musical numbers) bearing a title like this? In Million Dollar Mermaid, Williams plays Annette Kellerman, a real-life Australian swimming star who took up the sport as a child to strengthen her legs, which were severely weakened by a birth defect. The treatment proves effective, and as she grows to adulthood, Annette shows that she has the talent to be a champion swimmer, though she prefers to follow her dream of becoming a ballet dancer. When Annette's father Frederick (Walter Pidgeon) accepts a position in London teaching music, Annette opts to go with him, and along the way she meets James Sullivan (Victor Mature) and Doc Cronnol (Jesse White), the joint-owners of a boxing kangaroo they intend to exhibit in London. James is already aware of Annette's abilities as a competitive swimmer, and he offers to be her manager and help her earn a living from her aquatic skills. At first Annette isn't interested, but when Frederick's job falls through and she can't find work as a dancer, Annette reluctantly agrees to work with James. He arranges a publicity stunt in which Annette swims 30 miles down the Thames River, which attracts the avid attention of the British press and wins her some work as a dancer. Convinced that the big money is in America, James persuades Annette to travel with him to the U.S., where she creates a scandal in Boston by staging another long swim in a one-piece bathing suit, considered shockingly-revealing at the turn of the Century. The stunt nearly lands Annette in jail, but she escapes the long arm of the law and becomes the star of a water ballet revue. Annette had fallen in love with James, but after an argument, he resigns as her manager and Annette takes up with Alfred Harper (David Brian), the male lead in her show. Annette and Alfred agree to marry while working on a movie together, but James returns on the last day of shooting, determined to win back the heart of the woman he loves. Legendary choreographer Busby Berkeley staged the film's elaborate water-ballet sequences. ~ Mark Deming, All Movie Guide

The best film of Don Siegel's career to date, this surprisingly intelligent B-picture describes the dramatic arc of an organized rebellion at Folsom prison. The inmates, who are sick of living conditions which include rundown cells, brutal guards, dreadful food, and the presence of the seriously deranged in the general prison population, decide to stage a riot to demand change. Neville Brand stars as Dunn, the vocal prisoner who leads the uprising. After the inmates take some guards hostage, Dunn makes the prisoner's demands for reform known to the warden Emile Meyer. While acknowledging the validity of their grievances, for which he's already harangued politicians without success, he warns them that there's nothing that can be done immediately. As Dunn contacts media outlets to further publicize his cause, word of the riot spreads to other cell blocks, and they too become involved. Fearing a bloody mass insurrection, Meyer reluctantly calls in the militia. Dunn, who thus far has been able to restrain his disturbed cohort Carnie (Leo Gordon) from inciting violence, is beginning to lose control. Considering its limited budget, the film's impressive sense of authenticity derived partly from the experience of veteran producer Walter Wanger, who had spent four months in a minimum security facility for shooting the agent and lover of his wife, Joan Bennet. ~ Michael Costello, All Movie Guide

Screenwriter Philip Dunne doubled as director on the elaborate filmed biography Prince of Players. Richard Burton stars as the eminent American tragedian Edwin Booth, whose life and career is thrown into turmoil after his younger brother John Wilkes Booth (John Derek) assassinates Abraham Lincoln. The film begins as the younger Edwin assists his alcoholic, ailing father Junius Brutus Booth (Raymond Massey) during a tour of the American hinterlands. When Junius dies just before a performance, Edwin goes on in his stead, thereby launching his own starring career. In danger of becoming as much of a drunk and carouser as his father, Edwin eventually pulls himself together, but his brother's act of violence turns the audience against the name of Booth. Almost booed offstage during a performance of Hamlet, Edwin stands his ground, finally earning the respect of his rowdy audience. Not exactly packed with fast action, Prince of Players will appeal most to lovers of theater in general and Shakespeare in particular. Highlight: Richard Burton and Eva LeGalleine performing the balcony scene from Romeo and Juliet in the courtyard of a brothel. ~ Hal Erickson, All Movie Guide

An obviously ailing Humphrey Bogart made his final screen appearance in The Harder They Fall. Adapted from a novel by Budd Schulberg, the film is a thinly disguised a clef account of the Primo Carnera boxing scandal. Bogart is cast as unemployed newspaperman Eddie Willis, who sells his soul down the river when he signs on as press agent for slimy fight manager Nick Benko (Rod Steiger). It is Willis' job to stir up publicity for Benko's newest protégé, Argentinian boxer Toro Moreno (Mike Lane). Benko's boy quickly rises to the top of his profession, though everybody but Toro knows that all the fights have been fixed. Upon learning that Benko intends to bilk Toro of his earnings, Willis regains his integrity, tells the wide-eyed young pugilist the truth, then sits down to write a searing expose of the fight racket. Jan Sterling costars as Willis' estranged wife, while real-life boxers Jersey Joe Walcott and Max Baer are suitably cast as Toro's trainer and ring opponent, respectively. There is also a heartbreaking cameo appearance by ex-fighter Joe Greb, cast as a punchdrunk skid row bum. The Harder They Fall originally went out with two different endings: in one, Eddie Willis demanded that boxing be banned altogether, while in the other, Willis merely insisted that there be a federal investigation of the prizefighting business. The videotape version contains the "harder" denouement, while most TV prints end with the "softer" message. ~ Hal Erickson, All Movie Guide

Anyone who's seen the 1996 science-fiction lampoon Mars Attacks may have trouble watching Earth vs. the Flying Saucers with a straight face. Hugh Marlowe plays scientist Russell Marvin, who is on-hand when an alien spacecraft lands on earth. The saucermen at first insist that they've come in peace, but Marvin suspects otherwise. Sure enough, the visitors eventually declare their intention to take over the earth within the next 60 days, adding that the military's weapons are useless against them. The two-month window gives Marvin and his cohorts plenty of time to build-up superweapon, and thus stave off the seven-saucer invasion force. Special effects maestro Ray Harryhausen does a nice job laying waste to Washington DC in the film's memorable finale. The supporting cast of Earth vs. the Flying Saucers includes those two sci-fi flick stalwarts of the 1950s, Morris Ankrum and Thomas Browne Henry. ~ Hal Erickson, All Movie Guide

A locked-in-the-fifties science fiction film, The 27th Day begins with five different people from five different countries suddenly disappearing from view. They have been gently abducted by the agent (Arnold Moss) of a faraway dying planet, who gives each of the five earthlings a "killing capsule" that will destroy everything on Earth and allow the residents of the alien planet to re-colonize the planet--but which will be ineffective if not used after 27 days. In typical Cold War fashion, the representatives of the "good" countries (including Gene Barry) refuse to utilize the capsules, while the Soviets, (personified by Azemat Janti and Stefan Schnabel) intend to deploy the capsules for their own nefarious purposes. Their perfidy only results in the utter decimation of the USSR. ~ Hal Erickson, All Movie Guide

A hotel catering to the convention crowd has been victimized by a pickpocket. Investigating the thefts of several wallets and billfolds, Friday (Jack Webb) and Smith (Ben Alexander) hit a snag when one of the victims refuses to cooperate with the police. It turns out that the victim is harboring an embarrassing secret--but the detectives aren't about to give up so easily. Watch for brassy blonde comedienne Joyce Jameson (The Apartment, Comedy of Terrors) as a curvaceous good-time gal. ~ Hal Erickson, All Movie Guide