Paul H. Frees Movies
In his prime--which lasted a good 40 years--voice artist Paul Frees was not so much ubiquitous as inescapable. It was literally impossible during the 1960s and most of the 1970s to turn on the TV on any given night and not hear the ineluctable Mr. Frees. Blessed with a versatile voicebox from an early age, Frees first came to public attention as "Buddy Green," the name he was using when he won a radio impersonation contest. He toured in vaudeville, then returned to radio as star of The Player, a syndicated anthology series in which he played all the roles. He went to work as actor, announcer and narrator for such series as Suspense and Escape; he also made a number of appearances on comedy programs, usually playing a hammy Orson Wellesian actor (one such character was actually named "Lawson Bells"). In bandleader Spike Jones' memorable rendition of the old torch song "My Old Flame," Frees recites the lyrics in the style of a Peter Lorre-like pyromaniac.Frees began working in films in 1948, sometimes as an on-screen actor (His Kind of Woman, The Thing, War of the Worlds, Suddenly, The Shaggy Dog) but most often in a variety of voiceover capacities. When Chill Wills was unavailable to provide his talking-mule voice in Francis in the Haunted House (1955), Frees replaced him, accurately recreating Wills' folksy drawl; when producer George Pal was forced to rerecord most of the male actors in Atlantis, the Lost Continent (1961), Frees supplied all the voices; and whenever Japanese film star Toshiro Mifune appeared in an English-language film like Grand Prix (1969), he would insist that his heavily-accented voice be redubbed by Frees, who "sounds more like me than I do." In addition to his TV-ad work as Poppin' Fresh, Mr. Goodwrench et. al, Frees was heard as the "late, fabulously wealthy" John Beresford Tipton on The Millionaire (1955-60). Frees' vocal activities in the realm of animated cartoons is so extensive that to list all his credits would require five single-spaced columns, a few examples are: Boris Badenov and Captain Peter Peachfuzz in Rocky and His Friends, Inspector Fenwick in Dudley Do-Right, Oliver Wendell Clutch in Calvin and the Colonel, Flat-Top in The Dick Tracy Show, the title character in Squiddly Diddly, Morocco Mole in Secret Squirrel, John Lennon in The Beatles, and Ludwig Von Drake in Walt Disney's Wonderful World of Color. In addition, Frees worked in virtually everything ever produced by satirist Stan Freberg, including the legendary 1963 LP History of the United States. By the mid-1970s, Frees was averaging $1 million per year--and was only working six months out of the year, spending the remaining six months vacationing on his own South Sea island. According to most sources, Frees was married six times. Since his death in 1986, Paul Frees' legacy has been carried on by a wealth of imitators, none of whom have quite come up to the standard set by The Master. ~ Hal Erickson, All Movie Guide
H.G. Wells' War of the Worlds had been on Paramount Pictures' docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles' infamous 1938 radio adaptation, the film eschews Wells' original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrated their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, All Movie Guide
- Starring:
- Gene Barry, Ann Robinson, (more)
An actress who once knew the heights of fame is forced to confronts the depths of defeat in this show business drama. Margaret Elliot (Bette Davis) was once one of Hollywood's great stars, but as she edges into her 50's, both her career and her life have reached an unfortunate crossroads. Margaret hasn't worked for several years, her marriage has fallen apart, her former husband has custody of her daughter Gretchen (Natalie Wood), and she's running short of money. Margaret's agent Harry Stone (Warner Anderson) can't get her a part, and isn't willing to lend her the money to pay her bills. When they learn that Margaret is all but penniless, her sister (Fay Baker) and brother-in-law (David Alpert) turn their back on her, and Margaret's landlady (Katherine Warren) is threatening to evict her. Depressed and desperate, Margaret goes on a drinking binge, and ends up in jail on a drunk driving charge. No one comes to her aid but Jim Johannson (Sterling Hayden), an former actor who worked with Margaret years ago and has long been in love with her. Jim urges Margaret to leave Hollywood behind, and offers to care for her if she'll have him, but when Margaret's pleas to Harry finally result in an audition with producer Joe Morrison (Minor Watson), she holds on to the desperate hope she may have one more chance at regaining her stardom. Bette Davis's performance in The Star earned her an Academy Award nomination for Best Actress, but she lost to Shirley Booth for Come Back, Little Sheba -- a role that had been first offered to Davis. ~ Mark Deming, All Movie Guide
- Starring:
- Bette Davis, Sterling Hayden, (more)
- 1952
- NR
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
- Starring:
- Kirk Douglas, Dewey Martin, (more)
- 1952
The Las Vegas Story features two of Hollywood's most impressive physiques. Victor Mature stars as Dave Andrews, a gambler, while Jane Russell plays Linda, the love of his life. Assuming that Andrews has forgotten her, Linda marries Lloyd Rollins (Vincent Price) on the rebound. All three main characters are reunited in Las Vegas, where they become enmeshed in a robbery scheme that results in murder. Clearly inspired by Casablanca, the film even includes a philosophical piano player, portrayed by Hoagy Carmichael who also wrote the film's incidental songs. Though Las Vegas Story was largely scripted by Paul Jarrico, producer Howard Hughes refused to give Jarrico screen credit because of the latter's alleged pro-communist sympathies. Jarrico promptly sued Hughes and RKO, sparking one of the more famous cause celebres of the Blacklist era. As it turned out, nobody came out ahead with The Las Vegas Story: the film posted a loss of $600,000. ~ Hal Erickson, All Movie Guide
- Starring:
- Jane Russell, Victor Mature, (more)
- 1952
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
- Starring:
- Esther Williams, Victor Mature, (more)
The scene is a distant Arctic research station, where a UFO has crashed. The investigating scientists discover that the circular craft has melted its way into the ice, which has frozen up again. While attempting to recover the ship, Captain Patrick Hendry (Kenneth Tobey) accidentally explodes the vessel, but the pilot -- at least, what seems to be the pilot -- remains frozen in a block of ice. The body is taken to base headquarters, where it is inadvertently thawed out by an electric blanket. The alien attacks the soldier guarding him and escapes into the snowy wastes. An attack dog rips off the alien's arm, whereupon Dr. Carrington (Robert Cornthwaite) discerns that "The Thing" (played by future Gunsmoke star James Arness!) is not animal but a member of the carrot family, subsisting on blood. While the misguided Carrington attempts to spawn baby "Things" with the severed arm, the parent creature wreaks murderous havoc all over the base. Female scientist Nikki (Margaret Sheridan) suggests that the best way to destroy a vegetable is to cook it. Over the protests of Carrington, who wants to reason with the "visitor" (a very foolhardy notion, as it turns out), the soldiers devise a devious method for stopping The Thing once and for all. This oversimplification of The Thing does not do full justice to the overall mood and tension of the piece, nor does it convey the lifelike "business as usual" approach taken by the residents of the military base in dealing with something beyond their understanding. A superior blend of science fiction, horror, naturalistic dialogue, and flesh-and-blood characterizations, The Thing is a model of its kind. ~ Hal Erickson, All Movie Guide
- Starring:
- Margaret Sheridan, Kenneth Tobey, (more)
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
- Starring:
- Montgomery Clift, Elizabeth Taylor, (more)
First published in 1932, Philip Wylie and Edwin Balmer's speculative novel When Worlds Collide was immediately purchased by Paramount as a possible project for director Cecil B. DeMille. But because none of Paramount's scriptwriters were able to come up with an adequate screen treatment, the property lay on the shelf until 1950, when producer George Pal was casting about for a follow-up to his successful sci-fier Destination Moon. Though the film was top-heavy with special effects, Pal was able to bring When Worlds Collide in for under a million dollars, thanks to an inexpensive cast and a heavy reliance upon stock footage. The story is set in motion when Dr. Cole Henderson (Larry Keating) announces that a extraterrestrial planet is on a collision course with the Earth. No one believes Henderson's story, save for crippled financier Stanton (John Hoyt), who finances the construction of a gigantic spaceship, built for the purpose of transporting selected survivors from the doomed Earth to another Earthlike planet. As it becomes obvious that Henderson's predictions will come true, a worldwide lottery is held to select those people who will be rescued from oblivion by Stanton's spaceship. In the climactic scenes, the worlds do indeed collide, with appropriately spectacular results. But will the spaceship, overloaded with humanity, be able to take off and seek out a Brave New World? Amidst the thrills, a romantic triangle emerges, involving Richard Derr, Barbara Rush and Peter Hanson. ~ Hal Erickson, All Movie Guide
- Starring:
- Richard Derr, Barbara Rush, (more)
- 1951
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
- Starring:
- Robert Mitchum, Jane Russell, (more)
- 1950
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
- Starring:
- Kathryn Grayson, Mario Lanza, (more)
In their very last feature film, Stan Laurel and Oliver Hardy travel to London so that Stan can claim his uncle's inheritance. All of the cash has been eaten up by taxes, but at least Stan is able to claim a tax-free island and yacht that his uncle has left him. Boarding the yacht (actually a run-down tub) in Marseilles, Stan and Ollie set sail for their island in the company of stateless refugee Max Elloy, who signs on as a cook, and Italian bricklayer Adriano Rimoldi, a stowaway. The little party is nearly torn to bits by a storm at sea, but the yacht runs safely aground on a newly formed atoll. Its population is increased to five when nightclub singer Suzy Delair, fleeing her domineering naval-officer fiancé Luigi Tosi, takes refuge with the other castaways. Laurel & Hardy and their friends live an idyllic, Robinson Crusoe-like existence until Delair's fiancé shows up. He announces he hasn't come to claim her, but to investigate reports that the atoll is rich with uranium. Indeed it is, and soon every nation in the world is clamoring to claim the island's radioactive deposits. Laurel and Hardy take quick action, declaring sovereignty over "Crusoeland." They then devise an anarchic government over which Ollie presides. Stan is relegated to the position of "The People." Comical chaos reigns when their "no laws, no taxes" policies attract the attention of various unsavory types, including rabble-rouser Michael Dalmatoff. Filmed over a period of 12 months, this expensive Franco-Italian co-production suffers from a too-complex plot, lazy direction, poor voice-over dubbing of the largely European supporting cast, and especially the horrible physical condition of Laurel, who was suffering from several life-threatening illnesses during filming. Fortunately, he regained his health after the production wrapped, as proven by his hale-and-hearty appearance on a 1954 installment of TV's This Is Your Life. Though some disciples of Laurel and Hardy will have a great deal of difficulty sitting through Atoll K, it does contain a few isolated moments of pantomimic brilliance and first-rate sight gags. Originally running 98 minutes, Atoll K was judiciously pruned down to 82 minutes for its English-language release. In Great Britain, the film was titled Robinson Crusoeland, while it was released as Utopia in America. ~ Hal Erickson, All Movie Guide
- Starring:
- Stan Laurel, Oliver Hardy, (more)
- 1950
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
- Starring:
- Gig Young, Lynne Roberts, (more)
- 1949
Infused with religious themes, this crime drama is considered a minor example of film noir. Set in Los Angeles, it tells the grim story of vengeful embezzler Nick Cherney, who plots murderous revenge after he is fired from Johnny Torno's freight company. He gets it by killing Johnny's brother Jess, a chaplain who has just returned from the war. Johnny arrives at the hotel room of his brother Jess and finds him dying. Just before Jess expires he tells Johnny that the identity of his killer can be found in his Bible. Though every hotel room has a Bible, the one belonging in his brother's is missing. Though his girl friend, the priest and the police warn against a private investigation, Johnny ignores their advice and goes looking for that Good Book. His girl friend goes along with him. Before they go, they leave Warni Hazard in charge of the freight company. Nick Cherney shows up and takes off after Hazard who flees until finding safety beneath the tires of an enormous trailer. Nick sees him cowering there and in the film's most shocking sequence, coolly kicks one of the jacks holding up the trailer and while Hazard is crushed, Nick calmly takes a drag on his cigarette. Meanwhile, Johnny and his gal finally find the Bible and see that Jess had underlined a couple of verses that seem to suggest that Johnny leave the matter of revenge in God's hands. Johnny pays no heed to the message until the story's grim climax. ~ Sandra Brennan, All Movie Guide
- Starring:
- George Raft, Virginia Mayo, (more)
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
- Starring:
- John Garfield, Thomas Gomez, (more)
