Vanessa Brown Movies

While in prison, Jack had two momentous experiences: he got religion, and at his baptism he met the woman who would become his wife. He and Alison are devoted to the idea of staying in God's good graces, so they have moved to a remote power station in central Australia, far from anything. There, they carry out their chores while muttering inspirational messages to themselves from the Bible. Into this possibly idyllic arrangement comes a rootless young man who the power company has hired on to be the station's handyman. Tensions escalate between the two men as their conflicting worldviews and values rub up against one another. ~ Clarke Fountain, All Movie Guide

Two interesting figures in offbeat cinema -- director Matt Cimber (who was married to Jayne Mansfield and directed her final film before going on to a handful of expressive blaxploitation efforts) and screenwriter Robert Thom (who wrote Wild in the Streets and Bloody Mama) -- teamed up for this unusual portrait of one woman's descent into madness. Molly (Millie Perkins) is a woman who is haunted by vivid memories of abuse and molestation at the hands of her father, who was a ship's captain; now middle-aged, Molly is obsessed by the ocean and images associated with pirates and sailing lore, which fill her with both fascination and loathing. Molly dotes on her young nephews (Jean Pierre Camps and Mark Livingston) and often spins tall tales for them in which her father is a noble hero, but her sister, Cathy (Vanessa Brown), is not comfortable with her presence, and soon the boys are old enough to spend their time elsewhere. Single and lonely, Molly longs for a man, and is openly attracted to strong, burly types, but at the same time she bears a deep hatred for them, and sometimes murders and dismembers the men she lures into her home. However, given Molly's penchant for fantasy, how much of her story is real, and how much is the product of her twisted imagination? Shot in 1971 but not released until 1976, The Witch Who Came From the Sea was one of the first feature films for cinematographer Dean Cundey, who later went on to work with Steven Spielberg and Ron Howard. ~ Mark Deming, All Movie Guide

Rosie! is directly based upon Ruth Gordon's play A Very Rich Woman, which was itself based upon a French play by Philippe Heriat, but the indirect source for all three versions is Shakespeare's King Lear. Rosalind Russell has the Lear part, here transformed from a powerful king into a rich, madcap grandmother by the name of Rosie Lord. Unlike in Shakespeare, however, Rosie does not abandon her wealth voluntarily; instead, her viperish children make an assault on her in an attempt to claim their inheritance while Rosie is still alive. They succeed in getting her declared mentally incompetent and thrown into a grotesque asylum, an experience that is so traumatic that she nearly does go insane. Fortunately, Rosie's beloved granddaughter Daphne (Sandra Dee) is appalled at what has happened; she moves into high gear, contacting an ex-lover of Rosie's (played by Brian Aherne) who also happens to be a powerful and skilled attorney. A lengthy court battle ensues, with both sides determined to come out triumphant. ~ Craig Butler, All Movie Guide

In a most unusual episode, Perry Mason's client is his friend and business associate, private detective Paul Drake (William Hopper). After confronting Frank Thatcher (Bruce Gordon) for concealing evidence in a hit-and-run case, Paul knocks the man down--and is promptly rendered unconscious himself. When he awakens, Paul finds Thatcher dead and himself charged with murder. DA Burger (William Talman) is reluctant to prosecute, but does so anyway, making Perry's job even more emotionally draining than usual. Key players in the proceedings include singer Donna Kress (Vanessa Brown), with whom the very married Thatcher had been carrying on an affair, and the dead man's extremely wealthy father-in-law Henry Dameron (Basil Ruysdael). ~ Hal Erickson, All Movie Guide

Based on The Mexican, a novel by Jack London, this is the story of a young man whose family, girlfriend and village were destroyed by the forces of a ruthless dictator. When he joins the revolutionaries who are seeking his overthrow, he finds that his boxing abilities are perhaps a means for him to make a contribution to the effort. He takes on a big-prized match with one of the best Mexican fighters to help subsidize the guerrilla efforts. Along the way, romance takes its course in the ranks of the revolutionaries. ~ Tana Hobart, All Movie Guide

Inspired by the 1949 hit A Letter to Three Wives, this takes the other side of the coin with a deceased playboy leaving letters to the husbands accusing their wives of having had affairs with him. Although the 1949 hit was done as a dramatic treatise on the reactions of the wives to the revelations, this movie is played strictly for laughs as the husbands stumble all over themselves trying to dig out the truth behind the allegations. ~ Tana Hobart, All Movie Guide

Henry James based his 1881 novella Washington Square on a real-life incident, wherein a young actor of his acquaintance married an unattractive but very wealthy young woman for the express purpose of living the rest of his life in luxury. Washington Square was turned into a stage play in 1946 by Ruth and Augustus Goetz; this, in turn was adapted for the movies under the title The Heiress. Olivia DeHavilland won an Academy Award (her second) for her portrayal of Catherine Sloper, the plain-Jane daughter of wealthy widower Dr. Austin Sloper (Ralph Richardson). Catherine is not only unattractive, but lacks most of the social graces, thanks in great part to the domineering attitudes of her father. When Catherine falls in love with handsome young Morris Townsend (Montgomery Clift), she is convinced that her love is reciprocated, else why would Morris be so affectionate towards her? Dr. Sloper sees things differently, correctly perceiving that Morris is a callow fortune hunter. Standing up to her father for the first time in her life, Catherine insists that she will elope with Morris; but when Dr. Sloper threatens to cut off her dowry, Morris disappears. Still, Catherine threatens to run off with the next young man who pays any attention to her; Sloper, belatedly realizing how much he has hurt his only child, arranges to leave her his entire fortune. Years pass: Morris returns, insisting that he'd only left because he didn't want to cause Catherine the "grief" of being disinherited. Seemingly touched by Morris' "sincerity", Catherine agrees to elope with him immediately. But when Morris arrives at the appointed hour, he finds the door locked and bolted. Asked how she can treat Morris so cruelly, Catherine replies coldly "Yes, I can be very cruel. I have been taught by masters." Though The Heiress ends on a downbeat note, the audience is gratified to know that Catherine Sloper has matured from ugly-duckling loser to a tower of strength who will never allow herself to be manipulated by anyone ever again. ~ Hal Erickson, All Movie Guide

Wallace Beery's final film was the curiously endearing "black comedy" Big Jack. Set in 1820, a time when "science was a crime and crime not yet a science," the film casts Beery and Marjorie Main as outlaws Big Jack Horner and Flapjack Kate. The two bandits rescue visionary young doctor Alexander Meade (Richard Conte), who is about to be hanged for body-snatching. Meade is a tireless campaigner for modern surgical methods, thus he is forced to steal cadavers for his experiments. Big Jack is only interested in having the doc operate on his injured leg, but pretty soon he too is captivated by Meade's idealism. The film's many subplots all come to a head when Meade must prove his surgical theories by performing a delicate operation. Throughout, the film displays a cheerful disregard for the "dignity" of the deceased. One lengthy sequence finds an unbilled Andy Clyde buried alive after being declared legally dead; he laughs uproariously about the misunderstanding, then promptly drinks himself to death! The punchline to this scene occurs when Clyde's widow finds his remains evenly distributed in several mason jars, whereupon she remarks, "Oh, paw, now they've gone and bottled ya!" Vanessa Brown provides the requisite love interest. ~ Hal Erickson, All Movie Guide

Based on John P. Marquand's Pulitzer Prize-winning satirical novel of the same title, this film stars Ronald Colman as George Apley, a Beantown blueblood passionately in love with his hometown. In his mind, Boston is the world's center of modern civilization and gentility and he has made it very clear that his son and daughter are to remain there for their entire lives and only associate with native Bostonians. Imagine poor Apley's horror, then, when his Harvard-student son falls in love with a Worcester girl and his daughter falls in love with a Yale student. ~ Sandra Brennan, All Movie Guide

Frank Yerby's Foxes of Harrow was one of those long historical novels so popular in the 1940s. 20th Century-Fox boiled the novel down into 118 minutes' worth of essentials for this film version. In antebellum New Orleans, roguish Irish gambler Rex Harrison buys his way into society--something he couldn't do in his homeland because he is illegitimate. Sequestering himself in a mansion won in a card game, Harrison courts Southern belle Maureen O'Hara, but their subsequent marriage is befouled by Rex's incessant womanizing. Though tempted to walk out for good, O'Hara stays by her husband's side after he loses his fortune, hoping that the impoverished Harrison will now behave more responsibly. ~ Hal Erickson, All Movie Guide

As its fortunes grew in the mid-1940s, Republic Pictures occasionally strayed from its usual manifest of westerns and serials, hoping to produce something of "class." Filmed on a lavish budget in glorious Technicolor, Republic's I've Always Loved You stars Philip Dorn as a tyrannical symphony conductor and Catherine McLeod as his gifted young pianist protegee. In his own way, Dorn loves McLeod, but it is he who destroys her career by browbeating her mercilessly during her Carnegie Hall debut. Effortlessly stealing the film from the leads are Maria Ouspenskaya as one "Mme. Goronoff" and comedy relief Fritz Feld. The plot of I've Always Loved You is rather derivative of several like-vintage British "concerto" films, but the classical music passages, performed by piano virtuoso Artur Rubinstein, are well worth the admission price. ~ Hal Erickson, All Movie Guide

In this WW II-era drama set in a small town, most of the adults are so busy fighting the war or working in the local defense plant that they have little time to supervise their children. A sort of juvenile anarchy ensues with the children and teens doing whatever they please. Soon the town is falling into ruin as a boy is run down by a car thief, a runaway girl begins associating with thugs and other mayhem ensues. Fortunately, a returning soldier decides to open up a youth center to give the kids a place to go. He also helps the boys get some useful job training. ~ Sandra Brennan, All Movie Guide