William Goetz Movies

Assault on a Queen is a complex, exciting crime-caper film in which a gang of clever mercenaries try to rob the famous luxury liner, the Queen Mary. Mark Brittain (Frank Sinatra) is hired by wealthy Italian adventuress Rosa Lucchesi (Verna Lisi) and her German partner-in-crime, Eric Laufftiauer (Alf Kjellin) to refurbish a WWII German U-Boat and use it to hold the entire ship hostage while it is robbed. Scriptwriter Rod Serling does his best with an interesting, but rather implausible premise, and director Jack Donohue gets above-average performances from his cast of veteran character actors, including Richard Conte and Reginald Denny, but Frank Sinatra is not particularly believable as an action hero. The true star of the show is the terrific color photography of the magnificent ocean liner by William Daniels and a musical score by Duke Ellington. While Assault on a Queen fails to generate much suspense, fans of Frank Sinatra should enjoy this, although it fails to reach the level of fun and excitement of his excellent Ocean's 11. ~ Linda Rasmussen, Rovi

Major Baldwin (James Stewart) leads an eight member team of demolition experts through China. Their mission is to stop the advancing Japanese Army. When two of his men are killed by Chinese robbers, the rest of the unit proceeds to wipe out an entire village. The attempt to stop the enemy by blowing up ammunition dumps, bridges and airstrips. ~ Dan Pavlides, Rovi

Gary Cooper stars in one of his final roles in They Came To Cordura, Robert Rossen's moody study of the thin dividing line between heroism and cowardice. Cooper plays Major Thomas Thorn, a U.S. Army officer in the expedition into Mexico against Pancho Villa. Because he hesitated during a moment of decision in a battle, he has been labeled a coward. His commanding officer, Colonel Rogers (Robert Keith), orders Thorn to recommend five men for nomination for the Congressional Medal of Honor for bravery in the battle against Villa. Angered that Thorn did not nominate him for the Medal of Honor, Rogers charges Thorn with transporting the men through a broiling and dangerous desert to the rear area of Cordura. They begin the trek accompanied by Adelaide Geary (Rita Hayworth), the daughter of a dishonored U.S. Senator, who is accused of treason since she owned the hacienda where Villa's men stayed. As they travel across the desert expanse, Thorn ponders why these men are considered heroes while he is labeled a coward. As their journey continues, the heroes turn into a mutinous rabble, with Thorn reduced to holding the group at bay with a loaded gun. ~ Paul Brenner, Rovi

The Rico brothers are mobsters in the employ of syndicate head Sid Kubick. Richard Conte plays the one Rico brother who has forsaken crime. But the other Ricos (James Darren and Paul Picerni) haven't yet seen the light, causing a deep rift in the brothers' family bonds. Conte gets word that his brothers have been marked for murder, and tries to warn them. What he doesn't know, at least until the last sweat-inducing moments of the film, is that the syndicate boss himself is the man who has ordered the Rico boys wiped out. The Brothers Rico, adapted from a novel by French detective-story specialist George Simenon, is an interesting thriller deeply rooted in the post-noir style of police thrillers like The Line-Up, with its overt emphasis on crude violence and a dull, almost flat visual style. The strong performance by Richard Conte, as a man out of step with the rest of society, is lost in this film which is in essence a simple thriller, lacking any real noir ambience. ~ Hal Erickson, Rovi

Anthony Mann directed this brilliant psychological Western reminiscent of Shakespeare's King Lear. James Stewart plays Will Lockhart, who is obsessed with finding the man who sold automatic rifles to the Apaches, resulting in the death of his brother. Will enters the town of Coronado, NM, ruled by the blind and aging patriarch Alec Waggoman (Donald Crisp). Unaware that he is trespassing on Waggoman's land, he finds himself accosted by Alec's sociopathic son, Dave (Alex Nicol), who brutally beats Will and is ready to kill him. But Will is rescued at the last minute by Waggoman's adopted son, Vic Hansbro (Arthur Kennedy). Will finds that Waggoman has become increasingly concerned over who will inherit his vast empire. ~ Paul Brenner, Rovi

This French-language version of the 1935 Hollywood musical Folies Bergere, filmed cuncurrently using the same sets and production crew, retains the original star (Maurice Chevalier) and big-scale production numbers. It also follows substantially the same plot: A nightclub entertainer (Chevalier), is hired to pose as his look-alike (also Chevalier), a prominent aviation tycoon. The masquerade causes consternation for the entertainer's girlfriend, who of course has no idea what's going on, and for the tycoon's wife, who can't understand why her cold-fish husband has suddenly become so warm and demonstrative. Beyond the obvious language change, the major differences between the two Folies Bergeres are found in their supporting casts: for example, Natalie Paley plays the tycoon's spouse role played by Merle Oberon, while Sim Viva, as the girlfriend, fills the dancing shoes of the English-language version's Ann Sothern. ~ Hal Erickson, Rovi

Released generally as Cardinal Richelieu, this George Arliss vehicle was based on the popular 19th-century blank-verse play by Lord Edward Bulwer-Lytton. Downplaying the more villainous aspects of the character, Arliss portrays Richelieu as a dry-witted foxy-grandpa type, manipulating the well-meaning but often ineffectual French monarch Louis XIII (Edward Arnold) and cleverly outmaneuvering his scurrilous enemies, especially Louis' power-hungry brother Gaston (Francis Lister). Richelieu even finds time to smooth the romantic path of the young lovers, his young ward Lenore (Maureen O'Sullivan) and handsome Andre de Pons (Cesar Romero) -- though he does this mainly to suit his own political and ecumenical purposes. Highlights include the famous scene in which the wily Richelieu defeats his foes by threatening them with eternal damnation! Richelieu was George Arliss's last American film; henceforth, he would appear only in British productions. ~ Hal Erickson, Rovi

The Affairs of Cellini is based on Edwin Justus Mayer's popular stage play The Firebrand, which in turn was based on the life and times of Renaissance artist/political reactionary Benvenuto Cellini. Fredric March plays the tempestuous, amorous Cellini, who spends as much time in swordplay with jealous husbands as he does in his artist's loft. When the duke of Florence (Frank Morgan) falls for Cellini's beautiful model (Fay Wray), Cellini is presented in court, whereupon he revives an ongoing affair with the duchess of Florence (Constance Bennett). Though a bumbling buffoon, the duke nonetheless holds the power of life and death over everyone in his domain, including Cellini. Thanks to his political activities and his overactive libido, Cellini is nearly executed, but a series of farce-like complications allows the plotline to turn out to the artist's advantage. Though hardly reliable as history, The Affairs of Cellini scores on its comic content, including the hilarious performances of Frank Morgan as the cuckolded duke and Fay Wray as the monumentally stupid artist's model. ~ Hal Erickson, Rovi

Roland Brown's Blood Money (1933) has lost none of its ability to entertain and startle over the seven decades since its release. The title refers to the business of affable, ambitious bail bondsman (and politically-connected grifter) Bill Bailey (George Bancroft), who, in the course of his work, crosses paths with every kind of offender there is, from first-time defendants to career criminals. Among the latter is Drury Darling (Chick Chandler), the brother of Bailey's paramour, nightclub owner Ruby Darling (Judith Anderson). Bailey is popular enough in the criminal world, over his providing the means for gang members to stay in circulation while awaiting trial, and he knows how to spread the money around to make the wheels of government run more smoothly (and not run over any of the speakeasies, casinos, clip-joints, and other enterprises of the gangs to which he is closest). Then, one day, he meets Elaine Talbert (Frances Dee), a thrill-seeking socialite whose penchant for excitement has ratcheted up from shoplifting in the better stores to fast cars and fast men. Bailey doesn't quite know what to make of her -- she's attractive enough, and drawn to him, but her lust for illicit and dangerous diversions runs counter to the common sense that he applies to his life, every place but where women are concerned. His quasi-legal and extra-legal maneuvering is fun for a while, but what she really wants, as she tells Bailey, is a man who will "take charge" and dominate her, physically and in every other way. Eventually, she tires of the middle-aged Bailey and gravitates toward Drury Darling, whose exploits as a bank robber, willing to fight the law head on, are more in line with some of the excitement that she craves. When Darling is arrested, he depends upon her to pass along the money that Bailey needs to bail him out, and that's when the smoothly operating life that Bailey has arranged for himself grinds to a halt. A cache of worthless bonds, a war within the underworld itself, and an assassination attempt on Bailey are just part of the double-dealing and blood-letting that ensues, climaxing with game of pool involving a booby-trapped eight ball (a variation of a famous sequence from Keaton's Sherlock Jr., later re-used by the Three Stooges in I'll Never Heil Again). And the finale for Elaine Talbert is a sequence that might not even have gotten past the politically-correct censors of the 1980's. ~ Bruce Eder, Rovi

This drama was written by famed radio announcer Walter Winchell. It chronicles the tragic love between a racketeer and a singer. So smitten is he by the chorus girl's charms that he buys her a nightclub. Unfortunately for him, the club's male crooner/bandleader also loves the girl. Realizing that he cannot compete, the crook bows out. However, during her wedding the racketeer lays down his life in exchange for hers when others attempt to kidnap her. He is shot, but survives. In the hospital he listens to the radio and hears that he is considered a hero and that the would-be kidnappers have been killed. ~ Sandra Brennan, Rovi

A boozy newspaper reporter is booted out of his job for drinking too much. A few fateful twists later, he becomes partners with a talented advertising executive and opens a business. The former reporter proves to have a killer's instinct and all the morals of a shark. Under his helm, the business thrives, but his personal life falls to ruin when his fiancee kills herself. Returning to the sanctuary of alcohol, he drinks himself blind and jeopardizes the career he worked so hard to build. ~ Sandra Brennan, Rovi