Fred Guiol Movies

George Stevens' sprawling adaptation of Edna Ferber's best-selling novel successfully walks a fine line between potboiler and serious drama for its 210-minute running time, making it one of the few epics of its era that continues to hold up as engrossing entertainment across the decades. Giant opens circa 1922 in Maryland, where Texas rancher Jordan "Bick" Benedict (Rock Hudson) has arrived to buy a stallion called War Winds from its owner, Dr. Horace Lynnton (Paul Fix). But much as Bick loves and knows horses, he finds himself even more transfixed by the doctor's daughter, Leslie Lynnton (Elizabeth Taylor), and after some awkward moments, she has to admit that she's equally drawn to the shy, laconic Texan. They get married and Leslie spends her honeymoon traveling with Jordan to his ranch, Reata, which covers nearly a million acres of Texas. Once there, however, she finds that she has to push her way into her rightful role as mistress of the house, past Bick's sister, Luz (Mercedes McCambridge), who can't accept her brother's marriage or the changes it means in the home they share. Also working around Reata is the laconic ranch hand Jett Rink (James Dean) -- from a family as rooted in Texas as the Benedicts but not nearly as lucky (or "foxy"), Jett is dirt-poor and barely educated at all, and he fairly oozes resentment at Bick for his arrogance, although Luz likes him and for that reason alone Bick is obliged to keep him on. One thing Jett does have in common with his employer is that he is in awe of Leslie's beauty; another is his nearly total contempt for the Mexican-Americans who work for them -- Jett and Bick may have contempt for each other, but either one is just as likely to dismiss the Mexican-Americans around them as a bunch of shiftless "wetbacks." Luz feels so threatened with a loss of power and control that she decides to assert herself with War Winds, yet another "prize" that Bick brought back from Maryland that resists her authority -- then decides to ride the stallion despite being warned that no one but Leslie is wholly safe on him, and spurs him brutally in an effort to break him, which ends up destroying them both in the battle of wills she starts.

After Luz's death, Jett learns that she left him a tiny piece of land for his own, on Reata, which he refuses to sell back to Bick, preferring to keep it for his own and maybe prospect for oil on it. Meanwhile, Leslie and Bick have their own problems -- Leslie can't abide the wretched conditions in which the Mexican families who work on Reata are allowed to live, taking a special interest in Mr. and Mrs. Obregon and their baby, Angel; but Bick doesn't want his wife, or any member of his family, concerning themselves with "those people." Leslie's humanity and her independence push their marriage to the limit, but Bick comes to accept this in his wife, and in four years of marriage they have three handsome children, a boy and two girls, and a loving if occasionally awkward home life. Meanwhile, Jett strikes oil on his land -- which he's named Little Reata -- and in a couple of years he's on his way to becoming the richest man in Texas, getting drilling contracts on all of the land in the area (except Reata) and making more money than the Benedicts ever saw from raising cattle. Bick is almost oblivious to the way Jett grows in power and influence across the years and the state, mostly because he's got his own family to worry about, including a son, Jordan III (Dennis Hopper), who doesn't want to take over the ranch from him, but wants instead to be a doctor; an older daughter, Judy (Fran Bennett), who wants to study animal husbandry and marry a local rancher (Earl Holliman) and start a tiny spread of her own; and a younger daughter, Luz (Carroll Baker), who's just a bit man-crazy and star-struck by the movies.

The American entry into the Second World War and the resulting need for oil forces Bick to go into business with Jett and allow him to drill on Reata, and suddenly the Benedicts are wealthy enough to be part of Jett Rink's circle, which includes the governor of the state and at least one United States senator at his beck and call -- and Luz develops a serious crush on Jett, who likes his women young and is especially attracted to her, as Bick's and Leslie's daughter. Young Jordan marries Juana, a Mexican-American nursing student (Elsa Cardenas), and his father accepts it begrudgingly, with help from Leslie. The war kills Angel Obregon (Sal Mineo), a death that even affects Bick, but the Benedict family gets through it wealthier than ever and grows some more with the birth of Jordan IV to Jordie and Juana. When the family attends a gala opening of Jett Rink Airport, which concludes with a dinner honoring Jett's success, however, young Jordan's wife is humiliated by Jett's racist edicts, and he is beaten up by Jett's men after punching the oil baron. Seeing this, Bick challenges his old rival to the fight that's been brewing for a quarter of a century and wins by default, Jett being too drunk to defend himself or to hit; he's also too drunk to make the grand speech that was to climax the celebration, and he ends up alone in the ballroom. The Benedicts have it out with each other, young Jordan accusing his father of being as much a racist as Jett, and Leslie caught in the middle between her husband and her son. It looks like the Benedicts may lose each other, until an encounter with a racist diner owner forces Bick to stand up and get knocked down (more than once) defending his daughter-in-law and his grandson.

Seen today, Giant seems the least dated of any of James Dean's three starring films, in part because it addresses issues that remain relevant more than 50 years later, and also because it has the best all-around acting and the best script of any of the three. Taken in broader terms, it's even better, with two of the best performances that Elizabeth Taylor and Rock Hudson ever gave, and perhaps the second best of Hudson's whole career (after Seconds) -- the only unfortunate element at modern theatrical screenings is the tendency of younger viewers, who only know him in terms of the revelations late in his life of his being gay, to laugh and snicker at elements of Hudson's characterization; but his work is so good that the titters usually fade after the first 30 minutes or so. ~ Bruce Eder, All Movie Guide

In the early 1940s, producer Hal Roach turned out several entertaining and profitable "streamliners" (each running approximately 45 minutes) about an army recruit with a photographic memory and his long-suffering sergeant. William Tracy portrayed Private (and later Sergeant) Doubleday, while Joe Sawyer was his topkick Sgt. Ames. In 1951, Hal Roach Jr. decided to revive the series, but only two 6-reel films resulted. The first, As You Were, finds Doubleday re-enlisting, much to the consternation of the bombastic Ames. This time both men find themselves at odds with their new "fellow" sergeant, lovely WAC Joan Vohs. Like its sequel Mr. Walkie Talkie, As You Were was released by Lippert Films. ~ Hal Erickson, All Movie Guide

To fully appreciate The More the Merrier, it is important to know that, during WW2, there was an acute housing shortage in Washington DC. This is why elderly Benjamin Dingle (Charles Coburn) is obliged to share a tiny DC apartment with pretty Connie Milligan (Jean Arthur) and handsome Joe Carter (Joel McCrea). After nearly two reels of misunderstandings, the trio becomes accustomed to their curious living arrangement. Joe takes a platonic liking to Connie, but she's engaged to stuffy bureaucrat Charles J. Pendergast (Richard Gaines). Sizing up the situation, foxy Benjamin contrives to bring Connie and Joe together, in spite of themselves. Things get dicey when Joe endeavors to complete a top-secret mission for the Air Force, which leads to all sorts of comic complications and misguided remonstrations. Throughout the film, director George Stevens and the four-man screenwriting staff deliberately tweak the noses of the Hays Office, getting by with any number of censorable offenses by deftly and tastefully sidestepping the obvious. Especially potent is the scene in which Joe tries to seduce Connie by talking about everything except seduction: it's also fun to watch Dingle robustly repeat the word "Damn" over and over, getting away with this breach of censorship because he's quoting Admiral "Damn the Torpedoes" Farragut. An Academy Award went to Charles Coburn, while nominations were bestowed upon Jean Arthur, Joel McCrea, George Stevens, the screenwriters, and the film itself. The More the Merrier was remade in 1966 as Walk Don't Run, with Cary Grant, Jim Hutton and Samantha Eggar. ~ Hal Erickson, All Movie Guide

No relation to the 1953 musical film of the same title, About Face is a 43 minute Hal Roach "Streamliner." Sgt. Doubleday (William Tracy), the man with the photographic memory, and his former topkick Sgt. Ames (Joe Sawyer), go on a night on the town. After accidentally sparking a barroom brawl, our heroes crash a society party overseen by perennial Marx Brothers foil Margaret Dumont. The evening is capped by a wild car chase. Marjorie Lord and Veda Ann Borg provide the scenic attractions in this old-fashioned slapsticker. ~ Hal Erickson, All Movie Guide

Instant recall allows a man to become a very valuable Good Samaritan in this comedy. ~ All Movie Guide

While listening to a recording of "Penny Serenade," Julie Gardiner Adams (Irene Dunne) begins reflecting on her past. She recalls her near-impulsive marriage to newspaper reporter Roger Adams (Cary Grant), which begins on a deliriously happy note but turns out to be fraught with tragedy. While honeymooning in Japan, Julie and Roger are trapped in the 1923 earthquake, which results in her miscarriage and subsequent incapability to bear children. Upon their return to America, Roger becomes editor of a small-town newspaper, just scraping by financially. Despite their depleted resources, Julie and Roger want desperately to adopt a child. It seems hopeless until kindly adoption agency head Miss Oliver (Beulah Bondi) helps smooth their path. Alas, their happiness is once more short-lived: their new daughter, Trina (Eva Lee Kuney), succumbs to a sudden illness at the age of six. Reduced to hopelessness, Julie and Roger decide to dissolve their marriage, but Miss Oliver once more comes to the rescue. Sentimental in the extreme, Penny Serenade is also enormously effective, balancing moments of heartbreaking pathos with uproarious laughter. Only director George Stevens could have handled a scene with a copiously weeping Cary Grant without inducing discomfort or embarrassment in the audience. Since lapsing into the public domain in 1968 (though released by Columbia, the film was owned by Stevens' production firm), Penny Serenade has become almost as ubiquitous a cable-TV presence as It's a Wonderful Life. ~ Hal Erickson, All Movie Guide

In 1941, producer Hal Roach abandoned production of full-length features in favor of a new concept: The "Streamliner", a four-reel film-halfway between a short subject and a feature-designed for the double-bill market. The first Roach streamliner was the timely service comedy Tanks a Million, previewed in August of 1941 and released by United Artists the following month. Chubby William Tracy starred as Dodo Doubleday, a feckless Army draftee blessed (or cursed) with a photographic memory. Inexplicably promoted to sergeant, Doubleday becomes the bane of topkick Sgt. Ames' (Joe Sawyer) existence. On the verge of being booted out of service because of his constant bumbling, Doubleday redeems himself by curing his commanding officer of a bad case of "mike fright" just before a network radio broadcast. At 50 minutes, Tanks a Million was one of the longer streamliners, and one of the best: it would spawn several William Tracy-Joe Sawyer sequels, including Hay Foot, About Face, Fall In and Yanks Ahoy. ~ Hal Erickson, All Movie Guide

Though Rudyard Kipling's poem Gunga Din makes a swell recital piece, it cannot be said to have much of a plot. It's simply a crude cockney soldier's tribute to a native Indian water boy who remains at his job even after being mortally wounded. Hardly the sort of material upon which to build 118 minutes' worth of screen time-at least, it wasn't until RKO producer Pandro S. Berman decided to convert Gunga Din into an A-budgeted feature film. Now it became the tale of three eternally brawling British sergeants stationed in colonial India: Cutter (Cary Grant), McChesney (Victor McLaglen) and Ballantine (Douglas Fairbanks Jr.). Ballantine intends to break up the threesome by marrying lovely Emmy Stebbins (Joan Fontaine), while Cutter and McChesney begin hatching diabolical schemes to keep Ballantine in the army (if this plot element sounds a lot like something from the Ben Hecht and Charles MacArthur play The Front Page, bear in mind that Hecht and McArthur shared writing credit on Gunga Din with Joel Sayre and Fred Guiol; also contributing to the screenplay, uncredited, was William Faulkner). All three sergeants are kept occupied with a native revolt fomented by the Thuggees, a fanatical religious cult headed by a Napoleonic Guru (Eduardo Ciannelli). Unexpectedly coming to the rescue of our three heroes-not to mention every white man, woman and child in the region-is humble water carrier Gunga Din (Sam Jaffe), who aspires to become the regimental trumpeter. Originally slated to be directed by Howard Hawks, Gunga Din was taken out of Hawks' hands when the director proved to be too slow during the filming of Bringing Up Baby. His replacement was George Stevens, who proved to be slower and more exacting than Hawks had ever been! ~ Hal Erickson, All Movie Guide

Bert Wheeler and Robert Woolsey star as Roy Banks and Dr. "Painless" Pennington, itinerant dentists in the Old West. Roy and Doc purchase a dentist's office from a crooked real-estate promoter (Richard Alexander), who neglects to tell our heroes that everyone in town is planning to head off via wagon train to the California Gold Rush. By the time they discover that they've set up shop in a ghost town, the boys have also uncovered evidence that the townsfolk are heading right into an Indian ambush. They quickly catch up with the wagon train, where Roy falls in love with cute schoolmarm Mary Blake (Dorothy Lee). Managing to convince the townsfolk that they're all about to be massacred, Roy and Doc are themselves accused of arranging the impending slaughter by Hank (Harry Woods) and Trigger (Ethan Laidlaw), the two greedy reprobates who'd cooked up the massacre in collaboration with the Indians. Escaping a lynch mob, the boys hide out at a nearby Indian reservation, where they discover that Hank is in cahoots with the Chief. Roy and Doc manage to make their way back to the wagon train, where they save the day by pelting the attacking Indians with chloroform-soaked sponges. Justifiably regarded as the worst of the Wheeler and Woolsey comedies, Silly Billes reaches its nadir when the two stars drunkenly attempt to extract a tooth from a billy goat! ~ Hal Erickson, All Movie Guide

After six box-office smashes in a row, the comedy team of Bert Wheeler and Robert Woolsey came a-cropper with 1935's The Rainmakers. The boys are cast respectively as Billy and Roscoe, professional rainmakers summoned to the drought-stricken farming community of Lima. Everyone in town hopes that Roscoe's magnetic rain-making contraption will bring about a cloudburst -- everyone, that is, except town banker Simon Parker (Berton Churchill), who wants the drought to continue so he can buy up all the land at dirt-cheap prices. When Parker fixes it so that the boys' first public demonstration of their machine will be completely unattended, Billy and Roscoe decide that they need to stage a spectacular publicity stunt to stir up interest. They arrange for a second demonstration to coincide with the planned collision of two dynamite-loaded railroad engines. As the crowd gathers, however, the engineers panic and quit, leaving our heroes to run the engines themselves -- and the result is a tiresome, protracted chase sequence, rendered doubly dull by some of the least-convincing back-projection work in movie history. The traditional duet between Bert Wheeler and his perennial leading lady Dorothy Lee, "Isn't Love the Grandest Thing," is the highlight of The Rainmakers, thanks to a clever gag involving a "tree of truth"; this routine would later find its way into the 1942 Abbott & Costello comedy Pardon My Sarong. ~ Hal Erickson, All Movie Guide

Though not the best of Bert Wheeler and Robert Woolsey's starring vehicles, Kentucky Kernels turned out to be the team's biggest financial success. Wheeler and Woolsey star as unemployed vaudevillians Willie and Elmer, who through a series of convoluted circumstances become the guardians of mischievous orphan Spanky Milford (Spanky McFarland). The boys get into plenty of trouble thanks to Spanky's predilection for breaking windows, but worse is to come: When it turns out that Spanky has inherited the Milford homestead in Kentucky, our heroes find themselves smack in the middle of an old-fashioned mountain feud. Elmer manages to arrange a détente between the warring Milfords and Wakefields, but thanks to the precocious Spanky, the feud resumes -- much to the dismay of Willie, who's fallen in love with gorgeous Gloria Wakefield (Mary Carlisle). Willie and Elmer manage to stave off the hostile Wakefields by substituting berries for bullets, but the story doesn't come to a conclusion until the boys are nearly knocked off by a firing squad. Praised to hilt for being "cleaner" than the previous Wheeler-Woolsey epics, Kentucky Kernels seems disappointing today when compared to the team's classic Diplomaniacs and Hips Hips Hooray; additionally, Spanky McFarland sabotages several potentially hilarious sequences with the most obnoxious performance of his career. Even so, the film is consistently entertaining, especially during the delightful Bert Kalmar-Harry Ruby musical number "One Little Kiss", performed by everyone in the cast from Wheeler and Woolsey to Noah Beery Sr! ~ Hal Erickson, All Movie Guide

A pair of adle-pated vagrants on the run from the police take refuge in a posh mansion, assuming the identities of its vacationing millionaire owner and the housemaid. Complications ensue when a couple arrives to enquire about renting the house. Forced to play out the charade to its ultimate exposure, the itinerant hoboes are once again sent fleeing from the law.

Long believed to be lost forever -- when this early Laurel and Hardy film (only their third together) finally turned up again in the mid-'70s it was a positive revelation for both film historians and die-hard Stan and Ollie fans. Their familiar characterizations and razor-timed teamwork, though somewhat rough around the edges, are already fully in evidence, as if they'd been working together for years. Adapted from a Music Hall stage sketch penned by Arthur Jefferson, Stan's father, the same basic material later reappeared in the four-reel comedy Another Fine Mess (1930), in which the boys repeated their roles and most of the gags with even more successful results. ~ All Movie Guide

Although this is one of the better early films from Stan Laurel and Oliver Hardy, they have obviously not yet teamed up and their characterizations have not yet gelled. Stan still exhibits the assertiveness from his previous films, and Ollie is still a rather lecherous heavy. The latest fare for cab driver Chester Chase (Laurel) is Madame Ritz (Anita Garvin) and her baby -- who is really her midget husband (Harry Earles). The pair are international jewel thieves. Chester takes them to the dock, and when his cab is inadvertently hauled on board the SS Mirimar, he ends up being steward under the captain (Frank Brownlee) and Purser Cryder (Hardy). Cryder is more interested in pursuing women than being a purser, but Chaste constantly gets in the way (one of the ladies is a young Lupe Velez). Chaste loses at dice with the baby/midget, but foils Madame Ritz's crooked card game. Finally, when he is given the task of bathing the "infant," the kid's hairy chest gives him away. Chaste and Cryder turn in the crooks and collect the reward, but the midget gets his revenge by beating up Cryder. Although Hardy claims that his famous "tie twiddle" originated in this film, it does not appear in the final version -- his classic camera stare, however, is there. ~ Janiss Garza, All Movie Guide