Ben Hecht Movies

The 1920s-era play The Front Page was about a Chicago reporter who wants to retire and get married but is tricked by his editor into doing one last story -- which proves to be complicated. It was made into a classic film in 1931 and inspired the 1940 hit movie His Girl Friday, in which the reporter was changed into a woman. Billy Wilder also remade the original film in 1974. Switching Channels is a 1988 remake of His Girl Friday, with Kathleen Turner in the starring role, which has now morphed into that of a cable television network news anchor, Christy Colleran. She wants to marry a rich and handsome sporting goods manufacturer, Blaine Bingham (Christopher Reeve) and move out of town. But her ex-husband, John L. Sullivan IV (Burt Reynolds), who is also her producer and boss, gives her one final assignment to try to keep her around. Her reporting leads her into an investigation of a jail escape that follows a botched-up execution. Writer Jonathan Reynolds updated the original material. ~ Michael Betzold, Rovi

This third film version of the 1928 Ben Hecht/Charlie MacArthur Broadway hit The Front Page was the first one permitted to utilize all the salty profanities in the original play. Director Billy Wilder cast his two favorite leading men, Jack Lemmon and Walter Matthau, as ace reporter Hildy Johnson and ruthless newspaper editor Walter Burns, respectively. The plot of the Hecht/MacArthur play remains intact: Burns pulls every underhanded game in the book to prevent Johnson from leaving his Chicago paper to get married, and in so doing the two journalists uncover a cesspool of political corruption, centered around the planned execution of anarchist Earl Williams (Austin Pendleton). Carol Burnett has an extended cameo as Williams' tart girlfriend, Mollie Malloy. The Front Page was remade for a fourth time in 1988 as Switching Channels. ~ Hal Erickson, Rovi

Retired after years of international espionage, Agent 007 is lured back into action to battle the evil spy organization SMERSH in this notoriously incoherent parody of the James Bond films. David Niven portrays the aging Bond, who atypically rejects the advances of a variety of women, and agrees to battle SMERSH's hold on the lavish Casino Royale only after organization head M is murdered. Also mixed up in the affair are several other secret agents, all named James Bond, played by everyone from Peter Sellers and Woody Allen to a chimpanzee. Despite a star-studded cast, a large production budget, and a hit score by Burt Bacharach, the film was universally panned as a muddled, overlong failure, with the occasional amusing sequence lost in the unintelligible surroundings. The participation of several screenwriters and five different directors, including John Huston, only adds to the confusion. ~ Judd Blaise, Rovi

This off-beat western is a freely-adapted remake of the violent film noir Kiss of Death. The story centers on a naive thief, Dan Hardy, who is captured after a bank robbery and placed in a jail cell alongside the maniacal, vicious Felix Griffin. O'Brian gets himself into deep trouble when he tells Griffin where he hid the loot, a location that only O'Brian's partner knows. As soon as Griffin is released, he begins a shocking, and graphically depicted, killing spree as he tries to get to the cache of cash. In desperation, the lawmen arrange to release Hardy so he can find the psychotic O'Brian and stop him. ~ Sandra Brennan, Rovi

Produced and directed by Henry Hathaway, The Legend of the Lost boasted the one-time-only teaming of John Wayne and Sophia Loren. Location-filmed in the Sahara desert, the story concerns the efforts of Wayne, Loren and Rosanno Brazzi to locate a missing treasure in the ruins of ancient Timgrad. Once found, the treasure is stolen by Brazzi, who leaves his partners in the middle of nowhere to die like rats. Fortunately, Wayne and Loren survive the ordeal, though Brazzi is not so lucky. Of the three stars, Brazzi delivers the most interesting performance, while Wayne and Loren seem ill-at-ease throughout. The best aspect of this sometimes ponderous effort is the color cinematography of the great Jack Cardiff. ~ Hal Erickson, Rovi

The fate that brings lovers together can easily tear them apart as can be seen in this sentimental tragedy that centers on an ordinary-looking secretary's (Jane Wyman) lonely life. Other than working and spending some free time with a spinster (Eileen Heckart), who is her best friend, the woman devotes most of her time attempting to cheer up her deeply depressed, eternally grieving mother, who has never recovered from her husband's leaving her. One day the secretary is in Central Park when a cloudburst occurs and she ends up meeting a handsome young soldier from Tennessee (Van Johnson). Although they couldn't be more different, they fall deeply in love. Unfortunately, he goes overseas and gets killed. The poor secretary nearly falls apart both mentally and physically. She seems near death when one day she is walking near St. Patrick's Cathedral when a second miracle occurs, giving her the will to live again. ~ Sandra Brennan, Rovi

The Indian Fighter is trail guide Kirk Douglas, who agrees to shepherd a wagon train through Sioux territory. Douglas tries to convince the Sioux to leave his charges alone, but such hotheads as drunken white trader Walter Matthau and embittered Indian brave Harry Landers escalate the tensions. Douglas is forced to go "mano y mano" with Landers; Douglas wins, but refuses to kill Landers, having lost his taste for killing. But when Matthau and his partner Lon Chaney Jr. contrive to rob the Indians of their gold, Sioux chief Eduard Franz prepares to wipe out the settlers. Only when Douglas risks life and limb to bring Matthau and Chaney Jr. to justice does Franz relent. Somehow, Kirk Douglas manages to link up with two leading ladies in The Indian Fighter: his Italian "discovery" Elsa Martinelli and his own ex-wife Diana Douglas (wouldn't you liked to have been a fly on the wall at that casting call?) The first film assembled by Douglas' own Bryna Productions, The Indian Fighter is a particular treat when seen in color; incredibly, its first network telecast in 1962 was in black and white. ~ Hal Erickson, Rovi

This very expensive Italian-made adaptation of Homer's "The Odyssey" stars Kirk Douglas as seafaring hero Ulysses. The story begins, as ever, with Ulysses leaving his faithful wife Penelope (Silvano Magnano) behind as he goes off to fight in the Trojan Wars. Having the poor taste to set himself above the gods after a stunning military victory, Ulysses is doomed to journey aimlessly across the sea until he can make amends. Along the way, our hero battles a cyclops, resists the fatal singing of the Sirens, and enjoys a brief interlude with pig-fancying enchantress Circe (also played by Silvano Magnano). Years and years later, Ulysses returns to Penelope, where he must meet and master a final challenge. Acceptable enough when first released in 1954, Ulysses pales in comparison to the high-tech, all-star 1997 TV miniseries version of The Odyssey. ~ Hal Erickson, Rovi

At least half of the two-part Actors and Sin is well worth having. Part One, "Actor's Blood", is based on a Ben Hecht tale of theatrical intrigue. Edward G. Robinson plays a Barrymoresque Shakespearean actor whose obsessive control of the life and career of his actress-daughter Marsha Hunt results in disaster. Part Two, "Woman of Sin", is another Ben Hecht yarn, this one satirical in nature. Eddie Albert stars as a Hollywood agent who'd sell his Grandmother to represent the author of a sensationally sexy screenplay titled, yes, Woman of Sin. Much to Albert's surprise (but not ours), the author turns out to be a precocious 9-year-old girl, played by Hecht's own daughter Jenny. Of the two playlets, "Actor's Blood", though ripely melodramatic, scores best in the acting department. "Woman of Sin" is too arch and smug to be consistently funny, while Jenny Hecht is perhaps the greatest argument against nepotism in film history. Ostensibly directed by Ben Hecht (who also produced), Actors and Sin was largely helmed by cinematographer Lee Garmes. ~ Hal Erickson, Rovi

Dana Andrews is brutal metropolitan police detective Dixon, who despises all criminals because his father had been one. When the cops pick up two-bit gambler Ken Paine (Craig Stevens) as a murder suspect, Dixon subjects Paine to the third degree -- and accidentally kills him. In disposing of the body, Dixon inadvertently places the blame for the killing on cab driver Jiggs Taylor (Tom Tully). Having fallen in love with Jigg's daughter, Morgan (Gene Tierney), Dixon tries to clear the cabbie without implicating himself, but ultimately he becomes trapped in a web of his own making; luckily Morgan promises to stand by him. Where the Sidewalk Ends was adapted from a novel by William L. Stuart; its director was Otto Preminger, who'd previously put Andrews and Tierney through their paces in Laura (1944). ~ Hal Erickson, Rovi

In this compelling and unusual psychological melodrama Ann Sutton (Gene Tierney), a woman tormented by her secret kleptomania seeks help from a unscrupulous hypnotist David Korvo (Jose Ferrer). Although she is married to a successful psychiatrist (Richard Conte), and has no need to steal the items which she could easily purchase, she finds herself powerless to control her urge. She is finally caught when she attempts to steal a brooch from a department store but she is saved by Korvo who persuades the store not to prosecute. Grateful and desperate for help, Ann allows Korvo to treat her. Korvo, taking advantage of Ann's vulnerability, hypnotizes her and sends her to the home of a former mistress whom he has stolen money from and subsequently murdered when she threatened to turn him in to the police. Ann is charged with the murder. Convinced of his wife's innocence, Richard must crack Korvo's seeming airtight alibi. Richard tricks Korvo into returning to the scene of the crime to find some evidence in the exciting conclusion. This unusual tale of murder and mental illness was written by a blacklisted Ben Hecht under the pseudonym "Lester Barstow" and bears a striking resemblance to another Hecht thriller, Alfred Hitchcock's Spellbound. ~ Linda Rasmussen, Rovi

Rope, Alfred Hitchcock's first color film, was adapted from Patrick Hamilton's stage play Rope's End by no less than Hume Cronyn. Loosely inspired by the Leopold-Loeb case, the plot concerns two implicitly homosexual college chums, played by Farley Granger and John Dall. Their heads filled with Nietzschean philosophy by their kindly professor James Stewart, Granger and Dall kill a third friend just for the thrill of it. The boys hide the body in an antique chest in the middle of their posh apartment, then perversely arrange to hold a dinner party around the chest, inviting the victim's family, friends and fiancee (Joan Chandler), as well as their intellectual role-model Stewart. As the guests wander obliviously around the sealed chest, the killers make snippy, veiled comments about their deed--never going so far as to reveal the existence of the body nor their involvement in the murder. As all the guests file out, however, professor Stewart begins to suspect that something is amiss. In Rope, Hitchcock attempted the daunting technical challenge of filming the entire picture in one long, seemingly uninterrupted take. Actually, there are several edits in the movie: since a reel of film was divided into two ten-minute minireels back in 1948, the internal reel-breaks are "fudged" by having a dark object briefly obscure the camera lens, sustaining the illusion that no editing has taken place. ~ Hal Erickson, Rovi

Based in part on a true story, Kiss of Death is given a veneer of reality by being filmed on location in New York, per the insistence of director Henry Hathaway..Victor Mature plays Nick Bianco, a cheap crook who commits a Christmastime jewelry store heist with his gang, and manages to get the rap while the others slip by the police unnoticed. Nick refuses to testify on the others, and gets sent up the river for 20 years for robbery. Before he goes to prison, he's assured by the criminal element that his wife and children will be taken care of while he's behind bars (thanks in no small part to his refusal to testify), but this is a blatant lie: during his incarceration, he learns that the family has gone broke, his wife committed suicide and his children have been sent to an orphanage. Furious, Nick summons district attorney Louie d'Angelo (Brian Donlevy) and makes an unusual deal: parole, in exchange for his willingness to squeal on the others. Louie expresses particularly strong interest in nabbing sadistic mob torpedo Tommy Udo (Richard Widmark, in his chilling screen debut), and helps secure Nick's release with the understanding that Nick will ingratiate himself with Tommy. This he does, spending inordinate amounts of time with the psychopath and earning the man's trust. Meanwhile, Nick also falls in love with Nettie (Colleen Gray), marries her, and regains custody of his two young daughters. The family moves to a small house together (with Nick living under an assumed name), but Louie realizes that his cover will soon be blown. To make matters even more complicated, Louie soon comes calling and pressures Nick into testifying against Tommy. Nick hesitates, given his concern that Tommy will come after him as soon as police surveillance lifts. Moreover, Tommy has a few nasty tricks of his own, however, and vows to make life as difficult as possible for Nick. This is the film in which Widmark's character gigglingly pushes a wheelchair-bound old lady down a flight of stairs. Reviewer James Agee said it best: "You feel that murder is the kindest thing he is capable of". The film made Widmark a star--and also convinced him to start lobbying immediately for good-guy roles so that he wouldn't be typecast as maniacal killers for life. Kiss of Death was remade as the 1958 western The Fiend Who Walked the West, then re-remade under its original title in 1994, with David Caruso in the Mature role and Nicolas Cage in the Widmark part, and the violence and nudity dramatically elevated to conform with the times. ~ Hal Erickson, Rovi