Cyril Hume Movies

Ron Howard directed this thriller which stars Mel Gibson as Tom Mullen, a former fighter pilot who built a ramshackle one-plane airline into a major multinational service fleet. Mullen has a multi-million dollar fortune, a beautiful wife, Kate (Rene Russo) and a nine-year-old son, Sean (Brawley Nolte) that he dotes on. However, Mullen's life comes crashing down around him when Sean is kidnapped. The FBI are called in, but Mullen is wary -- he was the recent target of an FBI investigation in which he was found to have bribed union officials while negotiating a contract. FBI Agent Hawkins (Delroy Lindo) advises Mullen to make the $2 million dollar drop to pay the kidnappers, which will make it easier to track the criminals, but when the tradeoff goes wrong, Mullen takes a new tactic -- he goes on television and offers a $2 million bounty for the heads of the people who kidnapped his child. Meanwhile, it becomes clear the kidnappers include Maris Connor (Lili Taylor), who once worked for the Mullens, and Jimmy Shaker (Gary Sinise), one of the cops who investigated Mullen for bribery. This remake of the 1956 Glenn Ford vehicle of the same name was scripted by Richard Price, who has a bit part as a police detective. ~ Mark Deming, Rovi

In the eleventh episode of Walt Disney's 17-part miniseries Tales of Texas John Slaughter, John's children, Willie (Brian Corcoran) and Addy (Patricia Gorman), have at last become accustomed to their new home in Tombstone, AZ. The kids are also anxious for the widowed John (Tom Tryon) to propose to neighboring rancher Viola Howell (Betty Lynn). Finally working up the courage to pop the question, John is unfortunately sidetracked when he is called upon to testify at the trial of outlaw Loco Crispin (Gene Evans) in which John was instrumental in bringing to justice. Meanwhile, Viola's mother (Nora Marlowe) is worried that her prospective son-in-law is still a man of violence. Modern-day viewers will likely be fascinated by the warm friendships forged between John Slaughter and two ethnic characters, Apache brave Natchez (Jay Silverheels) and African-American ranch-hand Batt (James Edwards). "Apache Friendship" originally aired as part of the Walt Disney Presents anthology. ~ Hal Erickson, Rovi

The Civil War is revisited in this taut episode of The Rifleman, which has a crippled Confederate soldier (Royal Dano) arriving at Lucas McCain's ranch at the same time as a visiting General Sheridan (Lawrence Dobkin). But the War is well over and Lucas (Chuck Connors), with Sheridan's assistance, manages to prevent further carnage. ~ Hans J. Wollstein, Rovi

Based on an article in the New Yorker, Nicholas Ray's Bigger Than Life stars James Mason (who also produced the film) as elementary school teacher Ed Avery, a thoughtful, gentle man, with a loving wife, Lou (Barbara Rush), and a young son, Richie (Christopher Olsen), who loves him. Avery is successful and well liked in his community, but he is over-extended in his pursuit of the American dream -- he secretly works a second job to earn extra money, and doesn't dare break stride, despite the increasingly painful physical spasms that he suffers. He collapses one day, and the doctors inform him that he suffers from an arterial disease that will probably give him less than a year to live. But they also offer him one hope, with treatment using cortisone, which was then a new, not-fully-tested drug. Avery makes a seemingly full recovery and returns to work, but it soon becomes clear that he's not the same -- he has a new, cavalier attitude toward money, and then Lou becomes alarmed over his expressions of rage over seemingly insignificant annoyances. He starts expressing himself in grand, exalted terms, first to Lou and then to his colleagues at school, including his closest friend, Wally Gibbs (Walter Matthau). And matters only get worse when Wally determines that it is the cortisone -- which Ed has been taking in far greater doses than prescribed -- that is making him act this way. And his obsession w ith forcing Richie to live up to his full potential soon turns into a much darker fixation. Director Ray later offered regret over having used cortisone by name, as it was still not standard treatment and its benefits and drawbacks weren't known. But this did lend the movie a verisimilitude that was essential for what appeal it did hold for audiences. (Seven years later, screenwriter William Read Woodfield would incorporate Bigger Than Life's cortisone plot device into his script for the Voyage To The Bottom of the Sea episode \"Mutiny\". Bigger Than Life's more immediate problem at the time lay in its broader plot -- with a story that brought drug addiction and fact-based psychological unhingement into a suburban American setting, it was a daring subject for its time, for which audiences were unprepared in 1956. It was also one of a group of offbeat pictures that Mason produced as well as starred in. ~ Bruce Eder, Rovi

Viewers familiar with the 1996 Mel Gibson blockbuster Ransom may be disappointed that there are no smirking villains, car chases, or bloody fistfights in the original 1956 version of the same story. Even so, the earlier Ransom! has much to offer on a purely dramatic level. Based on the Richard Maibaum-Cyril Hume TV play Fearful Decision, the film stars Glenn Ford as self-made industrialist David Stannard. When his son is kidnapped and held for 500,000 dollars ransom, Stannard at first sets about to cooperate with the abductors and to raise the necessary funds. Somewhere along the line, however, Stannard's outrage erupts and boils over. Buying air time on a local TV station, he pulls out the half-million dollars, then informs the kidnappers that they'll never get their hands on a single penny. He further threatens to use the money as a reward for the kidnappers' capture, dead or alive, should any harm befall his son. Despite the protests of his wife, Edith (Donna Reed), and the admonishments of his friends, family, business associates and even the police, Stannard sticks fast to his decision...but will he live to regret it? The boy's abductors are never seen in Ransom!; instead, the film concentrates on the multitude of ramifications (including a few political ones) stemming from David Stannard's bold stance. As such, the 1956 Ransom! is in its own way as tense and exciting as the more elaborate 1996 remake. ~ Hal Erickson, Rovi

Rancher Charles Bickford comes to believe that drifter Alan Ladd is his long-lost son. In truth, Ladd is a crook, in league with Brian Keith to con Bickford out of his fortune. Intending to go through with the scheme, Ladd has second thoughts when Bickford and his "mother" Selena Royle shower him with the familial affection that he has lacked all his life. Making Ladd even more uncomfortable is the presence of his "sister" Mona Freeman, whom he has grown to love in a manner that might be misconstrued were he really related to her. Fed up with his masquerade, Ladd confesses the hoax and sets about to find Bickford's real son-who turns out to be the foster son of bandit Keith! This psychological western plays much better than it reads. For reasons unknown, a clip of Branded showed up in the 1977 Burt Reynolds vehicle Hustle. ~ Hal Erickson, Rovi

One of the less famous Humphrey Bogart films is this 1949 drama about post-war guilt and remembrance. Bogart plays U.S. airman and war hero Joe Barrett. During the war, he believes, his wife Trina (Florence Marly) died in a Japanese concentration camp. But when Barrett returns to Tokyo and the bar named Tokyo Joe that he used to own, he discovers that Trina is not only alive, but she has married Mark Landis (Alexander Knox), an attorney, and they have a seven-year-old daughter Anya (Lora Lee Michel), whom he suspects is really his child. Baron Kimura (Sessue Hayakawa) forces Barrett into running an airborne smuggling operation by threatening to reveal publicly that Trina made wartime radio propaganda broadcasts. The shipment Barrett must fly includes three Japanese war criminals being brought back into the country, and Kimura insures that Barrett will comply by kidnapping Anya and holding her hostage. But the war criminals hijack the plane and are arrested. Barrett then tracks down Kimura and both die in a shoot-out which saves the life of Anya. ~ Michael Betzold, Rovi

This second film version of F. Scott Fitzgerald's definitive jazz-age novel The Great Gatsby stars Alan Ladd in the title role. Jay Gatsby, formerly Jake Gatz, is a successful bootlegger with aspirations of being accepted in the highest social circles of Long Island. Once he's done this, Gatsby devotes his time to winning back the love of his former lady friend Daisy (Betty Field), now married to boorish "old-money" millionaire Tom Buchanan (Barry Sullivan). Gatsby's obsession with rekindling old flames results in disillusionment and, ultimately, tragedy. Sidelines observer Nick Carraway, the narrator of the original Fitzgerald novel, is expertly played by MacDonald Carey, while Shelley Winters makes an excellent impression as Buchanan's slatternly mistress Myrtle Wilson. Cast as Myrtle's dour optometrist husband is Howard Da Silva, who essayed a minor role in the 1974 remake of Great Gatsby. That 1974 version has unfortunately kept the 1949 Gatsby from being released to television. ~ Hal Erickson, Rovi

By 1941, Wallace Beery was pretty much confined to playing two characters: The reprobate with the heart of gold, or the old-line martinet who resents the incursions of progress. In The Bugle Sounds, Beery opted for characterization #2, playing entrenched Cavalry sergeant Hap Doan. Accustomed to horses and horsemen, Sgt. Doan has a great deal of trouble adjusting themselves to those newfangled armored cars and tanks that the modern Army has introduced to his troops. By the time he's seen the error of his ways and entered the 20th century, old Hap has somehow gotten himself mixed up with enemy saboteurs. The secondary love interest in The Bugle Sounds is handled by William Lundigan and Donna Reed, while Wally Beery is offered a more mature amour in the form of boisterous Marjorie Main. ~ Hal Erickson, Rovi

Tarzan Finds a Son was to have been Maureen O'Sullivan's final Tarzan film, with Jane getting killed in the final reel. But Edgar Rice Burroughs refused to allow MGM to kill his character, so MGM had to increase her salary a substantial amount to do a few more Tarzan adventures. Tarzan Finds a Son was also the first MGM Tarzan film in three years and it introduced a new character --Boy (Johnny Sheffield). Tarzan (Johnny Weissmuller) finds Boy as an infant in a plane-wreck deep in the heart of the African jungle. He takes the baby to his jungle home where he and Jane (Maureen O'Sullivan) raise him as their own son for five years. When Boy's relatives find out that he is alive, they are less than happy, since he stands to receive a large inheritance. An evil African tribe then captures Tarzan and Jane and it is left to Boy to try to rescue them. ~ Paul Brenner, Rovi

In this WW II era drama, a timid, pacifistic clerk is befriended by a gutsy circus barker while they are in the military. Tensions arise between the friends after they fall for the same woman. The circus man is captured by the Germans and shortly thereafter, the clerk marries the girl. In time, the clerk finds courage he never knew he had and becomes a legendary hero. The war ends, but by the time, the clerk is returned to civilian life, he has come to like killing others. Unable to adjust, he becomes a gangster, something he conceals from his wife. Years pass and he runs into his old friend the circus barker, who has become the owner of his own circus. By this time the gangster's wife has learned of his profession and she teams up with the ringmaster to help straighten him out. When all else fails, she turns him into the cops. To earn money while he serves his time, the woman joins the other man's circus. It's all innocent, but the gangster, having just busted out of prison, doesn't realize this. ~ Sandra Brennan, Rovi

College mineralologist Bob (Richard Dix) decides to put his education to good use by prospecting for gold out West. Teaming with desert rat Solitaire (Andy Clyde), Bob strikes it rich, but while en route to town to stake their claim, he stops long enough to rescue Nellie (Leila Hyams) from a gang of stagecoach robbers. Alas, in the meantime villainous Hanway (Onslow Stevens) has jumped our hero's claim. The rest of the picture concerns Dix's efforts to get back his gold, a dilemma solved in the traditional climactic gunfight. Surprisingly threadbare for a Richard Dix vehicle, Yellow Dust is one of the few RKO Radio westerns that really looks like a "B" picture. ~ Hal Erickson, Rovi

In this adventure, a young girl is stranded in the jungle with only a tiger cub for company and grows up to be a wild woman. When an explorer gets lost in the same jungle, she rescues him and takes her to her lair. There he teaches her to speak English and to sing a song. Months pass before the fellow is rescued. Upon his return home he must do plenty of explaining to his fiance. Meanwhile the jungle girl stays behind and sings a romantic song: "Moonlight and Shadows". ~ Sandra Brennan, Rovi