Lloyd Ingraham Movies

William Elliot is the multitextured hero of the deluxe Republic western Savage Horde. Elliot plays a gunslinger named Ringo, who, though no paragon of virtue, is not a murderer. After killing a man in self-defense, Ringo takes it on the lam from the law. Hiding out in a remote frontier town, Ringo becomes involved in a range war between land baron Proctor (Grant Withers) and a group of honest ranchers. At the risk of his own capture, Ringo decides to stick around and join the ranchers in their battle against Proctor. Leading lady Adrian Booth plays Livvy Weston, who'd like to fall in love with Ringo but can't reconcile herself with his bad reputation. Featured in the cast are such western "regulars" as Noah Beery, Bob Steele, Roy Barcroft, Earle Hodgins and Hal Taliaferro (aka Wally Wales). ~ Hal Erickson, All Movie Guide

Slave Girl is the sort of fare that the Universal higher-ups used to dismiss as "tits and sand;" nonetheless, this kind of entertainment (along with the equally lowbrow Abbott and Costello and Ma and Pa Kettle pictures) paid the bills for the studio's more ponderous projects. The slave girl of the title is Yvonne DeCarlo, one of many in servitude to a 19th century Tripoli potentate (Albert Dekker). Two-fisted American diplomat George Brent, accompanied by brawling sailors Broderick Crawford and Andy Devine, has been sent by his government to negotiate the release of hostages captured by the potentate. When negotiations break down, DeCarlo agrees to help Brent free the prisoners through more direct means, provided he takes her away with him. If Slave Girl was supposed to have been taken with a straight face, Universal would never have included brief cutaways to a wisecracking camel (!), whose name is "Humpy" and whose voice is provided by Buddy Hackett. ~ Hal Erickson, All Movie Guide

Lucille Ball stars as the wife of a war correspondent, anxiously awaiting her husband's return. Ball is convinced that hubby (George Brent) is looking forward to feminine companionship after four long years at the front. Imagine her surprise when it looks as though her husband wasn't quite as lonely as she'd thought--thanks to sexy combat photographer Vera Zorina. Ball files for divorce, but the outcome is tipped off by the title: the Lovers come back. Lucille Ball is merely decorative for the most part in this film, though she has one delightful comic scene involving an attempt to smoke a cigar. To avoid confusion with a 1962 Doris Day/Rock Hudson epic of the same name, Lover Come Back was retitled When Lovers Meet for television. ~ Hal Erickson, All Movie Guide

We prefer Rosalind Russell when she's making us laugh; judging by such films as Mourning Becomes Electra and The Velvet Touch, Russell preferred herself in heavy dramatics. In Sister Kenny, Rosalind Russell is all grim determination and pursed lips as Elizabeth Kenny, tireless battler of infantile paralysis. It is in the Australian outback that nurse Kenny first confronts the debilitating illness. Forsaking her private life (as well as any romantic entanglements), Kenny battles with the medical establishment in order to bring her radical theories towards conquering the disease to the public. Her ultimate triumph is solidified upon the formation of Minneapolis' Kenny Institute. Based on Elizabeth Kenny's autobiography, A solid piece of film craftsmanship, Sister Kenny was the sort of glossy prestige picture that always made Hollywood look good in the eyes of its staunchest critics; it was also the sort of picture that almost invariably lost a fortune at the box office (Sister Kenny took a bath to the tune of $660,000). ~ Hal Erickson, All Movie Guide

A bit paunchier but no less energetic, Johnny Mack Brown is back as Nevada Jack McKenzie in Frontier Feud. Once again, Nevada and his grizzled sidekick Sandy (Raymond Hatton) are US marshals posing as drifters. Rancher Joe (Dennis Moore) is accused of a series of murders, but Nevada and Sandy manage to prove that another man is the guilty party. Christine McIntyre, leading lady of many of 3 Stooges comedy, is cast as the heroine in Frontier Feud, a departure from the brassy villainesses she usually played in the Johnny Mack Brown westerns. Director Lambert Hillyer wraps it all up in a breathless 54 minutes. ~ Hal Erickson, All Movie Guide

Robert Lowery and the comedy team of Tim Ryan and Irene Ryan star in this pleasant musical-comedy about a jingle-writer (Lowery) attempting to turn his girlfriend (Dona Drake) into a band vocalist. Unfortunately, there is a case of mistaken identity and the bumbling recording studio owner (Tim Ryan) instead signs his dim-witted secretary (Irene Ryan). Everything works out for the best, of course, and rather than facing bankruptcy, Beacon Recording Company can launch no less than two new stars. In his penultimate feature film role, silent screen clown Harry Langdon is seen all too briefly as a perplexed recording studio manager. ~ Hans J. Wollstein, All Movie Guide

The Merry Monahans is one of the higher-budgeted Universal musicals of the 1940s, even though the storyline is strictly grade-B material. During the first two decades of the 20th century the film concerns a family vaudeville troupe headed by patriarch Pete Monahan (Jack Oakie). Because of his love affair with the bottle, Pete manages to get himself and his family blacklisted from every major vaude house in the country. Though Pete's kids Jimmy (Donald O'Connor) and Patsy (Peggy Ryan) love their dad, they're forced to break away from the act and go off on their own to survive. Eventually, the whole gang is reunited in a shamelessly lachrymose musical finale. Producer-scripters Michael Fessier and Ernest Pagano, whose other works include such offbeat comedies as San Diego I Love You, Frontier Gal and That's the Spirit, manage to keep the proceedings relatively cliché-free, though it's an uphill climb. The film's best moments include a series of celebrity impressions performed by Donald O'Connor and Peggy Ryan, and a handful of songs rendered by promising newcomer Ann Blyth. Some curious coincidences: The plot of Merry Monahans bears a startling resemblance to the early career of comedian Buster Keaton; Keaton was featured in three of Fessier and Pagano's Universal productions of the 1940s; and Donald O'Connor and Ann Blyth later starred in Paramount's The Buster Keaton Story! ~ Hal Erickson, All Movie Guide

Range Law stars Johnny Mack Brown as "Nevada" and Raymond Hatton as "Sandy", the same characters they played in most of their mid-1940s Monogram westerns. This time, Nevada and Sandy, US marshals both, set out to collar some renegades who've been driving out the local ranchers. It's just possible that one of said ranchers is behind this land-grabbing scheme. The motive: the land is rich with silver. The formidable bad-guy lineup includes Jack Ingram, Stanley Price, and Lynton Brent. ~ Hal Erickson, All Movie Guide

Quality was seldom a consideration in the low-budget films of PRC Studios; still, the company was a welcome harbor for character actors who aspired to occasional leading roles. In Boss of Big Town, veteran supporting player John Litel is top-billed as crusading city market official Michael Lynn. When a criminal gang muscles in on the local food distribution markets, Lynn vows to throw the rascals out. First, however, he pretends to join the villains as a paid government stooge, the better to find out the identity of the "Mister Big" behind the distribution racket. The exposure of the "mystery villain" will come as a shock to fans of the 1927 Cecil B. DeMille epic The King of Kings--but not to dyed-in-the-wool movie buffs. ~ Hal Erickson, All Movie Guide

Written by Dudley Nichols and directed by French expatriate director Jean Renoir, This Land is Mine is one of those "inspirational" wartime dramas that just don't hold up too well when seen today. The scene is an unnamed European country, recently overrun by the Nazis (this takes place during a "silent" opening sequence that's the best thing in the film). Charles Laughton plays Albert Lory, a mama's-boy schoolmaster who is the object of his students' ridicule. A craven coward, Lory is held responsible when resistance fighter Paul Martin (Kent Smith), the brother of beauteous teacher Louise Martin (Maureen O'Hara), is executed by the Nazis, though in fact it was Lory's panic-stricken mother (Una O'Connor) who betrayed Paul by informing on him to his friend and collaborator George Lambert (George Sanders).
~ Hal Erickson, All Movie Guide

This Monogram melodrama is a remake of the 1932 thriller The 13th Guest, which starred Ginger Rogers and Lyle Talbot. In the remake, Ginger's role, that of a woman who is both murder victim and murder suspect (honest!), is played by Helen Parrish. Talbot's character, a womanizing private eye, is essayed by Dick Purcell. The plot concerns a an anniversary dinner, a mysterious legacy, and a hooded villain who utilizes electricity to dispose of the heirs. While Mystery of the 13th Guest falls short of the original, it is in its own way quite a treat. Both films were based on a novel by Armitage Trail, better known as the author of Scarface. ~ Hal Erickson, All Movie Guide

Best described as "cute," Petticoat Larceny was intended as a showcase for RKO Radio's latest juvenile discovery, 11-year-old Joan Carroll. The story concerns a bratty radio star (Carroll) who wants to inject some blood-and-thunder plotlines and gangster lingo into her broadcasts. To this end, she arranges to be "kidnapped" by a trio of dimwitted burglars, played by Tom Kennedy, Jimmy Conlin and Vince Barnett. When a genuine kidnapper spoils the plan, it's up to the handsome fiancé (Walter Reed) of the girl's aunt (Ruth Warrick) to come to the rescue. This is the sort of film that Late Late Show aficionados never seem to see in its entirety: they usually doze off in the first reel and wake up at fadeout time. ~ Hal Erickson, All Movie Guide

The fourth of five movie versions of the rugged Rex Beach novel of the same name, 1942's The Spoilers stars Marlene Dietrich, John Wayne, and Randolph Scott. The plot, involving the cheating of Alaskan gold rush prospectors by a crooked gold commissioner, requires that Scott play a villain, Alexander McNamara. Prospector Roy Glennister (Wayne) is continually persecuted by McNamara, who has the law on his side, until the two decide to settle their dispute man-to-man in a spectacular reel-long fistfight. La Dietrich plays saloon-hall gal Cherry Mallote, who becomes the romantic bone of contention between Glennister and McNamara. William Farnum, who played John Wayne's role in the original 1914 filmization of The Spoilers, plays a key supporting role in this remake; also on hand in a cameo is poet Robert W. Service, of The Shooting of Dan McGrew fame. Listen for a cute inside joke at the beginning of the picture, invoking the name of co-producer Lee Marcus. ~ Hal Erickson, All Movie Guide