Stanley E. Johnson Movies

Elvis Presley stars as Mike Windgren, a former trapeze artist who's suffered from vertigo ever since accidentally dropping his partner during a performance. Working as a lifeguard/entertainer at an Acapulco resort, Mike falls in love with social director Margarita Dauphine (Ursula Andress). With her help, he overcomes his fear of heights in a spectacular high-dive finale. Presley songs featured include "Vino, Dinero y Amor," "Marguerita," "Bossa Nova Baby" and the title tune. ~ Hal Erickson, All Movie Guide

Comedian Jerry Lewis began directing movies in 1960, and this often unkind satire on the nature of American womanhood is one of his early efforts in that regard. The rubber-legged, rubber-faced Lewis plays Herbert, a man who is despondent over the break-up of his romance. While looking for a job, he comes across an impressive mansion (built as a set at the cost of $350,000) filled with women of all types -- and lo and behold -- they need a handyman. So Herbert gets to reside with a bevy of women of various types, all under the supervision of Mrs. Wellenmelon (Helen Traubel). In the end, the set itself outtrumps them all. ~ Eleanor Mannikka, All Movie Guide

Jerry Lewis now claims that his film directorial debut came about when his home studio, Paramount, needed a summer-release Lewis vehicle in a hurry. Jerry and his entourage headed to the Fountainbleu hotel in Miami Beach, and 29 days later returned with The Bellboy. As narrator Walter Winchell (and an actor pretending to be a Paramount executive in a pre-credits bit) explain, the film has no plot and no point; it merely exists for the audience's enjoyment. Lewis plays nebbishy bellhop Stanley, a nonspeaking bumbler who alternates between screwing up and taking his job too seriously. The film's Tati-like gags involve a Volkswagen engine, an overweight guest, a woman with a come-hither voice, a very effective flash bulb, an episode at the Greyhound track, a golf tournament, and a passenger jet. Weaving in and out of the proceedings is Lewis' cowriter (and former drummer) Bill Richmond, made up as the spitting image of Stan Laurel (the real Laurel was approached to play himself, but he gently turned Jerry down, insisting that his aged appearance would disappoint his fans). Miami habitues B.S. Pully, Joe E. Ross, Cary Middlecoff, The Novelites make cameo appearances, as does Milton Berle. Made for peanuts, The Bellboy amassed a fortune, assuring that Jerry Lewis would be permitted to direct many of his own films in the future. ~ Hal Erickson, All Movie Guide

In the sixth episode of Walt Disney's 17-part miniseries Tales of Texas John Slaughter, Slaughter (Tom Tryon) combines his cattle herd with that of fellow rancher Sam Underwood (Sidney Blackmer), intending to drive both herds to Arizona and sell them at the highest price possible. Unfortunately, the two men cannot use the Chisholm Trail because of a recent drought, so Slaughter blazes his own trail -- through Comanche territory. As if the Indians didn't pose enough of a threat, Slaughter must also contend with cattle baron John Chisholm (Harold J. Stone), who is convinced that Slaughter is trying to destroy his business. Originally telecast as part of the Walt Disney Presents anthology, "The Slaughter Trail" and the subsequent episode "The Man From Bitter Creek" were edited together in 1962 and released overseas as the "feature film" Texas John Slaughter: Stampede at Bitter Creek. ~ Hal Erickson, All Movie Guide

Child star Kevin "Moochie" Cocoran shares his top billing with a chimp, Mr. Stubbs, in this story about a forlorn lad who runs away from his foster parents believing he is unloved. Little Toby and his pet chimp leave home and end up at the circus as an oily yet comic Harry Tupper (Bob Sweeney), in charge of a concessions stand, takes them under his wing. Between the circus acts and friendly performers, as well as the antics of Mr. Stubbs and Harry himself, there is plenty to amuse viewers of any age. Sure enough, Toby manages to come to the rescue of the circus when it most needs help, and because this is a Disney film, those foster parents are certain to discover his whereabouts. ~ Eleanor Mannikka, All Movie Guide

Baby boomers who may not remember the plot particulars of Walt Disney's Darby O'Gill and the Little People nonetheless retain fond memories of Disney's publicity campaign, which included an episode of the producer's weekly TV series, wherein the actor playing leprechaun king Brian (Jimmy O'Dea) was passed off as a genuine little person. One look at Darby O'Gill itself and one is willing to believe Disney's subterfuge. The story, based on the writings of H.T. Kavanagh, involves one Darby O'Gill (Albert Sharpe) an Irish tall-tale spinner who works as a caretaker. On the night that he is replaced by a younger man (Sean Connery), Darby heads home to tell his daughter Katie (Janet Munro) that he has lost his job. En route, he stumbles into the underground leprechaun kingdom, thanks to the intervention of King Brian, who wants to save Darby the shame of telling his daughter about his job. Advised that he will never be able to leave the land of the leprechauns, Darby escapes, and Brian follows. Because he stays above ground until dawn, Brian loses his powers and becomes the property of Darby, who won't let the leprechaun go until he grants three wishes. Brian tricks Darby out of the first two wishes, but is honor-bound to grant the third: that Darby's daughter Katie be wed to the handsome new caretaker. Before this can happen, Katie is seriously injured. As she lies comatose, the Death Coach descends from the sky to gather her to the heavens. Darby rapidly alters his third wish and begs that he be taken in Katie's place. Brian saves Darby's life by tricking him into making a fourth wish, which immediately cancels the first three. The young caretaker wins Katie on his own merits, and Darby has a whole new slew of stories with which to regale the villagers. The principal drawing card of Darby O'Gill and the Little People is its special effects, the most famous of which finds a life-sized Darby O'Gill fiddling away as hundreds of tiny leprechauns dance about him. Even in this era of computerized "F/X," few films have been able to duplicate the sublimely convincing visual magic -- and the effortless charm -- of this 1959 Disney effort. ~ Hal Erickson, All Movie Guide

Based on the novel by Fred Gipson, Old Yeller is set in Texas in 1869. While his father is away on a cattle drive, 15-year-old Travis Coates (Tommy Kirk) takes over management of the family farm. Adopting a "strictly business" policy, Travis is irritated when younger brother, Arliss (Kevin Corcoran), adopts a frisky stray dog. But soon Travis is as fond of the dog as everyone else in the family; moreover, "Old Yeller" is an excellent watchdog. But while fighting off a mad wolf, Yeller is infected with rabies. Though Yeller seems unaffected at first, he eventually behaves so viciously that the disheartened Travis has no choice but to shoot the dog. A heart-to-heart talk between Travis and his returning father (Fess Parker), coupled with the adoption of a new pup, paves the way to an emotional but reasonably happy ending. Earning eight million dolalrs domestically on its first release, Old Yeller convinced Walt Disney to devote more and more time to live-action films and less time to animation -- which at the time was a sagacious business move. In 1963, Disney released a lesser sequel to Old Yeller titled Savage Sam. ~ Hal Erickson, All Movie Guide

This episode of the ABC anthology Disneyland is an extended promo for Walt Disney's then-upcoming theatrical feature The Great Locomotive Chase. Narrated by the film's star Fess Parker, the episode offers a thumbnail history of railroads in the United States with stopovers at trainyards in Baltimore and Los Angeles where vintage Civil War locomotives are kept on display. These engines are then shown in use as props in Great Locomotive Chase, a dramatization of the famous Andrews raid in 1862, in which several Northern spies went behind enemy lines to capture a Southern train (the same story served as the basis for the 1926 Buster Keaton vehicle The General, which curiously goes unmentioned here). Also shown are the efforts by the Disney Studio staffers to scout out appropriate locations and vintage buildings to be seen in the film. Technical adviser Wilbur Kurtz is interviewed, as are several Georgia residents who appear as extras. Once the sets are construction, the props are in place and the cameras are ready, the episode offers tantalizing glimpses of the film itself, featuring actors Fess Parker, Jeffrey Hunter, Jeff York, John Lupton and others. As a bonus, the viewer is treated to "Sons of Old Aunt Dinah", a song specially written for this episode by Stan Jones and Lawrence Edward Watkin. ~ Hal Erickson, All Movie Guide

Timed to coincide with the 1956 reissue of Walt Disney's 1948 theatrical feature Song of the South, this episode of Disneyland offers a dramatization of the early life of "Uncle Remus" creator Joel Chandler Harris. Played by David Stollery, best known as Marty Markham in the Mickey Mouse Club serial "The Adventures of Spin and Marty", young Joel develops a taste for storytelling and an appreciation of the environment under the guidance of friendly Southern newspaper publisher J.A. Turner (Jonathan Hale). But it is Turner's black servant Herbert (Sam McDaniel) who inspires Joel to spin yarns about such animal characters as Br'er Rabbit and Br'er Bear--stories related in a thick, stereotypical accent (which probably wouldn't pass muster in the race-conscious 21st century), each one illustrating a moral or life lesson in a humorous fashion. The episode is sprinkled throughout with excerpts from the animated sequences of Song of the South, with the "Tar Baby" sequence intact, and with full-out renditions of two of the film's songs, "Let the Rain Pour Down" and "That's What Uncle Remus Says." ~ Hal Erickson, All Movie Guide

Although The Stooge had been filmed right after Martin and Lewis' Sailor Beware, the film was temporarily shelved so that the team could continue their winning streak of military comedies with Jumping Jacks. This time, Dean Martin plays Chick Allen, a paratrooper-in-training whose commanding officer intends to do away with all camp variety shows. In desperation, Chick sends for his old nightclub partner Hap Smith (Jerry Lewis) to change the CO's mind. In order to gain entry to the military base, Hap is forced to pose as a GI, and thus the plot proper gets under way. Most of the "awkward squad" gags are straight out of Abbott and Costello, with Lewis messing up at each and every turn while Martin lags behind for damage control. The film concludes with a routine from Abbot and Costello's Keep 'Em Flying, wherein Martin and Lewis bail out from a plane in flight, with one parachute between them. Robert Strauss repeats his Sailor Beware duties as Lewis' irascible topkick, while nominal leading lady Mona Freeman does practically nothing magnificently. Dean's songs include the deathless "Do the Parachute Jump". ~ Hal Erickson, All Movie Guide

James Cagney signed on to play Captain Flagg in 20th Century Fox's 1952 remake of the 1926 classic What Price Glory after being told that the old property was being converted into a musical. By the time Cagney learned that Fox had no intention of adding songs and dances to the venerable Maxwell Anderson/Laurence Stallings stage piece, it was too late to pull out, so he decided to grin (sometimes) and bear it. Under the direction of John Ford, the potent anti-war message of the original play is blunted, while the drunken rowdiness of Capt. Flagg and his friendly enemy Sergeant Quirt (Dan Dailey) was played for all it was worth and then some. Much of the brawling is over the affections of vivacious barmaid Charmaine, played by Corinne Calvet. Contrasting the rough-hewn hijinks of Flagg, Quirt and their fellow Marines on the fields and in the villages of World War I-era France is the doomed romance between private Robert Wagner and French lass Marisa Pavan. (Why does Wagner get to sing, while Cagney and Dailey do not?) Barry Norton, who played Wagner's role in the original What Price Glory? appears in the remake as a priest. Norton is unbilled, as are such familiar faces as Harry Morgan, Paul Fix, Henry Kulky, and John Ford "regulars" Dan Borzage and Bill Henry. Falling well short of classic status, the Technicolor remake of What Price Glory? is kept alive by the marvelous roughneck rapport between James Cagney and Dan Dailey. ~ Hal Erickson, All Movie Guide

Audiences got their money's worth and then some from Byron Haskin's The Denver and Rio Grande. Edmond O'Brien plays Jim Vesser, a former U.S. Cavalry officer and hero, now the man in charge of getting the D&RG's tracks across the Rockies first to secure a right-of-way -- he revels in the job, chosen for it by General Palmer (Dean Jagger), his former commanding officer, who is chairman of the D&RG. But he suddenly finds himself in competition with the somewhat less scrupulous Canyon City and San Juan line, whose right of way is being secured by the much less honest and more ruthless McCabe (Sterling Hayden). At their first meeting, McCabe provokes a fight in which he shoots his own chief engineer, Bob Nelson -- another ex-Cavalry officer -- and manages to pin it on the unconscious Vesser. Although he avoids jail, Vesser is so torn up with guilt over what he thinks he has done that he leaves the railroad. Months go past, and in that time the Denver and Rio Grande steadily loses its lead over the rival company, as "accidents" and unrest among the men seem to plague their every move. Vesser finally decides to step back into the fight when one of these seeming accidents nearly wrecks the train on which he's hitched a ride. Coming to the aid of the general, he takes a two-fisted approach to the problem of McCabe that puts the two on a collision course in more ways than one. He also wouldn't mind getting to know the general's secretary, Linda Prescott (Laura Elliott), a little better, but for reasons that no one around her can explain, she is standoffish and even openly hostile to him. The conflict between Vesser and McCabe turns into what amounts to guerilla warfare between the two outfits, but somehow McCabe and his chief gunman, Johnny Buff (Lyle Bettger), always seem to be a half-step or more ahead of Vesser. ~ Bruce Eder, All Movie Guide