Frank King Movies

Young Terry Bowen (Jay North) joins his big-game hunting father Hugh (Clint Walker) in India after his mother dies in this sentimental adventure. Hugh loses his courage after an incident with a tiger, and Terry loses respect for his father after he shoots a young cheetah that Terry was nursing back to health. He runs away and meets Raji (Sajid Khan), a young Hindu boy who promised his dying father he would deliver a white baby elephant named Maya to a sacred jungle temple. Terry agrees to help Raji, setting the stage for colorful jungle adventures in their quest. Highlights are the Indian jungle scenes and the exotic wildlife of the region. The feature spawned a short-lived television series. ~ Dan Pavlides, Rovi

The original British title for No Place Like Homicide was What a Carve-Up. This level of sophistication was maintained for the film itself, a horror film parody served up by members of the Carry On gang. There's a wisp of plot about an wealthy recluse who apparently dies, then equally apparently comes to life again to bump off his greedy relatives. For the most part, the scripters use the story as an excuse for irreverent and tasteless haunted-house gags. No Place Like Homicide was a remake of the deadly serious 1933 Boris Karloff vehicle The Ghoul, though a cursory comparison of the two films reveals precious little resemblance between them. ~ Hal Erickson, Rovi

The Brave One is a bull named Gitano (or Gypsy). Mexican lad Michael Ray "adopts" Gitano after saving the animal's life during a storm. The friendship between bull and boy is threatened when Gitano's legal owners claim the animal and ship it off to the bullring. Moved by the boy's plight, the President of Mexico signs a "pardon" for Gitano-but not soon enough to prevent the bull's appearance at the Plaze de Mexico at Mexico City, where he faces top matador Fermin Rivera. The Brave One was helmed by Irving Rapper, a man best known for his Bette Davis vehicles at Warner Bros. Based on a true incident, the film earned a "best story" Academy Award for one Robert Rich-who, much to the embarrassment of the Academy (and the delight of civil libertarians) turned out to be blacklisted screenwriter Dalton Trumbo. Long available only in its "flat", black and white TV version, The Brave One was recently restored to its Technicolor and CinemaScope glory by the American Movie Classics cable service. ~ Hal Erickson, Rovi

The angel of the title is Jane Baxter, the wife of country physician Patrick Barr. Everybody in the small British village where she lives thinks the world of Baxter; thus, when she is murdered, the authorities are out for blood. Dr. Barr seems above suspicion, at least until he begins behaving eccentrically. As time passes, most everyone learns that Baxter wasn't quite as angelic as she seemed-and that quite a few people might have wanted her dead. This 64-minute programmer was based on This is Mary's Chair, a play by Frank King. ~ Hal Erickson, Rovi

The Ring was directed by Kurt Neumann in a style best described as Hollywood neorealist. Based on a novel by Irving Shulman, the film focuses on a Mexican-American youth named Tommy (Lalo Rios). Unable to make any headway in a prejudicial, white-dominated society, Tommy turns to boxing, where he makes quite a name for himself. Just when he thinks he's gained the respect of the "Anglos," however, he discovers that they're only interested in his reputation, and still consider him an outsider because of his ancestry and skin color. Even the two white men who treat him decently -- his manager Pete (Gerald Mohr) and trainer Freddy (Robert Osterloh) -- have a vested interest. In danger of ending up a disillusioned, punch-drunk bum, Tommy is rescued by the unconditional love of his girl Lucy (Rita Moreno). Filmed entirely on location in greater Los Angeles, The Ring is for the most part an uncompromising glimpse at institutionalized bigotry. ~ Hal Erickson, Rovi

In the tradition of 20th Century Fox's semi-documentary "Now it can be told" films, Monogram Picture's "A" division Allied Artists came up with Southside 1-1000. The U.S. Secret Service goes after a gang of counterfeiters, whose engraver (Morris Ankrum) has covertly constructed his plates while in prison. A federal agent (Don DeFore) poses as the counterfeiters' contact man in order to purchase enough bills to incriminate the gang. The final fight-to-the-death scene was filmed aboard Los Angeles' "Angel's Flight," a cable-car service dangling 40 feet above the ground. Southside 1-1000 was based on a true story, as narrator Gerald Mohr points out on several occasions. ~ Hal Erickson, Rovi

The definitive Joseph H. Lewis-directed melodrama, Gun Crazy is the "Bonnie and Clyde" story retooled for the disillusioned postwar generation. John Dall plays a timorous, emotionally disturbed World War II veteran who has had a lifelong fixation with guns. He meets a kindred spirit in carnival sharpshooter Peggy Cummins, who is equally disturbed -- but a lot smarter, and hence a lot more dangerous. Beyond their physical attraction to one another, both Dall and Cummins are obsessed with firearms. They embark on a crime spree, with Cummins as the brains and Dall as the trigger man. As sociopathic a duo as are likely to be found in a 1940s film, Dall and Cummins are also perversely fascinating. As they dance their last dance before dying in a hail of police bullets, the audience is half hoping that somehow they'll escape the Inevitable. Some critics have complained that Dall is far too effeminate and Cummins too butch, but Joseph H. Lewis was never known to draw anything in less than broad strokes: recall the climax of Terror in a Texas Town, wherein Sterling Hayden participates in a western showdown armed with a whaler's harpoon. The best and most talked-about scene in Gun Crazy is the bank robbery sequence, shot in "real time" from the back seat of Dall and Cummins' getaway car. Originally slated for Monogram release, Gun Crazy enjoyed a wider exposure when its producers, the enterprising King Brothers, chose United Artists as the distributor. The film was based on a magazine article by MacKinlay Kantor; one of the scenarists was uncredited blacklistee Dalton Trumbo. ~ Hal Erickson, Rovi

Having struck gold with the previous season's Dillinger, the King Brothers returned to Monogram as producers of The Gangster. Adapted by Daniel Fuchs from his own novel Low Company, the film stars Barry Sullivan as flint-faced racketeer Shubunka. Shown to be a product of the slums, Shubunka spends his adulthood in pursuit of power and riches, with no time for friendship or romance. Wounded in a gangland shootout, Shubunka ruminates on his past, present and (unlikely) future, wondering if it's all been worth it. Promoted as a "psychological" drama, The Gangster has plenty of gunplay and bloodshed to satiate action fans, and a surfeit of sex appeal in the form of gangster's moll Nancy (played by Monogram's resident skating star Belita). Prominent in the supporting cast is the ineluctable Sheldon Leonard as Shubunka's chief rival, delivering a subtler variation on his patented tough-guy screen persona. The Gangster was directed by Oscar-winning art director Gordon Wiles, later a mainstay of such TV series as Land of the Lost and Rowan and Martin's Laugh-In. ~ Hal Erickson, Rovi

Dillinger, the was the ninth effort from the enterprising King Brothers, and their most financially successful film to date. Lawrence Tierney became an overnight cult favorite with his gritty portrayal of maverick bank robber John Dillinger, though top billing is bestowed upon Edmund Lowe as gang chieftain Specs. The film traces Dillinger's criminal career from his first petty theft to his spectacular 1934 demise outside Chicago's Biograph Theater (incidentally, this film was banned in Chicago for several years). Anne Jeffreys plays Dillinger's fictional moll Helen, while Elisha Cook Jr., Marc Lawrence, and Eduardo Ciannelli go through their usual crime-flick paces. The film's set piece is an elaborate armored-car holdup, lifted in its entirety from footage originally shot for Fritz Lang's You Only Live Once (1937). Screenwriter Philip Yordan, fresh from his Broadway triumph Anna Lucasta, earned an Academy Award nomination for Dillinger. ~ Hal Erickson, Rovi

Betrayed is the reissue title for the classic melodrama When Strangers Marry. In her third film, Kim Hunter plays a waitress who comes to New York to meet her husband Dean Jagger. Kim's marriage was a whirlwind affair, and as a result she barely knows her husband. She soon discovers that Jagger may be involved in a murder -- and that he very well may be a homicidal maniac. Designated by film-historian Don Miller as the finest "B" picture ever made, Betrayed is chock full of superb cinematic touches, courtesy of director William Castle. Best bits include the shot of Kim Hunter staring out her hotel window, her face illuminated by a flashing neon sign, and a "shock cut" straight out of Hitchcock's The 39 Steps. Third-billed Robert Mitchum was elevated to star status on the reissue prints of When Strangers Marry, which unfortunately tended to give away the film's surprise ending; also in the cast in a tiny role is Mitchum's future Out of the Past co-star Rhonda Fleming. One of the most convincing performances is delivered by character actor Lou Lubin, who plays a shaking-in-his-boots murder witness. Filmed in ten days, Betrayed was another box-office winner for the canny King Brothers producing team. ~ Hal Erickson, Rovi

Paper Bullets (aka Crime Inc.) was the first production by former slot-machine entrepreneurs Maurice and Frank Kozinski, later and better known as the King Brothers. Written by former crime reporter Martin Mooney, the story focuses on the efforts by an undercover agent Bob Elliot (John Archer) to get the goods on mobster Mickey Roma (Jack LaRue). The key to Elliot's investigation is gorgeous ex-convict Rita Adams (Joan Woodbury), who hopes to get even with Harold Dewitt (Philip Trent), the cad responsible for her incarceration. Rita's plan is to inveigle herself into the graft operation run by Harold's "respectable" politician father Clarence Dewitt (George Pembroke), then to obtain valuable evidence against Dewitt and his partner-in-crime Roma. Billed sixth as reporter Jimmy Kelly is young up-and-comer Alan Ladd, who managed to land a part in Paper Bullets because he and costar Philip Trent shared the same agent, Sue Carol (later Mrs. Ladd). When the film was reissued in 1943 as Gangs Inc, Ladd was awarded star billing. ~ Hal Erickson, Rovi