Fred Kohlmar Movies

Two star-crossed losers are looking for diversion but find love instead in this romantic drama. Fran Walker (Elizabeth Taylor) is a veteran Las Vegas showgirl who is also the kept woman of Lockwood (Charles Braswell), a San Francisco businessman who is happy to pay her rent and keep her in designer clothes but isn't willing to divorce his wife in order to make a long-term commitment with her. Fran falls into a fling with Joe Grady (Warren Beatty), a piano player who works with lounge comic Tony (Hank Henry) when he isn't succumbing to his addiction to gambling. Fran and Joe agree at the start that their relationship is to be about sex and nothing more, but before long, the two have fallen in love despite themselves. Though set in Las Vegas, most of The Only Game in Town was shot in Paris at the request of Taylor, whose then-husband, Richard Burton, was working in France at the time; this helped boost the budget to 11 million dollars, while the film earned less than a fifth of that figure at the box office. ~ Mark Deming, Rovi

In this elegant "caper" film, Audrey Hepburn stars as the daughter of a wealthy Parisian (Hugh Griffith), whose hobby is copying famous works of art. His replica of a famed Cellini sculpture is inadvertently displayed in an art museum, and he begins to worry that he'll lose his reputation once the experts evaluate the statuette. Audrey decides to rob the museum, and hires a burglar (Peter O'Toole) for that purpose. But the burglar is really a detective, who has every intention of arresting Audrey and her father when the deed is done. All style and little substance, How to Steal a Million is consummately acted by the stars, but the film is stolen hands-down by a "double take" reaction from French comic actor Moustache. The film was originally titled How to Steal a Million Dollars and Live Happily Ever After, which gave the whole game away and thus was pared down before release. ~ Hal Erickson, Rovi

George Sidney's adaptation of the satiric Broadway musical smash by Michael Stewart, Charles Strouse, and Lee Adams -- about an Elvis Presley-inspired rock star, who is drafted into the army and who creates a near-riot in a small Midwestern town when he stops there for one last publicity junket -- takes good-natured swipes at popular culture, rock n' roll, and American family life. Dick van Dyke re-creates his Broadway role of Albert Peterson, a down-on-his-luck songwriter for the rock-n'-roll idol Conrad Birdie (Jesse Pearson). When Birdie is drafted into the army, Peterson is worried about his future as a songwriter. His secretary, Rosie (Janet Leigh in a brunette wig), with whom Albert has long been romantically attached, convinces Albert to write a farewell song for Birdie that he will sing on The Ed Sullivan Show to a specially selected fan. The lucky fan turns out to be Kim McAfee (Ann-Margaret) of Sweet Apple, Ohio. When Birdie arrives in this hick town, the population goes crazy and in the ensuing madness, Albert must deal with the celebrity-fawning population, Kim's manic father (Paul Lynde, also re-creating his Broadway role), and his own domineering mother (Maureen Stapleton), while he loses Rosie to the Shriners. ~ Paul Brenner, Rovi

Hijinks and spyjinks lighten this effective comedy by Richard Murphy, based -- very loosely -- on an actual incident in World War II. The place is somewhere in the Pacific and the not-so-good ship USS Echo, captained by the comic Lt. Rip Crandall (Jack Lemmon), has a very specific assignment. The floating anachronism has to safely carry an Australian spy deep into enemy territory where he will be stationed to report on the Japanese fleet's activities. Since the Echo should have been dismantled and sold for its parts long ago, this assignment is not easy. As the military and its stereotypical traits are parodied with sophistication and sharp humor, the Captain and his motley crew do their best to successfully complete their mission. ~ Eleanor Mannikka, Rovi

In danger of losing his job, TV-producer David Wayne hopes to cook up a real ratings winner by building a network special around the life and work of elderly doctor Paul Muni. For the past 45 years, the iconoclastic Muni has run a free clinic in the slums of Brooklyn. Muni has no time for television, however, so Wayne tries to get Muni's lifelong friend Luther Adler to talk the doctor into appearing before the cameras. Adler agrees, on the proviso that Wayne's network promises to build a nice home in the suburbs for the physician and his wife (Nancy R. Pollock). Going to work on Muni, Adler convinces the old man that a coast-to-coast special will permit him to vent his spleen on the subject of the mercenary medical profession. On the night of the broadcast, Muni discovers that one of his slum patients, Billy Dee Williams, has been arrested for car theft. Leaving Wayne high and dry, Muni rushes down to the police station, where he is pressed into service to save a life. While doing so, he suffers a fatal heart attack, with the weeping Adler at his side. Wayne finally realizes that Muni's selfless idealism was of greater value than any commercially-motivated television program, and says as much when he hands in his resignation. The Last Angry Man turned out to be the cinematic swan song for veteran-actor Paul Muni; he died eight years later. Based on a novel by Gerald Green, The Last Angry Man would be remade for television with Pat Hingle in the Muni role. ~ Hal Erickson, Rovi

The John O'Hara/Richard Rodgers/Lorenz Hart Broadway musical Pal Joey created quite a stir during its original theatrical run in 1940. Here we had a heel of a hero who sleeps with a wealthy older woman in order to realize his dream of owning his own nightclub, and who breaks the heart of the girl who truly loves him when she impedes his plans to get ahead. Blossom Time it wasn't. Due to the seamy nature of the plot and the double- and single-entendre song lyrics (especially the original words for "Bewitched, Bothered and Bewildered", which you aren't likely to hear on most mainstream recordings of this tune), Pal Joey could not be faithfully filmed back in the 1940s. Even this 1957 version, made at a time when movie censorship was beginning to relax, was extensively sanitized for public consumption. Ambitious singer/dancer Joey (Frank Sinatra) is still something of a louse, but a redeemable one. The relationship between Joey and his older benefactress Vera Simpson (Rita Hayworth, who was actually a few years younger than Sinatra) is one of implication rather than overt statement. And Joey's true love, chorine Linda English (Kim Novak), is as pure as the driven snow, who vehemently expresses distaste at having to perform a striptease. The Rodgers and Hart songs ("I Could Write a Book" the aforementioned "Bewitched, Bothered and Bewildered") which seemed so cynical and ironic back in 1940, are given the typically lush, luxurious Hollywood treatment (many of the tunes, notably "There's a Small Hotel", were borrowed from other Rodgers and Hart shows, a not uncommon practice of the time). Pal Joey is nice to look at and consummately performed, but don't expect the bite of the original play, or the John O'Hara short stories which preceded them. ~ Hal Erickson, Rovi

The Solid Gold Cadillac was adapted from the George S. Kaufman-Howard Teichmann Broadway hit of the same. Both the play and film were predicated upon the notion of a humble ten-share stockholder triumphing over a corrupt big-business board of directors, but there was one significant difference. In the stage version, septuagenarian Josephine Hull starred as Laura Partridge, a sweet little old lady who asks several embarrassing questions at a stockholder's meeting. In the film version, Laura's age is lowered by at least four decades to accommodate star Judy Holliday. In both versions, a romance develops between Laura Partridge and Edward L. McKeever, the owner of the corporation she takes on. McKeever (played in the film by Paul Douglas, Holliday's co-star in the Broadway version of Born Yesterday) is an honest man, which is more than can be said for his self-serving board of directors (Fred Clark, John Williams, Ray Collins et. al.) With McKeever's covert help, Laura, who has been given a dummy executive position in the corporation in hopes that she'll shut up, forms a stockholder's association intent upon throwing the rascals out. Though the dialogue in Solid Gold Cadillac is consistently entertaining, the film's best line goes to Judy Holliday: Describing her brief career as an actress in a Shakespearean troupe, she recalls ruefully that "No one's allowed to sit down unless you're a king." George Burns, taking over from the stage version's Fred Allen, provides the wry scene-setting narration. Currently available TV prints of The Solid Gold Cadillac have restored the original Technicolor final shot. ~ Hal Erickson, Rovi

One of the biggest box-office attractions of the 1950s, Picnic was adapted by Daniel Taradash from the Pulitzer Prize-winning William Inge play. William Holden plays Hal Carter, a handsome drifter who ambles into a small Kansas town during the Labor Day celebration to look up old college chum Alan (Cliff Robertson, in his film debut). Hoping to hit up Alan for a job--or a handout--Hal ends up stealing his buddy's fiancee Madge Owens (Kim Novak). Hal also has a catnip effect on spinster schoolteacher Rosemary Sydney (Rosalind Russell), so much so that Rosemary makes a fool of herself in front of the whole town, nearly driving away her longtime beau Howard Bevans (Arthur O'Connell). Persuaded by his friends and family that Hal is no damn good, Madge is prepared to break off her relationship. As anyone who remembers the film's famous overhead closing shot knows, however, Madge is ultimately ruled by her heart and not her head. For a film set in Kansas, there's an awful lot of New York talent in the supporting cast (Susan Strasberg and Phyllis Newman come immediately to mind); still, the Midwestern ambience comes through loud and clear, especially during the perceptively detailed Labor Day picnic sequence. Broadening the film's appeal is its George Duning-Steve Allen title song, a variation of the old standard "Moonglow". Two sidebars: The original Broadway production of Picnic starred Ralph Meeker and Paul Newman; for the film version of Picnic, William Holden was obliged to shave his chest, lest his hairy torso cause the female moviegoers to conjure up impure thoughts. ~ Hal Erickson, Rovi

Gladys Glover (Judy Holliday) is an unsuccessful model and actress who believes that a jolt of publicity will do her career a world of good. She gets that publicity by renting a billboard in the middle of Manhattan, emblazoned with her name. As a result, Gladys is showered with endorsement by a gentleman named Evan Adams III (Peter Lawford). He becomes enamored with Gladys, which irritates her "unofficial" boyfriend, documentary-director Pete Sheppard (Jack Lemmon, in his film debut). Pete grows tired of Gladys' publicity stunt, feeling that it is turning her into an object rather than a human being, but Gladys luxuriates in the fame and fortune. A happy ending may be inevitable, but it's a hard-won happiness for both hero and heroine. Scriptwriter Garson Kanin had intended this as a vehicle for Danny Kaye, but Kanin's wife, Ruth Gordon, suggested the gender-switch to Judy Holliday, noting that what might seem aggressive from Kaye would appear merely whimsical from Holliday. In one of the best scenes, real-life celebrities Melville Cooper, Ilka Chase and Constance Bennett show up as talk-show panelists -- the ideal magnet for the likes of Gladys Glover, who has become famous merely for being famous. ~ Hal Erickson, Rovi

This colorful musical comedy was obviously inspired by the success of Broadway's South Pacific. Army Captain Bill Willoby (William Lundigan) is ordered to make sure that his men do not fraternize with the girls at a South Sea island base. His mission is forgotten when he himself falls in love with Diana Forrester (Jane Greer), the daughter of a local missionary. The fun begins when a native girl (Mitzi Gaynor) is offered to the captain as a goodwill gift by island chieftain Jilouili(!) Naturally, there's a major breakdown in protocol, quite similar to the one found in John Patrick's 1954 Broadway hit Teahouse of the August Moon. Featured in the cast as a woman-hungry lieutenant is Jack Paar, which is why this film got so much TV play in the 1960s. The incidental songs in Down Among the Sheltering Palms were written by Harold Arlen and Ralph Blane. ~ Hal Erickson, Rovi

In this romance, an industrial designer is bitterly disappointed when he discovers that upon graduation his daughter decides to elope with her psychology professor rather than pursue a career. The professor's family is also not pleased by the union. Both families, who despise each other, try to get the newlyweds to annul their marriage. This quest unites the families and they become friends. When they finally catch up to the couple, both sides are appalled to discover that marital strife threatens to rip the couple apart. The families rally together and the marriage remains intact. ~ Sandra Brennan, Rovi

Gary Cooper stars in this broad naval farce, directed by Henry Hathaway and based upon a John W. Hazard New Yorker magazine story. Cooper plays Lieutenant John Harkness, a wet-behind-the ears naval lieutenant who is given command of his first ship. Unfortunately, not only is Harkness new to commanding a naval vessel, but the crew and his subordinate officers are also new at their jobs. Only two old deck hands know the score. And, while Harkness is trying to figure out naval protocol, he also has to deal with the contraption in the engine room, which turns out to be an elaborate steam engine that powers the ship. ~ Paul Brenner, Rovi

Love That Brute is a remake of the 1942 comedy Tall, Dark and Handsome. In the original, Cesar Romero starred as a soft-hearted 1920s gangster who manages to maintain a reputation as a dangerous character, even though he's never killed anyone in his life. In the remake, Romero is cast as Pretty Willie, the principal villain, while the starring role is essayed by Paul Douglas. Falling in love with Ruth Manning (Jean Peters), the pretty recreation director of the city's park system, "Big Ed" Hanley (Douglas) hires Ruth as the governess for his children. Trouble is, he has no children, so he dispatches his faithful henchman Bugs (Keenan Wynn) to find him a kid. Meanwhile, "Big Ed" tilts with arch-enemy Pretty Willie, gaining the upper hand when it appears that "Big Ed" has bumped off several of Willie's lieutenants. Discovering that her boss is a gangster, Ruth is about to walk out on him--and then, the truth behind Ed's phony "killer instinct" is hilariously revealed. ~ Hal Erickson, Rovi