Joseph H. Lewis Movies

Investigating a mine cave-in, Joe Cartwright finds his friend Seth Pruitt (Richard Rust standing over the dead body of Seth's future father-in-law. Admitting to murder, Seth explains that the dead man suffered extensive injuries in the cave-in, and begged to be killed rather than live out his life as a cripple. Seth then swears Joe to secrecy, out of respect for the feelings of Seth's intended bride Sara (Nancy Rennick). Throughout the rest of the episode, Joe agonizes over his promise to Seth, wondering if his decision to remain silent is morally defensible. A surprise ending caps Peter Packer's riveting teleplay. Originally telecast November 17, 1963, "The Quality of Mercy" was one of Michael Landon's favorite Bonanza episodes. ~ Hal Erickson, All Movie Guide

Cesare Danova and Jack Elam guest star in this episode of the popular The Rifleman television series. The town of North Fork is startled by the arrival of a genuine Italian count (Danova) and no one more so than brutish cattle buyer Sim Groder (Jack Elam), who does his best to rile the newcomer. After yet another unpleasant encounter in the saloon, Count Di Montova challenges Groder to a duel at dawn. With Lucas McCain (Chuck Connors) as his second, the count leaves the hotel to face Groder and four of his rabblerousing cohorts. The episode was directed by cult figure Joseph H. Lewis. ~ Hans J. Wollstein, All Movie Guide

Though the film's title may suggest otherwise, Seventh Cavalry takes place after Custer's Last Stand. Randolph Scott stars as Cavalry officer Tom Benson, who is branded a coward after supposedly deserting at the Little Big Horn. Benson hopes to redeem himself by personally leading a burial detail to the battlefield, despite the fact that the Indians haven't exactly left the premises. The excitement level in the closing reels more than justifies the slow, steady buildup to the finale. Innovative direction by the reliable Joseph H. Lewis enlivens this verbose western. ~ Hal Erickson, All Movie Guide

Police Lt. Leonard Diamond (Cornel Wilde) is criticized by his superior Capt. Peterson (Robert Middleton) for his obsessive but fruitless investigation of organized crime boss Mr. Brown (Richard Conte). Peterson calls it a waste of the taxpayers' money motivated by Diamond's love for Brown's girlfriend Susan Lowell (Jean Wallace). Watched at all times by henchmen Mingo (Earl Holliman) and Fante (Lee Van Cleef), and masochistically drawn to Brown, Susan is unable to walk away from him. She overdoses on pills in a suicide attempt and, in her delirium, utters the name "Alicia." Diamond follows up on that new lead, and as he gets closer to defeating his adversary, the arrogant and sadistic Brown retaliates by capturing and torturing Diamond. Meanwhile Brown's former boss but now humiliated underling, Joe McClure (Brian Donlevy), believing that Brown has gone too far in his personal vendetta against Diamond, tries to enlist Mingo and Fante in overthrowing him. However, they remain loyal, and, in a chillingly silent scene visually punctuated by flashes of gunfire, they shoot the deaf McClure after Brown removes his hearing aid. Though superficially a story of good vs. evil, Joseph H. Lewis's film noir presents a complex world, visually captured by John Alton's stark photography, in which the lines between good/evil and love/hate are not always clear. ~ Steve Press, All Movie Guide

Retreat, Hell! is out of favor with most disciples of director Joseph H. Lewis, partly because it was a major-studio release, whereas Lewis' cult classics were made on shoestring budgets for independent producers. Despite this "handicap," Retreat, Hell! holds up beautifully when seen today. The faintly scatological title is based on a defiant quote from General Oliver P. Smith, which gained fame during the Korean War. Frank Lovejoy stars as Marine Batallion Commander Steve Corbett, whose men valiantly fight their way towards the Changjin Reservoir, then just as valiantly fight their way back to their own lines. The film's dramatic conflict is in the hands of Richard Carlson, cast as reservist Captain Paul Hanson, who is forced to leave hearth and home when his country calls upon him. Others in the cast include Russ Tamblyn in his first "adult" role, future-director Lamont Johnson, and real-life war hero Peter Ornitz. ~ Hal Erickson, All Movie Guide

A Lady Without Passport stars Hedy Lamarr in the title role. Lamarr plays Marianne Lorress, a concentration-camp refugee who takes up residence in Cuba while waiting permission to enter the U.S. Immigration agent Pete Karczag (John Hodiak) decides to use Marianne as bait to entrap Palinov (George Macready), the brains of an alien-smuggling ring. Pete eventually falls in love with Marianne, but she despises him for using her--at least until fade-out time. Despite the tattoo on her arm, it is difficult to believe that Hedy Lamarr has survived a Nazi concentration camp; she appears instead to have staged a desperate escape from the MGM makeup department. This aside, A Lady without Passport is an acceptable (and commendably short) crime meller. ~ Hal Erickson, All Movie Guide

Eliot Ness may have gotten lots of publicity (especially long after the fact) for breaking the Capone mob, but as Joseph H. Lewis' The Undercover Man reminds us, it was the accountants and the numbers-crunchers that brought down Capone and his mob. Frank Warren (Glenn Ford) started out as an accountant, but now serves as an investigator for the Treasury Department. His job has frequently required him to go undercover, masquerading as a criminal to get the goods on the top-level tax-law violators that his unit targets. But now his assignment is to gather evidence on the operations of the nation's number-one crime boss and get proof of the income that he and his lieutenants are not declaring, and this proves not only frustrating but dangerous. Potential stoolies are murdered and witnesses intimidated, and when one otherwise "respectable" lawyer (Barry Kelley) starts mentioning Warren's wife (Nina Foch) in casual conversation, he takes the hint. He's ready to quit until the mother (Esther Minciotti) of a witness-turned-victim tells him about what life was like in Italy under the Black Hand, and why she came to America to raise her sons. Warren and his men (James Whitmore, David Wolfe) make one last attempt to get the proof they need, tracing signatures and handwriting to get evidence implicating a small man in the operation, using it to turn him and going for bigger fish. Finally, even the shyster lawyer who has been dogging Warren every step of the way ends up in the sights of the feds, and the mob turns its attention to getting rid of this new "liability" and taking care of Warren as well. ~ Bruce Eder, All Movie Guide

Capitalizing on Larry Parks' "overnight" success in The Jolson Story, Columbia Pictures rushed their hottest new star from one picture to another, whether he was suited to the role or not. In The Swordsman, Parks makes a valiant stab at swashbucklery, playing an 18th-century Scottish aristocrat named Alexander MacArden. The plot revolves around the "forbidden" romance between Alexander and Barbara Glowan (Ellen Drew) of the hated Glowan clan. Managing to effect a truce between the MacArdens and the Glowans, Alexander has his hands full when a couple of hot-headed clansmen starts up the feud all over again. Full-scale warfare explodes between the rival families, but so long as Alexander has his wits about him and a sword in his sheath, the audience can be assured that he'll straighten things out by the ninth reel. Famed dancer-choreographer Marc Platt is uncomfortably cast as a pugnacious member of the Glowan clan, moving one critic to postulate that Columbia must have had a grudge against Platt. The Swordsman was directed by Joseph H. Lewis, who'd previously helmed the production numbers in The Jolson Story. ~ Hal Erickson, All Movie Guide

Filmed extensively on location, The Falcon in San Francisco is one of the best of RKO Radio's "Falcon" series. This time around, amateur sleuth Tom Lawrence (Tom Conway), aka The Falcon, comes to the aid of 10-year-old Annie Marshall (Sharyn Moffet). While trying to solve the murder of Annie's nurse, Lawrence is accused of kidnapping the kid. Several beatings, warnings and murders later, Lawrence discovers that the solution of the mystery is tied in with a gang of silk smugglers, headed by none other than?.Oh, no! The surprise ending isn't going to be tipped off here! Director Joseph H. Lewis' occasional utilization of "cinema verite" techniques would later develop full-blown into such noir classics as Gun Crazy. ~ Hal Erickson, All Movie Guide

Unusually elaborate for a PRC film, Minstrel Man is a lively musical drama built around the talents of veteran vaudevillian Benny Fields. The star is cast as Dixie Boy Johnson, who rises from the ranks of minstrel shows to become a top Broadway attraction. On the opening night of his greatest stage triumph, Dixie Boy's wife dies in childbirth. Profoundly shaken, he walks out of the show, leaving the baby to be raised by his showbiz pals Mae and Lasses White (Gladys George, Roscoe Karns). The kid grows up to be an attractive young woman named Caroline (Judy Clark), who follows in her dad's footsteps by billing herself as-that's right-Dixie Girl Johnson. This leads to a tearful reunion between Caroline and the father she'd long assumed to be dead. If Minstrel Man seems at times to be a dress rehearsal for Columbia's The Jolson Story (1946), it shouldn't surprising: the PRC film was directed by Joseph H. Lewis, who went on to helm Jolson Story's musical highlights. ~ Hal Erickson, All Movie Guide

It is now an accepted fact that the best of Johnny Mack Brown's Universal westerns were directed by the talented Joseph H. Lewis. Boss of Hangtown Mesa may not be in the same league as the Brown-Lewis classic Arizona Cyclone, but it comes awfully close. This time around, hero Steve Collins (Brown) comes to the aid of Betty Wilkins (Helen Deverell), who has taken over the telegraph-line business established by her uncle John (Henry Hall). The latter was murdered by outlaws who don't cotton to having the territory linked up electronically with the rest of the world. Collins manages to expose the "Mister Big" behind the outlaws and to make the frontier safe for Western Union. ~ Hal Erickson, All Movie Guide

Considering the fact that it was the only Universal horror film directed by cult favorite Joseph H. Lewis, it's a shame that Mad Doctor of Market Street isn't better than it is. Lionel Atwill dominates the proceedings as Dr. Benson, an addlepated medico obsessed with the notion of restoring the dead to life. After his experiment on the unfortunate William Saunders (Hardie Albright) goes awry, Benson escapes from the authorities by boarding a passenger ship. When the vessel sinks during a storm at sea, Benson and several survivors manage to pull ashore on a remote tropical island. Here the mad doctor wows the natives with his scientific knowhow, and before long he is appointed king of the tribe. In this capacity, he hopes to marry helpless heroine Patricia (Claire Dodd) and to use the rest of the shipwreck survivors as guinea pigs for his experiments. The main problem with Mad Doctor of Market Street is the inclusion of youthful Una Merkel as the heroine's aunt, a role obviously intended for an older, less prominent actress. Obliged to radically alter and "beef up" Merkel's part, the screenwriters were forced to shortchange the rest of the picture, and as a result Mad Doctor of Market Street is nowhere near as frightening or atmospheric as it should have been. Still, the film is worth the price of admission for its chilling closing sequence alone. ~ Hal Erickson, All Movie Guide