Hal Mohr Movies

American cinematographer Hal Mohr's love of films grew from the rubble of the San Francisco earthquake. Several nickelodeons sprouted up in the otherwise useless buildings left standing after the quake and fire. Already fascinated in "magic lantern" shows, the young Mohr became an habitue of these new movie houses, which led to his dropping out of high school and seeking out a job with a local film exchange. Here he learned the technical rudiments of the picture business; constructing his own camera out of cannibalized projection equipment, Mohr became a freelance newsreel photographer at age 15. A few years later, he got a job with Sol Lesser's Progressive Films, a newsreel/documentary unit. While working for Lesser, Mohr produced, directed and photographed a critically praised two-reeler, 1913's The Last Night at the Barbary Coast. A full director of photography by 1918, Mohr frequently worked for independent entrepreneurs outside of the Studio System, which obliged him to solve tricky cinematic problems with mechanical innovations of his own; he even maintained his own developing lab to achieve the best results at minimum cost. After collaborating with such established Hollywood camera pros as Charles Rosher and Karl Struss, Mohr found his assignments increasing in prestige. In 1927, he was engaged to shoot the landmark early talkie The Jazz Singer, which meant that he was among the first movie technicians to tackle the creative handicaps imposed by the microphone. In 1929's Broadway, Mohr was put in charge of an elaborate camera crane that permitted him to break new ground in the realm of camera mobility. Because of his arbitration efforts during the Hollywood strike of 1933, Mohr was considered "persona non grata" among his fellow cameramen; thus it was that Mohr's name was not included on the ballot for the 1936 Academy Awards ceremony. Still, on the basis of a healthy write-in campaign, Mohr won the Oscar that year for A Midsummer Night's Dream -- the first and last time that anyone ever copped the award on a write-in. Mohr won an Oscar under more orthodox voting circumstances for his Technicolor work on the 1943 version of Phantom of the Opera. In the '50s, Mohr accepted the exhausting challenge of assembly-line television work, turning out first-rate photography for such series as Love That Bob and Life with Father. After acting as a consultant on the 1969 Hitchcock film Topaz (the film's official director of photography, Britain's Jack Hildyard, was not a member of the Hollywood cinematographer's union), Hal Mohr retired, spending his last contented years with his actress wife Evelyn Venable, whom he'd met while filming the 1934 Will Rogers vehicle David Harum. ~ Hal Erickson, Rovi

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The Bamboo Saucer: 1968

A veteran cast gives the 1968 cheapie The Bamboo Saucer what little credibility it has. In his last role, Dan Duryea plays the head man of an expeditionary force in search of a missing UFO. Since the craft was last sighted in the mountains of Red China, the search takes on political significance. Duryea's American team is eventually forced to align itself with a similarly-purposed group of Soviet researchers (this being a 1968 film, the real bad guys are the Red Chinese). Lois Nettelton has some wonderfully campy moments as a Russian scientist. Bamboo Saucer was produced by Jerry Fairbanks, of "Speaking of Animals" and "Crusader Rabbit" fame. ~ Hal Erickson, Rovi

Starring:: Dan Duryea, John Ericson, (more)

The Man from the Diners' Club: 1963

Heavy on slapstick and light on the more subtle forms of humor, this standard comedy by Frank Tashlin is still an amusing junket with Danny Kaye at the forefront as Ernie Klenk, a bumbling employee of the Diner's Club credit card company. Ernie has his hands full trying to manage the new computers (maybe they were all new at this point in time) and a bullying boss. His job is to okay the credit line of new customers and after he does just that with Foots Pulardos (Telly Savalas) he may have made his last serious mistake. Foots is facing trial for tax evasion and when he discovers that he and Ernie have an odd physical trait in common, he hits upon a scheme to fake his own death by immolating most of the hapless employees and then escaping the country disguised as Ernie. ~ Eleanor Mannikka, Rovi

Starring:: Danny Kaye, Cara Williams, (more)

The Creation of the Humanoids: 1962

In the wake of a nuclear war that wipes out 92 percent of the world's population, civilization rebuilds itself with the help of robots, which soon become sufficiently advanced to rival -- and then surpass -- the men and women that they are designed to serve. Of particular usefulness (and concern) are the robots series R-21 and above, designed specifically to mimick human form and communication -- the humanoid robots. Despite their distinctive appearance (no hair, blue-tinted skin), they intermingle freely with humans at work, and have been granted some very limited rights under the law. But a backlash has developed among the humans -- the robots are often routinely referred to disparagingly as "clickers," and some of the most militant opponents of the robots have organized The Order Of Flesh And Blood, a paramilitary vigilante group with its own intelligence, scientific, investigative, and surveillance services, all dedicated to limiting the presence, influence, and rights of the robots, in not eradicating them. One of their most active and ambitious members is Craigis (Don Megowan), a captain in the Order and also a top gerontologist in his professional life, who despises the humanoid robots for the threat he sees in their presence -- that with their physical and intellectual superiority, they force man to think less of himself, and to rely on the robots to do many of the tasks that man should do for himself. Craigis is more intelligent than a lot of his fellow Order members, who are little more than bully-boys throwing their weight around, but as such he also sees this struggle in more serious and dire terms than many of his colleagues. One night, while investigating a robot carrying a forged assignment card, he stumbles upon a series of events more ominous and astounding than any he could have anticipated -- a robot violates its First Law of behavior by murdering a man; and the robot committing the murder was designed to look and pass for human. Craigis feels he has stumbled onto something incredibly dangerous, but he is distracted from the implications of these events by news closer to home -- that his sister (Frances McCann) is now living in in an officially sanctioned raport with a "clicker." This sends him tearing off to her home ready to do violence. Craigis is still coping with his sister's choice of a partner, when he meets her friend Maxine (Erica Eliot), and the two discover a strange fascination with each other. As Craigis tries to sort out his feelings about this woman, and keep a perspective on everything he has discovered, he has no inkling of a revelations still to come, about the robots, and their plans, the reason behind them, or how close to home they already are. ~ Bruce Eder, Rovi

Underworld U.S.A.: 1961

Cliff Robertson plays Tolly Devlin, an embittered ex-convict who has spent a lifetime tracking down the men who murdered his father. Desirous of handling matters on his own, Devlin pretends to be loyal to both the Mob and the Government, playing one against the other in hopes of flushing out the killers. He learns that the three surviving assassins are employed by a supposedly charitable "cover" operation known as National Projects. To get what he wants, Devlin ingratiates himself with mob boss (and outwardly solid citizen) Conners (Robert Emhardt). What Robertson didn't count on was falling in love with "Cuddles" (Dolores Dorn), which leads to his own downfall -- but not before justice is served. Producer/director/writer Fuller based Underworld USA on a series of "exposé" articles in The Saturday Evening Post; the film's release fortuitously occurred shortly after that infamous mob convention in Appalachin, New York. ~ Hal Erickson, Rovi

Starring:: Cliff Robertson, Dolores Dorn, (more)

The Last Voyage: 1960; Add The Last Voyage to Queue Add The Last Voyage to top of Queue

Robert Stack and Dorothy Malone are Cliff and Laurie Henderson, a married couple on a vacation with their young daughter (Tammy Marihugh), taking their first sea voyage aboard the aging ocean liner Claridon. All is well for them, but not for the ship below decks, where a fire has broken out. The engine room crew, led by Chief Engineer Steven Pringle (Jack Kruschen) and 2nd Engineer Walsh (Edmond O'Brien) extinguish the blaze, but the ship's captain (George Sanders) refuses their request to shut down the boilers and check for further damage. Disaster follows as the boilers explode, taking Pringle with them and blasting a hole through to the upper decks and an opening to the sea that's not only too big to patch but allowing in too much water for the pumps to handle. Still, the Captain won't order the passengers to the lifeboats -- he hopes that the engine room crew under Walsh can hold the bulkhead and keep the ship afloat. Meanwhile, Cliff has to rescue his daughter from their wrecked stateroom, and must do what he can to help Laurie, who is trapped beneath a huge piece of steel bulkhead, while the ship slowly loses its battle with the sea. ~ Bruce Eder, Rovi

Starring:: Robert Stack, Dorothy Malone, (more)

The Lineup: 1958

A steamship docks in San Francisco, and as one of the passengers, Philip Dressler (Raymond Bailey), is waiting for a cab after clearing customs, a baggage handler suddenly grabs one of his cases and throws it into a taxi, which takes off. In the ensuing getaway, a police officer is killed, but not before he gets off a shot that takes the fleeing cab driver's life. What Lieutenant Ben Guthrie (Warner Anderson) and Inspector Al Quine (Emile G. Meyer) can't figure out is why two men are suddenly dead within a matter of seconds, all for a seemingly inexplicable baggage snatch. The truth begins to come out when an examination reveals that a small ornamental statue in Dressler's case is loaded with half a million dollars in pure heroin. Then the bodies start turning up -- beginning with a baggage handler at the docks. Guthrie and Quine uncover a plan by a drug syndicate to use innocent, unsuspecting tourists visiting the Far East as unknowing drug couriers -- and now that the original method of retrieval at the docks has unraveled, thanks to the wheelman being an addict who got himself killed, another method is improvised.

Enter a pair of hitmen from out of town, Dancer (Eli Wallach), a soft-spoken psychopath with a perfect memory and not a trace of conscience, and his philosophical mentor and "handler," Julian (Robert Keith). Taken around San Francisco by their mob-employed driver, Sandy McLain (Richard Jaeckel), a juicehead who's not quite as good a wheelman as he thinks he is, the hitmen start collecting the latest shipment of heroin from three new arrivals: a ship's crew member who knows too much for his own good, a wealthy husband and wife, and a woman and her young daughter. They calmly go about their business, Dancer and his silenced pistol taking care of any "problems" while Julian runs interference and discusses issues of grammar and speech with him, and adds to his collection of "last words" from Dancer's victims -- until the last shipment turns up missing. It seems the little girl (Cheryl Callaway) found the bag of white powder hidden on the doll her mother bought her, and used it to powder the doll's face....Now Dancer and Julian have to disrupt the planned drop to "The Man" (Vaughn Taylor) to explain the short count, and to do that they have to keep the little girl and her mother (Mary Laroche) alive, at least long enough to tell their story. Meanwhile, Guthrie and Quine keep getting closer, following the trail of bodies and putting together a description of the two killers. But can they find them before the kidnapped mother and daughter join the other victims? ~ Bruce Eder, Rovi

Starring:: Eli Wallach, Robert Keith, (more)

The Gun Runners: 1958

The third and (as of 2005) the last film adaptation of Ernest Hemingway's short story To Have and Have Not, The Gun Runners was as topical as this morning's news when it came out in 1958. Audie Murphy plays Sam Martin, a charter-boat skipper based in Key West, whose bad luck has enlarged from the gambling tables to his business. He's managed to stay honest up to this point, with a little help from his boozy friend and first-mate, Harvey (Everett Sloane), and a lot from his loyal, loving wife, Lucy (Patricia Owens), both of whom represent the best things in Sam's life. But then he finds himself about to lose his boat, and the only opportunity he has to save it lies with a larcenous American arms seller named Hannagan (Eddie Albert), who isn't above murder to get what he wants. Sam falls in with him, first for a quick trip in and out of Cuba and then up to his neck, and he is suddenly faced with destroying the most decent part of himself and the only people who care about him. ~ Bruce Eder, Rovi

Starring:: Audie Murphy, Eddie Albert, (more)

Baby Face Nelson: 1957

Fittingly directed by Illinois native and bad-guy filmmaker Don Siegel, this action-packed film stars Mickey Rooney as the unflinching, trigger-happy member of the infamous Dillinger gang that besieged the Midwest circa 1933. Rooney is Lester "Baby Face Nelson" Gillis and Carolyn Jones his gun moll, Sue, in this fictionalized tale of a scrawny street tough turned psychotic gangster. After being released from prison, Nelson goes to work for mob boss Rocca (Ted De Corsia), who eventually recognizes that a madman is in his service and turns him in to the cops. Managing to elude capture, Nelson kills Rocca and takes Sue with him. He then joins Dillinger's gang in a series of savage robberies, obliterating anyone who gets in his way. Inevitably, FBI agents ambush and injure Nelson, who finally admits his own ruthlessness to himself and Sue, conceding that he would even murder children if necessary. He orders Sue to kill him before he commits any more savage acts. This is a coarse and deliberately aggressive film, distinguished by Rooney's frenzied performance as an unruly and deranged criminal. ~ Don Kaye, Rovi

Starring:: Mickey Rooney, Carolyn Jones, (more)

The Boss: 1956

John Payne always felt that he delivered his best screen performance in The Boss. Set in the years following WW1, the story concerns a small-town veteran named Matt Brady (John Payne), whose brother, machine politician Tim Brady (Roy Roberts), arranges for Matt to get a cushy government job. When Tim dies, Matt takes over his operation, eventually assuming control of the entire state (which judiciously remains unnamed in the film). Though a successful power broker, Matt is unable to win the woman he loves (Doe Avedon), so he settles for another (Gloria McGhee) whom he treats atrociously. A falling out with his best friend/severest critic Bob Herrick (William Bishop) sets the stage for the ruthless Brady's inevitable downfall. Though all the names were changed to protect the guilty, audiences in 1956 were quick to perceive that the film was a thinly disguised attack on the Pendergast machine of Kansas City, Missouri. Coproduced and cowritten by John Payne, The Boss falters only in its overreliance upon anachronistic newsreel footage. ~ Hal Erickson, Rovi

Starring:: John Payne, William Bishop, (more)

The Wild One: 1954; NR; Add The Wild One to Queue Add The Wild One to top of Queue

"What are you rebelling against?" asks someone. "What've you got?" responds surly, leather-jacketed motorcycle punk Marlon Brando. It comes as a disappointment to discover that The Wild One, the quintessential Brando "rebel" film, is at base a traditional "misunderstood youth vs. the nasty system" effort, with a particularly banal finale. Based on a true incident, the film begins with Brando and his motorcyle gang invading a small town after having been kicked out of a cycle competition (but not before stealing the second-prize trophy). Brando's bikers raise hell all day, but some of the townsfolk are shown to be little better than the invaders. Sheriff Robert Keith, whose daughter (Murphy) has gone fond of Brando, finally responds to the bikers' destructiveness by jailing Lee Marvin, leader of a rival gang. When Marvin's buddies goes on a rampage, Brando exhibits his essential decency by safely escorting the sheriff's daughter out of the melee. The townsfolk misunderstand, assuming that Brando intends to rape the girl. He is attacked by a vigilante mob led by town hothead Ray Teal, who uses this excuse to exercise his own sadistic tendencies. Keith breaks up the mob and suggests that Brando leave; he tries to do so, but another angry response from the mob causes him to inadvertently strike and kill a pedestrian. At the subsequent hearing, the girl rushes to Brando's defense. Though grateful for the unexpected kindness, Brando is constitutionally unable to say "thank you" and rides out of town alone. The image of Marlon Brando astride his Triumph has entered movie folklore, just like King Kong on the Empire State Building or the billow-skirted Marilyn Monroe standing over a subway grating; it's too bad that The Wild One isn't a more worthy vehicle for Brando's talents. ~ Hal Erickson, Rovi

Starring:: Marlon Brando, Mary Murphy, (more)

The Four Poster: 1952

Jan de Hartog's two-person stage play The Fourposter has always seemed to attract married acting couples, a tradition established by the play's first Broadway stars Hume Cronyn and Jessica Tandy. The film version featured Rex Harrison and Lilli Palmer, who (you guessed it) were man and wife at the time. The story traces the history of a marriage from the wedding night in 1890 to the death of the wife in the 1930s; all crucial scenes are acted out in the couple's boudoir, near the fourposter bed they'd received as a wedding present. The passing years, and the triumphs and tragedies of the couple, are wittily represented by transitional animation sequences produced by the UPA cartoon studios. A musical version of The Fourposter titled I Do I Do opened on Broadway in 1966, breaking precedent by starring Mary Martin and Robert Preston, who were happily married but not to each other. ~ Hal Erickson, Rovi

Starring:: Rex Harrison, Lilli Palmer, (more)

The Member of the Wedding: 1952

25-year-old Julie Harris convincingly recreates her Broadway role of 12-year-old tomboy Frankie Addams in the 1952 screen version of Carson McCullers' play. Feeling rejected when her older brother goes off on his honeymoon without inviting her along, Frankie runs away from her middle-class southern home. She endures several other adolescent traumas, not least of which is the sudden death of her bespectacled young cousin John Henry (Brandon De Wilde). With the help of warmhearted housekeeper Berenice Sadie Brown (Ethel Waters), Frankie eventually makes an awkward transition to young womanhood. One of several Stanley Kramer productions released by Columbia in the early 1950s, The Member of the Wedding wisely used several of the original Broadway cast members. Co-starring as a drunken soldier who tries to take advantage of the vulnerable Frankie is former child actor Dick Moore, making his last screen appearance. The Member of the Wedding was remade for television in 1983 (and unofficially "reworked" into the 1991 sleeper My Girl). ~ Hal Erickson, Rovi

Starring:: Julie Harris, Ethel Waters, (more)

Rancho Notorious: 1952

The original title for Rancho Notorious was Chuck-a-Luck, which is also the title of the soundtrack ballad (written by Ken Darby) which unifies the plotline, à la High Noon. Frontiersman Vern Haskell (Arthur Kennedy) wanders throughout the West in search of the man who robbed and murdered his fiancée. He is told that he'll probably find the culprits at Chuck-a-Luck, a combination horse ranch and criminal hideout overseen by saloon chanteuse Altar Keane (Marlene Dietrich). To gain entrance to Chuck-a-Luck, Haskell poses as an escaped prisoner. Keane warns him that the ranch has only one rule: "Don't ask questions." Still, he has ways of finding things out. Haskell is compelled to keep up his charade when the dirty denizens of Chuck-a-Luck plan a big bank holdup, but this has the result of exposing the killer of his girl. Director Fritz Lang had a rough time with RKO head Howard R. Hughes, who insisted upon making changes in the film that might have hurt it irreparably. The biggest argument centered over the title; Hughes complained that no one overseas would understand the meaning of Chuck-a-Luck, whereupon Lang riposted sarcastically that "I'm sure that everyone will understand Rancho Notorious." One of the principal villains was Lloyd Gough, but you'd never know it from the opening titles; Hughes, incensed that Gough had refused to testify at the HUAC "witch hunt," ordered that the blacklisted Gough's name be removed from the credits. ~ Hal Erickson, Rovi

Starring:: Arthur Kennedy, Marlene Dietrich, (more)

The Big Night: 1951

Awkward teenager George LeMain (John Drew Barrymore, credited as John Barrymore Jr.) is given a small birthday party by his widowed father Andy (Preston Foster) at his bar. He is puzzled that his father's longtime girlfriend, Frances, is not there, but neither Andy nor Flanagan (Howland Chamberlain), bartender and George's surrogate mother, will say why. George is embarrassed when he is unable to blow out all the candles on his cake, but that's nothing compared to the humiliation to come when sportswriter Al Judge (Howard St. John) enters the tavern. Judge orders the elder LeMain to remove his shirt ("Show me some skin," he demands) and get down on all fours. Andy meekly offers no resistance when Judge brutally canes him. Enraged at both Judge and his father, George takes a gun from the cash register and goes off into the night to settle the score. His first stop is the fights, where after getting conned out of his money, he meets Lloyd Cooper (Philip Bourneuf), an alcoholic college professor who later introduces him to his girlfriend Julie Rostina (Dorothy Comingore) and her sister Marion (Joan Lorring). Although George and Marion hit it off, she tells him he is too young for her. Resuming his hunt, George finally comes face to face with Judge and learns that Frances, who was Judge's sister, had killed herself because Andy refused to marry her. Confused, George drops his gun and starts to leave. However, when Judge picks it up and turns the tables on him, George struggles for the gun, shoots Judge, and runs back into the night. When he gets home, he confronts his father with Judge's story. He learns not only that it's true, but also that his mother is not dead but had run off with another man. Joseph Losey's The Big Night functions largely as a perverse coming-of-age tale in which the price George pays for growing up is disillusionment with his emasculated father. Armed with this knowledge and a stronger sense of his abilities, George may now be better equipped to navigate the rejections, humiliations, and sadomasochistic relationships of his noirish world. ~ Steve Press, Rovi

Starring:: John Drew Barrymore, Preston S. Foster, (more)

The Second Woman: 1951; Add The Second Woman to Queue Add The Second Woman to top of Queue

In the vein of Spellbound and Rebecca comes this 1951 film noir from director James V. Kern. Robert Young stars as Jeff Cohalan, a successful architect who is tormented by the fact that his fiancée was killed in a mysterious car accident on the night before their wedding. Blaming himself for her death, Colahan spends his time alone, lamenting in the cliff-top home he'd designed for his bride-to-be. To make matters worse, ever since the accident, Colahan seems to be followed by bad luck. His horse and dog turn up dead without explanation, leading him to wonder if he has been cursed. Enter Ellen Foster (Betsy Drake), an independent and intelligent insurance investigator who just might be able to help Colahan figure out who or what's behind all of his misfortune. ~ Matthew Tobey, Rovi

Starring:: Robert Young, Betsy Drake, (more)

Of Men and Music: 1950

Of Men and Music can be described as a live-action Fantasia; indeed, both films feature critic-composer Deems Taylor as narrator. A host of world-famous musicians are seen in concert and at leisure. Screenwriters Liam O'Brien, Harry Kurnitz, John Paxton and David Epstein have rather unecessarily added dramatic continuities, wherein the artists are shown dickering with their managers, rushing to meet concert dates, etc. These scenes can be forgotten in the light of the wonderful music provided by such masters as Artur Rubinstein, Jan Peerce, Nadine Conner, Jascha Heifetz, Dimitri Mitropoulos and Victor Young. Trade-screened in late 1950, Of Men and Music was released to the public in 1951. ~ Hal Erickson, Rovi

Woman on the Run: 1950; Add Woman on the Run to Queue Add Woman on the Run to top of Queue

Frank Johnson (Ross Elliott), a window-dresser and struggling artist, accidentally witnesses a mob-related rub-out of a witness (Thomas P. Dillon), while out walking his dog one night -- after being shot at for his trouble, he's approached by the police, who want to put him into protective custody. But before they can do that, he runs out, and it's up to Inspector Ferris (Robert Keith) to find him before the killer does. He approaches Johnson's wife, Eleanor (Ann Sheridan), only to discover that not only were they the most distant -- nearly estranged -- couple he's ever encountered, but that she doesn't want to help find him, or care if he is found. Then she learns that he has a potentially serious heart condition that he never told her about, and that he has no medication -- she decides to try and find him to give him help, dodging the police with help from a pushy reporter named Leggett (Dennis O'Keefe), covering his job and all of his old haunts; and in the process, she discovers a man that she never really bothered to know or understand, one who not only wanted to love her but does love her, despite the way their marriage has gone, and discovers that there may still be a marriage worth saving. But to do that she's got to find him to head off not only a potentially fatal heart seizure but also save him from the killer who, unbeknownst to her, is just a step behind her and has already started covering her trail and murdering potential witnesses. ~ Bruce Eder, Rovi

Starring:: Ann Sheridan, Dennis O'Keefe, (more)

Johnny Holiday: 1949

This drama tells about a juvenile delinquent that wavers between loyalty to a fellow crook and a kind-hearted reform school guard. ~ Rovi

Starring:: William Bendix, Allen Martin, Jr., (more)

An Act of Murder: 1948

In this provocative drama, a stern hard-liner judge commits euthanasia to save his terminally ill wife from further suffering. He decides to kill her by driving the both of them off a cliff. He succeeds in ending her pain, but unfortunately he survives and ends up turning himself in with a full confession. Now it is up to his brilliant lawyer to defend him. He not only justifies the old judge's actions, he also proves that the wife took a fatal dose of poison before getting in the car; therefore she committed suicide. The judge is freed and returns to his courtroom where he oversees his cases with considerably more sympathy and understanding than he did before. ~ Sandra Brennan, Rovi

Starring:: Fredric March, Edmond O'Brien, (more)

Another Part of the Forest: 1948

Another Part Of The Forest begins some twenty years before the events of Lillian Hellman's play and movie The Little Foxes and shows how that film's Hubbard family became the ruthless, greedy lot they were. It's fifteen years after the Civil War, and the Hubbards dominate their small Southern town financially, if not socially; The patriarch of the family (Fredric March) sold salt for $8 a pound to the Confederate Army at a time when they needed it most. Edmond O'Brien and Dan Duryea play his sons, the former as mean as his father, the latter and younger one a weakling. When the elder child finds out that his father was responsible for the death of Southern troops during the war, he threatens to expose the truth unless the family fortune is placed in his hands. In the end, only Hubbard's wife (Florence Eldridge) stands by her husband during his inevitable fall, and she banishes her own children from their house. Brilliant acting by all, especially March, Duryea, and O'Brien, plus a sharp script, make this unrelentingly grim melodrama fascinating to watch. ~ Don Kaye, Rovi

Starring:: Fredric March, Dan Duryea, (more)

Pirates of Monterey: 1947

Pirates of Monterey is set during the early 19th century, at a time when California was asserting its independence from Mexico. Rod Cameron plays Phillip Kent, a devil-may-care mercenary hired to transport a shipment of rifles to the American army detachment at Monterey. Along the way, he is forced to do battle with Mexicans, Indians and various and assorted thieves. Somehow, he finds time to pitch woo with the tempestuous Marguerita (Maria Montez), whose fiery Mexican dance routines are something to behold. Less exciting to watch than it is to read about, Pirates of Monterey at least has the advantage of Technicolor. ~ Hal Erickson, Rovi

Starring:: Rod Cameron

Song of Scheherazade: 1947

Bearing little resemblance to reality, this musical biography of 19th century Russian composer Nikolai Rimsky-Korsakov takes liberal poetic license with the truth. Jeanne-Pierre Aumont stars as Nicky, a Naval Academy cadet assigned to a vessel undergoing a world cruise. On shore leave in Morocco, Nicky goes in search of a piano intending to pursue his true passion, music. Accompanied by the ship's singing doctor, Klin (Charles Kullmann), Nicky makes the acquaintance of a cabaret dancer named Cara de Talavera (Yvonne De Carlo). The daughter of a Spanish colonial family that was once prominent but has fallen upon difficult times, Cara now dances in secret as Scheherazade in a revue at the nightclub. Inspired by her, Nicky sets about composing his most famous song for inclusion in a ballet. Although fate conspires to keep Cara and Nicky apart for a time, his piece is a success and is scheduled for a performance at the St. Petersburg Opera House, where none other than Cara turns up as the lead dancer. ~ Karl Williams, Rovi

Starring:: Patricia Alphin, Yvonne De Carlo, (more)

I'll Be Yours: 1947

In this musical comedy, Louise Ginglebusher (Deanna Durbin) is a girl from a small town who comes top New York City with dreams of making it in show business. She gets her foot in the door in a roundabout way when she gets a job as an usherette at a prestigious movie palace run by tycoon J. Conrad Nelson (Adolphe Menjou). It soon becomes obvious that Nelson has eyes for his new hire, while Louise is more interested George Prescott (Tom Drake), a young lawyer looking to establish himself. Hoping to discourage Nelson while helping Prescott at the same time, Louise fibs and tells Nelson that Prescott is her husband, and could use a job within his organization. However, Louise's white lie turns out to have unexpected repercussions. Like any Deanna Durbin vehicle, I'll Be Yours features the star singing several tunes, including "Sari Waltz and "Granada"; two years after making this film, she would retire from the screen. ~ Mark Deming, Rovi

Starring:: Deanna Durbin, Tom Drake, (more)

The Lost Moment: 1947

It is said that Henry James' The Aspern Papers were inspired by the romance between Lord Byron and his mistress Claire Claremont, who in her dotage jealously guarded the poems written by Byron in her honor. In the film version of James' novel, The Lost Moment, the Clairemont character, renamed Juliana, is a blind, 105-year-old recluse, played with an abundance of age makeup by Agnes Moorehead (whose amazing cosmetic makeover was the subject of several magazine articles back in 1947). The plot of the film concentrates on the efforts by a publisher named Lewis (Robert Cummings) to obtain the "lost" poems written by a legendary literary figure to the centenarian Juliana. The old lady is fiercely protected by her near-psychotic niece Tina (Susan Hayward), who nonetheless agrees to help Lewis get his hands on the precious documents. As the story unfolds, it becomes clear that the Venetian mansion where Juliana resides harbors a horrible secret, one that bodes ill for the troubled Tina and everyone with whom she comes in contact. Watching in bewildered silence is Father Rinaldo (Eduardo Cianelli), the film's "voice of conscience". Together with The Heiress, The Lost Moment is one of the few successful attempts to transfer the elusive prose of Henry James to the screen. ~ Hal Erickson, Rovi

Starring:: Robert Cummings, Susan Hayward, (more)

A Night in Paradise: 1946

If Grecian storyteller Aesop really did exist, he was most likely a black slave. He wasn't an Austrian actor with an Egyptian name, but that's who played him in A Night in Paradise. Turhan Bey portrays the fable-spouting Aesop, who tries to escape his bondage by disguising himself as an old man. It is at the lavish court of King Croesus that the greyed-up Aesop first meets luscious Grecian princess Merle Oberon. The low-born talespinner is smitten, and determines to win the princess for his very own. Moral: If Universal buys a novel by George S. Hellman titled The Peacock's Feather, transforms it into a picture called A Night in Paradise, and appoints onetime Abbott and Costello cohort Arthur Lubin as director, you know what you're in for. ~ Hal Erickson, Rovi

Starring:: Merle Oberon, Turhan Bey, (more)

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