William Morgan Movies

There's Always Tomorrow is a remake of a 1934 film of the same name. Fred MacMurray is a toy company executive whose wife (Joan Bennett) and kids (Gigi Perreau, William Reynolds and Judy Nugent) take him for granted. Barbara Stanwyck is Fred's former girlfriend, whose own business activities result in a surprise reunion. MacMurray falls back in love with Stanwyck and prepares to leave his family. MacMurray's children go to Stanwyck and politely ask her to back off. She does so, and MacMurray's wife Bennett, who's been out of town during all this, is none the wiser. In the original There's Always Tomorrow, the male and female leads (Frank Morgan and Binnie Barnes) were farther apart age-wise, making their brief encounter all the more poignant. ~ Hal Erickson, Rovi

A man with a strangely misshapen face wanders out of the desert near a small town and falls to the ground dead. The county sheriff (Nestor Paiva) tentatively identifies the dead man as Eric Jacobs, a laboratory assistant to Professor Deemer (Leo G. Carroll), a research scientist living a few miles out in the desert. But there's something strange about Jacobs; his facial features and bodily extremities are distorted to a point where he's barely recognizable. The sheriff calls in Dr. Matt Hastings (John Agar), the local physician, who makes a diagnosis of acromegalia, a glandular disorder that affects the body's growth. He also tells the sheriff that it can't possibly be acromegalia, because symptoms as pronounced as those he sees in this case take years to develop, and the man was in perfect health just three months earlier. Hastings refuses to believe the professor's account of Jacobs' rapid deterioration, but the sheriff takes the word of the scientist. Back in his laboratory, Deemer continues his work, going over tests of a chemical on various animals, all of which are jumbo-sized, including guinea pigs the size of rabbits, baby mice the size of full-grown rats, and a tarantula three feet long. Suddenly, the professor is attacked by his assistant (Eddie Parker), whose face and hands are distorted in the same manner as Jacobs, and who injects the helpless scientist with the experimental chemical before collapsing dead. A fire starts during the attack and in the confusion, the tarantula's glass cage is broken and it escapes the burning laboratory, wandering out into the desert. Weeks go by, and a new assistant, Stephanie "Steve" Clayton (Mara Corday), arrives to begin work for the professor. When Hastings gives her a ride to Deemer's home, the scientist explains to the doctor that he's been working on a radioactive nutrient, that, if perfected, could feed the entire world's population. He also says that Eric Jacobs made the mistake of testing the chemical on himself and it caused the disease that killed him. Hastings and Steve begin a romance, unaware that wandering around the desert is the tarantula from Deemer's laboratory, now grown to the size of an automobile and getting bigger with each passing day. Soon livestock and then people begin disappearing, and the sheriff is at a loss to explain any of it, or the one clue left behind in each case: large pools of what seems to be some kind of venom next to the stripped skeletons of the victims. Hastings takes some of the material in for a test; meanwhile, Steve notices that Deemer is going through some bizarre changes. His mood has darkened and his features now appear to be changing, as the acromegalia, caused by the injection, manifests itself. Hastings learns that one of the professor's test animals was a tarantula, which was presumed destroyed. When he learns that the pools near the deaths are composed of spider venom -- equivalent to what it would take many thousands of spiders to generate -- he's certain that the tarantula from the laboratory survived. By this time, the title creature is bigger than a house and ravaging the countryside, killing everything in its path and knocking down power lines and telephone poles as it moves. Hastings arrives just in time to rescue Steve from the attacking creature, which destroys Deemer's house and kills the professor. The sheriff and the highway patrol are unable to slow the creature, now the size of a mountain and moving at 45 miles an hour, even with automatic rifle fire, as it follows the road through the desert toward the town. Even an attempt to blow it up with dynamite fails when the monster walking right through the blast. Finally, the creature is poised to attack the town, when jets scrambled from a nearby Air Force base (led by a young Clint Eastwood, barely recognizable behind an oxygen mask) swoop in. When rockets fail to divert the monster from its path, the jets roar in for a second pass and drop enough napalm to incinerate the creature. ~ Bruce Eder, Rovi

In Portrait of Jennie, Joseph Cotten plays an artist, Eben Adams, who is unable to bring any true feeling to his work. While painting in Central Park one morning, Eben makes the acquaintance of a schoolgirl named Jennie (Jennifer Jones), who prattles on about things that happened years ago. Intrigued at her thorough knowledge of the past, Eben is about to converse with her further, but Jennie has vanished. Over the next few months, Eben meets Jennie again and again -- and each time she seems to have aged by several years. He paints her portrait, which turns out to be more full of expression and emotion than anything he's previously done. His curiosity peaked by Jennie's enigmatic nature, Eben uncovers evidence that he has been conversing -- and falling in love -- with the ghost of a girl who died years earlier in a hurricane. On the eve of the hurricane's anniversary, Eben rushes to meet Jennie at the site where she was supposedly killed. As a new storm rages, Jennie vanishes for good, but not before declaring that the love she and Eben have shared will live forever. Rescued from the storm, Eben convinces himself that Jennie was a mere figment of his imagination. Then he notices that he stills clutches her scarf in his hand. He looks at his portrait of Jennie (the only Technicolor shot in this otherwise black-and-white film) and understands what she meant when she said that their love would endure throughout eternity; it will do so through Cotten's art, both the portrait at hand and all future portraits. Based on the novel by Robert Nathan, Portrait of Jennie is one of the most beautifully assembled fantasies ever presented onscreen. Producer David O. Selznick's unerring eye for "rightness" enabled him to select the perfect stars, supporting cast (Lillian Gish, Ethel Barrymore, David Wayne, Cecil Kellaway, et al.), director, cinematographer (Joseph August), and composer (Dimitri Tiomkin, who based his themes on the works of Debussy), and blend everything into one ideally balanced package. ~ Hal Erickson, Rovi

Song of the South is a blend of live action and animation, based on the popular "Uncle Remus" stories of Joel Chandler Harris. Set in the years just after the Civil War, the story begins with young Johnny (Bobby Driscoll) being sent to live at the southern plantation of his grandmother (Lucile Watson) while his parents contemplate divorce. At first disconsolate, the boy is cheered up by African-American handyman Uncle Remus (James Baskett), who tells him many delightful fables concerning the clever trickster Br'er Rabbit, whose adventures are illustrated in cartoon form. Each story has a moral, which Johnny applies to the exigencies of his real life. Johnny's mother (Ruth Warrick) disapproves of Uncle Remus, and orders the boy never to visit the kindly old black man again. Uncle Remus packs his bags and leaves; while chasing after him, Johnny is injured by a bull. He recovers thanks to the friendly presence of Uncle Remus, and all is forgiven. The film was awarded the Best Song Oscar for "Zip-a-dee Doo Dah," and James Baskett won a special Oscar for his portrayal of Uncle Remus. Disney has withheld the movie in the U.S. ever since its last theatrical re-release in 1986, due to controversy over what some (including the NAACP) argue is a sugar-coated depiction of the Reconstruction-era South. ~ Hal Erickson, Rovi

Based on the popular Russian novel The Twelve Chairs, this stars Fred Allen as flea-circus impresario Fred Floogle. Learning that he's inherited $12 million from his uncle, Fred also discovers that the money has been stuffed in one of thirteen chairs that he's sold at auction. The rest of the film goes off on any number of hilarious tangents, each tied-in ever so tenuously to the plot. Included is an episode at the movies (Fred and his wife Binnie Barnes are continually escorted up several balcony steps and out several alleyway doors), a visit to Floogle's radio cohort Mrs. Nussbaum (Minerva Pious), a brief misadventure with Jack Benny (this time Benny has a hat-check girl in his hall closet, so that he can collect tips from visitors), an impromptu barbershop quartet session with Fred, Rudy Vallee, Don Ameche and Victor Moore, and a confrontation with the dreaded William Bendix mob (Bendix isn't really a gangster; he simply inherited the mob from his mother). Also weaving in and out of the proceedings are John Carradine as a crooked attorney, Robert Benchley as Fred's pompous in-law-to-be, Sidney Toler as a popcorn-munching detective, and Jerry Colonna as Fred's live-in psychiatrist. Two versions of this film exists, one without Fred Allen's ongoing voice over narration. ~ Hal Erickson, Rovi

Not quite as exciting as it should be, Stardust on the Sage is still a serviceable Gene Autry vehicle. This time, Gene is teamed up with young Jeff Drew (Bill Henry), who tries to sell mining stock to the local cattlemen. Meanwhile, villain Pearson (Emmet Vogan) plots to steal the mine from Gene and Jeff, using a veritable battalion of muscular hooligans. The finale is a kaleidescope of fistfights, gunfire and dynamite blasts-and none too soon, given the slow-moving passages which preceded it. The female contingent in Stardust on the Sage is handled by former child star Edith Fellows and serial heroine Louise Currie. ~ Hal Erickson, Rovi

Music, gangster melodrama, and snappy newspaper comedy is blended into the usual Western shenanigans in this unusual Gene Autry vehicle filmed on-location at the Russell Ranch near Agoura Hills, CA. Autry, as always, plays himself, a singing star, with Smiley Burnette and Joe Strauch Jr. as sidekicks Frog and Tadpole Millhouse. The trio is visiting Pop Harrison's (Forrest Taylor) Wyoming dude ranch, where Pop's wastrel son, Tex (James Seay), is in trouble with the law. Tex is involved with one Mr. Crowley (George Gordon), who really a gangster named Luigi. Recognized by newspaper reporters Clem (Fay McKenzie) and Hack (Chick Chandler), Crowley and his men indulges in a bit of skullduggery and are the obvious suspects when Pop Harrison is shot. But as Gene discovers, the gangsters are merely red herrings, the real culprit being a person much closer to home. In between detective work and romancing the girl reporter, Autry finds time enough to warble six songs, including Irving Berlin's then very topical "Any Bonds Today?," the official anthem of U.S. Defense Bond campaign. Despite good performances by Fay McKenzie, the daughter of veteran B-Western personality Robert McKenzie, and the always welcome Chick Chandler, Home in Wyomin' was not wholly appreciated by Autry's legion of fans who wanted their star straight up. ~ Hans J. Wollstein, Rovi

In his final film before entering war service, Gene Autry joins the World Wide Wild West Show, a faltering enterprise about to be taken over by the more powerful Johnson Bros. Rodeo, and his success as the Singing Bronco Buster allows the show to open at San Capistrano instead of the rival outfit. Stag Johnson (Morgan Conway), who is sweet on World Wide's owner Jennifer Benton (Virginia Grey), is inclined to leave things as they are but brother Jed (Tristram Coffin) and jealous show girl Jackie Laval (Marla Shelton) do what they can to sabotage the competition, including forcing Mom (Claire DuBrey) and Pop McCracken (Lucien Littlefield), Jennifer's foster-parents, off the road. Gene at first blames himself for all the troubles but then joins sidekicks Frog Millhouse (Smiley Burnette) and Tadpole (Joe Stracuh, Jr.) in battling the increasingly desperate Johnson brothers. When not rescuing the heroine from runaway buckboards and other such Wild West shenanigans, Gene Autry, Smiley Burnette, Joe Strauch, Jr. and company perform "In Old Capistrano", "At Sundown", "Forgive Me", "Don't Bite the Hand That's Feeding You", and "Fort Worth Jail". According to some reports, Bells of Capistrano), which was produced on an impressive budget of $500,000, employed two camera crews in order to finish principal photography prior to Autry's induction into the Army Air Force. Gene Autry Entertainment restored the film to its original length in 2001. ~ Hans J. Wollstein, Rovi

Not to be confused with his later Home in Wyomin', Gene Autry's Sunset in Wyoming is essentially a musical with western interludes. This time, Autry champions the cause of a group of ranchers who are being victimized by the apparent megalomania of lumber baron George Cleveland. Upon palavering with Cleveland, Autry discovers that the lumberman himself is not to blame for the despoiling of the territory: the real villain is Easterner Robert Kent, who is presently engaged to Cleveland's daughter Maris Wrixon. Forced to enter the rarefied world of High Society, Autry settles Kent's hash and ultimately claims Ms. Wrixon for himself. The best scene finds comical sidekick Smiley Burnette duded up as a butler, which is far more enjoyable than the climactic flood scenes, most of which were obviously culled from previously Republic productions. ~ Hal Erickson, Rovi

There were two separate 1940s film series inspired by Philips H. Lord's radio weekly Mr. District Attorney; the first was produced by Republic, the second by Paramount's Pine-Thomas unit. Republic's inaugural entry, appropriately titled Mr. District Attorney, eschews the sobriety of the radio original and plays for laughs. Dennis O'Keefe stars as P. Cadwallader Jones, a guileless assistant DA straight out of Harvard. Managing to louse up his first case, Jones redeems himself by revealing that one of his boss' aides is in league with master criminal Mr. Hyde (Peter Lorre). Florence Rice, daughter of sports columnist Grantland Rice, is appropriately cast as a newspaper sob sister. The best line in Mr. District Attorney comes early in the proceedings: When asked what the "P" stands for, P. Cadwallader Jones replies ruefully "Prince. But I didn't want to be whistled for." ~ Hal Erickson, Rovi

In this musical, the second entry in a five-film series, a thrift shop owner sells his business and buys a small time radio station. He begins looking for sponsors. He finds one with a department store owner who will only lend him the money if he will allow his daughter, an aspiring tap-dancer and singer, to perform on the air. This is unfortunate as she is tone-deaf. To compensate, the owner hires a real singer to dub the daughter's voice. The singer and the owner's nephew fall in love and mayhem ensues. Songs include: the Oscar nominated "Who Am I?," "Swing Low Sweet Rhythm," "In The Cool of the Evening," "Make Yourself at Home," "The Swap Shop Song," "The Trading Post," "Sally," "Ramona," "Sweet Sue," "Dinah," "Margie," and "Mary Lou." ~ Sandra Brennan, Rovi

In this drama, a devoted, caring physician leaves his home and moves to Alaska to escape arrest after he performs euthanasia upon his terminally ill father. In the ever-snowy reaches of northernmost Alaska, the doctor begins administering to the poverty-stricken Inuit. While he has willingly exiled himself there and cares about the people, his new nurse is another story. She hates the outpost and holds the people there in contempt. She does not try to understand their lifestyle and therefore, considers them disgusting. Unbeknownst to the good doctor, he is being hunted by a detective determined to return him to the lower 48 to stand trial for the mercy killing of his father. Unfortunately, the gumshoe is caught in a blizzard and is blinded by the snow. The doctor saves his life. The grateful detective, seeing the doctor's good work, decides that he never saw him and returns home empty handed. Meanwhile, the nurse gets a grip on her ethnocentrism and decides to stay to be with the doctor. ~ Sandra Brennan, Rovi