Joseph Calleia Movies

This second of MGM's Thin Man films reteams William Powell and Myrna Loy as, respectively, bibulous private detective Nick Charles and his socialite wife Nora. The Charleses are sucked into another murder case via Nick's lovely cousin Elissa Landi, whose husband Alan Marshall has vanished. Hubby has been conducting an affair with nightclub thrush Dorothy McNulty (later known as Penny Singleton) and is also blackmailing gangsterish Joseph Calleia. When the corpses begin piling up, Nick and Nora try to piece the clues together, with the earnest assistance of Jimmy Stewart, who carries a torch for Landi. You won't believe who turns out to be the murderer in this one--then again, given the plot's strict adherence to "least likely suspect" formula, you probably will. ~ Hal Erickson, All Movie Guide

Rancher Charles Bickford comes to believe that drifter Alan Ladd is his long-lost son. In truth, Ladd is a crook, in league with Brian Keith to con Bickford out of his fortune. Intending to go through with the scheme, Ladd has second thoughts when Bickford and his "mother" Selena Royle shower him with the familial affection that he has lacked all his life. Making Ladd even more uncomfortable is the presence of his "sister" Mona Freeman, whom he has grown to love in a manner that might be misconstrued were he really related to her. Fed up with his masquerade, Ladd confesses the hoax and sets about to find Bickford's real son-who turns out to be the foster son of bandit Keith! This psychological western plays much better than it reads. For reasons unknown, a clip of Branded showed up in the 1977 Burt Reynolds vehicle Hustle. ~ Hal Erickson, All Movie Guide

This was the first film directed by Paul Stanley, and its theme of second-generation Puerto Ricans living in New York's Spanish Harlem would be picked up again in 1961's smash success, West Side Story. Miguel Estrada (John Saxon) was a member of a local gang before he went to prison for a year, and now that he is out he wants to walk the straight-and-narrow. His attempts at getting away from the life that binds him to the gangs are not anything his father can understand, and the gangs are not going to let him just walk away. At one point, he is forced into a knife fight with a gang member. A counterpoint to Miguel's dilemma is found in Sarita (Linda Cristal), a local "hostess" who prefers single bliss to marriage and its problems. ~ Eleanor Mannikka, All Movie Guide

Former newspaperman Martin Mooney based his script for Exclusive Story on the racket-busting activities of New York district attorney Thomas E. Dewey. Franchot Tone plays the lawyer for a major newspaper which is conducting a campaign against gang boss Joseph Calleia. The paper can't get any charges to stick, thanks to Calleia's clever legal maneuvers. Tone takes matters in his own hands and nails down the evidence to convict Calleia. The gangster retaliates by kidnapping Tone's girlfriend (Madge Evans), leading to a climactic burst of violence. ~ Hal Erickson, All Movie Guide

Based on the novel by Ernest Hemingway, For Whom the Bell Tolls is a romantic drama set against the turbulent tapestry of the Spanish Civil War. Gary Cooper plays Robert Jordan, an idealistic American fighting with a Spanish guerilla band. He is assigned to blow up a crucial bridge in order to halt the enemy's progress. He falls in love with Maria (Ingrid Bergman), a young peasant girl who's joined the fight after being ill-used by enemy troops. Pablo (Akim Tamiroff), the eternally drunken leader of the guerillas, resents Jordan's attentions toward Maria, and he refuses to help Jordan in his sabotage work. Pablo's wife Pilar (Oscar-winner Katina Paxinou) takes over command of the guerillas and helps Jordan by arranging horses for the band's departure after their job is done. The man supplying the horses (Joseph Calleia) is killed, and Jordan is left to finish his task minus a means to escape. For Whom the Bell Tolls was a long, faithful adaptation of the Hemingway novel, with excellent performances, torrid love scenes, and first-rate Technicolor photography. Available for many years only in the 130-minute reissue version, it was restored to nearly its full original length of 168 minutes. ~ Hal Erickson, All Movie Guide

A standard-issue "screwball comedy" of the 1930s, Four's a Crowd starred a quartet of Warner Bros' biggest stars: Errol Flynn, Olivia DeHavilland, Rosalind Russell and Patric Knowles. Flynn plays a publicity agent hired to stir up "good press" for a nasty millionaire (Walter Connolly). Errol accomplishes this by going back to his old job as editor of a newspaper owned by Knowles, then using the paper to elucidate Connolly's virtues. Along the way, he romances Olivia de Havilland, who plays Connolly's daughter, and Rosalind Russell, portraying--surprise, surprise--Knowles' star reporter. Much to the amazement of the audience, Flynn ends up not with his frequent costar DeHavilland but with Russell. Fast-moving and chucklesome, Four's a Crowd was nothing new; chances are it would never have been made had it not been for the success of the vaguely similar MGM comedy Libelled Lady (36), which likewise had a quadruple-barreled starring lineup (Spencer Tracy, Jean Harlow, William Powell and Myrna Loy). ~ Hal Erickson, All Movie Guide

When wealthy Ballin Mundson (George Macready) rescues down at his heels gambler Johnny Farrell (Glenn Ford) and invites him to the Buenos Aires casino he owns, both men get more than they wagered on. Farrell convinces Mundson to hire him as casino manager, but is shocked when Mundson introduces his new bride, and Farrell's old flame, Gilda (Rita Hayworth).Though Farrell is unwavering in his loyalty to his employer, and he and Gilda treat each other with contempt, Mundson realizes that the torch never died for either of the former lovers. Ordered to guard Gilda, Farrell tries to convince himself that he's protecting Mundson's interests, but Gilda sees through his self-deception. Meanwhile, Mundson reveals to Farrell that his primary business is control of an international tungsten cartel that he plans to use to further his fascist ends. With the police closing in on the cartel, Mundson fakes his death, apparently leaving Gilda and Farrell free to marry. They do so: Gilda for love, but Farrell to punish her for being unfaithful to Mundson. When Mundson returns to kill them, it is he who dies, thereby freeing the lovers to apologize to each other and return to the U.S. Charles Vidor's Gilda is a voyeuristic film noir treat that engages the viewer in a complex web of sado-masochistic triangles. When, for example, Gilda performs her signature number, "Put the Blame on Mame," she is not simply enraging both Mundson and Farrell with her open sexuality, she is also crying out in pain for the love she is being denied. ~ Steve Press, All Movie Guide

Filmed for the first season of Have Gun--Will Travel, this episode ultimately served as the opener for Season Two (though some sources list its original air date as September 27, 1958). Hired to capture fugitive Jimmy Dawes (David Whorf) and bring him to trial in Kansas City, Paladin (Richard Boone) is forced to kill the boy in self-defense. Riding into Jimmy's home town of Promise, Paladin finds that everyone thinks he is a murderer, including Sheriff Truett (Joseph Calleia)--and that no one would mind too much if the gunslinger was himself killed by Jimmy's vengeful brothers. ~ Hal Erickson, All Movie Guide

In this drama, a remake of Sal of Singapore(1929), the captain of a freighter becomes an instant father when his crew rescues a drifting Navy boat that contains a baby. The captain decides that he will keep the baby and take it back to the U.S. instead of turning it in to the authorities. He begins advertising for a "mother" for the baby to help him while he runs the ship. His call is answered by a woman with a dubious, secret past. During the interview she lies about her character and qualifications and gets the job and a free cruise to the States. It is smooth sailing until one of the sailors recognizes her and attempts to blackmail her into sleeping with him. Fortunately, the captain rescues her and tosses the loutish seaman into the sea. The woman immediately falls for the good captain who has also fallen for her. They encounter more rough seas when, upon docking in New York, the captain is arrested for attempted murder. The woman becomes his witness, but when he learns the truth about her, he loses his respect and they go their separate ways. She again becomes a loose woman, and he begins to drink heavily. When the baby gets deathly ill, the two are reunited--this time it is for good, and happiness ensues. ~ Sandra Brennan, All Movie Guide

If Hot Blood is remembered at all today, it is for its ludicrous advertising blurb "Jane Russell shakes her tambourines and drives Cornel Wilde!" Set in the gypsy community of contemporary Los Angeles, the film stars Wilde as aspiring dancer Stephen Torino, who is tricked by his brother Marco Luther Adler into an arranged marriage with tempestuous Annie Caldash Jane Russell. Annie is willing to give the union a go, but Torino wants none of it. Several risque complications and lively musical numbers later, Torino changes his mind. Nicholas Ray imbues Hot Blood with the same erotic/neurotic energy he brought to such earlier cult favorites as Johnny Guitar and Rebel without a Cause, but the magic just isn't there this time. ~ Hal Erickson, All Movie Guide

Juarez was originally designed to concentrate almost exclusively on the tragedy of Hapsburg Emperor Maximillian, whose attempts to establish a puppet government in Mexico on behalf of Napoleon III ended in disaster and death. But when Paul Muni decided that he wanted to play Zapotec-Indian-turned-Mexican President Benito Pablo Juarez, the film's emphasis perceptibly shifted -- and Bette Davis, cast as Empress Carlotta, was shunted to second billing rather than first. Muni's makeup and costuming convincingly transforms him into Juarez incarnate. But unlike his other historical impersonations (Pasteur, Zola), Muni's Juarez is a one-note characterization: stoic, uncompromising, and v-e-e-r-y slow of speech. Far more exciting dramatically is Bette Davis as Empress Carlotta, whose highly stylized descent into madness is a tour de force both for the actress and for director William Dieterle. Claude Rains and Gale Sondergaard, as Napoleon III and Empress Eugenie, in essence repeat their diabolical characterizations from Anthony Adverse (1936), while John Garfield is singularly miscast as Pofirio Diaz. The best performance is delivered by Brian Aherne, whose kindly, honorable Emperor Maximillian is less a despot than a misguided political pawn. When Aherne, about to be executed at Juarez' orders, requests that his favorite Mexican song "La Paloma" be played as he is led before the firing squad, audience sympathies are 100% in Maximilian's corner--which was not quite what the filmmakers intended. Based largely on Bertita Harding's book The Phantom Crown (the film's original title), Juarez takes every available opportunity to parallel its title character's fight against foreign intervention with the then-current European situation. To protect their investment in Juarez Warner Bros. purchased outright a like-vintage Mexican film on the same subject, The Mad Empress, suppressing the latter film's release in the United States. ~ Hal Erickson, All Movie Guide

One of the advantages of holding an MGM stock-company contract in the 1930s was the occasional opportunity to star in one of the studio's "B"-pictures. Maltese character actor Joseph Calleia, hitherto confined to supporting villainy, was permitted to play the hero in MGM's Man of the People. "Drawn from today's headlines," the story dealt with small-town political corruption. Unable to make a living as a lawyer, Italian-born Jack Mareno (Calleia) sells out to a high-pressure political machine. Elevated to the position of assistant District Attorney, Mareno is expected to "play ball" with the local racketeers. Finally rebelling against this set-up, Mareno turns his back on his dirty-handed sponsors and runs for office as an independent. Designed as just another programmer, Man of the People turned out to be something rather special, thanks in no small part to the heartfelt performance by star Joseph Calleia. ~ Hal Erickson, All Movie Guide

The once-in-a-lifetime teaming of Mae West and W.C. Fields in My Little Chickadee had the potential for comic greatness: what emerged, though generally entertaining, was, in the words of critic Andrew Sarris, "more funny strange than funny ha-ha." Mae West dominates the film's first reel as Flowerbelle Lee, a self-reliant woman who is abducted by a mysterious masked bandit during a stagecoach holdup. Because she refuses to tell anyone what happened during her nocturnal rendezvous with the bandit, Flowerbelle is invited to leave her prudish hometown and move to Greasewood City. En route by train, Flowerbelle makes the acquaintance of con-artist Cuthbert J. Twillie (W.C. Fields), who carries a suitcase full of what seems to be large-denomination monetary notes. After a lively clash with marauding Indians, Flowerbelle tricks Twillie into a phony marriage; she does this so that she can arrive in Greasewood City with a modicum of respectability, and incidentally to get her hands on Twillie's bankroll. Once she discovers that Twillie's "fortune" consists of nothing but phony oil-well coupons, Flowerbelle refuses to allow Twillie into the bridal chamber (he unwittingly crawls into the marriage bed with a goat, muttering "Darling, have you changed your perfume?") Through a fluke, the cowardly Twillie is appointed sheriff of Greasewood City by town boss Joseph Calleila. The plot is put on hold for two reels while La West does a "schoolroom" routine with a class full of markedly overage students, and while Fields performs a bartender bit wherein he explains how he once knocked down the notorious Chicago Mollie. Jealous over the attentions paid to his "wife" by Calleila and honest newspaper-editor Dick Foran, Twillie decides to gain entry into his wife's boudoir by posing as the still-at-large masked bandit. His ruse is soon discovered by Flowerbelle, but the townsfolk capture Twillie as he makes his escape. They are about to lynch the hapless Twillie when Flowerbelle discovers that Calleia is the genuine masked bandit. She urges Calleia to save Twillie's life by making a surprise appearance at the lynching and by returning the money he's stolen. When all plot lines are ironed out, Flowerbelle and Twillie bid goodbye to one another. Borrowing a device utilized by ZaSu Pitts and Hugh Herbert in 1939's The Lady's From Kentucky, W.C. Fields invites Mae West to "come up and see me sometime," whereupon West appropriates Fields' tagline and calls him "My Little Chickadee." The script for this uneven comedy western was credited to Mae West and W.C. Fields, though in fact West was responsible for most of it. Fields willingly conceded this, noting that West had captured his character better than any other writer he'd ever met. Despite this seeming gallantry, it was no secret that West and Fields disliked each other intensely, a fact that had an injurious effect on their scenes together. My Little Chickadee has assumed legendary status thanks to its stars, and it certainly does deliver the laughs when necessary: still, it is hardly the best-ever vehicle for either Fields or West, two uniquely individual performers who should never have been required to duke it out for the same spotlight. ~ Hal Erickson, All Movie Guide