Joseph Calleia Movies

Filmed not long after the actual events, The Beginning or the End is a sober, intelligent account of the development and deployment of the Atom Bomb. Step by step, the film details the progress of The Manhattan Project, from its inception in the early stages of the war through the dawn of the Atomic Age over the city of Hiroshima on August 6, 1945. Brian Donlevy stars as Brigadier General Leslie Groves, assigned by President Roosevelt (Godfrey Tearle) to act as military supervisor of the top-secret project at Oak Ridge, Tennessee. After a grueling trial-and-error period, the first atomic bomb is tested before an assemblage of scientists and military personnel-even though there's the disturbing possibility that the explosion may cause a chain reaction that will wipe out all mankind. Woven into the proceedings is an unnecessary but innocuous romance between idealistic young scientist Matt Cochran (Tom Drake) and his new bride Anne (Beverly Tyler), who cannot understand why she and her husband are forced to live in isolation with scores of other scientists and their families because Matt, like his associates, has been sworn to total secrecy. Though the Cochrans are fictional, many real-life participants in the Manhattan Project are depicted herein, including J. Robert Oppenheimer (played by Hume Cronyn), Enrico Fermi (Joseph Calleia), Albert Einstein (Ludwig Stossel) and Col. Paul Tibbetts (Barry Nelson), pilot of the bomb-bearing Enola Gay. Refreshingly free of propagandizing, Beginning or the End would make an excellent companion feature to Fat Man and Little Boy (1990), a highly politicized retelling of the same events. ~ 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

This Casablanca-esque spy thriller set during WWII centers on the exploits of the notorious "Flying Dutchman," a fugitive resistance leader from Holland who heads for Lisbon where he hooks up with other members of the underground. One of them is a beautiful young woman, and none of the others trust her because she is married to an important German official. For the resistance leader, real trouble comes when he is framed for the murder of a fellow agent. Still he escapes from prison and hides out with his other colleague while he works to prove that he is innocent and carry out a major secret mission for the resistance. ~ Sandra Brennan, All Movie Guide

The time is World War II. A group of disillusioned French soldiers are approached by Nazi troops and promised safe passage to their homeland. The Frenchmen willingly surrender, only to discover that their next destination is a German concentration camp located near a Gallic village. The anticipated escape attempt results in an uprising from the French villagers--hence the film's title, which refers to the emblem of the Free-French underground. Cross of Lorraine compensates for its Hollywood's-eye view of France (no more realistic than the Paris of the Ernst Lubitsch musicals) with some remarkably graphic sequences showing the extent of German brutality. The melting-pot cast includes Frenchman Jean-Pierre Aumont as a patriot, Hungarian Peter Lorre as a hateful Nazi, American Gene Kelly as a cynical victim of German torture, and Canadian Hume Cronyn as the traditionally rodent-like informer. ~ Hal Erickson, All Movie Guide

Dashiel Hammett's The Glass Key, a tale of big-city political corruption, was first filmed in 1935, with Edward Arnold as a duplicitous political boss and George Raft as his loyal lieutenant. This 1942 remake improves on the original, especially in replacing the stolid Raft with the charismatic Alan Ladd. Brian Donlevy essays the role of the boss, who is determined to back reform candidate Moroni Olsen, despite Ladd's gut feeling that this move is a mistake. Ladd knows that Donlevy is doing a political about-face merely to get in solid with Olsen's pretty daughter Veronica Lake. It is Ladd who is left to clean up the mess when crime lord Joseph Calleila murders Olsen's wastrel son Richard Denning and pins the rap on Donlevy. As Ladd struggles to clear Donlevy's name, he falls in love with Lake--when he's not being pummeled about by Calleila's psychopathic henchman William Bendix. Far less complex than the Dashiel Hammett original (and far less damning of the American political system), The Glass Key further increased the box-office pull of Paramount's new team of Alan Ladd and Veronica Lake. ~ Hal Erickson, All Movie Guide

One of the most schizophrenic films ever to come out of the Paramount "B" mill, The Monster and the Girl starts out as a white-slavery melodrama and ends up as a horror picture! Emerging from the fog, heroine Susan Webster (Ellen Drew) tells her woeful tale to the audience. A young innocent from The Sticks, Susan arrives in New York to seek work as an actress, but instead is tricked into a sham marriage with Larry Reed (Robert Paige). Awakening "the morning after", Susan is informed that her missing husband is not her husband, and that, as a fallen woman, there is only one avenue of livelihood open to her-as one of the "paid hostesses" in the stable of gangster Bruhl (Joseph Calleia). Learning of his sister's plight, church organist Scot Webster (Philip Reed) shows up in town to set things right, only to be framed for murder by Bruhl and his mob. After his execution, Scot's body is appropriated by mad scientist Dr. Parry (George Zucco), who hopes to transplant the dead man's brain into the body of a gorilla. Driven by impulses it can't resist, the big ape escapes from his cage to kill off all those responsible for Susan's ruin and Scot's death. Undeniably fascinating, The Monster and the Girl is also undeniably silly at times, especially in the opening scenes, in which the censor-plagued screenwriters work overtime not to overtly state that Susan Daniels has been forced into prostitution. ~ 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

Director Rouben Mamoulian often claimed that he'd been inspired to make Golden Boy after reading a newspaper clipping about a recently deceased boxer. While Mamoulian may have genuinely believed that he was the true "auteur" of Golden Boy, he probably wouldn't have made the picture at all had not Clifford Odets started the ball rolling by writing the property for the stage in 1936. In his first starring role, William Holden plays Joe Bonaparte, a promising young boxer. While boxing promoter Tom Moody (Adolphe Menjou) and Menjou's mistress Lorna Moon (Barbara Stanwyck) urge Joe to pursue a ring career, Joe's Italian father (played with a surfeit of Chico Marx by 27-year-old Lee J. Cobb) wants his boy to become a famous violinist. Moody tells Lorna to romance the boy to get him into the ring. She does so, but regrets her callous actions when she genuinely falls in love with Joe. Having already broken his father's heart, Joe is further devastated when he accidentally kills a ring opponent. In the original play, both Joe and Lorna pay for their "sins" by dying in an auto accident. This would never do in Hollywood, so at fadeout time the chastened Joe returns to his forgiving father, with a tearful Lorna by his side. Clifford Odets' overrated purple prose seems to flow naturally from the actors, though it is obvious that William Holden had a long way to go. Still, Holden is pretty good in his first bonafide lead, a fact that he would ever after attribute to the patience and encouragement of his co-star Barbara Stanwyck; each year on the anniversary of Golden Boy's Hollywood premiere, Holden would send Stanwyck flowers as a sign of his eternal gratitude. While much of Golden Boy seems like a cliche-ridden museum piece when seen today, the film comes to life during the boxing sequences, helmed in exciting montage fashion by the always innovative Rouben Mamoulien. ~ 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

M.G.M.'s opulent costume drama Marie Antoinette marked a return to the screen after a two-year absence for reigning Queen of M.G.M. Norma Shearer. Shearer plays the title role of an Austrian princess who is married off to Louis Auguste (Robert Morley), the Dauphin of France. Marie, by becoming the Dauphine, finds herself plopped smack in the middle of French palace intrigue between Louis's father King Louis XV (John Barrymore) and his scheming cousin, the Duke of Orleans (Joseph Schildkraut). With Louis unable to consummate his marriage to Marie, she takes to holding elaborate parties and gambling her fortune away. In a casino, she meets the handsome Count Axel de Fersen (Tyrone Power) and they have an affair. But when Louis XV dies and Louis becomes King Louis XVI, Fersen takes his leave, telling her that he could carry on an affair with a dauphine but not the Queen of France. Marie vows to be a great queen and remain loyal to her king. But the Duke of Orleans is plotting against Louis XVI, financing the revolutionary radicals. When the monarchy is overthrown, Louis and Marie are thrown into prison, awaiting execution. But when word gets back to Fersen, he travels back to France in an attempt to rescue Marie. ~ Paul Brenner, 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

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