Alfred Newman Movies

For many years, Hollywood movie music has been looked down upon and ignored by critics as a valid and important form of musical expression. This documentary persuasively argues on behalf of movie music as it follows the BBC National Orchestra of Wales as they re-record popular themes, synchronized precisely to the original film clips. As they play, viewers are treated to passages from such famous films as Gone with the Wind, Bride of Frankenstein and The Adventures of Robin Hood. In between playing, conductor John Mauceri discusses the films that inspired him as a boy. He also provides insight into the ways that movie music enhances the subtle and overt themes of the feature. Insight and background into the music's creation from the composers such as Erich Korngold, David Raskin, and Alfred provides a fascinating counterpoint to the performances. ~ Sandra Brennan, All Movie Guide

Jimmy Stewart and Henry Fonda headline this western in which an old lawman (Stewart) attempts to keep his town safe from a band of recent returnees from the Missouri range wars and their villainous leader (Fonda), who threaten to destroy it with their drunken revelry. The old sheriff usually avoids the town, preferring to live on the outskirts of town with his pregnant wife. He is a bit of a pacifist, and when he sees what the outlaws are doing to the peaceful little village, he decides he must intervene, as no one in town seems to have the grit to fight back. At first the lawman attempts to reason with the outlaws. He fails at this, and even more violence ensues, forcing the sheriff to use a stronger form of persuasion. ~ Sandra Brennan, All Movie Guide

Henry Hathaway's film is based on a character from Harold Robbins' The Carpetbaggers, who, in turn, based it on cowboy actor Ken Maynard. Set in the West of the 1890s, the film opens with the torture and murder of the parents of Max Sand (Steve McQueen) by a trio of gunslingers seemingly motivated by their hostility toward the mixed nature of the marriage, since the wife is a Native American. Swearing revenge, the young cowhand enlists the help of itinerant gunsmith Jonas Cord Brian Keith, who teaches him how to shoot while counseling against revenge. Nonetheless, Sand doggedly scours one town after the other before finally running up against one of the murderers, Jesse Coe (Martin Landau). He finally kills Coe in a vicious knife fight, but is severely wounded himself and has to be nursed back to health by Neesa (Janet Margolin), a young Kiowa woman. He next heads for Louisiana where another of the murderous trio, Bill Bowdre (Arthur Kennedy), is serving a prison sentence in a remote swamp. In order to get close to the man, Sand stages a robbery, and is soon among the prison inmates. This was the only film on which McQueen worked with Landau, the only other person admitted to the Actor's Studio out of thousands of applicants in 1957. ~ Michael Costello, All Movie Guide

In this tense espionage drama set in 1942, William Holden plays Eric Erickson, an American-born Swede who is put on the Allied blacklist for trading oil with the Nazis. Collins (Hugh Griffith), a British intelligence agent, offers to expunge Erickson's name from the blacklist after the war in return for information on the Nazis. Erickson agrees to the plan and proceeds to make it look as if he is pro-Nazi. This subterfuge causes him to be branded a traitor, and his wife, believing Eric to be a Nazi, walks out on him. Nevertheless, Eric continues with his deceit and makes the Germans think that he is planning to construct an oil refinery in Sweden to serve as a fuel supply for Germany. As a result he is allowed entrance to four German oil refinery, and he passes on the information to Collins. But Eric is being put under surveillance by the Nazis. They discover that Eric's lover, Marianne (Lilli Palmer) is working for the Allies. Suddenly both Marianne and Eric are arrested and thrown into Moabit Prison -- with dire consequences for both of them. ~ Paul Brenner, All Movie Guide

Like Pontius Pilate, director John Ford asks "What is truth?" in The Man Who Shot Liberty Valance--but unlike Pilate, Ford waits for an answer. The film opens in 1910, with distinguished and influential U.S. senator Ransom Stoddard (James Stewart) and his wife Hallie (Vera Miles) returning to the dusty little frontier town where they met and married twenty-five years earlier. They have come back to attend the funeral of impoverished "nobody" Tom Doniphon (John Wayne). When a reporter asks why, Stoddard relates a film-long flashback. He recalls how, as a greenhorn lawyer, he had run afoul of notorious gunman Liberty Valance (Lee Marvin), who worked for a powerful cartel which had the territory in its clutches. Time and again, "pilgrim" Stoddard had his hide saved by the much-feared but essentially decent Doniphon. It wasn't that Doniphon was particularly fond of Stoddard; it was simply that Hallie was in love with Stoddard, and Doniphon was in love with Hallie and would do anything to assure her happiness, even if it meant giving her up to a greenhorn. When Liberty Valance challenged Stoddard to a showdown, everyone in town was certain that the greenhorn didn't stand a chance. Still, when the smoke cleared, Stoddard was still standing, and Liberty Valance lay dead. On the strength of his reputation as the man who shot Valance, Stoddard was railroaded into a political career, in the hope that he'd rid the territory of corruption. Stoddard balked at the notion of winning an election simply because he killed a man-until Doniphon, in strictest confidence, told Stoddard the truth: It was Doniphon, not Stoddard, who shot down Valance. Stoddard was about to reveal this to the world, but Doniphon told him not to. It was far more important in Doniphon's eyes that a decent, honest man like Stoddard become a major political figure; Stoddard represented the "new" civilized west, while Doniphon knew that he and the West he represented were already anachronisms. Thus Stoddard went on to a spectacular political career, bringing extensive reforms to the state, while Doniphon faded into the woodwork. His story finished, the aged Stoddard asks the reporter if he plans to print the truth. The reporter responds by tearing up his notes. "This is the West, sir, " the reporter explains quietly. "When the legend becomes fact, print the legend." Dismissed as just another cowboy opus at the time of its release, The Man Who Shot Liberty Valance has since taken its proper place as one of the great Western classics. It questions the role of myth in forging the legends of the West, while setting this theme in the elegiac atmosphere of the West itself, set off by the aging Stewart and Wayne. ~ Hal Erickson, All Movie Guide

Based on a play by Samuel Taylor and Cornelia Otis Skinner, The Pleasure of His Company is an old-fashioned romantic comedy. Fred Astaire plays Biddeford "Pogo" Poole, the long-absent prodigal father of Jessica Poole (Debbie Reynolds), who is just about to be married. Much to the dismay of his ex-wife, Katharine (Lilli Palmer), and her new husband, James Dougherty (Gary Merrill), Pogo shows up at the wedding. To get back into the family circle, he puts on the old charm, but before film's end realizes that charm alone is no substitute for parental responsibility. Charlie Ruggles makes a wry turn as Pogo's former father-in-law. ~ Hal Erickson, All Movie Guide

The only Rodgers and Hammerstein cinemadaptation to be produced by Universal Pictures, Flower Drum Song was, alas, also the only Rogers and Hammerstein film to lose money at the box office. It looks far better now than it did back in 1961, if only because of the paucity of musical films in the 1990s. Essentially a comedy about the culture clash between old-world Chinese and assimilated Chinese-Americans, the film begins when Mei Li (Miyoshi Umeki) and her grandfather (Kam Tong) smuggle themselves into San Francisco. It seems that Mei Li has arrived to honor an arranged marriage between herself and Runyonesque nightclub owner Sammy Fong (the incomparable Jack Soo). This might prove delicate, since Sammy is in love with flashy cabaret entertainer Linda Low (Nancy Kwan). Meanwhile, Linda is romancing Wang Ta (James Shigeta), the son of a wealthy Chinatown merchant (Benson Fong). Soon, however, Mei Li and Wang Ta have fallen in love.......It's a complex plot, to be sure, but comedy and music manage to predominate. The songs include "I Enjoy Being a Girl" (a tour de force for the special effects department, and for Nancy Kwan), "A Hundred Million Miracles," "The Other Generation," "Love Look Away," "I Am Going to Like It Here," "Don't Marry Me," "You Are Beautiful," "Grant Avenue" and "Chop Suey." Flower Drum Song is attractively produced and consummately acted; while no classic along the lines of King and I or Sound of Music, it deserves a second look. ~ Hal Erickson, All Movie Guide

Director Henry Levin followed up this light romantic comedy with Where the Boys Are and started a beach trend going. This conventional story stars one of his favorite actors Clifton Webb as Robert Dean, the father of two lively teen-age daughters. He and his wife Mary (Jane Wyman) accompany their daughters on a South American junket. Meg (Jill St. John) and Betsy (Carol Lynley the 17-year-old model turned actress) are the teens. Since Robert is a psychiatrist, one would assume he has the inside scoop on the teen years, but as the family make stops in Lima, Sao Paulo, and Rio de Janeiro it is clear that the daughters are winning the day. Handsome young men enter the picture, and it is not long before romance follows right behind. ~ Eleanor Mannikka, All Movie Guide

Producer/director Joshua Logan's long-awaited filmization of Rodgers & Hammerstein's Pulitzer Prize winning musical South Pacific was not the classic that everyone hoped it would be, principally because of some curious creative choices made by the production personnel. Adapted from James A. Michener's best-selling novel Tales of the South Pacific, the film stars Mitzi Gaynor as WAVE officer Nellie Forbush, who while stationed overseas during World War II falls in love with wealthy French planter Emile De Becque (Rosanno Brazzi). The Navy would like DeBecque to help them in a reconnaissance mission against the Japanese, but he refuses; having run away from the outside world after killing a man in his home town, De Becque sees no reason to become involved in a war which he did not start and in which he has no interest. But when Nellie, her inbred bigotry aroused when she discovers that Emile has two mixed-race children, refuses his proposal of marriage, DeBecque, having nothing to lose, agrees to go on the mission. His partner in this venture is Lt. Joseph Cable (John Kerr), who like Nellie is a victim of prejudicial feelings; Cable has previously thrown away a chance at lasting happiness by refusing to marry Liat (France Nuyen), the dark-skinned daughter of Tokinese trader Bloody Mary (Juanita Hall). When Cable is killed and DeBecque is seemingly lost in battle, Nellie, realizing the stupidity of her racism, prays for Emile's safe return. The dramatic elements of South Pacific are offset by the low-comedy antics of "Big Dealer" seabee Luther Billis (Ray Walston). Outside of Walston and Hall, both repeating their stage characterizations, South Pacific suffers from a largely noncharismatic cast. Mitzi Gaynor never rises above cuteness in the difficult role of Nellie Forbush, while Rosanno Brazzi (whose singing is dubbed by Giorgio Tozzi) seems to be striking poses rather than acting as Emile DeBecque. These casting deficiencies might have been ignored had not South Pacific been laboring under an additional handicap: director Joshua Logan's decision to use colored filters in several key scenes, representing the emotions experienced by the actors. The constant color shift is more unsettling than attractive, drawing attention to Logan's technique and thereby taking the audience "out" of the picture. With all this going against it, however, South Pacific has much to be treasured. For one thing, all of Rodgers & Hammerstein's immortal songs--"Some Enchanted Evening," "Bali H'ai," "There is Nothing Like a Dame," "I'm in Love With a Wonderful Guy," "Younger Than Springtime" etc.--are retained, and, as a bonus, a song cut from the original stage production, "My Girl Back Home," is revived herein. In addition, the film is a bonanza for movie buffs who enjoy playing "spot the bit player:" among the supporting-cast ranks are Tom McLaughlin, Ron Ely, Doug McClure, John Gabriel and James Stacy (rumors persist that Joan Fontaine shows up unbilled as a nurse, but we've yet to spot her). Though artistically disappointing, South Pacific ended up one of the biggest box-office gold mines of the 1950s. ~ Hal Erickson, All Movie Guide

April Love is a musicalized remake of 1944's Home in Indiana. Pat Boone stars as a potential juvenile delinquent who is sent to work on a Kentucky farm. When he meets apple-cheeked local girl Shirley Jones, Boone decides that mending his ways might be an option. Before long, he is devoting himself to the task of training a horse to become a winning trotter. Nominated for an Academy Award, the film's title song proved to be one of Pat Boone's most durable hits. April Love benefits from its actual Lexington, Kentucky locations, lovingly photographed in CinemaScope and Deluxe Color by Wilfred Cline. ~ Hal Erickson, All Movie Guide

The King and I, Richard Rodgers and Oscar Hammerstein's 1951 Broadway musical hit, was based on Margaret Landon's book Anna and the King of Siam. Since 20th-Century-Fox had made a film version of the Landon book in 1946, that studio had first dibs on the movie adaptation of The King and I. Deborah Kerr plays English widow Anna Leonowens, who comes to Siam in the 1860s to tutor the many wives and children of the country's progressive King (Yul Brynner, recreating his Broadway role-and winning an Oscar in the process). The culture clash between Anna and the King is but one aspect of their multilayered relationship. Through Anna, the King learns the refineries and responsibilities of "modern" western civilization; Anna meanwhile comes to realize how important it is for an Oriental ruler to maintain his pride and to uphold the customs of his people. After a successful evening entertaining foreign dignitaries, Anna and the King celebrate with an energetic dance, but this is cut short by a bitter quarrel over the cruel punishment of the King's new Burmese wife Tuptim (Rita Moreno), who has dared to fall in love with someone else. Despite the many rifts between them, Anna and the monarch come to respect and (to a degree) love one another. When the King dies, Anna agrees to stay on to offer help and advice to the new ruler of Siam, young Prince Chulalongkhorn (Patrick Adiarte). In general, The King and I tends to be somewhat stagey, with the notable exception of the matchless "Small House of Uncle Thomas" ballet, which utilizes the Cinemascope 55 format to best advantage (the process also does a nice job of "handling" Deborah Kerr's voluminous hoopskirts). Most of the Broadway version's best songs ("Getting to Know You", "Whistle a Happy Tune", "A Puzzlement", "Shall We Dance" etc.) are retained. None of the omissions are particularly regrettable, save for Anna's solo "Shall I Tell You What I Think of You?" This feisty attack on the King's chauvinism was specially written to suit the talents of Gertrude Lawrence, who played Anna in the original production; the song was cut from the film because it made Deborah Kerr seem "too bitchy" (Kerr's singing, incidentally, is dubbed for the most part by the ubiquitous Marni Nixon). When all is said and done, the principal attraction of The King and I is Yul Brynner, in the role that made him a star and with which he will forever be identified. ~ Hal Erickson, All Movie Guide

In this cinemadaptation of William Inge's Broadway comedy Bus Stop, Marilyn Monroe is cast as Cherie, a fifth-rate nightclub chanteuse who captures the heart of Montana rodeo champ Bo (Don Murray). He, in turn, kidnaps Cherie and bundles her off to the roadside bus stop of the title. Gradually, the headstrong Bo learns that you can't rope a gal the same way you lasso a steer, but before this happens his face is rearranged by gallant bus driver Carl (Robert Bray). By this time, however, Cherie has fallen in love with her impulsive but basically good-hearted abductor. Others in the cast include Arthur O'Connell as Bo's level-headed travelling companion and "protector" Virgil, Betty Field as down-to-earth bus stop proprietress Grace, and Eileen Heckart as Cherie's confidante Vera. The film later inspired a 1961 TV series. A few TV prints of Bus Stop still exist bearing the alternate title Wrong Kind of Girl. ~ Hal Erickson, All Movie Guide

This last remake (thus far) of the Jean Webster novel Daddy Long Legs was extensively revised to accommodate the talents of Fred Astaire and Leslie Caron. Fragments of the basic plot remain: American millionaire Astaire is the unknown benefactor of French orphan girl Caron, financing the girl's education on the proviso that his identity never be revealed to her. Moved by Caron's letters of thanks, Astaire's secretary Thelma Ritter advises Astaire to go to France to visit the "child". When he arrives, he finds that his ward has grown up rather nicely, and the two fall in love--though Caron never knows until the very end who Astaire really is. The old story has been updated to allow for an elaborate "cowboy" number and a couple of Eisenhower jokes. Highlights include a solo ballet by Caron and a wonderful Astaire routine involving a set of drums. The score for Daddy Long Legs is unremarkable save for Johnny Mercer's hit "Something's Gotta Give". ~ Hal Erickson, All Movie Guide