Frank O'Connor Movies

To make the Rising of the Moon, American filmmaker John Ford returned to his Irish roots. An obscure and highly personal film for Ford, it is comprised of three episodes--each offering insight into Irish culture and values. All are introduced by Tyrone Power. In "The Majesty of the Law," a police officer is assigned to arrest an Irish curmudgeon who hit the neighbor who sold him a lousy batch of homemade whiskey. But this is no ordinary arrest as the old man is a traditionalist who loathes the new directions his beloved Eire is going. Out of respect, the cop eschews his car and walks to his cottage. The two have a conversation and the old man mourns the loss of the old ways and expresses his frustration over the encroachment of modern amenities that are destroying the Irish heritage. The sympathetic cop offers to free him if the old man will pay a small fine, but though the codger has more than enough to pay it, he refuses on principal. Even when the man who filed the charges offers to pay the fine, the coot refuses to give in and stoically heads off to serve his time. As he walks with the officer to the jail, the whole town comes out to honor the old man. Set at a train station "A Minute's Wait" offers a humorous look at Irish conceptions of time as train's brief scheduled stop to pick up some lobsters for an important dinner stretches out into a long, leisurely pause. The final vignette, "1921" features members of Dublin's Abbey Theatre and tells the story of how they engineer an elaborate rescue of an Irish patriot from prison. ~ Sandra Brennan, Rovi

After several years of supporting roles, Edward Arnold once again enjoys top billing in the independently produced Man of Conflict. Arnold plays powerful industrialist J. R. Compton, who tries to force his son Ray (John Agar) to become as ruthless and hard-hearted as his dad. But Ray is cut from a different cloth; he treats the employees like human beings, rather than automatons. The father-son conflict rages on until the elder Compton finally realizes that his way is not always the best way. Well cast with some of the best character actors in the business, Man of Conflict makes up in good intentions and good acting what it lacks in production values. ~ Hal Erickson, Rovi

Gene Autry's summer release for 1953 was the 56-minute Pack Train. In this one, Autry is assigned to safely transport supplies to a band of settlers. The villains, headed by Ross McLain (Kenne Duncan), intend to bushwhack Autry, grab the supplies, and sell them at high prices to a local mining camp. It must needs be that Autry and the bad guy duke it out in the final reel; the climactic fight, which takes place on a speeding train, is the best scene in the film. McLain's partner in crime is played by Sheila Ryan, the real-life wife of Gene Autry's perennial sidekick Pat Buttram (who also appears in the film). The heroine in Pack Train is Autry-contractee Gail Davis, who later in 1953 began filming on her own TV series, Annie Oakley. ~ Hal Erickson, Rovi

Flight to Mars is the second American film of the postwar era (after the previous year's Rocketship X-M) to depict a manned space trip to the Red Planet. Leading-man responsibilities are evenly divided between Arthur Franz as brilliant scientist Dr. Jim Barker and Cameron Mitchell as two-fisted reporter Steve Abbott. Both men make the journey to Mars, finding time along the way to battle over the affections of leading lady Virginia Huston. Upon landing on Mars, the earthlings learn that planetary leader, Ikron (Morris Ankrum, a fixture of 1950s sci-fi), intends to conquer the world. Fortunately a group of good Martians are on hand to lend moral and physical support to the heroes. ~ Hal Erickson, Rovi

Set in a rugged Northwest logging camp, this drama follows the exploits of the lumberjack who inherits the camp. For a long time, he has been courting a pretty young thing, and now that she believes him wealthy, she decides to finally accept his proposal. When she finds out that the company has many financial woes and that living in the woods takes guts and courage, she turns into a nagging shrew, constantly urging him to sell-out to a major corporation. Meanwhile his treacherous foreman, an agent of the bigger company, uses sabotage to change the stubborn camp owner's mind. A big forest fire flushes out the rest of the traitors and makes the wife realize that she loves her husband after all. ~ Sandra Brennan, Rovi

Though the hit song "Mule Train" is most closely associated with Frankie Laine, it was Gene Autry who first sang the tune on film, in a picture titled ... what else? .... Mule Train. This time, Autry plays a federal marshal who comes to the aid of a grizzled old prospector who has been framed for murder. The villain, Sam Brady (Robert Livingston), wants to appropriate the prospector's land, and he isn't particular as to how he achieves that goal. Leading lady Sheila Ryan plays a female sheriff who is on Brady's side at first, but who later realigns herself with Autry. Ryan later became the wife of Pat Buttram, who also appears in Mule Train in his usual role as Gene Autry's comical sidekick. ~ Hal Erickson, Rovi

Who is The Phantom Ruler? That's the question posed by the 12-part Republic serial The Invisible Monster. Using four illegal European aliens as his minions, the Phantom Ruler-possessed with the power of invisibility, as indicated by the title-goes on an unchecked crime spree. Insurance company investigator Richard Webb (later TV's Captain Midnight) is assigned to determine the identity of the Phantom Ruler, and to put the cuffs on him. Both Webb and his assistant Aline Towne are subjected to any number of life-threatening perils before justice is meted out in the final chapter. One of the best of the later Republic chapter plays, The Invisible Monster is also available in a 100-minute feature version, The Invisible Monster Strikes. ~ Hal Erickson, Rovi

In this suspenseful espionage actioner, the US radar defense system is about to be breached by enemy saboteurs and now only agent Chris Calvert and research-scientist Joan Hughs can stop them. ~ Sandra Brennan, Rovi

To stop a madman from blowing up New York City, a researcher dons a flying suit and prepares for battle in this serial, later re-editing into the feature Lost Planet Airmen. ~ Jason Ankeny, Rovi

For their first independently-produced vehicle, Bud Abbott and Lou Costello chose to appear in a remake of the 1939 Universal programmer For Love or Money. Bud and Lou are cast as Ted and Tommy, two bumbling window washers hired by gangster Mike Craig (Joseph Calleila) to collect a $50,000 gambling debt. The boys manage to pick up the money, only to deliver it to the wrong person, a pretty private secretary named Carol (Cathy Downs). Ordered to retrieve the money within 24 hours "or else," Ted and Tommy trace the cash to Carol, who has mistakenly distributed it amongst the entries in a mailing list. As our heroes desperately concoct methods of escaping Craig's wrath, eccentric gambler Julius Caesar McBride (Leon Errol), the man who "never loses," comes to the rescue. Despite its seeming complexity, the plot exists merely as a peg on which to hang several of Abbott and Costello's best routines, including "Bet you 10 dollars you're not here," "Hole in the Wall," "Packing and unpacking," "Getting Arrested," and, best of all, "Mudder and Fodder." Beyond the seven credited actors, the huge unbilled supporting cast includes such reliable laugh-getters as Benny Rubin, Murray Leonard, Elvia Allman, Herb Vigran, Fred Kelsey, James Flavin, Lyle Latell, Isabel Randolph and Paul Maxey. ~ Hal Erickson, Rovi

This action adventure centers on the attempts of the courageous Canadian cops to stop crooks from finding a fabulous hidden treasure. ~ Sandra Brennan, Rovi

John Garfield, in the best performance of his career, portrays Joe Morse, an ambitious attorney who has long since abandoned his scruples in favor of monetary reward. Morse now represents the interests of crime boss Ben Tucker (Roy Roberts), who plans to take over the numbers racket in New York. Morse has devised a way of doing this legally and above-board, with no violence: Tucker's people will bring about the collapse of the illegal numbers racket in the city, using a race track-betting scam that will bankrupt the small-time underworld numbers banks; an investigation will ensue, along with a call for a legal numbers operation in the form of a lottery, which Tucker will control through Morse's machinations. The whole plan hinges on Morse's estranged brother, Leo (Thomas Gomez), a small-time numbers banker who is to be shielded from the collapse, and who will serve as the "legitimate" front for Tucker. Leo is the flaw in the plan, however, because not only can't he stand the sight of Joe, but he is also too honest to participate in the plan -- he doesn't want his employees, all decent people just looking to earn a living, forced into the employ of real gangsters. Joe orchestrates a series of police raids that force Leo into his corner, and Joe's plan seems to be working out, but then the whole enterprise is threatened when a rival mob, run by Tucker's former Prohibition-era partner, Fico (Paul Fix), starts pressuring Leo, trying to get to Joe and Tucker. Fico and his men aren't any different from Tucker's mob, except that they're prepared to start shooting sooner to get what they want. Tucker decides to hang tough and expects everyone, including Leo, to do the same, even when Fico starts sending thugs around to frighten everyone. Soon Joe is beset by problems on three fronts -- he wants his brother out of Tucker's combination and safe; he is trying to romance Leo's bookkeeper (Beatrice Pearson), who is too nice a girl for who he is; and his own well-being is threatened by both Fico and Tucker, and a state investigator who has already tapped the phone of Joe's otherwise respectable partner. All of these threads are pulled together in the final section of the film, which is as violent and disturbing, yet poetic and graceful a resolution as any crime film of the 1940s ever delivered. Force of Evil was star-crossed almost from the start, as many of the people involved, including star John Garfield and director Abraham Polonsky (a writer making his debut behind the camera, with help from assistant director Don Weis in doing the camera set-ups and blocking), were suspect at the time for their leftist political views. Indeed, the company that made Force of Evil, Enterprise Productions, was also in trouble for the leftist leanings of its films in the midst of the Red Scare, and went out of business just as the movie was finished -- dropped by United Artists and picked up by MGM, of all studios, Force of Evil made it into theaters during Christmas week of 1948, not the ideal schedule for something as grim (albeit great) as this film was. As it turned out, it was Polonsky's last chance to direct for more than 20 years, and Garfield's last completely successful film. And a movie that should have been a triumph for all concerned ended up a cult favorite. ~ Bruce Eder, Rovi