Alexander Campbell Movies

After purchasing a riverboat from Scotsman Gillespie MacKenzie (Jack Livesey, Bret finds out that MacKenzie has already sold the same boat to seven other people--including his old nemesis, the combustible Modesty Blaine (Mona Freeman). Rather than fight over the matter, the eight owners decide to take the boat to Memphis for resale. En route, the members of the party are killed off one by one by a mysterious assailant...who seems to be deliberately saving Bret and Modesty for his final victims. ~ Hal Erickson, All Movie Guide

This musical comedy takes an off-beat religious turn as it tells the tale of a show-biz priest (Bing Crosby) who runs a Broadway theater for spiritually kindred show-folk. His problems begins when a vivacious but troubled chorine (Debbie Reynolds) shows up with a sad story about her ailing father, a friend of the priest, needing an operation. Touched and eager to help her find work and earn the money to help her daddy. Unfortunately, she ends up performing in a sleazy dive owned by an oily wolf (Robert Wagner) who decides to prey upon the innocent gal. The protective priest tries to dissuade him, but its to no avail, the club owner wants to marry her. Meanwhile, the priest busily prepares to produce a charity television show in conjunction with other priests. It is upon this show that the real romantic and comical chaos occurs. Songs include: "The Girl Most Likely to Succeed", "The Secret of Christmas", and "The Night Rock 'n' Roll Died". ~ Sandra Brennan, All Movie Guide

This Happy Feeling is based on the F. Hugh Herbert play For Love or Money. Debbie Reynolds plays impulsive Janet Blake, who develops a crush on retired stage star Preston Mitchell (Curt Jurgens). Rejuvenated by Janet's ardor, Mitchell decides to return to the stage, where he must contend with predatory leading lady Nita Holloway (Alexis Smith) and pretentious method actor Tony Manza (Troy Donahue). Meanwhile, Janet begins evincing a preference for Mitchell's neighbor Bill Tremaine (John Saxon), who is closer to her own age. Some extra laughs are provided by the booze-laced pancakes served up by pixieish housekeeper Mrs. Early (Estelle Winwood). ~ Hal Erickson, All Movie Guide

Claudette Colbert makes a long-overdue entree into the Western genre in Texas Lady. Looking at least a decade younger than her 50 years, Ms. Colbert plays Prudence Webb, who arrives in the wide-open town of Fort Ralston, Texas, to assume control of her late father's newspaper. Her first major print crusade is aimed at gambler Chris Mooney (Barry Sullivan), whom Prudence holds responsible for her dad's suicide (Mooney isn't, but it takes our heroine nearly eight reels to find this out). She then takes aim at a couple of crooked cattle barons (Ray Collins and Walter Sande), who'd like nothing better than to put Prudence out of the way for keeps. ~ Hal Erickson, All Movie Guide

In this adventure, a man a man is paroled from prison and made to join the army so he can break up an international counterfeiting operation involving an ex- army buddy. they use him to woo the friend's lover and pump her for information. He finds her to be a dry well, but the importing firm she works for is a different story. In the end, the fellow breaks up the gang, wins the heart of the girl, and get back together with his father, a Treasury agent. ~ Sandra Brennan, All Movie Guide

The highly variable Audie Murphy delivers his best screen performance as "himself" in Universal's To Hell and Back. Based on the star's autobiography, this is the story of how Murphy became America's most-decorated soldier during WW II. After dwelling a bit on Murphy's hard-scrabble Texas upbringing, the story moves ahead to 1942, when, at 18, Audie joined the army. Within a year, he was a member of the 7th Army, serving in North Africa, Italy, France and ultimately Germany and Austria. One by one, the members of Murphy's Company B are killed in the war, until only three men from the original company are left (the others appear at the finale as ghostly images, a standard visual cliché of 1950s war films). The bulk of the film is given over to Murphy's conspicuous acts of combat bravery, and his killing of 240 enemy soldiers. Highlighted by excellent battle sequences, To Hell and Back is a serviceable tribute to a most complex individual. ~ Hal Erickson, All Movie Guide

Rails into Laramie is one of the more obscure Universal-International western programmers of the 1950s, but this is no reflection on its entertainment value. John Payne stars as "town tamer" Jefferson Harder, who intends to clean up the wide-open community of Laramie. Everyone knows that the outlaw gang headed by Jim Shanessy (Dan Duryea) is responsible for preventing the railroad from building a line into Laramie, but Shanessy always manages to intimidate the all-male juries into releasing him. He and saloon-hall gal Lou Carter (Mari Blanchard) want to keep the rails out of Laramie so that both can pursue their criminal activities unabated. But when Lou switches sides and aligns herself with Harder, it's the beginning of the end for the scurrilous Shanessy. The film's resolution is "borrowed" from the 1941 western The Lady From Cheyenne and works just as well here as it did in the earlier picture. ~ Hal Erickson, All Movie Guide

Coadapted by The Gordons from their novel Case File FBI, Down Three Dark Streets stars Broderick Crawford as a no-nonsense FBI agent. Hoping to avenge the death of his partner Kenneth Tobey, Crawford almost single-handedly takes on the three investigations which Tobey had been pursuing. One involves a gang of car thieves; the second concerns a fugitive gangster; and the third deals with an extortion racket. Of the three leading ladies--Martha Hyer, Ruth Roman, Marisa Pavan--Ms. Pavan turns the most fascinating performance as the blind witness to a murder. The climax is staged around the fabled "Hollywood" sign that dominates the hills bordering the film capital. Most of the production personnel involved with Down Three Dark Streets would later set up shop at Dick Powell's Four Star Productions. ~ Hal Erickson, All Movie Guide

Made on a miniscule budget primarily financed by its star Franchot Tone, Jigsaw is a strange little crime film. Howard Malloy (Tone), a crusading New York assistant district attorney, is dedicated to exposing a group of supposedly patriotic Americans who have murdered his friend after he discovered that they were truly a fascist "hate group." The group sends Barbara, (Jean Wallace) to seduce and compromise Malloy. Barbara regrets her actions and is murdered as she attempts to confess to Malloy. Malloy now is determined to expose the group. All the loose ends are tied up in the climax, which takes place in a modern art museum. Jigsaw is a competent, uninspired crime drama peppered with cameo appearances by top Hollywood stars including Marlene Dietrich, Henry Fonda, Burgess Meredith and John Garfield. ~ Linda Rasmussen, All Movie Guide

Young model Jean Dexter is knocked unconscious and drowned in her own bathtub in her Manhattan apartment, and a lot of jewelry that she supposedly owned is missing. The Naked City is actually about six days in the life of New York City that coincide with the murder and the subsequent investigation by Lt. Dan Muldoon (Barry Fitzgerald) and Detective James Halloran (Don Taylor). The account of their work, and the workings of the New York City police department, is interspersed with brief vignettes about the life of the city around them, and, especially, the reaction of residents to the murder and the newspaper reports of the progress of the case. Muldoon and Halloran first must determine why she was killed, which may (or may not) have to do with how a woman with a minimal income came by the jewelry -- was it a love affair gone bad (and if so, with whom?), or something more complex and sinister? Retracing the final 18 months of the victim's life, their investigation reaches out to a mysterious "Philip Henderson" with whom she was supposedly linked romantically, and to Frank Niles (Howard Duff), who's a little too fast-and-loose with the truth when he doesn't have to be to make Muldoon comfortable; to make things more complicated, Muldoon determines that there were at least two men involved with the actual commission of the murder. The victim turns out to have led a wild life, filled with men and parties, and was tied up with several sordid figures. Their investigation carries them into the highest and lowest ends of New York's social strata to find the killer, and it turns out there are a lot of interlocking reasons why at least three men might've wanted her dead. In the process, we get glimpses of the private lives of the detectives, which was something new in movies at this time; in the midst of all of this activity, the writers set up a fascinating contrast, in adjacent scenes, between Halloran, his wife, and their young son looking toward the future, with the parents of the dead woman, looking back with bitter regret and recriminations -- no movie ever presented in more subtle fashion the contrast between the zeitgeist of the 1930s and that of the postwar era. The final chase on the Williamsburg Bridge is one of the classic pieces of suspense cinema, as the armed and desperate killer races up the walkway past children playing and adults strolling, while detectives close in on foot from behind and patrol cars come up from ahead, with crowded subways rolling past, and then into the superstructure of the bridge for a stand-off and shootout. Sharp-eyed viewers will spot future character leads Paul Ford, James Gregory, John Marley, Kathleen Freeman, and Arthur O'Connell as well as familiar faces Tom Pedi, John Randolph, Molly Picon, and Walter Burke in the supporting cast. Cinematographer William Daniels and editor Paul Weatherwax won Oscars for their work, but awards might just as easily have been presented to director Jules Dassin, writers Albert Maltz and Malvin Wald, composers Miklos Rozsa and Frank Skinner, and, most notably, to producer/narrator Mark Hellinger, who intoned the closing monologue, which opens with one of the most famous tag lines in movie history: "There are eight million stories in the Naked City." ~ Bruce Eder, All Movie Guide