Stanley Prager Movies

Guy Madison has a high old time as a would-be feudal baron in the Wild West. No one is willing to stand up to Madison and his henchmen-no one, that is, except mild-mannered inventor Tom Bosley. It seems that Bosley has welded together a robot gunslinger, whom he calls "The Bang Bang Kid". Only trouble is, the "Kid" breaks down at the darnedest times. The film goes off in too many directions, but generally delivers the goods laugh-wise. ~ Hal Erickson, All Movie Guide

Inspired by the 1949 hit A Letter to Three Wives, this takes the other side of the coin with a deceased playboy leaving letters to the husbands accusing their wives of having had affairs with him. Although the 1949 hit was done as a dramatic treatise on the reactions of the wives to the revelations, this movie is played strictly for laughs as the husbands stumble all over themselves trying to dig out the truth behind the allegations. ~ Tana Hobart, All Movie Guide

I'll Get By is an updated remake of the 1940 20th Century-Fox musical Tin Pan Alley. William Lundigan and Dennis Day play William Spencer and Freddie Lee respectively, successful song publishers who make hits out of such numbers as "I Got a Gal in Kalamazoo", "Deep in the Heart of Texas", "You Make Me Feel So Young", "There Will Never Be Another You", and other favorites (the rights to all of these songs were conveniently held by 20th Century-Fox). The partnership has some hard times, especially during the feud between ASCAP and the radio networks, when only public-domain songs like "I Dream of Jeannie" were permitted to be broadcast. Still, Spencer and Lee remain pals throughout, while the boys' romances likewise weather the years. Steve Allen makes a rare film appearance as a wisecracking disc jockey (what a stretch!) while Harry James, Jeanne Crain, Reginald Gardiner, Victor Mature and Dan Dailey show up in uncredited cameos. ~ Hal Erickson, All Movie Guide

This "Joe Palooka" entry concentrates on Joe's porcine pal Humphrey Pennyworth (played by Robert Coogan, the brother of former child star Jackie Coogan). When soft-hearted pugilist Joe Palooka (Joe Kirkwood Jr.) arrives for a bout in Humphrey's home town, everyone gets sucked into a crooked scheme concocted by duplicitous town mayor Phiffeney (Jack Kirkwood). Nothing is meant to be taken seriously in this one, as indicated by the film's climax, which degenerates into an old-fashioned pie fight. As usual, top billing in Humphrey Takes a Chance is bestowed upon Leon Errol as Joe Palooka's dyspeptic manager Knobby Walsh. Joe's girlfriend Anne Howe is played by Lois Collier, the latest in a long line of actresses to essay this role. Also released as Joe Palooka in Humphrey Takes a Chance, the film was inspired by the "Joe Palooka" comic strip by Ham Fisher. ~ Hal Erickson, All Movie Guide

Monogram's low-budget, high-grossing "Joe Palooka" series carries on in this 66-minute entry. Joe Kirkwood plays Joe Palooka, the soft-hearted pugilist created for the funny papers by Ham Fisher. This time, Joe is framed on a bum rap by a group of gamblers who hope to fix the outcome of an upcoming bout. When Joe manages to clear himself, the gamblers go a step farther by having the scrupulously honest boxer accused of murder. On the lam from the law, Joe is forced to solve the murder himself--and he'd better hurry if he's going to get to the Big Fight on time. Virginia Welles is cast as Joe's love interest Ann Howe, while comedian Leon Errol is afforded top billing as Joe's manager Knobby Walsh. ~ Hal Erickson, All Movie Guide

The definitive Joseph H. Lewis-directed melodrama, Gun Crazy is the "Bonnie and Clyde" story retooled for the disillusioned postwar generation. John Dall plays a timorous, emotionally disturbed World War II veteran who has had a lifelong fixation with guns. He meets a kindred spirit in carnival sharpshooter Peggy Cummins, who is equally disturbed -- but a lot smarter, and hence a lot more dangerous. Beyond their physical attraction to one another, both Dall and Cummins are obsessed with firearms. They embark on a crime spree, with Cummins as the brains and Dall as the trigger man. As sociopathic a duo as are likely to be found in a 1940s film, Dall and Cummins are also perversely fascinating. As they dance their last dance before dying in a hail of police bullets, the audience is half hoping that somehow they'll escape the Inevitable. Some critics have complained that Dall is far too effeminate and Cummins too butch, but Joseph H. Lewis was never known to draw anything in less than broad strokes: recall the climax of Terror in a Texas Town, wherein Sterling Hayden participates in a western showdown armed with a whaler's harpoon. The best and most talked-about scene in Gun Crazy is the bank robbery sequence, shot in "real time" from the back seat of Dall and Cummins' getaway car. Originally slated for Monogram release, Gun Crazy enjoyed a wider exposure when its producers, the enterprising King Brothers, chose United Artists as the distributor. The film was based on a magazine article by MacKinlay Kantor; one of the scenarists was uncredited blacklistee Dalton Trumbo. ~ Hal Erickson, All Movie Guide

Ham Fisher's comic-strip pugilist Joe Palooka is once more visualized on-screen in Monogram's Winner Take All. In this one, soft-hearted boxer Joe (Joe Kirkwood) is approached by a trio of gamblers, who want him to throw an upcoming bout. Naturally he refuses, but has cause to regret this decision when the crooks claim to have kidnapped Joe's young ward Tommy (Stanley Clements). When he discovers that the abduction is a hoax, Joe wins the fight and settles accounts with the bad guys. William Frawley costars as Joe's trainer Knobby Walsh (a role played in subsequent "Joe Palooka" entries by Leon Errol), while Elyse Knox, real-life wife of athlete Tom Harmon, plays Palooka's ever-loving fiancee Ann Howe. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

Stork Bites Man was the last of five short-length features from Comet Productions, a company owned by Mary Pickford, her husband Charles "Buddy" Rogers, and former Columbia executive Ralph Cohn. Jackie Cooper plays Ernie, an apartment-house manager whose wife Peg (Gena Roberts) is several months pregnant. The trouble is, Ernie's boss Kimberly (Emory Parnell) can't stand babies, meaning that our hero will be evicted at the moment of the kid's entry into the world. But things are set right through the intervention of an invisible stork (shades of Harvey), who offers Ernie counsel and advice. Only fitfully funny, Stork Bites Man is brightened by the presence of veteran burlesque comedian Gus Schilling, making a meal of his role as a nursery-supply peddler (a picture of Schilling from this film is prominently featured in The Versatiles, a 1970 book on Hollywood character actors). ~ Hal Erickson, All Movie Guide

Doll Face is one of two attempts by 20th Century Fox to make a movie star out of crooner Perry Como (the other was If I'm Lucky). Actually, Como is but a cog in the wheel of the main plot, which involves Doll Face (Vivian Blaine), a stripteaser with artistic pretensions. On the advice of her manager/boyfriend, Mike Hannegan (Dennis O'Keefe), Doll Face undergoes a "refinement" process. The next step for the girl is to write an intellectual autobiography, for which ghostwriter Gerard (Michael Dunne) is engaged. Forget the plot, and concentrate on the production numbers performed with gusto by Blaine, Como, and Carmen Miranda. Doll Face is based on The Naked Genius, a play by Louise Hovick -- better known as striptease artist Gypsy Rose Lee. ~ Hal Erickson, All Movie Guide

A Guest in the House is an involving psychological melodrama, well directed and acted, concerning a young woman's obsessive love. Evelyn (Anne Baxter), an emotionally vulnerable and unstable woman, stays at the home of her doctor Dan Proctor (Scott McKay). There she meets and falls in love with his brother, Douglas (Ralph Bellamy), who is happily married to Ann (Ruth Warrick). Evelyn then sets forth to break up the happy marriage and win the love of Douglas -- with tragic results. A Guest in the House directed by John Brahm, aided by Andre De Toth and Lewis Milestone, who are uncredited, is a sensitive, well-acted melodrama. Baxter gives a fine performance as the unstable young woman, who cannot overcome her obsessions. The fine musical score, composed by Werner Janssen, was nominated for an Academy Award. ~ Linda Rasmussen, All Movie Guide

Adapted from the high school drama-class perennial by Jerome Chodhorov and Joseph Fields, Junior Miss stars Peggy Ann Garner as a troublesome teenager. Garner means well, but can't help meddling in the affairs of her father (Allyn Joslyn) and other unsuspecting grownups. Most of the story revolves around Peggy's matchmaking habits: she pairs up her uncle (Milo O'Shea) with the daughter of her father's employer, which nearly loses dad his job. The mess sorts itself out before the third-act curtain, with Garner promising to mind her own business...until next time. Keep an eye out for a brief appearance by a young Mel Torme. ~ Hal Erickson, All Movie Guide