Gregory Ratoff Movies

Robert Morley is ideally cast as the legendary playwright, poet, and wit Oscar Wilde in this biographical look at the author's tumultuous life. While he was married to a woman named Constance (Phyllis Calvert), Wilde was primarily attracted to men, and at the height of his fame, he became involved with Lord Alfred Douglas (John Neville), the estranged son of the Marquis of Queensberry (Edward Chapman). The Marquis, who disliked Wilde, publicly referred to him as a "sodomite," and Wilde sued for libel. However, in the midst of the resultant trial, Sir Edward Carson (Ralph Richardson) badgered Wilde into admitting his homosexuality under oath; Wilde lost his libel suit, and was then successfully prosecuted for indecency, for which he served two years at hard labor. Wilde died a poor and emotionally shattered man in Paris a few years later. Oscar Wilde was produced at roughly the same time as The Trials of Oscar Wilde, in which Peter Finch played the title role. ~ Mark Deming, Rovi

Produced and directed by Otto Preminger, Exodus is a 212-minute screen adaptation of the best-selling novel by Leon Uris. The film is concerned with the emergence of Israel as an independent nation in 1947. Its first half focuses on the efforts of 611 holocaust survivors to defy the blockade of the occupying British government and sail to Palestine on the sea vessel Exodus. Paul Newman, a leader of the Hagannah (the Jewish underground), is willing to sacrifice his own life and the lives of the refugees rather than be turned back to war-ravaged Europe, but the British finally relent and allow the Exodus safe passage. Once this victory is assured, 30,000 more Jews, previously interned by the British, flood into the Holy Land. ~ Hal Erickson, Rovi

A beautiful English model encounters the romantic advances of an Egyptian ruler. She's more interested in a soldier she's met. Meanwhile "His Majesty" is oblivious to the fact that there are more important things going on in his world than the affections of a lovely girl--his subjects are plotting to overthrow him! ~ Rovi

This is the story of a chaste young TV-commercial actress (Maggie McNamara) who is romanced by a playboy architect (William Holden). Despite all sorts of temptations, the girl refuses the architect's invitation to become his mistress, holding out for marriage or nothing. Meanwhile, middle-aged rake David Niven tries to move in on the girl himself, with an equal lack of success. So why was this harmless little comedy so controversial? It seems that director Otto Preminger decided to film the play as written, retaining such words as "virgin," "seduce," and "mistress" in the script. The antediluvian Motion Picture Production Code refused to approve the film so long as those naughty words remained in the dialogue; thus, Preminger released the picture minus the Code's seal of approval. Rather than hurt the film's chances at the box office, Preminger's bold move resulted in a major financial success -- not to mention the beginning of the end for the ancient, wheezy Production Code. However, in the meantime, troubles piled up; the Jersey City Municipal Court -- at the hands of Secaucus' Justice George King -- fined Alfred Manfredonia, manager of the Stanley Theatre, 100 dollars for screening the film (declaring him guilty of violating a city ordinance), and a ban was imposed on the picture by the Maryland State Board of Motion Picture Censors. While The New York Times' Bosley Crowther dismissed the accusations of prurience, he blithely observed, "The Moon Is Blue is not outstanding, either as a romance or as a film...at times, it gets awfully tedious...Its charm...will depend on how much one delights in its choice of words." ~ Hal Erickson, Rovi

Based on the story The Wisdom of Eve by Mary Orr, All About Eve is an elegantly bitchy backstage story revolving around aspiring actress Eve Harrington (Anne Baxter). Tattered and forlorn, Eve shows up in the dressing room of Broadway mega-star Margo Channing (Bette Davis), weaving a melancholy life story to Margo and her friends. Taking pity on the girl, Margo takes Eve as her personal assistant. Before long, it becomes apparent that naïve Eve is a Machiavellian conniver who cold-bloodedly uses Margo, her director Bill Sampson (Gary Merill), Lloyd's wife Karen (Celeste Holm), and waspish critic Addison De Witt (George Sanders) to rise to the top of the theatrical heap. Also appearing in All About Eve is Marilyn Monroe, introduced by Addison De Witt as "a graduate of the Copacabana school of dramatic art." This is but one of the hundreds of unforgettable lines penned by writer/director Joseph L. Mankiewicz, the most famous of which is Margo Channing's lip-sneering admonition, "Fasten your seat belts. It's going to be a bumpy night." All About Eve received 6 Academy Awards, including Best Picture. ~ Hal Erickson, Rovi

The British That Dangerous Age is based on Autumn, a play by Margaret Kennedy and Ilya Surgutchoff. Myrna Loy heads the cast as Lady Brooke, the wife of famed barrister Sir Brian Brooke (Roger Livesay). Neglected by her husband, Lady Brooke inaugurates an affair with a younger man. Meanwhile, Monica (Peggy Cummins), Brooke's daughter by a previous marriage, enters into her own romantic entanglement. When Sir Brian falls ill, his wife comes to her senses, and the result is lasting happiness for all, especially Monica. The story is set on the isle of Capri, allowing for several restful and pleasing landscape shots. That Dangerous Age was originally released as If This Be Sin. ~ Hal Erickson, Rovi

This musical romance is set in the beautiful South American country and chronicles the love affair between a betrothed couple who secretly have fallen in love with other people. The young man loves a nightclub chanteuse, while the woman wants a handsome coffee-buyer. Now they must somehow let their constantly bickering parents know. Songs include: "Qui Pi Pia," "I'll Know It's Love," "Another Night Like This," "Mi Vida, Costa Rica," and "Rhumba Bomba." ~ Sandra Brennan, Rovi

That new-fangled swing music is the focus of this musical comedy. The trouble begins when a music school dean boards a train to meet her husband the symphony conductor. En route she meets Harry James, the big band leader. She is deeply impressed by the swingin' beat of the new music. It becomes her newest passion. Unfortunately, back at her school, her superiors do not share her enthusiasm and she is fired. She remains determined to introduce the kids to the new sound. She and James team up to perform the music on campus. Songs include: "As If I Didn't Have Enough on My Mind," "I Didn't Mean a Word I Said," "Moonlight Propaganda," and "Do You Love Me?" ~ Sandra Brennan, Rovi

In this engagingly silly musical fantasy from the waning days of WW2, Fred MacMurray stars as Bill, who wants to serve his country but has been classified 4-F. While working at a local USO, Bill falls in love with the fickle Lucilla (June Haver, soon to be Mrs. Fred MacMurray), never realizing that he himself is worshipped from afar by the sensible Sally (Joan Leslie). Stumbling across an old lamp donated to a scrap drive, Bill impulsively rubs the lamp--and out pops Ali (Gene Sheldon), a bibulous, bumbling genie. Hoping to become a hero in Lucilla's eyes, Bill asks Ali to put him in the US Army. The genie complies, but gets his wires crossed, and Bill ends up in the Continental Army during the Revolutionary War. In short order, Bill meets two lookalikes of the girls in his life at "Ye U.S.O.", shows up at Valley Forge and trades quips with General Washington (Alan Mowbray)--who, in anticipation of MacArthur and Eisenhower, bombastically insists that he has no political aspirations--unsuccessfully tries to alert Washington of the duplicity of Benedict Arnold (John Davidson), and ultimately finds himself behind enemy lines with a troop of Hessians, whom he tries to hoodwink by delivering a Nuremberg-style speech, replete with "Sieg Heils." Arrested and sentenced to a Hessian firing squad, Bill again summons Ali, who whisks him off to the year 1492. In an elaborate "opera bouffe", Bill musically dissuades the sailors serving under Christopher Columbus (Fortunio Bonanova) from staging a mutiny, convincing them to continue seeking out the New World (as represented by a group of Cuban natives in a conga line). Once on dry land, Bill is entranced by a comely Indian maiden who looks a lot like Lucilla, only to be entrapped in an old-fashioned "badger game" cooked up by the girl's wily Native American boyfriend (Anthony Quinn). Buying his way out of an embarrassing situation by agreeing to purchase Manhattan Island for $24, Bill is then transported to "New Amsterdam" in the mid-1600s. In his efforts to persuade the local Dutch elders that he is the rightful owner of Manhattan, Bill succeeds only in getting arrested again. This time, however, the drunken Ali manages to zap our hero back to the 20th Century--with the 17th-century equivalent of Sally in tow. The songs, by Kurt Weill and Ira Gershwin, are appropriately bright and satirical, but none are standouts. Still, Where Do We Go From Here? is one of those frothy 1940s concoctions that is absolutely impossible to dislike. ~ Hal Erickson, Rovi

After an absence of three years, Mae West returned to the screen in the musical comedy The Heat's On. La West is cast as Fay Lawrence, a famous Broadway actress who is loved intensely by her producer Tony Ferris (William Gaxton). Rival producer Forrest Stanton (Alan Dinehart) steals Fay away from Ferris by convincing her that she's been blacklisted from Broadway by blue-nosed moralist Hannah Bainbridge (Almira Sessions). Meanwhile, Hannah's puckish brother Hubert (Victor Moore) syphons money from his sister's "clean up show business" committee to produce a musical show for his actress niece Janey (Mary Roche). Somehow, all these characters converge for a spectacular closing production number spotlighting the formidable Fay. Part of the reason for the failure of The Heat's On is the fact that Mae West didn't write her own dialogue, as was usually her custom. The film performed so poorly that it would be 27 years before West would again appear on the Big Screen. ~ Hal Erickson, Rovi

One can only imagine the reaction of arch-conservative MGM head Louis B. Mayer when Song of Russia first tumbled over the spools in the studio projection room. It must be remembered, however, that back in 1944 it was politically expedient for Hollywood to offer hosannas to America's Russian allies, and to gloss over the less-attractive aspects of the Stalin regime. Based on Scorched Earth, a story by Leo Mittler, the film stars Robert Taylor as John Meredith, a famous American symphony conductor who is touring Russia just before the war. Meredith falls in love with Russian lass Nadya Stepanova (Susan Peters), who impresses him with her conviviality and charm: why, she's almost like a typical American girl! In the course of their romance, Meredith and Nadya visit a collective farm, where the peasants sing, dance and smile all day. The lovers marry, only to have their honeymoon abruptly halted when the Nazis invade the Soviet Union. Nadya promptly joins the Resistance, solemnly assembling molotov cocktails and shooting down Germans with her comrades. Just before the Nazis swarm into Nadya's village, the peasants set fire to the place so that Hitlers minions will not be able to plunder its resources. All of this is played out against the music of Tschiakovsky and other Russian composers. During the HUAC investigations in the early 1950s, several of the personnel involved in Song of Russia were required to explain why they'd been involved in so blatantly "pro-communist" a project. Louis B. Mayer blithely explained that he "just wanted to make a picture about Russians, not communists," while star Robert Taylor -- likewise a staunch anti-Red -- insisted that he'd been forced to make the film, and that he'd demanded script deletions throughout productions. In the end, the losers were screenwriters Richard Collins and Paul Jarrico, both of whom ended up on the egregious Hollywood Blacklist, simply for adhering to America's wartime pro-Soviet sentiments. ~ Hal Erickson, Rovi

The Two Yanks in Trinidad are gangsters Tim Reardon (Pat O'Brien) and Vince Barrows (Brian Donlevy), who split up over a disagreement and join the army, Tim to escape Vince's wrath and Vince to get his lunch-hooks on Tim. Both of our heroes run afoul of Army discipline and protocol in general, and tough top sergeant Valentine (Donald MacBride). Vince and Tim eventually bury the hatchet long enough to foil a German spy who plans to smuggle Nazi oil shipments out of Trinidad. Janet Blair is wholesomely sexy as café entertainer Patricia Dare, over whom Vince and Tim had their original falling out. In his autobiography, Pat O'Brien recalls asking director Gregory Ratoff how to play his role in Two Yanks in Trinidad, whereupon Ratoff replied that the character of Tim Reardon was an "Irish Bugsy Siegel" (which indeed he is!) ~ Hal Erickson, Rovi