Kathryn Card Movies

This moody and controversial drama takes place in Depression-era New Orleans. Dove (Laurence Harvey) has traveled by bus from Texas to find his wayward lover Hallie (Capucine). He meets young Kitty Twist (Jane Fonda) as the two get off in the crescent city. Teresina (Anne Baxter) gives him a job at her small cafe. In his free time, Dove searches for Hallie and finds her at work as a prostitute in the Doll's House. Dove implores Hallie to return to him but she refuses. When the lecherous lesbian madame Jo (Barbara Stanwyck) discovers Dove's intentions towards Hallie, she has him beaten to a bloody pulp by her hired goons. He is found by Kitty, now a happy hooker at the Doll House, and is taken back to the cafe where the compassionate Teresina heals his physical and emotional wounds. The film taken from the novel by Nelson Algren is much tamer than the original text. The title track, sung by Brook Benton, was nominated for an Academy Award. The "black-cat stalking" opening and closing sequences (by designer Saul Bass) is a perfect little "film-within-a-film." This footage, with its superb lighting, framing, panning, and editing, should be appreciated by anyone who wants to know more about the art of cinematography. ~ Dan Pavlides, All Movie Guide

This fast-paced, entertaining drama set in a high school is directed by Paul Wendkos who has a talent for turning teen-oriented movies into hits, as proven just before this release (his 1959 Gidget). The ever-young Dick Clark plays Neil, a new, dedicated history teacher who becomes involved with the lives of his students and always for the better. He also becomes involved with Joan (Victoria Shaw) the attractive secretary in the principal's office. In an era before cocaine, crack, and school shootings would destroy the nation's image of high schools forever, the problems of "delinquents" like Griff (Michael Callan), or Buddy (Warren Berlinger), whose mother is unfaithful, may seem archaic to some audiences. ~ Eleanor Mannikka, All Movie Guide

Determined to win Claire Allison (Mala Powers) for himself, no-good Martin Selkirk (Dennis Patrick) has Claire's boyfriend Dirk Benedict (Robert Rockwell) beaten up, and also besieges Claire with threatening news clippings. Thus, when Selkirk is murdered (and if anyone "needed killing", it was him), Claire is charged with the crime. While putting together Claire's defense, Perry is surprised to learn that even Selkirk's five-year-old son (David Brady) might have had "motive and opportunity"--not to mention a toy gun that is anything but a toy! This episode is based on a 1959 novel by Perry Mason creator Erle Stanley Gardner, though the ending has been considerably altered. ~ Hal Erickson, All Movie Guide

Wearing a curiously (and perhaps deliberately) unattractive blonde wig, Jean Simmons stars in the tense psychological drama Home Before Dark. Having just recovered from a nervous breakdown, Charlotte Bronn (Simmons) returns from a mental institution to the home she shares with her academician husband Arnold (Dan O'Herlihy). Though he tries his best to help Charlotte re-adapt, his efforts are undermined by the insensitive meddling of her stepmother Inez (Mabel Albertson) and stepsister Joan (Rhonda Fleming) who may or may not have been carrying on a romance with Arnold in Charlotte's absence. The untenable situation at home leads Charlotte into a romance with college professor Jake Diamond (Efrem Zimbalist Jr.), who as an ongoing target of anti-semitism has plenty of his own emotional baggage to deal with. What is remarkable about Home Before Dark is that it is a film without a villain: even the most unpleasant characters are drawn as three-dimensional human beings, who behave badly because they really don't know any better. The film was adapted by Robert and Eileen Bassing from Eileen's same-named novel. ~ Hal Erickson, All Movie Guide

The Springdale, NE, bank is held up and robbed by a well organized gang. One of the members is Eddie Campbell (Robert Vaughn), a onetime resident of the town and orphan who was brought up in part by Ben Cutler (Fred MacMurray), an ex-lawman-turned-rancher. While pursuing the robbers, the town marshal, Hiram Cain (Emile G. Meyer), is shot dead by Campbell, who in turn is wounded and captured by Cutler. The town council appoints Cutler as temporary marshal, and the prosecution seems like an open-and-shut case -- he begins to see signs of trouble when his own daughter Laurie (Joan Blackman), who was raised with Campbell and was once his sweetheart, refuses to believe that he's guilty of the crime. Ben's fiancée, Ruth (Maggie Hayes), also feels the boy deserves leniency, but the real trouble starts when Campbell's attorney, William Selby (Edmon Ryan), shows up; he first tries to compromise the jury pool by ingratiating himself with the asking the townspeople what we would now call "push" questions, about Campbell's being an orphan and a hard-luck case all of his life, under the guise of building his case. He's also just clever enough at the trial to shake the testimony of the five other witnesses to the shooting, but Cutler's testimony is enough to put the jury into the guilty column. Then Campbell starts working on the sympathy of Laurie and the townspeople who've been persuaded by his lawyer -- it's also been a long time since there's been a capital case like this in the state, and Cutler discovers that the townspeople and even the law may not be as ready to execute a killer as common sense says they should be. Cutler's and Ruth's romance is jeopardized, and he is pushed to the point of resigning when matters come to an explosive head. ~ Bruce Eder, All Movie Guide

Dean Martin and Jerry Lewis made their last joint film appearance in the girl-filled musical Hollywood or Bust. The thinnish plot finds inveterate film fan Jerry making a cross-country journey to Tinseltown for the purpose of meeting his favorite screen star, the buxom Anita Ekberg (the film's title, need it be added, has a double meaning). Dean goes along for the ride, hoping to expand his bankroll during a Las Vegas stopover. The boys are joined by a third traveller, an enormous Great Dane named Mr. Bascomb; along the way, the trio becomes a quartet when pretty Pat Crowley hitches a ride. The finale takes place in Hollywood, naturally, as Jerry wreaks havoc at a film studio which looks suspiciously like Paramount. All reports indicate that Hollywood and Bust was an unhappy shoot, with Jerry Lewis behaving so obstreperously that director Frank Tashlin ordered him off the set and told him to go home until he learned to behave himself; to this day, Lewis cannot bring himself to watch the film. Happily, the animosity between the two stars never comes across on screen, and as a result Hollywood or Bust is a most enjoyable diversion. ~ Hal Erickson, All Movie Guide

Ricky (Desi Arnaz) plunges into a deep depression when he learns that MGM plans to shelve his upcoming debut film, "Don Juan." Hoping to save Ricky's movie career, Lucy (Lucille Ball), Fred (William Frawley), and Ethel (Vivian Vance) concoct all manner of wacky schemes. When these fail, Lucy hires a actor to pose as a big-time movie producer who will make Ricky a fabulous film offer in the presence of MGM's CEO, Dore Schary. Unfortunately, the actor she hires happens to be Dore Schary himself! (Ironically, the real Dore Schary was to have appeared in this episode, but at the last moment developed a case of stage fright; he was replaced by Philip Ober, who at that time was the husband of I Love Lucy co-star Vivian Vance.) ~ All Movie Guide

Recently discharged museum curator Lyle Endicott (Darren McGavin) uses a forged letter to gain entry to the home of elderly recluse Martha Cheney (played by Patricia Collinge, who had been prominently featured in Alfred Hitchcock's 1943 movie classic Shadow of a Doubt). A lonely invalid, Martha is kept alive only by her obsession with preventing her prized possession, a priceless vase, from falling into the hands of strangers. Conversely, Lyle wants nothing more out of life than to wrest the vase away from Martha and sell it to a museum for a hefty price. Needless to say, one of these two characters is in for a big disappointment by episode's end. ~ Hal Erickson, All Movie Guide

Charlie Pomerantz (Hy Averback), press agent for Ricky Ricardo (Desi Arnaz), arranges a publicity stunt whereby Ricky will "rescue" a supposedly drowning woman from the pool of the Beverly Palms Hotel. This act of courage is sure to win Ricky a mention in the newspaper column of influential gossip diva Hedda Hopper. Chosen to appear as the "drowning victim," Lucy (Lucille Ball) keeps a sharp eye peeled for Hedda's arrival at the pool, making certain to look for the woman wearing the most outrageous hat. Alas, the stunt proves to be a bust -- until Lucy's mother, Mrs. McGillicuddy (Kathryn Card), of all people, saves the day. ~ All Movie Guide

Kathryn Card makes her first appearance as Mrs. MacGillicuddy, the flamboyant mother of Lucy Ricardo (Lucille Ball). Upon learning that Lucy and Ricky (Desi Arnaz) are preparing a motor trip to Hollywood, Mrs. McGillicuddy shows up at the Ricardo apartment, insisting on going along for the ride. Through a series of mirthful misunderstandings, Fred (William Frawley) and Ethel (Vivian Vance) become convinced that they've been "uninvited" to accompany the Ricardos to California -- and when this happens, Lucy refuses to go as well. Even more complications ensue before the trip can get under way with the now-famous rendition of "California, Here We Come," performed by Lucy, Ricky, Fred, and Ethel in front of I Love Lucy's first-ever "rear projection" shot. ~ All Movie Guide

The 1954 musical remake of A Star is Born could have been titled A Star is Reborn, in that it represented the triumphal return to the screen of Judy Garland after a four-year absence. The remake adheres closely to the plotline of the 1937 original: An alcoholic film star, on his last professional legs, gives a career boost to a unknown aspiring actress. The two marry, whereupon her fame and fortune rises while his spirals sharply downward. Unable to accept this, the male star crawls deeper into the bottle. The wife tearfully decides to give up her own career to care for her husband. To spare her this fate, the husband chivalrously commits suicide. His wife is inconsolable at first, but is urged to go "on with the show" in memory of her late husband. In the original, Janet Gaynor played Esther Blodgett, who with no training or contacts came to Hollywood hoping for stardom. The remake, scripted by Moss Hart, is a shade more realistic: Garland's Esther, though far removed from fame, is a working professional singer/dancer when first we meet her. Both Gaynor and Garland are transformed from "Esther Blodgett" to "Vicki Lester" after being screen-tested, though Gaynor goes on to star in fluffy costume dramas while Garland more logically headlines big-budget musicals. The 1937 Star is Born costarred Fredric March as Norman Maine, Esther/Vicki's sponsor-cum-spouse. March patterned his performance after the tragic John Barrymore, reining in his emotions in favor of pure technique; James Mason's interpretation is more original, more emotional, and far more effective (who can forget the scene where Norman sobbingly overhears Vicki planning to give up her career for his sake?) As the studio's long-suffering publicist, the 1937 version's Lionel Stander is more abrasive and unpleasant than the 1954 version's introspective, intellectual Jack Carson; on the other hand, Adolphe Menjou and Charles Bickford are fairly evenly matched in the role of the studio head. Several important omissions are made in the remake. The 1937 Star is Born included Esther's indomitable old grandma (May Robson), a helpful assistant director (Andy Devine) and a soft-hearted landlord (Edgar Kennedy); all three characters are missing from the 1954 version, though elements of each can be found in the "best friend/severest critic" character played by Tommy Noonan. Wisely, both versions end with the grieving Vicki Lester coming out of her shell at a public gathering, greeting the audience with a proud, defiant "Good evening, everybody. This is Mrs. Norman Maine". Though directors William Wellman (1937 version) and George Cukor (1954 version) handle this finale in their own distinctive manners, the end result is equally effective emotionally. What truly sets the 1954 A Star is Born apart from other films of its ilk is its magnificent musical score by Harold Arlen and Ira Gershwin. The songs include The Man Who Got Away (brilliantly performed by Garland in one long take, sans dubbing), It's a New World, Somewhere There's a Someone, I Was Born in a Trunk, Lose That Long Face and Gotta Have Me Go With You. When originally previewed in 1954, the film ran well over three hours, thanks to the lengthy-and thoroughly disposable-Born in a Trunk number, added to the film as an afterthought without the approval or participation of director George Cukor. The Warner Bros. executives trimmed the film to 154 minutes, eliminating three top-rank musical numbers and several crucial expository sequences (including Norman's proposal to Vicki). At the instigation of the late film historian Ronald Haver, the full version was painstakingly restored in 1983, with outtakes and still photos bridging the "lost" footage. Though nominated in several categories, A Star is Born was left empty-handed at Academy Award time, an oversight that caused outrage then and still rankles Judy Garland fans to this day (Footnote: Judy Garland had previously played Vicki Lester in a 1942 Lux Radio Theatre adaptation of the original A Star is Born). ~ Hal Erickson, All Movie Guide

In this subtle 1954 comedy with feminist overtones, Clifton Webb plays Gifford, an executive with a large automobile manufacturer who is having trouble deciding who to hire as his chief sales manager. His three candidates are equally competent, so he brings their wives with them to New York headquarters, planning to hire the one whose wife is most suited to be an executive's wife. Elizabeth (Lauren Bacall) is the wife of Sid (Fred MacMurray), a company man. Elizabeth knows that Sid is such a workaholic that she will never see him if he gets the new job, but she is loyal to her husband and impresses the hiring team with her competency. Bill Baxter (Cornel Wilde) is handicapped in the competition by his wife Katie (June Allyson), a clumsy but sweet small-town girl from the Midwest. Katie dutifully tries to impress the big boss but proves inept at handling the social responsibilities. She would prefer to stay in Kansas City anyway. Jerry (Van Heflin) is married to Carol (Arlene Dahl), a seductive gold-digger who sexually teases various executives in the hopes that her assets can help land Jerry the job. Instead, her out-of-bounds behavior gets Jerry eliminated from the list, at least until Jerry tells Gifford that he doesn't sanction his wife's behavior. ~ Michael Betzold, All Movie Guide