John Saxon Movies

Robert Redford makes his big-screen debut in this off-beat war drama that tells the tail of a new replacement on the Korean front line. It is his first time in battle, and he comes all starry eyed and eager to prove himself a glorious hero. Obviously a greenhorn, the platoon commander takes the young private under his wing. All too soon, the youth realizes there is little glory in war. He also encounters a lone-wolf soldier whose lust for killing the enemy has turned him into a full-blown and deadly psychopath, leaving the private and his commanders to somehow stop him before he begins killing his own platoon-mates. ~ Sandra Brennan, All Movie Guide

Director Mauro Bolognini and Goffredo Parise adapted a skillful Alberto Moravia story into this rather pedestrian drama. An eligible widow (Ingrid Thulin) vacations in Venice with her young son. When Thulin begins a tentative romance with friendly John Saxon, her resentful son runs away from home and gets into trouble, falling in with a gang of hooligans. The rest of the film is bland and predictable, as the harsh realities of street life teach the youngster some valuable lessons, most of which are hammered home with redundant narration. Plot mechanics aside, however, Aldo Tonti's rich cinematography still makes the film worthwhile for those who swoon at the sight of the Lido. ~ Robert Firsching, All Movie Guide

Wanting to be free of her crippled husband but not his enormous fortune, a glamorous wife talks her lover, who is also her spouse's personal physician, into injecting poison into the ailing industrialist. This crime melodrama chronicles the chain of events that leads to the murderous lovers' downfall. Though they successfully offed the husband, the two are not allowed to enjoy their new wealth and happiness for a letter sent to the wife reveals that someone knows about the crime. Believing that the anonymous author is her late-husbands investment advisor, the wife and her lover quickly dispatch him. When his body later turns up, another is blamed with the crime. Unfortunately, the villainous twosome, the accused is to marry the granddaughter of the deceased tycoon. Matters don't improve when the doctor/lover's conscience flares up and he decides to confess. ~ Sandra Brennan, All Movie Guide

The Plunderers is a fairly slow-paced, uneven western about a group of young toughs who run amok until they are brought up short by a one-armed Civil War vet. The leader Jeb (Ray Strickland) is accompanied by his three cohorts, Mule (Roger Torrey) a hulking Paul Bunyan type, Rondo (John Saxon), and Davy (Dee Pollack), the most innocent of the quartet. When the young men arrive in the small town, they take it over and rule the roost like four despots. Sam (Jeff Chandler), a shell-shocked veteran of the Civil War, slowly gets his act together and begins to take the four down, one at a time. ~ Eleanor Mannikka, All Movie Guide

Summer Love is a sequel to 1957's Rock Pretty Baby, with John Saxon repeating his role as aspiring musician Jim Daley. When his band is hired to perform at a summer resort, Jim falls in love with two girls: sweet Joan Wright (Judy Meredith) and not-so-sweet Erica Landis (Jill St. John). Meanwhile, Jim's buddy Mike (John Wilder) woos the band's pert vocalist Alice (Molly Bee). Also returning from Rock Pretty Baby are Edward C. Platt and Fay Wray as Jim's bewildered parents, Shelley Fabares as the appropriately yclept Twinkie Daley, and the inimitable Rod McKuen as funky band member Ox Bentley. Oh, and Troy Donahue also shows up, just in case there was any doubt as to when this film was made. ~ Hal Erickson, All Movie Guide

Small-minded small town 1950's mores threaten a youthful romance in this sudsy melodrama based on the play Teach Me How to Cry by Patricia Joudry and reminiscent of the previous year's Peyton Place (1957). Sandra Dee stars as Melinda Grant, an illegitimate girl facing the stigma of being a fatherless child in the rigidly judgmental atmosphere of her hometown. Melinda's problems are further compounded by the fact that her mother Elizabeth (Teresa Wright) is a neurotic woman slowly losing her mental grip. Then Melinda meets Will Henderson (John Saxon), the new boy in town, and the two fall in love. Will is from the wrong side of the tracks, however, and his down-on-his-luck father Ed (James Whitmore) doesn't do much to improve the family's reputation. Local tongues are soon wagging over the Melinda-Will romance, casting its future in doubt. ~ Karl Williams, All Movie Guide

Esther Williams essays her first dramatic, nonswimming role in The Unguarded Moment. Written by actress Rosalind Russell, the film is a remarkably prescient tale of sexual harassment at the workplace. Williams plays high-school music-teacher Lois Conway, who inadvertently arouses the libido of problem student Leonard Bennett (John Saxon). Conditioned by his misogynistic father (Edward Andrews) to hate and distrust all women, the seriously disturbed teenager experiences mixed emotions when Lois takes an interest in his well-being. Before long, the teacher is being stalked by Leonard day and night. Ultimately, the boy forces himself upon Lois -- whereupon the all-male school board, holding Lois responsible for Leonard's behavior, promptly suspends her. With the help of understanding police lieutenant Harry Graham (George Nader), Lois does her best to fend off future attacks, to seek professional help for the maladjusted Leonard, and to keep from suffering a nervous breakdown herself! ~ Hal Erickson, All Movie Guide

One of the earliest examples of the hot rod/juvenile delinquency flick, Running Wild featured William Campbell as a rookie cop infiltrating a gang of teenagers that are stealing cars for Ken Osanger (Keenan Wynn), a nasty type who uses a gas station as a front for his nefarious purposes. Going undercover as a teenage rebel, Ralph Barclay (Campbell) not only saves pretty Leta Novak (Kathleen Case) from being ravaged by Osanger, but wins the love of voluptuous Irma Bean (Mamie van Doren), the former girlfriend of teenage gang leader Scotty Cluett (Jan Merlin). John Saxon, Walter Coy, and teen flick regular Kenny Miller also appeared in this highly exploitative crime drama from Universal directed by character actor Abner Biberman. ~ Hans J. Wollstein, 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