Nathan Scott Movies

The November 22, 1963, assassination of U.S. President John F. Kennedy shocked the nation and the world. The brisk investigation of that murder conducted under the guidance of Supreme Court Justice Earl Warren distressed many observers, even though subsequent careful investigations have been unable to find much fault with the conclusions his commission drew, the central one of which was that the assassin, Lee Harvey Oswald, acted alone. Instead of satisfying the public, one result of the Warren Commission Report was that an unimaginable number of plausible conspiracy theories were bruited about, and these have supported a sizeable publishing mini-industry ever since. In making this movie, director Oliver Stone had his pick of supposed or real investigative flaws to draw from and has constructed what some reviewers felt was one of the most compelling (and controversial) political detective thrillers ever to emerge from American cinema. Long before filming was completed, Stone was fending off heated accusations of artistic and historical irresponsibility, and these only intensified after the film was released. In the story, New Orleans District Attorney Jim Garrison (Kevin Costner) is convinced that there are some big flaws in the investigation of Oswald (Gary Oldman), and he sets out to recreate the events leading up to the assassination. Along the way, he stumbles across evidence that a great many people had reason to want to see the president killed, and he is convinced that some of them worked in concert to frame Oswald as the killer. Among the suspects are Lyndon Baines Johnson (the next president), the CIA, J. Edgar Hoover, and the Mafia. Over the course of gathering what he believes to be evidence of a conspiracy, Garrison unveils some of the grittier aspects of New Orleans society, focusing on the shady activities of local businessman Clay Shaw (Tommy Lee Jones). Garrison's investigations culminate in his conducting a show trial that he knows he will lose and which he is sure will ruin his career in order to get his evidence into the public record where it can't be buried again. This movie won two of the many Academy Awards for which it was nominated: one for Best Photography (Robert Richardson) and the other for Editing (Joe Hutshing). ~ Clarke Fountain, Rovi

Gene Wilder stars as Michael Jordon, an architect on the run from false murder charges, who hooks up with Kate Hellman (Gilda Radner), the sister of a recent suicide victim. ~ Jason Ankeny, Rovi

First telecast May 6, 1960, A Stop at Willoughby was scripter Rod Serling's favorite of the first-season Twilight Zone episodes. Plagued by a pushy boss (Howard I. Smith) and a vitriolic wife (Patricia Donahue), ulcerated businessman Gart Williams (James Daly) briefly dozes off while taking the commuter train home. When he awakens, the train has changed to a 19th century model -- as has the conductor, who invites Williams to get off at the peaceful, picture-postcard town of Willoughby. Watch for future Archie Bunker's Place regular Jason Wingreen in a small role. ~ Hal Erickson, Rovi

Originally filmed at Republic in 1948, Montana Belle was purchased by producer Howard R. Hughes, who'd loaned the services of the film's star, Jane Russell. After laying on the shelf for three years, Montana Belle was finally released by Hughes' RKO Radio Pictures in October of 1952. Russell plays notorious western outlaw Belle Starr, who after being saved by the Dalton Gang from the hangman's noose, falls in love with Bob Dalton (Scott Brady). This doesn't stop Belle and Dalton from trying to stab one another in the back for the next 8 reels. It is gambler Tom Bradfield (George Brent) who finally offers Belle a new start in life--and, incidentally, a new romance. The film's high point of imbecility arrives when Jane Russell disguises herself as a man. In other words, Montana Belle is lots of fun so long as no one takes it too seriously (it is clear that the people who made the film didn't!) ~ Hal Erickson, Rovi

Though he doesn't wield a sword nor wear a plumed hat, singing cowboy Rex Allen qualifies as The Last Musketeer in this Republic western. Allen is called upon to stem the underhanded activities of land baron Russ Tasker (James Anderson). It is Tasker's intention to buy up all the local farmland dirt cheap, so that he can reap all the revenue engendered by an upcoming dam project. The villain is none too particular about his methods, going so far as to cut off all water supplies so that the ranchers' cattle will die off. But Allen finds a method to thwart Tasker's scheme--and without resorting to firearms or fisticuffs. Rex Allen's singing talents are spotlighted during two musical sequences, in which he is backed up by comic sidekick Slim Pickens and The Republic Rhythm Riders. ~ Hal Erickson, Rovi

Judy Canova continues to bring home the box-office bacon for Republic Pictures in Oklahoma Annie. Judy plays Judy, Queen of the Cowgirls, a backwoods shopkeeper who falls in love with new sheriff Dan Fraser (John Russell). In order to stay in close proximity with the handsome lawkeeper, Judy performs an act of courage which earns her a deputy's badge. Working together, Judy and Dan do their best to rid their community of corrupt politicians, beginning with their assault on a local gambling den. When Dan is kidnapped by the bad guys, Judy rallies all the womenfolk in town and heads to the rescue. Even nonfans of Judy Canova will enjoy this rambunctious musical comedy, with the star functioning full-force on all eight cylinders. ~ Hal Erickson, Rovi

Filmed in Argentina, Republic's The Avengers stars John Carroll as a handsome adventurer known as Don Careless. Our Hero hopes to save heroine Maria Moreno (Adele Mara) from a forced marriage to a ruthless revolutionary (Roberto Airaldi). Both Carroll and supporting actor Vincente Padula play dual roles, for reasons that the film makes clear (even though the official studio resumé does not). Billed tenth, Fernando Lamas is given "and introducing" billing in the credits, and never mind that he'd been in films since 1942. The Avengers is based on a novel by Rex Beach. ~ Hal Erickson, Rovi

Filmed in eye-pleasing Trucolor, Republic's Trail of Robin Hood is one of the most entertaining and likable of Roy Rogers' starring films. Roy comes to the rescue of veteran cowboy star Jack Holt (playing himself) when the latter's Christmas-tree business is jeopardized by greedy rivals. With the aid of several other western stars, Roy thwarts main bad guy Clifton Young and allows misguided lumber baron Emory Parnell to see the error of his ways (it helps that Parnell's pretty daughter Penny Edwards is on Rogers' side). The film's best scene is the climactic rally of Republic's top cowboy heroes. After Rex Allen, Allan "Rocky" Lane, Monte Hale, Tom Tyler, Ray "Crash" Corrigan, Kermit Maynard, Tom Keene and William Farnum have ridden up and taken their bows, in gallops veteran western "heavy" George Cheseboro, who also wants to help Jack Holt but is shunned by the others. Cheseboro wins them over by explaining "After 20 years of being beaten up by Holt, he's reformed me." ~ Hal Erickson, Rovi

One of the most famous of the anti-communist tracts of the late 1940s, Republic's The Red Menace plays like a merciless lampoon of the genre when seen today. After a portentous introduction by one Lloyd G. Davies, described as a member of the Los Angeles City Council, the film concentrates on disgruntled ex-GI Bill Jones (Robert Rockwell). Having been victimized by crooked real estate agents, Jones turns to the government for help, only to come away empty-handed and mad as a wet hen. Obviously, the susceptible Jones is ripe for plucking by the American Communist Party. Using slogans, bribes and even sex to recruit disenfranchised souls like Jones, the dirty Reds hope to spread their poison to the entire U.S. of A. Fortunately, Jones and another commie dupe, schoolteacher Nina Petrovka (Hanne Axman), smarten up just in time. The HUAC and Joe McCarthy needn't have searched so diligently for subversives: according to The Red Menace, all they would have had to do was arrest anyone wearing a baggy suit or sporting a bad haircut. Some modern-day viewers begin laughing the moment the opening title of Red Menace, wherein an animated octopus wraps its tentacles around the Free World, fades into view. ~ Hal Erickson, Rovi

The age-old enmity between cattle ranchers and settlers once again takes center stage in this slightly above-average Western filmed in Republic Pictures' Trucolor system. Walter Brennan plays Pop "Brimstone" Courteen, an ornery rancher who avenges the loss of the free range by robbing stagecoaches and banks. The Courteen gang, which also includes Pop's three sons, Nick (Jim Davis), Luke (Jack Lambert), and the reluctant Bud (James Brown), gets a bit of competition from The Ghost, a mystery outlaw who really is Marshal Johnny Tremaine (Rod Cameron). Tremaine's undercover investigation leads to McIntyre (Forrest Tucker), the sheriff of Gunsight, who is in the employ of the Courteens. In love with Molly Bannister (Adrian Booth), a settler, Bud turns against his ruthless family, but will Tremaine be able to save the boy from his father's wrath? ~ Hans J. Wollstein, Rovi

Angel in Exile represents a one-time-only directorial collaboration between cult favorite Allan Dwan and B-western workhouse Philip Ford. Upon his release from jail, hardened criminal Charlie Dakin (John Carroll) heads to Mexico in search of his stolen gold, hidden in a mine shaft by Dakin's confederates. Posing as an honest prospector, Dakin mixes the gold with sand so that the local villagers will assume that he's merely coming up with the riches that were already in the mine. But the impoverished locals are overjoyed that the long-dormant mine has proved active once more, attributing this "miracle" to the town's guardian angel. Touched by the villagers' simple faith, Dakin reforms his evil ways-which is more than can be said for his less sentimental cohorts Max (Barton MacLane) and Carl (Paul Fix). ~ Hal Erickson, Rovi

This unusual, dreamlike John Wayne vehicle is set in the East Indies. The focus of the film is the deadly rivalry between two men of the sea. Ship's captain Rails (John Wayne) nurses a long-standing grudge against shipping magnate Van Schreeven (Luther Adler). The reason for the animosity: Van Schreeven stole away Rails' love, Angelique (Gail Russell). Revenge has warped Rails to point that sometimes he seems to be the heavy of the picture. Complications involving valuable pearls ensue before the offbeat climax, which finds Rails scuttling his own vessel, the Red Witch, as means of getting even. The film's resolution is one of the strangest ever concocted for a Wayne picture. Wake of the Red Witch represented the second screen teaming of John Wayne and Gail Russell; the film must also have held some special significance for Wayne, since he named his own production company, Batjac, after the shipping firm depicted in the picture. ~ Hal Erickson, Rovi