Fred Sears Movies

Country-western favorite Roy Acuff and his Smoky Mountain Boys star in the Columbia musical western Smoky Mountain Melody. Not much happens plotwise: Acuff, playing "himself," is a tenderfoot who somehow manages to come out on top when he heads westward. The villains (who aren't all that villainous) try to promote a phony stock deal, but Roy and his pals foils their plans. The comedy honors go to Guinn "Big Boy" Williams as a blowhard sheriff. Smoky Mountain Melody was scripted by Barry Shipman, the son of pioneering female filmmaker Nell Shipman. ~ Hal Erickson, Rovi

Whirlwind Raiders differs from the usual run of Charles Starrett westerns only in the fact that it wasn't directed by the series' principal helmsman Ray Nazarro. Starrett is cast as ace rodeo rider Steve Lanning, who, when the need presents itself, assumes the guise of that masked justice-defender, The Durango Kid. The villains this time are s ia band of Texas law officers who use their authority to rob and plunder. When Steve figures out who's the "head man" behind the crooks, he dons his Durango mask and metes out justice. Featured in the cast is 10-year-old Don Kay Reynolds, aka Little Brown Jug, who was concurrently playing "Little Beaver" in the Red Ryder western series. ~ Hal Erickson, Rovi

Columbia kept insisting upon placing its hottest new star Larry Parks in swashbucklers, and though Parks wasn't really suited to the genre, he always strived to please. Set in 17th-century France, the film stars Parks as Lt. David Picard, a peace-loving officer who is nevertheless handy with his sword when the need arises. Hoping to crush the burgeoning pacifistic movement in France, warmongering Marshall Mordore (Victor Jory) plots to abduct popular "people's general" Cadeau (George Macready, in a rare sympathetic role). Picard, Cadeau's adjutant, spends the balance of the film trying to shield the general from harm -- and to romantically pursue beautiful spy Nanton de Lartigues (Marguerite Chapman). The antiwar philosophies of The Gallant Blade would return to haunt Larry Parks when he was called to testify before the House Un-American Activities Committee. ~ Hal Erickson, Rovi

Blondie opens a bakery in her home to help fill the family cookie jar in this entry in the long-running domestic comedy series based on the popular comic strip. Her tasty cookies become so popular that a cookie magnate makes her an offer that is difficult to refuse. Unfortunately, this creates all kinds of problems for the Bumsteads. ~ Sandra Brennan, Rovi

In the opening scene of this fine "Durango Kid" series entry, wannabe general store owner Steve Langtry (Charles Starrett) is robbed, wounded, and left for dead at Skeleton Pass by a gang of thugs. Rescued by prospector Smiley Burnette and brought to nearby Jackson City, Steve receives a ransom note demanding two thousand dollars for the return of his wagons. But instead of paying the ransom, as suggested by Dr. Middleton (Fred F. Sears), Steve dons the disguise of the Durango Kid, much to the excitement of Spike (Buzz Henry), Sheriff Coleman's (George Chesebro) impressionable son. In contrast, Steve without the disguise is considered a coward by all and sundry, especially the sheriff's pretty daughter Mary (Nancy Saunders). Our hero, of course, is in reality a secret agent and with the help of young Spike and Smiley, the leader of the gang of thugs is soon apprehended. In between the gunplay and fisticuffs, Texas Jim Lewis and his Lone Star Cowboys perform "I'm Riding the Trail Back Home" and "Way Back in Grandpa's Day," while in his inimitable way Smiley Burnette takes care of his own "Huntin' Trouble" and "With My Luck." ~ Hans J. Wollstein, Rovi

Cowboy star Charles Starrett goes through his usual paces in the under-an-hour formula western The Lone Hand Texan. As ever, Starrett plays a roving do-gooder named Steve who adopts the disguise of The Durango Kid to further the cause of justice. This time, he dons his Durango mask to save his old pal Smiley (Smiley Burnette), whose oil-rich land is dearly coveted by the villains. Halfway through the proceedings, Steve is framed for murder (as usual), but by reel five the actual miscreants are eating dust or rotting away in the calaboose. Musical relief is provided by the hillbilly team of Mustard and Gravy, who are about as funny as their name. ~ Hal Erickson, Rovi

Lucille Ball offers a seminal version of her Lucy Ricardo TV character in Her Husband's Affairs. Ball is cast as Margaret Weldon, the wife of advertising executive William Weldon (Franchot Tone). Though Weldon is successful, Margaret can't help but feel that he'd be more successful if she were to take an active part in his business affairs. The fun really begins when Margaret tries to help Weldon promote a crackpot inventor (Mikhail Rasumny) who's come up with a revolutionary new embalming fluid. As in the previous year's The Hucksters, Madison Avenue and Big Business are targetted for a great deal of derisive ribbing. If only Her Husband's Affairs were as funny as everyone involved seems to think it is. ~ Hal Erickson, Rovi

A semi-sequel to Here Comes Mr. Jordan, Columbia's Down to Earth is a camp- and kitsch-lover's delight. More beautiful than ever, Rita Hayworth stars as Terpsichore, the Goddess of Dance. From her perch Up Above, Terpsichore discovers that Broadway producer Danny Miller (Larry Parks) intends to put together a musical satire, lampooning herself and her fellow Greek Gods. Eliciting the aid of Heavenly emissary Mr. Jordan (Roland Culver, taking over from the earlier film's Claude Rains), Terpsichore descends to Earth in human form, landing a role in Miller's play. Through her bewitching influence, Miller agrees to abandon his plans for a satire, transforming his production into a portentiously serious "work of art"-which lays a large and noxious egg with the opening-night crowd. Somehow, our ethereal heroine manages to set things right, but there's still one nagging problem: Will she, a goddess, ever be permitted to fall in love with a mere mortal like Miller? Repeating their Here Comes Mr. Jordan roles, James Gleason and Edward Everett Horton appear respectively as the eternally flustered Max Corkle (formerly a fight promoter, now a theatrical agent) and the pompous, rule-bound Heavenly messenger #7013. Silly but immensely entertaining, Down to Earth was remade as the sillier but decidedly less entertaining Xanadu in 1980. ~ Hal Erickson, Rovi

Though legendary entertainer Al Jolson was a highly visible presence on the U.S.O. circuit during World War II, he was generally regarded as a relic of an earlier time until his movie comeback in 1945's Rhapsody in Blue. Showing up 30 minutes into this biopic of George Gershwin, Jolson literally stopped the show with his robust rendition of "Swanee." Suddenly, every Hollywood studio was negotiating with Jolson to film his life story. Warner Bros., the studio that skyrocketed to the top ranks via the 1927 part-talkie Jolson vehicle The Jazz Singer, seemed to have the inside track, but it was Columbia's Harry Cohn who made the deal that Jolson couldn't refuse. An attractively appointed fabrication, the Technicolor The Jolson Story distorts and glosses over the particulars of Jolson's life, but the results are so darned entertaining that nobody really paid attention to its inaccuracies. The story begins in turn-of-the-century Washington, D.C., where young Asa Yoelson (Scotty Beckett), son of an immigrant cantor (Ludwig Donath), ignores his religious studies in favor of popular music. Asa is hired as an "extra added attraction" boy tenor by a vaudevillian; when his voice breaks, the boy wins over the audience with his whistling ability. Growing into manhood, Asa Yoelson -- now "Al Jolson," and now played by Larry Parks -- becomes fascinated with African-American jazz music. He breaks away from his initial vaudeville assignment by joining Lew Dockstader's (John Alexander) blackface minstrel troupe, then goes on to success as a "single." Ascending to Broadway, Jolson establishes a reputation as an inveterate ad-libber, as well as an indefatigable singing performer, frequently holding an audience in thrall until the wee hours of the morning. Along the way, he falls in love with singer Julie Benson (Evelyn Keyes), a character based on Jolson's third wife Ruby Keeler, who refused permission to have her name used on screen. As Jolson attains superstardom, his ego assumes gargantuan proportions, alienating many of those around him, including his wife Julie. Anxious not to lose Julie, Jolson promises to change his ways. He even goes into retirement so as to spend more time with his wife. But when coerced into performing before a nightclub audience, Jolson is "hooked"once more -- whereupon the understanding Julie walks out of his life, realizing that she can never compete with Jolson's love for his audience. Like its subject, The Jolson Story delivered exactly what the audience wanted to hear. Faithful Columbia contractee Larry Parks was catapulted to stardom as Jolson, though in retrospect he seems a curious casting choice: his miming of Jolson's style is painstakingly accurate, but he seems too boyish and unwordly for the role. Jolson, then well into his sixties, had wanted to play himself on screen, but was talked out of it after a rather embarrassing screen test. He consoled himself by personally coaching Parks in the role (his attitude toward the young performer alternated between avuncular and adversarial through the shooting), and by providing his own voice in the musical sequences. Jolson also appears in long-shot during the "Swanee" number, which like all the film's musical highlights was directed by cult favorite Joseph H. Lewis (whose "dry run" for this assignment was the 1945 PRC production Minstrel Man). A wealth of Jolson standards are heard in The Jolson Story, including "You Made Me Love You," "I'm Sitting on Top of the World," "My Mammy," "There's a Rainbow Round My Shoulder," "Toot Toot Tootsie," "The Anniversary Waltz," "Rock-a-bye Your Baby," and "Let Me Sing and I'm Happy." The film was nominated for several Oscars, winning in the "best sound" and "best score" categories. A fantastic box-office success, The Jolson Story spawned a 1949 sequel, Jolson Sings Again. Ironically, despite Larry Parks' contributions to the film, it did little for that actor and instead reignited Jolson's celebrity during the last several years of his life. ~ Hal Erickson, Rovi