Jack Sher Movies

The man who assembled the remarkable documentary George Stevens: A Filmaker's Journey had the benefit of knowing the subject intimately: the film was written, produced and directed by George Stevens Jr. Utilizing pristine-quality filmclips and interviews, Stevens Jr. details Stevens Sr.'s rise from silent-film cameraman to one of the top producer/directors in Hollywood. We are treated to snippets of Stevens' camerawork on the Laurel and Hardy films at Hal Roach Studios, then we are transported to his salad days as a feature director at RKO. Among the films highlighted from this first chapter of Stevens' directorial life are Alice Adams (1935), Swing Time (1936) and Gunga Din (1939) (one would like to have heard a bit more background info concerning Stevens' Wheeler and Woolsey comedies). Next we find Stevens as an autonomous entity at Columbia Pictures, producing and directing such classics as The More the Merrier (1943). The war years are thoroughly covered via Stevens' vivid color footage of the invasion of Europe. The last stages of Stevens' Hollywood career is traced through generous portions of A Place in the Sun (1951), Shane (1953), Giant (1956) and The Diary of Anne Frank (1959). The many interviewees include Katharine Hepburn, Cary Grant, Fred Astaire, Ginger Rogers and Warren Beatty. As an added filip, A Filmmaker's Journey includes rare home-movie sequences showing George Stevens at home and at work--all filmed with as much care and professionalism as Stevens' "mainstream" pictures. ~ Hal Erickson, Rovi

The made for TV Female Artillery is a comedy, just in case the title didn't tip you off. Set in the Old West, the film stars Dennis Weaver as Deke Chambers, an outlaw on the lam from his old gang. Joining a wagon train, Deke aligns himself with a group of tough, well-armed pioneer women. When the gang attacks, the gals retaliate in noisy fashion. First telecast January 17, 1973, Female Artillery is elevated by the special effects wizardry of Albert Whitlock. ~ Hal Erickson, Rovi

Out of spite, Endora casts a spell that will make everyone hate and despite her son-in-law, Darrin. Unable to undo the spell, Samantha tries to set things right by giving Endora a taste of her own medicine. But Darrin, unaware that the spell is about to be lifted, nearly gums up the works with a boneheaded strategy of his own. Written by Jack Sher, "No More Mr. Nice Guy" originally aired on March 23, 1967, as the 100th episode of Bewitched. ~ Hal Erickson, Rovi

Endora just won't give up her efforts to cause a rift in the matrimonial bonds between her daughter, Samantha, and that goofy mortal Darrin. This time around, Endora insists that Janine (Lisa Seagram), a beauty contest winner hired for Darrin's latest ad campaign, will ultimately break up Sam's marriage. Sam pooh-poohs this notion, unaware that Endora has already used witchcraft to prove that Darrin is capable of infidelity. Written by Jack Sher, "It Takes One to No One" was first telecast on November 26, 1964. ~ Hal Erickson, Rovi

Ira Levin wrote the stage comedy Critic's Choice as a good-natured retort to a comment made by critic Walter Kerr. In his essay How Not to Write a Play, Kerr noted that the worst possible scenario would involve a drama critic forced to review a play written by his wife (we should mention that Kerr's own wife was noted playwright Jean Kerr). Levin utilized this very scenario, and the result was a Broadway hit. Less successful artistically was the 1962 film version, though with Bob Hope and Lucille Ball as stars, the film couldn't help but clean up at the box office. Hope portrays theatrical critic Parker Ballantine, while Lucille Ball plays his wife Angela. Feeling "useless," Angela writes a play as a lark, then is amazed when it is optioned by a major producer. Parker does his best to get out of the responsibility of reviewing the play (which very well may be as bad as he thinks it is), but cannot escape the responsibility. Much of the verbal wit of the Levin original is sacrificed in favor of one-line quips; there is also an overabundance of gratuitous slapstick during a little-league game and the climactic "opening night" sequence. Still, Hope and Ball work together well as always. ~ Hal Erickson, Rovi

The second film of director Martin Ritt with both Paul Newmanand Sidney Poitier, it's set in a city that has long been a haven for black musicians eager to escape the racism of the U.S. Newman is Ram Bowen, a trombone player who makes his living in a jazz group, which also includes tenor man Eddie Cook (Sidney Poitier), while studying music and aspiring to a career as a "serious" composer. Eddie stays in Paris to bask in the respect that its people feel for his music, a respect rarely accorded him in the States. A pair of tourists, Connie Lampson (Diahann Carroll) and Lillian Corning (Joanne Woodward) arrive in the city for a two-week vacation, and the two musicians lose no time in hooking up. Soon both relationships take a serious turn and the musicians are forced to make some important decisions about the possibility of returning to their native soil. ~ Michael Costello, Rovi

A child star becomes a brat to hide her loneliness in this drama. The popular little actress is quite insolent and refuses to allow anyone to push her around. She becomes quite stubborn when a studio publicist asks her to do an interview with his ex-wife, a prominent columnist. He finally bribes her into it, and when the contrary miss meets the journalist she takes an immediate shine to her. The lonesome girl becomes so enamored with the woman that she runs away from home to be near her. Trouble ensues when the publicist is arrested for kidnapping. Fortunately the girl turns up, affects a new attitude and happiness ensues all around. ~ Sandra Brennan, Rovi

Four Girls in Town is essentially an excuse by Universal-International to test out several of their newer contractees. The plot is motivated by a worldwide movie talent hunt, which naturally arouses the attentions of a bevy of pretty young aspiring actresses. The four girls of the title are Kathy Sonway (Julie Adams, who'd been appearing in films since 1950), Ina Schiller (Germany's Marianne Cook, nee Koch), Maria Antonelli (Italy's Elsa Martinelli) and Vicki Dauray (Gia Scala, also from Italy but herein portraying a Frenchwoman). Conducting the screen tests is budding director Mike Snowden (George Nader), who predictably falls in love with one of the hopefuls. Some laughs are had at the expense of Universal's rival 20th Century-Fox in the person of Helene Stanton, cast as a Marilyn Monroe clone named "Rita Holloway". ~ Hal Erickson, Rovi

Walk the Proud Land is the true story of Indian agent John Philip Clum, as set down on paper by Clum's son. The film begins in 1874, as Clum, an Eastern government representative, arrives in San Carlos, Arizona. It is Clum's intention to uphold the peace between the settlers and the Apaches, and to encourage a form of self-government among the Indians. Realizing that he can never hope for cooperation from the Apaches so long as renegade warrior Geronimo (Jay Silverheels) is at large, Clum determines to negotiate the surrender of Geronimo -- and he intends to do it alone. Anne Bancroft co-stars as an Apache widow who falls in love with the married Clum. Though rather skimpy in the action department, Walk the Proud Land scores with strong characterizations and well-crafted scriptwork. ~ Hal Erickson, Rovi

The simple story of a Wyoming range war is elevated to near-mythical status in producer/director George Stevens' Western classic Shane. Alan Ladd plays the title character, a mysterious drifter who rides into a tiny homesteading community and accepts the hospitality of a farming family. Patriarch Joe Starrett (Van Heflin) is impressed by the way Shane handles himself when facing down the hostile minions of land baron Emile Meyer, though he has trouble placing his complete trust in the stranger, as his Marion (Jean Arthur) is attracted to Shane in spite of herself, and his son Joey (Brandon De Wilde) flat-out idolizes Shane. When Meyer is unable to drive off the homesteaders by sheer brute strength, he engages the services of black-clad, wholly evil hired gun Jack Wilson (Jack Palance). The moment that Wilson shows he means business by shooting down hotheaded farmer Frank Torrey (Elisha Cook Jr.) is the film's most memorable scene: after years of becoming accustomed to carefully choreographed movie death scenes, the suddenness with which Torrey's life is snuffed out -- and the force with which he falls to the ground -- are startling. Shane knows that a showdown with Wilson is inevitable; he also knows that, unintentionally, he has become a disruptive element in the Starrett family. The manner in which he handles both these problems segues into the now-legendary "Come back, Shane" finale. Cinematographer Loyal Griggs imbues this no-frills tale with the outer trappings of an epic, forever framing the action in relation to the unspoiled land surrounding it. A.B. Guthrie Jr.'s screenplay, adapted from the Jack Schaefer novel, avoids the standard good guy/bad guy clichés: both homesteaders and cattlemen are shown as three-dimensional human beings, flaws and all, and even ostensible villain Emile Meyer comes off reasonable and logical when elucidating his dislike of the "newcomers" who threaten to divest him of his wide open spaces. ~ Hal Erickson, Rovi

Bob Hope is up to his famous nose in danger in this espionage comedy. Second-rate burlesque comic Peanuts White (Hope) is approached by federal agents who think that he's international spy Eric Augustine, to whom Peanuts bears a striking resemblance. When they realize that Peanuts and Eric are two different people, the FBI persuades him to travel to Africa posing as Eric and fetch a batch of microfilm that could prove vital to national security. With reluctance, Peanuts flies to Tangiers and arranges a rendezvous with Lily Dalbray (Hedy Lamarr), Eric's beautiful girlfriend and an agent of shifting alliances herself. However, Lily's superior Karl Brubaker (Francis L. Sullivan) wants the microfilm, and he will stop at nothing to get it. As Peanuts tries to rescue the microfilm, make time with Lily, and avoid Karl, things become even more confused when Eric escapes from hiding and re-enters the picture. Both Bob Hope and Hedy Lamarr contribute songs to the soundtrack, though unlike Bob, Hedy's vocals were dubbed in by a studio vocalist. ~ Mark Deming, Rovi

The Three Worlds of Gulliver is perhaps the least known of the Charles H. Schneer-Ray Harryhausen collaborations of the 1960s, perhaps because it was withdrawn from circulation so soon after its initial release. Kerwin Mathews, star of the Schneer-Harryhausen classic Seventh Voyage of Sinbad (1957), stars as Jonathan Swift's globetrotting adventurer Lemuel Gulliver. The first "world" is Lilliput, populated with teeny-tiny people who are about to go to war because they can't agree over which end of an egg to crack. Gulliver's second stop is Brobdignag, where our hero is surrounded by giants. The third world is England, where Gulliver is thrown into a lunatic asylum when he tries to relate his astonishing adventures. Jo Morrow plays the thoroughly dispensable love interest. The script, by director Jack Sher and Arthur Ross, manages to retain a great deal of Swift's trenchant satire without detracting from the film's "fun for all ages" entertainment value. As always, Harryhausen's Dynamation special effects are superb. A lilting, semihumorous musical score by Bernard Herrmann is the icing on this cinematic cake. ~ Hal Erickson, Rovi