Rex Lease Movies

Anticipating the real-life political career of Maverick star Jack Kelly, who would serve two terms as mayor of Huntington Beach, California, in the 1980s, this episode finds Bart Maverick (Kelly) running for a State Senate seat on the Reform Party ticket. He has agreed to throw his hat in the ring to help Penelope Greeley (Merry Anders), daughter of the actual candidate Ellsworth Greeley (R.G. Armstrong), who has been shot and wounded by an unknown assailant. Well, maybe "unknown" is a poor choice of words: Bart's opponent Wellington Cosgrove (R.G. Armstrong) has made no secret of his plans to kill Mr. Maverick should he win the election. ~ Hal Erickson, Rovi

In this western, an adventurous gambler goes on the lam when he is falsely accused of a riverboat killing. He hides out for three years before returning to prove his innocence, and to find the girl he loves. Unfortunately, the girl is involved with a gambler, the ringleader of the gang responsible for the killing. The fugitive, assisted by a comic sidekick, soon brings them all to justice, and reclaims his lady love. Songs include: "Give Me Your Love," "Happy Go Lucky," and "The Gypsy with the Fire in His Shoes." ~ Sandra Brennan, Rovi

One critic has noted that The Prodigal was aptly titled, inasmuch as it was all too prodigal with the funds of the then-flagging MGM studios. In its retelling of the 22-verse Biblical story of the Prodigal Son, the film helpfully fills in the story details inconsiderately left out of the Old Testament. Edmond Purdon plays Micah, the wastrel son of Eli (Walter Hampden) who takes his share of his father's fortune and blows it all in wicked old Damascus. Micah's one redeeming feature is his unserving faithful in the Lord God Jehovah. Pagan princess Samarra (Lana Turner at her most giddily exotic) intends to seduce Micah into renouncing his faith, only to get stoned to death for her troubles. Nearly two hours pass before Micah returns home and the fatted calf is killed in his honor. If for nothing else, The Prodigal would be memorable for Lana Turner's pagan-ritual costume, which is little more than a glorified bikini. ~ Hal Erickson, Rovi

They don't really go to Mars, they go to Venus, but first they go to New Orleans. While working at a missile base, Bud Abbott and Lou Costello inadvertently launch a rocket ship with themselves aboard. After a wild ride around New York City (the Statue of Liberty ducks when the rocket heads her way), Bud and Lou land in the outskirts of New Orleans. The boys are convinced that they've reached Mars, and their faith in this supposition is affirmed when they come across several strangely costumed "creatures" (actually revellers at the Mardi Gras). Meanwhile, bank robbers Jack Kruschen and Horace McMahon stow away on A&C's rocketship. When Bud and Lou return, the crooks force them to make a quick getaway into outer space. After several days of weightlessness, the four space travellers land on Venus, a planet populated by the gorgeous winners of the Miss Universe contest (including Anita Ekberg). Venusian queen Mari Blanchard falls in love with Costello, only to order him and his companions to return to earth when Lou proves to be unfaithful. Reportedly, this bizarre melange of sci-fi and slapstick was based on a story by Charles Beaumont, who received no screen credit (it's worth noting that Beaumont's later Queen of Outer Space boasts a remarkably similar plotline). Long considered the team's worst film, Abbott and Costello Go to Mars ("and about time!" quipped the New York Times' TV-movie reviewer) is rather likeable in its own incoherent way. ~ Hal Erickson, Rovi

Though out of favor with many Abbott and Costello buffs, Abbott and Costello Meet Captain Kidd is actually a lot of fun, so long as the viewer parks logic and dignity at the door. Captain Kidd is played by no less than Charles Laughton, who reportedly agreed to sign up for this film because he wanted to learn how to perform a comedy double-take. Bud Abbott and Lou Costello are cast as Rocky and Puddn'head, waiters at a pirate hangout on the island of Tortuga. Entrusted with a love letter written by the beautiful Lady Jane (Fran Warren) to cabaret singer Bruce Martingale (Bill Shirley), Puddn'head manages to get this missive mixed up with a treasure map coveted by both Captain Kidd and his rival, lady pirate Captain Bonney (Hillary Brooke). The upshot of all this finds Rocky, Pudd'nhead, Lady Jane and Bruce being shanghaied by Kidd, setting the stage for a climactic treasure hunt and chase on a faraway island. Laughton takes to broad slapstick comedy like a fish to water; indeed, at times he's a lot funnier than Bud and Lou! Filmed in Cinecolor, Abbott and Costello Meet Captain Kidd was the second of the team's independent productions for Warner Bros. release; like the first, Jack and the Beanstalk, it was well received by the public, even while critics tore their hair and gnashed their teeth. ~ Hal Erickson, Rovi

Rather than the usual cattlemen vs. sheep men conflict, this above-average Rex Allen western contrasts ranchers of all kinds with the Hurley Lumber Mill company, whose destructive business methods cause flashfloods that threatens to destroy all the grazing land in Pine Valley. Assuming to be the sole heirs to the Zeke Reynolds estate, a ranch with plenty of possibilities for timber interests, Carrie Hurley (June Vincent) and her brother Dan (Fred Graham) are dismayed to learn that the dear departed also saw fit to include Slim Pickens and distant relative Jacqueline Reynolds (Mary Ellen Kay) in his bequest. Having already murdered an inquisitive forest ranger (Russ Conway), the Hurleys are not about to share the lucrative Reynolds property but the homicidal brother-and-sister team bargains without Slim's boss, Rex Allen. When not battling the glacial Carrie Hurley and her henchmen, Allen and The Republic Rhythm Riders (who received introductory billing) perform "I'm Leaving on the Pine Valley Stage" "Under Colorado Stars" and the traditional "Down By the Riverside". ~ Hans J. Wollstein, 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

One reviewer of Abbott & Costello's Lost in Alaska summed up the proceeding in three pithy words: "Lost is right." While not A&C's worst film, it's several miles removed from their best. Cast as firemen in turn-of-the-century San Francisco, Bud and Lou rescue would-be suicide Tom Ewell. It turns out that Ewell is mooning over his former girl friend, saloon chanteuse Mitzi Green. It also transpires that Ewell has just come from Alaska, where he's been searching for $2 million in gold. Abbott and Costello accompany their new friend back to Alaska, where they're forced to dodge the bullets of Ewell's old enemies; foremost among these is plug-ugly Bruce Cabot. They find the gold, only to lose it all over again. The film's best scene occurs at the beginning, when Abbott, Costello and Ewell take turns saving one another from drowning. Otherwise, Lost in Alaska looks like a 2-reel comedy, clumsily stretched into an 8-reel feature. ~ Hal Erickson, Rovi

Set just after the close of the Civil War, a former Confederate officer (Ray Milland) joins a vaudeville target-shooting show to avoid detection by the Union army. Working his way West, he falls in league with a group of Southern copper-miners being harassed as they try to make a living. ~ John Bush, Rovi

Curtain Call at Cactus Creek is a combination of the western, comedy and musical genres. Donald O'Connor plays Edward Timmons, a mild-mannered stagehand for a travelling repertory troupe. Edward is in love with ingenue Julie Martin (Gale Storm), but there's no love lost between Edward and the troupe's hammy leading man Tracy Holland (Vincent Price). Things begin percolating when Edward gets mixed up in the activities of infamous outlaw Rimrock (Walter Brennan). ~ Hal Erickson, Rovi

The second of Universal's "Ma and Pa Kettle" series, Ma and Pa Kettle Go to Town stars, as ever, Marjorie Main and Percy Kilbride. This time, the Kettles win a letter-writing contest, which offers as first prize an all-expense-paid trip to New York City. Once in Manhattan, the huge Kettle brood raises all sorts of Holy Ned, culminating in an episode involving stolen bank money. Somehow this all ends with a riotous, slapstick-laden square dance. The film's romantic subplot is handled by Richard Long as oldest son Tom Kettle and Meg Randall as his high-society wife Kim. Also carried over from the first Kettle entry are Ray Collins and Barbara Brown as the Kettle's wealthy in-laws. A winner at the box-office, Ma and Pa Kettle Go to Town helped pay for many of Universal's "prestige" releases of 1950. ~ Hal Erickson, Rovi

Code of the Silver Rage is more of the same from Republic western star Allan "Rocky" Lane. This time, Rocky plays U.S. cavalry intelligence officer Lt. Rocky Lane, assigned to protect the President of the United States from harm when the Chief Executive visits the treacherous Arizona Territory. Going undercover, our hero infiltrates a criminal gang headed by Hulon Champion (Roy Barcroft), who hopes to assassinate the President and set up his own totalitarian regime in the West. The plot may have been a bit too much for Allan Lane's kiddie fans to digest. Fortunately, there was plenty of gunplay and fisticuffs to keep the youngsters happy. ~ Hal Erickson, Rovi

Republic's program westerns of the 1940s fell into two categories: the Saturday-matinee fare of Roy Rogers, Allan "Rocky" Lane et. al., and the more adult-oriented William Elliot vehicles. In The Last Bandit, Elliot and Forest Tucker play a couple of James-like bandit brothers, Frank and James Plummer. Deciding to go straight, Frank adopts a new name and takes a job as an express guard. James assumes that Frank is merely playing possum, intending to return to banditry when the time is ripe. But Frank is serious about reforming, setting the stage for an extreme and violent form of sibling rivalry at the climax. Andy Devine eschews his usual comedy relief as the railroad detective who decides to risk hiring Frank, while Adrian Booth offers another of her intelligent leading-lady characterizations. The Last Bandit was lensed in Republic's Trucolor process, which made up in vibrancy what it lacked in stability. ~ Hal Erickson, Rovi