Tonight's Movie: The Man I Married (1940)

THE MAN I MARRIED is a powerful anti-Nazi film released by 20th Century-Fox 16 months ahead of America's entry into World War II. I'm surprised that this frank film, a fascinating slice of movie and war history, isn't better known.

It's 1938, and Carol Hoffman (Joan Bennett), a New York art critic, takes a three-month leave of absence to accompany her German-born husband, Eric (Francis Lederer), to Germany, along with their little boy, Ricky (Johnny Russell). The Hoffmans intend to combine a long vacation with Eric helping his elderly father (Otto Kruger) sell the family business.

The Hoffmans arrive in a much different Germany than Eric had left years before. Carol is increasingly troubled by the oppressive atmosphere under Hitler, but Eric falls under Hitler's spell and decides he wants to remain in Germany permanently with a new love, devoted Nazi Frieda (Anna Sten). Her marriage in ruins, Carol must find a way to get her little boy out of the country against her husband's wishes. There's a humdinger of an ending which couldn't have been more perfect.

This was an excellent film which was interesting on many levels. Some of the attitudes seemed quite modern; for instance, Eric and Carol initially believe stories about concentration camps have been exaggerated by the press to sell newspapers. Their lack of trust in the media would fit right in over seven decades later. They soon discover, of course, that if anything the press was underplaying what was happening in Germany.

Another "modern" angle is that Carol is both a career woman and a mother; she and her husband seem to be the very model of a glamorous New York dual-career marriage. Unfortunately for Carol, her independent attitudes aren't a good fit for Nazi Germany, and as her husband grows more uptight and "German," outspoken Carol and Eric clash repeatedly.

Naziism is examined in detail. I loved a conversation Eric and Carol have on a train, innocently marveling over stories in a German paper that there are so many jobs in Germany that workers are being transported in from Austria; they also wonder how the new Volkswagen car can be so inexpensive. A fellow passenger dares to sarcastically set them straight.

Carol has a harrowing run-in with Nazi authorities when a neighbor is arrested, and she finally has had enough after watching her husband swept up in the excitement of a Nazi party rally. As she tells the American newsman (Lloyd Nolan) who comes to her aid, "I've seen men go mad over football games, but nothing like this!"

I won't spoil the ending, but I didn't see it coming till the last minute and it was jaw-droppingly perfect. This really is a must-see movie for anyone who is interested in the films of WWII.

I particularly loved Joan Bennett as the American whose dream of a lovely vacation in Germany is replaced by a crumbling marriage in a very scary environment. She does an excellent job taking her character through this transition in a film which is only 77 minutes long.

It's always interesting to me how actors criss-cross my viewing in unexpected ways. I was recently reading about Austrian-born actor Francis Lederer in the context of some research on the TV series THE HIGH CHAPARRAL; it seems that Don Collier, who plays ranch foreman Sam on the show, got his start as the real-life foreman on Lederer's ranch. The home and stables are today Los Angeles Historic Cultural Monuments.

THE MAN I MARRIED was directed by Irving Pichel from a script by Oliver H.P. Garrett. The black and white photography was by J. Peverell Marley. Joan Bennett's wardrobe was created by the great Travis Banton.

The film's supporting cast includes Maria Ouspenskaya and Ludwig Stossel.

THE MAN I MARRIED is available on DVD-R from Fox Cinema Archives. It's a beautiful print. Recommended.

Tonight's Movie: 12 Angry Men (1957)

Here we are moving into mid October, and I realized that until today I'd only seen three films on the list of 10 Classics it's my goal to see in 2012. Time to get moving if I'm going to see everything by year's end!  Tonight I checked another title off the list and watched Henry Fonda and company in 12 ANGRY MEN.

I generally enjoy most films I see, finding worthwhile aspects even in weak films, but this year in particular I've seemed to take a contrarian view toward a number of vaunted classics. Although it had redeeming qualities and I could understand why others admire it, SUNSET BOULEVARD (1950) wasn't my cup of tea. I thought A PLACE IN THE SUN (1951) was silly, didn't care for the characters in THE APARTMENT (1960), and found INHERIT THE WIND (1960) quite dreadful on many levels.

12 ANGRY MEN was the best of this group, with a number of well-known actors sharing the screen. I had high hopes I'd really like it, as it's a favorite of a couple of my children, but quite honestly, it failed to move me. It was interesting and I certainly wasn't bored by it, but I found it overly theatrical, with characters I didn't particularly enjoy.

I also found the plotline rather flimsy, which I think stems in part from the fact that I've spent the better part of two decades proofreading murder trial transcripts for a living. There was too much dramatic license necessary for me to buy into the story, whereas other viewers -- such as my children -- aren't likely to have the same issues.

One of my problems with the plot is that at the outset, Juror No. 8 (Henry Fonda) seems to be grasping at what California jury instructions describe as "mere possible doubt" or "possible or imaginary doubt." There was no substance whatsoever behind his raising doubts, he just randomly said "What if?" Which is what modern jurors in many states are not supposed to do. Perhaps the instructions were different in the '50s, but his approach negatively impacted my attitude toward the juror and the film.

It would have been different if Juror No. 8 had only said "I'd like to talk over the evidence," which was a reasonable and quite responsible attitude. But in fact, he initially raised doubts not based on the facts but with an emotional appeal because the accused had had a hard life -- which was irrelevant. In fact, jurors are not supposed to be swayed by sympathy. The jurors may have eventually stumbled into some genuine doubt based on the evidence itself, but it struck me that they got there in the wrong way.

It also bothered me that Fonda's character went to the neighborhood where the crime was committed and bought a knife. Visiting the scene and doing personal research is a big no-no, at least for modern-day jurors in my own state, and again it influenced my attitude. Since Fonda's character is supposed to be the noble hero of the piece and I had issues with him fairly early on, that affected my perception of the film as a whole. I had trouble seeing anyone in the room as particularly admirable, even him.

I also felt that some of their doubts were rather weak. For instance, they saw dents on a woman's nose all the way from the jury box, which meant she normally wore glasses and wouldn't have had them on in bed? Okayyyyy.

In terms of the characters, I can't say it was a whole lot more enjoyable for me spending time with them than they felt about being with each other. Sure, it was kind of interesting seeing a bunch of reputable actors gathered in one room, portraying different "types" and examining group dynamics. But what is the pleasure in watching Ed Begley Sr. wipe his nose on his handkerchief for the better part of 90 minutes? Or in watching various characters hurl insults and trash around the room with equal abandon? Or in listening to the rants of a racist or...angry men? By the time Lee J. Cobb reached his closing histrionics, I was more bemused than touched or saddened when he changed his vote. Cobb is a terrific actor I've enjoyed in a number of films, but he lost me along the way as his character disintegrated.

As a matter of fact, my favorite performer in the film was E.G. Marshall, because it was a relief to watch someone approaching the case in a cool and collected manner. The other jurors not yet mentioned in this post were played by Jack Warden, Martin Balsam, Jack Klugman, John Fiedler, Edward Binns, Joseph Sweeney, Robert Webber, and George Voskovec.

This 96-minute film was directed by Sidney Lumet and filmed by Boris Kaufman.

My son's owned a 50th Anniversary DVD of the film for a few years now, and I upgraded it to the Criterion 2-disc DVD in the last Criterion half price sale at Barnes and Noble. I watched the Criterion print and it was absolutely gorgeous, crisp and clear. The set comes with extensive extras including the 1955 television version, which will be interesting to compare to the film.

I haven't set out to have "minority" takes on so many classics this year, but I'm honestly calling 'em as I see 'em. It keeps things interesting, that's for sure, and I welcome comments with alternative viewpoints. The discussion which ensued on THE APARTMENT last summer was terrific!

Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...

...Character actor Andy Devine was born on this date in 1905. My favorite of Devine's many roles was as the rescue pilot in William Wellman's ISLAND IN THE SKY (1953). There's information about Devine's background growing up in Arizona in my posts A Visit to Flagstaff, Arizona and To Arizona and Back!; the latter post contains a photo of the Hotel Beale in Kingman, Arizona, which was owned by Andy's father. Kingman is proud of its native son, and one of the city's main thoroughfares is Andy Devine Avenue.

...Cliff profiles the early years of Carole Lombard at Immortal Ephemera. He's got some great illustrations of movie advertisements and cards. On a related note, those who missed my post of exactly a year ago might enjoy reading about my college research on Lombard's early years in California and her relationship to the Kimberly family of Kimberly-Clark.

...An interesting new book: TWITCH UPON A STAR: THE BEWITCHED LIFE AND CAREER OF ELIZABETH MONTGOMERY. The author, Herbie J. Pilato, wrote an excellent book on BEWITCHED, one of my all-time favorite TV series. I loved Elizabeth Montgomery as Samantha years before I became one of her father's biggest fans!

...Actress Glynis Johns turned 89 this past Friday. Anyone who hasn't yet seen her as the mermaid in MIRANDA (1948) is missing a real treat. It's out on DVD from VCI.

...Warner Bros. has made a deal to handle the distribution of some of Paramount's DVD titles.

...And speaking of Warner Bros., here's the studio's 90th anniversary logo.

...It was great to read in the L.A. Times that film actress and Broadway musical star Patricia Morison is doing well, living in Los Angeles. The Times says she's 97, but IMDb and IBDB give her age as 98. Her movies included one of my favorite Deanna Durbin films, LADY ON A TRAIN (1945). When I was a child I saw Morison as the Baroness in a theatrical production of THE SOUND OF MUSIC at the Los Angeles Music Center.

...Robert Osborne recently posted a note to his fans explaining his decision to reduce his on-air duties at Turner Classic Movies, a change mentioned in my link roundup of September 23rd.

...Another new book: THE MUSIC OF JAMES BOND by film music historian Jon Burlingame.

...Incandescent bulbs are now banned in England, for the most part, and things are looking dim.

...Here's the latest "Watch List" mini film reviews from Greenbriar Picture Shows.

...Jacqueline shares info on CAPTAIN CAUTION (1940) at Another Old Movie Blog. Victor Mature in the War of 1812!

...Mark your calendars: The U.S. DVD release of Season 3 of DOWNTON ABBEY will be January 29, 2013.

...A LITTLE HOUSE ON THE PRAIRIE feature film? Alyssa Rosenberg considers the possibility at Slate.

...Happiest wishes and congratulations to my friend Toby, who celebrated three years of blogging at 50 Westerns From the 50s on October 1st. Anyone who's a regular visitor knows what a great blog Toby has, and I highly recommend anyone who's not familiar with 50 Westerns make it a regular stop when cruising the web. Toby's blog combines great visuals, thoughtful analysis, DVD news, and some wonderfully knowledgeable discussions on Westerns by Toby and a number of regular commenters.

...Speaking of 50 Westerns, Toby recently linked to these wonderful color photos of 1940s Southern California. They're fantastic.

Have a great week!

Tonight's Movie: Thirty Seconds Over Tokyo (1944)

Having very recently watched films with Don DeFore and the young Robert Mitchum, I thought it would be interesting to watch them portray members of Doolittle's Raiders and pulled our copy of THIRTY SECONDS OVER TOKYO off the shelf.

My sons have both enjoyed the movie, as well as the book, but I hadn't seen the film myself since I was a teenager.  I found that the only part that seemed familiar was the raid itself, so it was almost like watching a completely new movie. The film is long, at 138 minutes, but extremely absorbing; I found it by turns very interesting, moving, and impressive.

The film depicts the historic Doolittle Raid bombing Japan in April 1942, mere months after Pearl Harbor. It follows several volunteer flight crews as they train under Lt. Col. James Doolittle (Spencer Tracy) for a mission so secret they only know it's dangerous, but they have no idea what it is they're going to do. The film is divided into three main sections, depicting the men's training, the mission itself, and their struggle for survival after crash landing in China.

The movie particularly focuses on the crew of the Ruptured Duck, including pilot Ted Lawson (Van Johnson), navigator Charles McClure (Don DeFore), and gunner David Thatcher (Robert Walker). Robert Mitchum plays Bob Gray, Lawson's close friend and pilot of one of the other B-25s.

My favorite part of the film was the depiction of the fully loaded B-25s taking off from the aircraft carrier Hornet. The combination of know-how and sheer guts to launch those huge planes from the short deck of an aircraft carrier was awe-inspiring.

While the film certainly stirs patriotic feelings and pride for what the "Greatest Generation" accomplished during World War II, I was also struck -- given that this film was released during the war -- by a thoughtful conversation between Lawson and Gray where they reflect on the strangeness of knowing that their efforts will result in civilian deaths. They are regretful but acknowledge it must be so if they don't want to see their own families bombed back home in the U.S.

The actors are all excellent, and I particularly noted by the transitions made by DeFore and Walker. DeFore's character starts out as a happy-go-lucky movie camera nut, but his depiction of his character's agony when he suffers severely broken shoulders in the crash is heart-rending. Meanwhile Walker's character, the kid on the crew, is the only man who's uninjured; he matures as he becomes the caretaker of his fellow crew members. The young man who previously was a nervous green flyer shows his mettle as he nurses the other men and volunteers to stay and help defend the most injured men from the approaching Japanese army, rather than evacuate.

The cast is endlessly interesting, with fun faces popping up throughout the movie. To my surprise, Robert Mitchum's WEST OF THE PECOS costar, Bill Williams, turns up in THIRTY SECONDS OVER TOKYO, in one of his very first movies; he plays one of the men sharing quarters with Van Johnson on the Hornet.

Similarly, character actor Moroni Olsen was a judge in last night's movie, EAST OF THE RIVER (1940). He appears as a general in the very first scene of THIRTY SECONDS OVER TOKYO.

I particularly enjoyed Louis Jean Heydt as the Navy man who trains the flight crews on aircraft carrier operations and Paul Langton as a lieutenant charged with gathering together the B25 crews. They were small roles, but the men made the most of their limited screen time.

Leon Ames turns up in just a couple of scenes as a military man with expertise on Japan. Don't blink and you'll spot John Dehner at a briefing on the Hornet. Future writer-director Blake Edwards also has a small role as a crewman. The large cast also includes Gordon McDonald, Stephen (Horace) McNally, John Reilly, Donald Curtis, William "Bill" Phillips, Alan Napier, Ann Shoemaker, Selena Royle, and Benson Fong.

Phyllis Thaxter, who just passed on in August at the age of 90, plays Van Johnson's devoted wife, while Jacqueline White (THE NARROW MARGIN) plays Paul Langton's wife. Another of the wives is played by Dorothy Morris, who passed away late in 2011. Morris, incidentally, had appeared with Mitchum and DeFore the previous year in THE HUMAN COMEDY (1943).

The film was directed by Mervyn LeRoy from a screenplay by Dalton Trumbo. The black and white cinematography was shared by Harold Rosson and Robert Surtees.

THIRTY SECONDS OVER TOKYO is available on DVD in the six-film World War II Collection, Vol. II. It's also available as a single-title DVD. It can be rented from Netflix.

The movie can also be rented for streaming from Amazon Instant Video.

Turner Classic Movies will show THIRTY SECONDS OVER TOKYO as part of Spencer Tracy Month early on October 23rd, 2012. TCM has the trailer available, along with several clips, such as this one which provides an overview of some of the great cast.

This classic World War II film is very much recommended.

A Birthday Tribute to June Allyson

June Allyson, a unique and charming MGM star of the '40s and '50s, was born on this date in 1917.

June Allyson is one of the reasons I fell in love with classic films, and in fact she made my list of 20 Favorite Actresses a few years back. Her MGM films ran on TV constantly when I was young, shown on KTTV Ch. 11 -- a station which happens to have been mentioned by me in another context earlier today.

When I was around age 10 or 11 I began keeping a chronological list of every film I've ever seen, which I continue to maintain today. The first part of the list, reconstructed by memory, consisted of the films I'd previously seen in my lifetime, and THE GLENN MILLER STORY (1954) is near the very top of the list.

My friend Mel happened to mention a memory of THE GLENN MILLER STORY in a comment last night. It's one of those films which made an indelible impression on many of us, myself included, and I fell in love with not only June but Jimmy Stewart, Harry Morgan, and the music of Glenn Miller. I've seen it countless times, and I still love everything about it, including "Little Brown Jug" and all the other great music.

June Allyson was married to one of my all-time favorite actors, Dick Powell. Prior to their marriage he played a significant role in her career success by famously advising her to ask Louis B. Mayer to recast her from the "pretty" to the "plain" sister in TWO GIRLS AND A SAILOR (1944). The role capitalized on her husky-voiced girl-next-door charm, with the result that she became a huge star.

My younger daughter inherited my love for June and has watched TWO GIRLS AND A SAILOR countless times; she was so happy when it came out from the Warner Archive! It's a charmer, the first of several pairings of June with Van Johnson, and like THE GLENN MILLER STORY it also has great big band music.

June appeared in a handful of films with Dick Powell, starting with MEET THE PEOPLE (1944) and later RIGHT CROSS (1950) and THE REFORMER AND THE REDHEAD (1950). When it comes to movies, however, she's most often thought of teamed with Van Johnson or as the wife of James Stewart, first in THE STRATTON STORY (1949), later in THE GLENN MILLER STORY, and finally in STRATEGIC AIR COMMAND (1955).

My favorite June Allyson movie is probably GOOD NEWS (1947), an underrated, colorful, and completely engaging musical in which she was teamed with Peter Lawford. Spending 93 minutes with them at Tait College is movie musical bliss, especially when it comes to great numbers like "Lucky in Love," "The French Lesson," "The Varsity Drag," or Joan McCracken's awesome "Pass That Peace Pipe."

June was also paired with Peter Lawford in LITTLE WOMEN (1949). It perhaps isn't the best version of LITTLE WOMEN -- I'd give that nod to the 1933 Hepburn telling -- but it's the first one I ever saw, and the wonderful cast and candybox color again made a big impression on me as a young girl. As a matter of fact, as a teenager I had a framed movie still of the cast hanging on my bedroom wall.

June Allyson passed away in Ojai, California, in 2006, at the age of 88.

Though I've seen a significant number of June Allyson's films, not many of them have been reviewed here, which I hope to rectify in the future. There are also several of her films I still need to see for the first time, including, curiously, most of her movies with Van Johnson.

June Allyson films previously reviewed at Laura's Miscellaneous Musings: THE SAILOR TAKES A WIFE (1945), THE SECRET HEART (1946), RIGHT CROSS (1950), THE REFORMER AND THE REDHEAD (1950), EXECUTIVE SUITE (1954), WOMAN'S WORLD (1954), and STRATEGIC AIR COMMAND (1955).

January 2017 Update: I wrote a tribute to June Allyson which is now posted at ClassicFlix.

October 2019 Update: My ClassicFlix post has now been adapted and posted here at Laura's Miscellaneous Musings, including links to several of my past Allyson film reviews.

October 2020 Update: Here's a review of THE OPPOSITE SEX (1956).

July 2023 Update: Here's my review of MY MAN GODFREY (1957).

November 2024 Update: I've now reviewed WORDS AND MUSIC (1948), in which Allyson guest stars singing "Thou Swell."

2025 Update: Here's a review of Allyson in YOU CAN'T RUN AWAY FROM IT (1956), a remake of IT HAPPENED ONE NIGHT (1934) directed by Allyson's husband, Dick Powell. I've also reviewed the new Blu-ray release of EXECUTIVE SUITE (1954).

Thanks for Everything, Sheriff John

I felt a real pang yesterday when I learned of the passing of one of my childhood television heroes, Sheriff John.

Like my other childhood favorites of the late '60s, Mr. Rogers and Mr. Green Jeans, Sheriff John was reassuring, conveying the message that the world was a good and interesting place. He gently reinforced patriotism and religious faith by leading children in the Pledge of Allegiance and saying grace at lunchtime.

And of course, there was this song, imprinted on the minds of thousands of California children:



John Rovick was a WWII veteran who portrayed Sheriff John from 1952 to 1970, a significant portion of his over three decades working at KTTV Los Angeles. He was 93 when he passed on yesterday.

Kevin Roderick also pays tribute at L.A. Observed.

Thanks and God bless you, Sheriff John.

Tonight's Movie: East of the River (1940)

The Warner Bros. programmer EAST OF THE RIVER is a loose remake of MGM's classic MANHATTAN MELODRAMA (1934), which starred Clark Gable, William Powell, and Myrna Loy. Although the tale of adoptive brothers ending up on opposite sides of the law is familiar, a strong cast and well-paced script make EAST OF THE RIVER worthwhile on its own terms.

Joe Lorenzo (John Garfield) returns to New York after a three-year stint in San Quentin, which he's kept a secret from his mother (Marjorie Rambeau). Joe can't seem to mend his ways, but his cynical girlfriend Laurie (Brenda Marshall) is gradually transformed by the loving attention of Joe's mama and adopted brother Nick (William Lundigan), who's just graduated from college and is Mama's pride and joy. Relationships are permanently realigned when Joe gets into trouble once more and has to go on the lam.

I found this snappy 74-minute drama quite enjoyable. I liked the entire cast, but found Brenda Marshall particularly noteworthy as Laurie. In one of her better performances, she starts out as Joe's jaded, slang-talking girlfriend who's been around the block a time or two and is wary of his "respectable" family members.

There's a great little scene where Laurie watches as self-centered Joe asks his mother and the waiter (George Tobias) in the family restaurant to do various things for him while the dining room is packed with customers. Disgusted, Laurie tells Joe off, then rolls up her bathrobe sleeves and gets to work washing the restaurant dishes.

Laurie gradually comes to realize she'd rather work hard, earn a living, and lead a respectable life than have Joe's devil-may-care lifestyle. Given the movie's fast pace, Marshall doesn't have much time to make this character transition, and it's to her credit that it's believable.

There's another scene near the end of the film which is worth the price of admission, as Joe's mama painfully reveals that she knows a lot more about Joe than she's been letting on -- and that she'll do absolutely anything to make sure that Nick and Laurie have the happiness Joe might deny them. It's a powerful scene, beautifully acted by Rambeau and Garfield, and once again the changes this quickly forces in Garfield's shocked character seem authentic.

I've always been a William Lundigan fan, and he's completely charming as hardworking Nick. It's a rather interesting bit of movie trivia that he ended up playing the same role twice within two years! In 1942 MGM remade its property MANHATTAN MELODRAMA as a "B" movie, NORTHWEST RANGERS (1942). Lundigan played the good brother, a Mountie, with James Craig as the bad brother and Jack Holt as their adoptive father.

Having seen George Tobias playing a cold-blooded killer in last night's SOUTHSIDE 1-1000 (1950), EAST OF THE RIVER was a peek at his versatility, here playing a good-natured Italian man. Ironically I think his character in EAST OF THE RIVER might have been meant to be older than the character he played a decade later in SOUTHSIDE 1-1000!

EAST OF THE RIVER's cast also includes Moroni Olsen, Jack LaRue, Douglas Fowley, Paul Guilfoyle, Russell Hicks, and Frank Faylen.

The movie was directed by Alfred E. Green and photographed in black and white by Sid Hickox.

EAST OF THE RIVER has not had a release on DVD or VHS. Hopefully it will be out at some future date from the Warner Archive.

It was recently shown on Turner Classic Movies.

July 2014 Update: This film is now available on DVD from the Warner Archive; my review is here.

Tonight's Movie: Southside 1-1000 (1950)

SOUTHSIDE 1-1000 is 79 minutes of docu-noir bliss, with Don DeFore as a Secret Service agent tracking counterfeiters through the mean streets of Los Angeles. It is, as Glenn Erickson recently wrote, "an obscure noir winner."

John Riggs (DeFore) is a Treasury agent tracing bills made from plates created by a sickly imprisoned felon (Morris Ankrum). The search leads to L.A., where Riggs poses as the sleazy Nick Starnes. As Starnes, he meets other members of the counterfeit ring, including Reggie, played by an unusually intimidating George Tobias; Reggie makes sure that someone he doesn't trust meets his end in a rather startling and brutal way.

Riggs/Starnes also gets to know hotel manager Nora Craig (Andrea King). They may possibly share an attraction, but each is wary of the other, with good reason. Watching Nick and Nora trying to figure out each other's angle is one of the film's many pleasures.

SOUTHSIDE 1-1000 has great atmosphere and manages to be quite stylish despite the confines of the "B" movie budget. The eye-catching L.A. location shooting sent me to Google for more info on spots like Owl Drugs and Coffee Dan's.

Although only stock footage is used of Union Station, there's a marvelous chase sequence using the Angels Flight Railway, also seen in the previous year's CRISS CROSS (1949). Another suspenseful scene, one of the best in the film, was shot in L.A.'s Wrigley Field. It's amazing how a place which would normally be so welcoming ends up being quite spooky in this film.

Although I grew up thinking of DeFore as a "TV dad" from countless reruns of OZZIE AND HARRIET and HAZEL, I started looking at him differently thanks to his part as a charming gunslinger in RAMROD (1947). He's excellent as the resourceful G-man. I really enjoy seeing him in a part like this which is so different from his well-known TV roles.

Andrea King might not have been a household name, but she was a striking actress who brought a little something different to many films of the '40s and '50s. She played supporting roles in a number of films previously reviewed here including, to name just a few, THE VERY THOUGHT OF YOU (1944), THE MAN I LOVE (1947), MY WILD IRISH ROSE (1947), and RIDE THE PINK HORSE (1947). Visit the official Andrea King website for more information and lovely photos.

Gerald Mohr is an actor I first came to know through reruns of my favorite series, MAVERICK, as he appeared in seven different episodes, including a couple as Doc Holliday. Mohr serves as the film's narrator. Perhaps perennial noir narrator Reed Hadley wasn't available!

There are lots of other familiar faces in the cast, including Ray Teal as a bunco squad detective, Barry Kelley (BUCHANAN RIDES ALONE) as a crook, and Don Beddoe (COW COUNTRY) as his lawyer. Argentina Brunetti, Sid Saylor, Pierre Watkin, and Robert Osterloh are also in the large cast.

The movie was directed by Boris Ingster and filmed in glorious black and white by Russell Harlan. Harlan had also shot DeFore's RAMROD, and his credits included classics such as RED RIVER (1948) and RIO BRAVO (1959).

The movie was produced by the King Brothers, the team which was also behind noir gems such as WHEN STRANGERS MARRY (1944) and GUN CRAZY (1950).

SOUTHSIDE 1-1000 is available on a newly remastered DVD-R from the Warner Archive.

For another look at SOUTHSIDE 1-1000, please visit Mark's 2009 review at Where Danger Lives, where he wrote that the film was "compelling, entertaining, and in its own way pretty important."

March 2014 Update: I had the wonderful opportunity to see this film in a brand-new 35mm print at the Noir City Film Festival.

Quick Preview of TCM in December

Exciting news for classic film fans this week: Turner Classic Movies has now posted its tentative December schedule.

In addition to the usual Christmas movie goodness, the December Star of the Month is fan favorite Barbara Stanwyck.

Over 50 Stanwyck films will be run on Wednesday evenings and on into each Thursday, in some cases for marathons for close to 24 hours.

Some other random titles of interest to me: a new-to-me movie starring Susan Peters, ASSIGNMENT IN BRITTANY (1943), costarring Jean-Pierre Aumont; CARNIVAL STORY (1954) with Steve Cochran and Anne Baxter; FLIGHT FROM DESTINY (1941) with Geraldine Fitzgerald and Jeffrey Lynn; a Ginger Rogers film I don't know, TWIST OF FATE (1954); and perhaps best of all, a multi-film birthday tribute to Una Merkel...which seems to simultaneously be a tribute to the lovely Madge Evans, with Evans appearing in at least four of the films. Only on TCM!

There are also plenty of Christmas movies, Ernst Lubitsch, "B" Westerns, film noir, and New Year's Eve with Abbott and Costello. A great month ahead!

Until then, the current Star of the Month is Spencer Tracy, and November should be a very interesting month with Constance Bennett as that month's star.

For more on the current month on TCM, please visit TCM in October: Highlights.

Update: For more detailed information on the December schedule, please visit TCM in December: Highlights and TCM in December: Christmas Movies.

December Update: For additional details on Barbara Stanwyck films airing this month, please visit TCM Star of the Month: Barbara Stanwyck.

Laura's Miscellaneous Musings at MovieFanFare

It's always a pleasure to be asked to share my writing with a wider audience at Movies Unlimited's MovieFanFare blog, and I'm pleased to mention that my recent review of THE STALKING MOON (1969) was posted there (1969) today.

THE STALKING MOON is a fine Western starring Gregory Peck as a compassionate ex-Army scout and Eva Marie Saint as a woman freed from a decade of captivity with the Apache Indians. The only problem is that her former Indian husband is tracking her, determined to reclaim their little boy.

I hope perhaps more readers will become aware of and check out this very interesting movie.

Previous MovieFanFare posts: TWO SMART PEOPLE (1946), ANGEL AND THE BADMAN (1947), WESTBOUND (1959), TAMMY AND THE BACHELOR (1957), A YANK IN THE R.A.F. (1941), Gail Russell: Gone Too Soon, and a movie still From My Collection.

New on DVD: Experiment in Terror (1962) and Westerns

Last May I saw an outstanding suspense film, EXPERIMENT IN TERROR (1962), as part of the Mid-Century California Noir festival at the Los Angeles County Museum of Art.

The movie stars Glenn Ford, Lee Remick, Stefanie Powers, and Ross Martin. It has superb black and white cinematography of San Francisco to go along with its many thrills and chills.

At the time I noted that it had once been released on DVD but it had gone out of print. Thanks to Kristina's Shopping List feature at her Speakeasy blog, I learned that the movie was just released today in the Sony Choice DVD-R line.

Sources where EXPERIMENT IN TERROR is available include Amazon.

Highly recommended. It's a great title to watch as Halloween approaches.

I had previously learned from 50 Westerns From the 50s that MASTERSON OF KANSAS (1954) would be out today, starring George Montgomery and Nancy Gates.

Today also sees the single-title release of several Randolph Scott-Budd Boetticher Westerns. It's a far better deal to get these movies in the five-film Films of Budd Boetticher collection, complete with extras, but for anyone who just wants to pick up a title or two, that option is now available.

The titles now available are: DECISION AT SUNDOWN (1957) (reviewed by me here), BUCHANAN RIDES ALONE (1958) (review here), RIDE LONESOME (1959) (review here), and COMANCHE STATION (1960) (reviewed by me here).

I especially recommend RIDE LONESOME and COMANCHE STATION, which are each outstanding Westerns.

The only film in the Boetticher collection not being released today by Sony Choice is THE TALL T (1957).

TCM Star of the Month: Spencer Tracy

The October Star of the Month on Turner Classic Movies is Spencer Tracy.

TCM will show over 50 Tracy movies on Monday evenings this month, beginning tonight, October 1st. The titles shown will span three and a half decades, from 1932 to Tracy's final film in 1967.

Tonight kicks off with a dozen films from the early years of Tracy's career. The two films which particularly interest me are ME AND MY GAL (1932), a TCM premiere costarring Joan Bennett, and MAN'S CASTLE (1933), costarring Loretta Young, with whom he had a brief offscreen romance.

October 8th continues with 9 more films, all released between 1936 and 1942. LIBELED LADY (1936), shown that evening, is one of my favorite screwball comedies, which I was fortunate to see as part of UCLA's Spencer Tracy Festival earlier this year. It costars William Powell, Myrna Loy, and Jean Harlow.

TEST PILOT (1938) and BOOM TOWN (1940), two films he made with Clark Gable, are also enjoyable. Other titles that evening range from the biopic EDISON THE MAN (1940) to DR. JEKYLL AND MR. HYDE (1941) to an interesting version of Steinbeck's TORTILLA FLAT (1942), costarring John Garfield and Hedy Lamarr.

October 15th leads off with a half-dozen films for which Tracy was nominated for the Academy Award, including SAN FRANCISCO (1936) and BAD DAY AT BLACK ROCK (1955).

SAN FRANCISCO was another film I saw at UCLA this year, and I thought Tracy was wonderful as the priest who serves as friend and counsel to Clark Gable and Jeanette MacDonald. It's one of my favorite Tracy performances.

Vincente Minnelli's FATHER OF THE BRIDE (1950), showing that evening, is another movie I like. The film reunited Tracy with Joan Bennett 18 years after they starred in ME AND MY GAL. Elizabeth Taylor plays their daughter, the bride.

The second half of the schedule on the 15th is devoted to adventure films, including NORTHWEST PASSAGE (1940), PLYMOUTH ADVENTURE (1952), and HOW THE WEST WAS WON (1962), which Tracy narrated. (Some lucky folks will be seeing the latter film in Cinerama in Hollywood later this week!)

Six of the films Tracy made with Katharine Hepburn will be shown on October 22nd. My favorites are WOMAN OF THE YEAR (1942) and ADAM'S RIB (1949), though I've also got a soft spot for PAT AND MIKE (1952) which was on TV a lot when I was growing up. WOMAN OF THE YEAR does have its annoying moments, but I have fond memories of a screening I attended as a teen at the Los Angeles County Museum of Art, where I laughed along with the audience till I cried while watching Tracy's increasingly hysterical reactions to Hepburn's attempts to cook breakfast.

The evening continues with three war films, including the classics A GUY NAMED JOE (1943) and THIRTY SECONDS OVER TOKYO (1944), both costarring Van Johnson, and then a pair of comedies, FATHER'S LITTLE DIVIDEND (1951) and THE ACTRESS (1953).

The final evening, on October 29th, presents four films Tracy made with Stanley Kramer, including another Hepburn film, GUESS WHO'S COMING TO DINNER (1967), which was also his last film. The only Tracy-Hepburn films not being shown this month are Capra's STATE OF THE UNION (1948) and the Fox film DESK SET (1957).

The Kramer lineup also includes INHERIT THE WIND (1960), which I saw at UCLA in January and which has the distinction of being one of a fairly small number of films I flat-out disliked. Among other things, I found the movie smug, lacking in depth or nuance, and at times downright childish. The film certainly has its admirers, so it may well be worth watching and forming one's own conclusions.

The 29th concludes with a random assortment of dramas from the late '40s and '50s, including CASS TIMBERLANE (1947) and John Ford's THE LAST HURRAH (1958).

For more information on TCM's October schedule, please visit my post TCM in October: Highlights or consult the complete online schedule.