Abandon Ship! (1957)

Near the top of the list of my favorite Tyrone Power films and what I deem one of the absolute best performances of his career is 1957's Abandon Ship!.  A meaty, intense British drama---also known as Seven Waves Away---Abandon Ship! features Mai Zetterling, Stephen Boyd, and Lloyd Nolan in supporting roles.  Produced by Tyrone Power and directed by Richard Sale, the film is loosely based on the 1841 incident of the William Brown.

After hitting a mine in the waters of the South Atlantic, a luxury liner explodes, and in seven minutes, all but just over two dozen of its 1,156 passengers perish.  Those few had managed to get into one of the ship's dinghies before the ship went down.   One of the survivors is ship's officer, Alec Holmes (Tyrone Power), who is given command of the small boat just before the captain dies.  With the words, "Save as many as you can," Holmes becomes the captain and assumes responsibility for the lives of his passengers.

The small craft, which was meant for nine passengers, is filled far beyond its capacity.  A total of 26 people are depending on the tiny vessel for life...some of them are in the water and desperately hanging onto the side of the craft.  Since there had not been time to send a distress signal, reaching the African coast---1,500 miles away---is their only hope.  Overloaded as they are, and with only one gallon of water, a tiny amount of canned food, several serious injuries, and an upcoming storm, can they possibly reach land?

Although some of the people believe that it is the duty of the strong to protect the weak, a well-respected ship's officer counsels Alec to evict the tenants who cannot pay the rent, to save half of them instead of losing them all.  Much as it horrifies him to do so, Alec may just have to begin choosing which passengers will remain in the boat and which ones will not.



This is an incredibly powerful, thought-provoking, "discussion piece" kind of movie---you know, the kind that makes you really think about the hard questions in life.  Was Holmes right in his actions? Or was he wrong?  What would you do if you were in his shoes?  Tyrone Power is totally stellar in this role; in fact, I think this is up there with Witness for the Prosecution and The Eddy Duchin Story as one of his absolute best performances.  He is thoroughly believable as the reluctant captain who was forced to make the hardest decisions anyone could ever make. For those who say Power couldn't act, see this film, and your mind will be changed.

As stated above, Abandon Ship! is loosely based on an actual incident.  In 1841, the William Brown departed Liverpool for Philadelphia, 65 passengers aboard.  After hitting an iceberg off the coast of Newfoundland, the ship sank, taking nearly half its passengers to their watery graves.  The entire crew (including one Alexander Holmes) and the remaining passengers took to two boats, but before their eventual rescue, many of them would be sacrificed in order to lighten the load.  For more information about the incident, check out this Wikipedia article or this article from the County of Tyrone Ireland.

To my knowledge Abandon Ship! is not available on DVD; however, it is available in VHS format and is on YouTube in its entirety (HERE).  Also, TCM does air it periodically. Definitely catch it if you can.  When comparing this film to the similar Lifeboat, Abandon Ship! easily comes out on top for me.  In fact, in my opinion, it's a 5-star, gem of a film.

Happy viewing!!

NOTE:  This article is part of the Power-Mad, Tyrone Power 100th birthday blogathon being hosted by The Lady Eve's Reel Life and They Don't Make 'Em Like They Used To. Go  HERE or HERE to check out all the other fantastic entries.

The Jackpot (1950)

This article is part of the James Stewart Blogathon hosted by the Classic Film & TV Cafe. You can view the complete blogathon schedule here.


The Jackpot, from 1950, is a little-known Jimmy Stewart comedy which I discovered on Fox Movie Channel a couple years ago.  It's a film I had never even heard of, let alone seen, but since my family adores Jimmy Stewart, when I saw this on the FMC schedule, I just had to set the DVR.  It's really a charming movie, and even I---drama-lover that I am---enjoyed every minute of it.  The film also stars Barbara Hale, while James Gleason and a young Natalie Wood have minor roles.  

Bill and Amy Lawrence (Stewart and Hale) are just an average, everyday family---that is, until bandleader Harry James changes their life for the worse.  Of course, it wasn't Harry James's fault--- his name just happened to be the answer to a radio show's "Mystery Husband" contest.  Though Bill at first thinks his phone number being chosen to play the game is nothing more than a gag, he soon discovers it is all very real, and he more than gets into playing along.  When, by the flip of a coin, Bill decides that Betty Grable's husband is the mystery husband and that by knowing that, he has won $24,000 worth of prizes, total mayhem descends upon his formerly mundane life.

Bill and Amy's prize package includes an assortment of goodies, some practical, some hilarious---a diamond ring, a palomino pony, a complete home makeover, a grand piano, several thousand cans of soup, a trip for two, a portrait appointment with an artist, and on and on.  The chaos begins when the Lawrences are informed that they are responsible for the income tax on everything.

When all is said and done, they owe $7,000 in taxes for all their loot, and that's where the fun of this film comes in.  Adding to their dilemma of trying to sell their winnings in order to raise the money for the tax, Amy begins to suspect that Bill is having an affair with the French artist painting the portrait.  How it all plays out is the balance of the film.

The Jackpot is just a sweet, loads-of-fun movie.  It's certainly no Academy Award winner, but it's a delightful film the whole family can enjoy . . . yes, even the little ones ought to get a huge kick out of this.  Jimmy Stewart is his usual, totally wonderful self; I feel quite sure that all Stewart fans will want to see this 4-star, little-known gem.

While this film is not out on DVD, it is on VHS.  Additionally, it is available on YouTube, in its entirety (HERE).  Definitely try to see this if you can...I'm sure you will enjoy every minute of it.

Happy viewing!!

To Stay in the Sun

The Great Imaginary Film Blogathon begins today over at Silver Scenes.  A "wishful thinking" event, this blogathon gives us the chance to do whatever we can imagine with a film. We might make a movie that's never been made, shake-up the cast of a perennial favorite, even use a different director or locale.  In my case, it's about imagining a non-existent scene in my all-time favorite movie. With nearly two dozen participants, this is sure to be a fantastic blogathon. Go HERE to visit all the other entries.

As stated, my addition to this terrific blogathon is a scene I've imagined from my all-time favorite movie, 1951's A Place in the Sun. Starring October's star of the month (and one of my most beloved guys), Montgomery Clift, Elizabeth Taylor, and Shelley Winters, this George Stevens film won six Academy Awards (including Best Director for Mr. Stevens) and was nominated for three more.  I absolutely love love love this movie, and no matter how many times I watch it, I always wish it had a different ending than it does.  While I'm not one for spoilers and almost never give any, because of the scene on which my story is based, I will be letting out a bit of the story.  So, if you haven't seen A Place in the Sun, be warned---there are spoilers in this post.

You can read my full synopsis and review of this fantastic movie HERE.  However, for purposes of my imaginary scene, all you need to know is that I see Montgomery Clift's character in a sympathetic light.  While some (make that most) people I know consider George Eastman as no good and rotten to the core, I don't see him that way at all.  Since we're not privy to what is actually going on in George's mind in that very pivotal scene on the lake, I've imagined what he might be thinking.  Of course, my scene---had it actually been a part of the film---would give me the different ending I so desire. When George took the stand in his murder trial and was grilled by none other than beloved Perry Mason in a prosecuting role, these events would have been recalled, proving that Alice's death really was an accident.  While many of y'all may not agree, that is okay, as it seems I often march to the beat of my own drum. So, alone on the planet or not, this is how I see George Eastman.

After a long, hot summer, the early September evening air felt chilly----downright cold even---to George Eastman as he paddled the shabby canoe on the far side of Loon Lake.  A shiver racked George's body, but it wasn’t just the setting sun’s lack of warmth which brought about the shiver.  No, it was much more than that…it was the venomous, coldblooded thoughts coursing through his mind.

Like the proverbial “life flashing before the eyes” final thoughts of a dying man, the pictures flashing through George Eastman’s mind were coming fast and furiously…instantaneously almost…one right on top of the other.  Barely three minutes had passed, but an entire summer’s worth of living had been re-lived in his mind, bringing him to his reason for being on a remote lake just as the sun was setting.

Angela…her exquisite beauty had captivated him from the moment he saw her.  Never had he seen such a stunning creature; truly, she took his breath away.  Yet she hadn’t even noticed him…hadn’t given him the time of day---at first.  God must have been looking with favor upon him, though, because the next time he saw her---at the party at his uncle’s house---she had not only noticed him, but she had talked with him…and danced with him for hours.  By the time the evening ended, George knew there could never be any other woman for him---he was completely, totally, and forever in love with Miss Angela Vickers.

They saw each other again, and to the utter shock of a poor boy such as he, Angela---in all her beauty and wealth---loved him in return.  What he had ever done to be given such a gift, he didn’t know.  All he could do was thank his lucky stars that he was given it.  With Angela by his side and in his arms, life for George promised to be pure bliss.

George’s delirious joy---and the vivid image of Angela’s stunning beauty---was immediately eclipsed by the picture of another face…one which he did not love and, in fact, had come to hate.  He had never loved Alice…not for a minute.  She had been nothing more than a kindhearted person with whom he could spend time.  God knew how lonely he was…how starved for friendship…for someone to talk to.  Moving to California to take a job at his uncle’s factory, George had expected to be welcomed into the family fold…to be a part of their social circle.  Alas, nothing could have been further from what he got.  While his uncle gave him a job at the factory---feeling obligated to, no doubt---friendship with the family was not part of the deal.  They looked at him as the poor relation, and George knew it.  He wasn’t good enough to run in their social circle, so they ignored him….tended to look right through him as if he wasn’t there.  But George was there, and he was desperately lonely.  How he longed for a friend…and Alice offered that friendship.

He had never loved Alice…he had liked her, yes, but he had never loved her, and he had never lied and told her that he did.  So how it was that they ended up in bed together, he was never sure.  Just loneliness, he guessed….loneliness which engulfed both of them.  Things had just gone too far that evening, and he ended up spending the night at her place.  Oh, how he wished he could turn the clock back and relive that night…how he wish he would have walked away from Alice’s apartment before indulging in---as his mother would have said---the sins of the flesh.  It was that one mistake…that one “should never have done it” moment…which was now coming back to haunt him…threatening to rob him of Angela and the happiness he knew with only her.

A new image moved into George’s mind….that of a baby.  He couldn’t believe his one night of passion with Alice had resulted in pregnancy.  And now she was insisting that he marry her…something he did not want to do…something he could not do.   To marry Alice would be to lose Angela forever, and he would just as soon die as be without her.  Angela was his reason for living, his sun, moon, and stars all rolled into one.  To be separated from her would be more torturous than anything he had ever known.  If only there was no baby…if there was no Alice.

No Alice…well, there was a way to remove Alice from his life, and the image of that moved into George’s mind.  He knew Alice couldn’t swim, and it was for that reason that he had come up with the plan to take her out in a canoe.  It was easy...all he had to do was capsize the canoe and Alice would drown.  He would swim to safety…back to Angela.  Alice would die on the far side of Loon Lake, and no one would ever be the wiser…no one would know that it wasn’t an accident…no one would know that George, in fact, had murdered her.

With the word “murder,” the image of his devoutly religious mother came to George’s mind.  She and his late father had devoted their entire lives to the call of God, and they had instilled a knowledge of God’s Word into their son.  Commandment Number 6, “Thou shalt not murder” filled his mind.  It was a sin to kill someone, George knew that.  But, his mind argued, no one would ever know it was murder; they would think it was an accident, and George would be in the clear.   On the heels of that thought came Jeremiah 16:17,  “I am watching them closely, and I see every sin.  They cannot hope to hide from me.”    Someone would know what he had done.  While he might be able to hide the truth from everyone else, and while he might even be able to deceive himself, he could not pull the wool over God’s eyes.  Even now, God could see the evil that was in his heart.  God would always know that he had broken the commandment against killing, and no matter where he went, no matter what he did, he would never be able to hide from God.

Brokenhearted because he knew Angela would be lost to him forever, George realized that he couldn’t go through with his plan…he could not murder Alice.  It was one thing to hide his actions from everyone else, but it was entirely another thing to hide from God.  To stay in the sun---that beautiful, warm, radiant, breathtaking place he knew with Angela---would require him to try to hide from God for the rest of his days, and he knew that such an endeavor was futile.  He would have to leave the sun in order to be able to live with himself.

The image of Angela’s beautiful, beloved face and their time spent together moved once more into George’s mind.  “Goodbye, my darling.  I will always love you” were his final thoughts before Alice stood up in the far side of the dilapidated canoe, causing it to tip precariously to one side and then capsize completely, sending them both into the dark waters of the mountain lake.  By the time George resurfaced, Alice was nowhere to be seen…

If you have never seen A Place in the Sun, I highly, highly, highly recommend it.  It is a 5-star, "love it," "can't get enough of it" film for me.  The story is meaty, intense, and thought-provoking; the acting is fantastic---both Montgomery Clift and Shelley Winters received Lead Performer Academy Award nominations for their work here (Monty is spectacular in all of his 17 films, but for me, this is the performance of his career---he is absolutely brilliant); Clift and Elizabeth Taylor are both breathtakingly beautiful; and the chemistry between them is fantastic.  Everything about this film just works perfectly.  And if you throw in my scene, well, you will get the happy ending you long for!

Lonelyhearts (1958)

Although Montgomery Clift won't be taking center stage here at They Don't Make 'Em Like They Used To until next month, he's making an appearance a week early, as the 1958 drama Lonelyhearts is my contribution to the "Breaking News" blogathon.  Hosted by Comet over Hollywood and Lindsay's Movie Musings, this blogathon is all about journalism in classic film. It's sure to be a fantastic event, so you'll want to visit as many of the entries as you can.  Go HERE to get involved.

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Lonelyhearts, from 1958, is a bold, mature-themed drama, starring Montgomery Clift, Robert Ryan, Myrna Loy and Dolores Hart and featuring Maureen Stapleton in her Academy Award-nominated film debut. Based on the 1933 Nathanael West novel, Miss Lonelyhearts, this story had a 12-day run as a Broadway stage play in 1957.  I originally sought the film out because I was on a quest to see all of Monty Clift's work; however, subsequent viewings are more to enjoy the brilliance of Robert Ryan, who I believe is one of the most under-rated actors ever.

Adam White (Montgomery Clift), a kind, gentle young man with a desire to do right, hopes to land his dream job on the local newspaper, The Chronicle.  Having made the acquaintance of Florence Shrike (Myrna Loy), the wife of the paper's managing editor, he hopes to garner an introduction to said editor (Robert Ryan, who is absolutely stellar in this role).  Although Adam makes a bad first impression, Bill Shrike offers him a job.

Bill Shrike is a cynical, unlikeable man who believes it is impossible for people to be good, that people are all frauds and can't be trusted.  His relationship with his wife is condescending and ugly; ever since he caught her in an affair ten years earlier, he has treated her like a tramp, never forgiving her and constantly belittling her and humiliating her.

Bill promises Florence that he'll hire Adam, but only to prove the point that the man is a phony. It's not just Shrike's wife who is the target of his contempt---he informs one of his employees that he is as important to the department as Shrike's tonsils, which were lost 40 years earlier.

Adam is given the job as the editor of the Lonelyhearts column, and his responsibility is to respond to the advice-seeking letters that are sent to him.  At first, Adam laughs about the problems his readers are experiencing, but eventually, he begins to really care about the people behind each letter.  He longs to give them sound advice to help their hurting hearts; he begins to care too much and is somewhat emotionally involved with his audience.  For his part, Bill Shrike insists that the readers are all frauds and that they deserve what they have gotten; he challenges Adam to meet with one of the letter writers, just to prove his point.

Adam does meet with one of Miss Lonelyhearts' readers---Faye Doyle (Maureen Stapleton)---and she informs him that her husband was injured in an accident and that, as a result, they haven't had physical relations for seven years.  She needs advice as to what to do...but, within minutes, Mrs. Doyle is after more than advice---she wants Adam to kiss her, which he does, and before long, they are sexually intimate, an act which causes Adam to feel ashamed and Bill Shrike to triumphantly gloat that he was right all along, that Adam really is nothing more than a phony do-gooder.  How everything plays out is the balance of the film.

Upon my first viewing of Lonelyhearts, I gave it 3 stars (on Net Flix).  While it is an interesting, extremely well-acted drama, it is quite painful for me to watch, mostly because of the appearance of Montgomery Clift.  Right up there with Rock Hudson and Tyrone Power as one of the most beautiful men I have ever seen, Monty is fabulously gorgeous in all of his early works;  however, his 1956 car accident dramatically altered his appearance, and it was here in Lonelyhearts that I caught my first glimpse of the post-accident Monty. I have to admit, like movie-going audiences of the 1950's, I was shocked by the change in his facial appearance. (I think he even sounds different post-accident.) Since seeing Lonelyhearts for the first time, I've read Clift's biography, and I know how deeply grieved he was by the loss of his perfect looks. "While the man had confidence in himself as a creative artist, as a damaged commodity in an era of handsome rebels, he did not, and he continually wondered if his new face would keep him from being considered for parts." (p. 313-314)   "Self-conscious about his new face, Monty even took down most of the mirrors in his home...and he hated being photographed." (p 314)

Besides his distress over his appearance, here in the late '50's, Monty was in a deep, dark, troubled period (which would last the remainder of his too-short life); he was in poor health and constant pain, addicted to drugs and alcohol, angst-filled over his sexuality, and, due to his bizarre, erratic behavior, on the "outs" in Hollywood. Because I love Monty so much, and because Lonelyhearts was made during such a difficult time in his life, this film is exceedingly painful for me to watch (as are all his post-accident works).  Looks and personal demons aside, though, Monty, who was always adept at portraying men with deep inner struggles, gives his usual top-notch performance here in Lonelyhearts. Knowing the severe drug and alcohol addiction Mr. Clift was facing at this time of his life, I find it remarkable that he was able to perform at all, let alone to do so as wonderfully as he does.  His portrayal of the troubled, guilt-ridden Adam is really great, and his chemistry with Dolores Hart, who plays his girlfriend, Justy, is terrific, as is his chemistry with Ryan and Loy.

Clift's chemistry with Loy may well have been no acting job.  According to Montgomery Clift, a Biography, "Monty was impressed with Loy---by her wit, her compassion, her commitment to liberal causes...For several years, she was entangled in his romantic life.  They saw each other frequently and traveled together...Many of Myrna's friends thought she was deeply in love with Monty and that she wanted to marry him."  (p. 336-337)   

While my first-time viewing of Lonelyhearts garnered 3 stars, subsequent viewings have seen me going with 4 stars.  Yes, it's still painful watching the troubled Montgomery Clift, but I've gotten past that and am able to concentrate on the good.  For one thing, it is a very bold, mature story. (I love meaty dramas and will take one any day of the week.)  And the performance of Robert Ryan, who was always super at playing the unlikeable, is totally spectacular.  I love Ryan when he is playing nasty...he is simply brilliant.  In my opinion, he is even better than Clift here; in fact, I feel he steals the show.  Mr. Ryan was in his late 40's here, and I must say, I think he aged well...I love the little touch of gray at his temples.

Myrna Loy's part is fairly small and it is out of character for her, but she does a great job. She is in her early 50's here, and I think she, too, aged well.

Maureen Stapleton is spectacular in her screen debut.  It's easy to see why she received a Best Supporting Actress Academy Award nomination.

Finally, and I greatly appreciate this, the sexual encounter is left totally to the imagination, unlike today, when graphic sex and nudity fill the screen.  I really don't need to see everything we're privy to today; for me, less is more.

While some people might find the film's ending (which differs from the book) to be lame and unrealistic, I rather like it.  As one who believes in the power of forgiveness, I can easily accept what happens.  (I won't say more, so as not to give anything away.)

To my knowledge, Lonelyhearts is not out on DVD (at least in Region 1); however, it is available on You Tube, both as a whole and in several parts.  I hope you get a chance to see it...even if just for the opportunity to watch Robert Ryan doing what he does so well---playing a cynical, hardened, unlikeable man---and to catch Monty Clift doing what he does so well---portraying a deeply troubled man in the midst of a moral crisis.

Happy viewing!!

NOTE:  All quoted material from Montgomery Clift, a Biography, by Patricia Bosworth, Limelight Editions, 1978.

The Quiet Man (1952)

Hard as it may be to believe, one of the most beloved of all classic films---1952's The Quiet Man---did not cross my radar until just this past weekend---nearly seven years into my classic film journey. Not a John Wayne fan, I've never made The Quiet Man a priority, despite the fact that nearly everyone who claims to be a classic film fanatic has seen (and loves) this film. Choosing to put my lack of enthusiasm for Mr. Wayne aside, I had always intended to view this film for Maureen O'Hara month; however, when I realized that it was going to be showing on the big screen of Boise's Egyptian Theatre, and introduced by Miss O'Hara herself, I knew that was how I would catch it for the first time.  Wow, what an amazing first-time experience it was---big screen, vintage theatre, 700+ crowd, introduction by Maureen O'Hara.  All those things---plus the stunning scenery, the gorgeous musical score, and the beauty of the story itself---worked their magic on me, and I found myself absolutely loving this film (and even liking John Wayne).  Without question, it is a 5-star film for me---making 8 such discoveries already this year, 2 of which are Maureen O'Hara films.  It's been only 4 days since I saw it, and I find myself with an intense longing to watch it again.

Winner of two Academy Awards (Best Director and Best Cinematography, Color) and nominated for five others (including Best Picture), The Quiet Man was filmed on location in Ireland.  Directed by John Ford, the film stars John Wayne, Maureen O'Hara, and Barry Fitzgerald, with Victor McLaglen, Ward Bond, and Midred Natwick among the supporting players.  Although a romantic drama, there are enough lighthearted, comical moments that the film could be considered a dramedy.

Sean Thornton (John Wayne), an ex-boxer with a past so tragic he has vowed to never fight again, has returned to his native Innisfree, Ireland, after many years of living in America. Desiring to live simply and quietly in the house in which he was born, he approaches the current owner, widow Tillane (Mildred Natwick), about the possibility of her selling.  Although "Red" Will Danaher (Victor McLaglen) had already made an offer for the property, the widow chooses to sell to Thornton instead, which, naturally, causes strife between the two men. Thus, when Sean desires to court Danaher's sister, Mary Kate (Maureen O'Hara), he is forbidden to do so.  While in America it might be acceptable for a young woman to be courted without the consent of her father or brother, in Ireland it is not, so Mary Kate and Sean are unable to pursue a relationship.

With the help of the local matchmaker (Barry Fitzgerald, in a wonderful, memorable performance) and the local preacher and priest, Will is tricked into consenting to a courtship between his sister and Sean, and the two are soon married.  However, when Will discovers he has been set up, he furiously denies Mary Kate her dowry, which while not bothering Sean, greatly upsets his bride. She demands that he obtain her full dowry from her brother, even if it means fighting him to do so. How it all plays out is the balance of the film.



Everything about The Quiet Man is perfect.  The scenery is spectacular---if I didn't already want to visit Ireland, I certain do after viewing this film.   The Academy Award-winning color cinematography captures the country's beauty completely. Maureen O'Hara is simply stunning, and she is terrific in this role.  She's fiery, feisty, and incredibly passionate, and her chemistry with John Wayne is magical---it's easy to see why they were such a successful team. John Wayne (who, as noted, I don't ordinarily care for) is wonderful in his role.  He brings Sean Thornton beautifully to life. I quite love his character---in love with the woman, not the money she will bring into the marriage. Of course, having been living in America and now unused to Irish customs, he has a bit of learning to do. All of the supporting players are wonderful too; I especially love Barry Fitzgerald and Ward Bond.  Finally, the Victor Young score is gorgeous and greatly adds to the charm of the film. The story is incredibly romantic and passionate---sensual even---and all without being trashy.  (If you doubt a film without a bit of nudity or gratuitous sex can be sensual, this scene will change your mind.)

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While The Quiet Man is not going to topple A Place in the Sun from its place as my favorite film of the 1950's, it's not far off.  Definitely, it's in my top 10---probably even my top 6 of the entire 1950's---and in my top 25 of all time.  It's a complete gem of a film, and I cannot recommend it highly enough.  (I only wish you could all catch it on the "big screen" of a beautiful historic theatre, like I did.)

Out on DVD, The Quiet Man should be fairly easy to track down; it would make a great film for St. Patrick's Day viewing . . . if you can wait that long!  (I can't, so even if I do make it my annual St. Patrick's Day movie, I'll be watching it again long before then.)

Happy viewing!


NOTE:  Unless otherwise noted, all photos were obtained from Doctor Macro (HERE)

The Proud Rebel (1958)

The Proud Rebel, from 1958, is a heart-tugging (to me) Western starring Alan Ladd and Olivia deHavilland.  Directed by Michael Curtiz, this Technicolor film features Dean Jagger and Cecil Kellaway in supporting roles and introduces Mr. Ladd’s youngest child, David. 

When the Union Army blazed a path of destruction through Georgia, young David Chandler (David Ladd), witnessed the death of his mother during the burning of Atlanta.  He was then shipped off to an orphanage in the North, where he remained until his soldier father, Johnny (Alan Ladd), found him after the end of the war.  The trauma of seeing his mother killed and the city burned, so shocked the young boy that he was left unable to speak.  As the film begins, Johnny is intent upon finding a doctor who can treat his son, and the two of them, along with David’s beloved dog, Lance, make their way to Aberdeen, Illinois, where they meet with a local doctor (Cecil Kellaway).  Although Dr. Davis can’t help, he is acquainted with a physician who works with Dr. Mayo in Rochester, Minnesota, and he suggests he might be of help.

While the Chandlers are in the general store buying supplies for their trek to Minnesota, dog Lance is tied outside, where local bullies, the Burley brothers, attempt to steal him.  After Johnny is mocked for his Southernness and the boy for his inability to speak, a brawl ensues.  Frightened, David runs away and straight into the path of a wagon driven by local farmer, Linnett Moore (Olivia deHavilland).

Charged with assault and battery because of the brawl, Johnny is taken to court, where a Confederate-hating judge finds him guilty and sentences him to 30 days or $30.  Linnett pays Johnny's fine, saying he can work it off.  Though working for Linnette will delay him getting to Minnesota, Johnny intends to pay his debts and raise the necessary funds for the trip.    

The Burley patriarch, Harry (Dean Jagger), is determined to force Linnett to sell her farm, even approaching Johnny about working for him.  On top of that, a local man is interested in purchasing Lance and he makes an offer to Johnny for him.  With his desperate need for funds for the trip to Minnesota, Johnny finds himself considering the sale of David's beloved dog. Will he go through with the sale?  Will he assist Harry Burley in convincing Linnett to sell her farm?  And what about David?  Will he have the operation?  Will it be successful and enable him to speak again?  These are the questions which play out in the balance of the film.

While not a spectacular film, The Proud Rebel is an interesting, exciting, enjoyable viewing experience, with believable performances by all.  The characters created by Alan Ladd, Olivia deHavilland, and David Ladd are ones I really cared about and rooted for.  I found myself teary-eyed on more than one occasion. While I'm calling this a 3-star film, it's more like 3.5.

This film ought to be fairly easy to track down, as it is out on DVD and also available in its entirety on YouTube.  Fans of Alan Ladd and Olivia deHavilland ought to quite enjoy it.

Happy viewing!! 

The Red Badge of Courage (1951)

Who among us doesn't remember those mandatory readings of our high school literature class?!  Those required readings and our enjoyment of them---or lack thereof---may well have meant the difference between an "A" and a "C" in the class.  It was that way for me anyway. While The Great Gatsby and The Scarlet Letter were breathtakingly wonderful reads for me and, thus, inspired passionate discussions and even more passionate essays, William Shakespeare and Tennessee Williams had the very opposite effect. Every page---no, make that every word---was a struggle, and my resulting assignments were lifeless and dry. While I wouldn't put Stephen Crane's The Red Badge of Courage in the same category as Williams and Shakespeare, it was definitely only middle of the road for me.  I made it through Mr. Crane's novel, but I was rather ambivalent about the thing, so for that reason, seeing the film version of his story has never been high on my list of things to do.  It is only because Audie Murphy portrays one of the lead characters in the 1951 film and because it is one of his few non-Western films that I bothered to give it the time of day.  Wow!  I am so glad I did, because I think it is brilliant!  It's easily a 5-star film---my 5th such "discovery" this year---and my third favorite of Mr. Murphy's works.

Directed by John Huston, The Red Badge of Courage is one of Audie Murphy's earliest works; in fact, it's his 7th film.  Also featuring Andy Devine, Royal Dano, Bill Mauldin, Douglas Dick, and John Dierkes, this film was considered to be a casting masterpiece.  "Hedda Hopper had told an MGM executive "...it would be nice seeing a real soldier playing the part of a screen soldier for a change.  With so many of our young men going to Korea, putting Audie in the picture would aid in boosting their morale."  [1]  Director Huston agreed and pushed for Audie when MGM officials wanted a more known star.  Another piece of casting genius was WWII cartoonist, Bill Mauldin.  Murphy and Mauldin, only a few years removed from the battlefield, obviously drew on their own real-life experiences, for they brought an incredible sense of realism to their portrayals.

As the American Civil War inches into its second year, a regiment of newly-trained Union soldiers is preparing for its first battle---there's the Cheery Soldier (Andy Devine), the Tattered Man (Royal Dano), the Loud Soldier (Bill Mauldin), the Lieutenant (Douglas Dick), the Tall Soldier (John Dierkes), and the Youth, Henry Fleming (Audie Murphy).  While the majority of the men seem excited and fearless about what is soon to come, the Youth is frightened and has extreme doubts about his ability to fight.

The next day, as the battle rages around him, the Youth's courage fails him and he runs away. After the fighting subsides, Henry, ashamed of his cowardice, wishes he had his own "red badge" (war wound), for it would signify that he had had the courage to fight.  Returning to his regiment and discovering that in the chaos of battle, no one knew he had run away, he lies that he was grazed by a bullet.  With his guilt and shame eating away at him, Henry seeks to make amends in the next battle.  He is determined to conquer his fear and not allow it to render him a coward again.





The Red Badge of Courage was a box-office disaster; however, Audie Murphy's acting received great reviews.  One magazine said, "Audie Murphy proves himself almost as good an actor as he is a soldier." [2]  For me, this is the best performance of Audie's entire career---he is absolutely sensational!  I could vividly see and feel every single emotion Henry experienced---the fear, the shame, the anxiety, and the victory.

Audie said, "There's a thin line between being a hero and a coward.  That's something the book tries to show and something I learned too." [1]  Basically, being courageous doesn't mean an absence of fear; rather, it means, as Audie exemplified in his own life, moving forward even in the midst of fear...defeating it and not allowing it to render you immobile or cowardly.  The young man who learned that lesson in this film is brought brilliantly to life by Mr. Murphy.

The film's lack of success wasn't due to the acting, direction, or cinematography.  All of those things are perfect.  In beautiful black and white, with appropriate dust and smoke, the film gives the appearance of being actual documentary footage of war---it's that realistic.  The downer for me is the use of a narrator (speaking Stephen Crane's penned words).  I didn't really find the narration necessary.  Also, the MGM brass cut 25 minutes of footage, resulting in a film barely over an hour long.  While we will never know the full film John Huston envisioned, I think this abbreviated version is terrific, realistic, and well worth viewing.

This is the first of two films Audie Murphy made with John Huston.  The two would work together again nine years later, in 1960's The Unforgiven.  Again, while the film was not a success, Mr. Murphy's work received much praise, proving that while many consider Murphy a sub-par actor, when under the direction of a gifted director, he was capable of not just a solid, believable performance, but of extremely wonderful work.

Out on DVD, The Red Badge of Courage should be fairly easy to track down.  I think it's not only a terrific Civil War film, but a terrific war film period.  It really evokes the emotion of the soldier.

Happy viewing!!

[1]  From American Hero, The Audie Murphy Story, by Peggy Caravantes, Avisson Press, Inc., 2004


[2]  From American Hero, The Life and Death of Audie Murphy, by Charles Whiting, Eskdale Publishing, 2000.

All photos in this article were obtained from the Audie L. Murphy Memorial Website  (HERE)

Ride a Crooked Trail (1958)

One of my favorite Audie Murphy Westerns is Ride a Crooked Trail.  From 1958, the film also stars Gia Scala and features Walter Matthau and Henry Silva in supporting roles.  The film was directed by Jesse Hibbs, who directed Mr. Murphy in several other films, including his own story, To Hell and Back.

After unsuccessfully attempting to rob a bank, Joe Maybe (Audie Murphy) is being hunted by lawman Jim Noonan.  During the chase, Marshall Noonan plunges off a cliff and to his death, whereupon, Maybe takes the man's horse and badge and heads into the river town of Webb City.

Webb City's hard-drinking Judge Kyle (Walter Matthau) is determined to keep the riff-raff out of his town and, thus, stops all strangers as they enter the city limits.  If they and their business are legitimate to the judge, he bids them welcome; if not, he directs them out of town.

Claiming the new arrival fits the description of bank robber Joe Maybe, Judge Kyle is ready to arrest him.  After a quick shootout with the man results in a wounded shoulder for the judge, he notices that the stranger carries the legendary broken-star badge of Marshall Noonan, and he assumes that the man is, in fact, the famous marshall.

With the judge needing to recover from his gunshot wound, he asks "Noonan" to hold down the fort and keep the peace for him.  Though Maybe wants to get on out of town, the judge won't take "no" for answer, so Joe Maybe takes on the law-abiding identity of Marshall Jim Noonan.

His cover is nearly blown when The River Queen docks in Webb City and old flame Tessa (Gia Scala)  disembarks. Part of Sam Teeler's (Henry Silva) gang, Tessa is in town to scope out the local bank.  Upon catching sight of her former love, Tessa calls him "Maybe," but the quick-thinking Joe lies that she's his wife and that she called him "baby."

Happy to meet the respectable wife of a U.S. Marshall, Judge Kyle sets the couple up in a lovely little house, where they must keep up the pretense of being a loving, law-abiding married couple, all the while planning to rob the bank when Sam Teeler and his gang arrive in town.

Adding to Maybe/Noonan's dilemma is the presence of the little orphan boy, Jimmy.  A ward of the court, he needs respectable parents, and it seems that Mr. and Mrs. Noonan fit the bill. With Jimmy watching him, Judge Kyle beginning to get suspicious, and the Teeler gang anxious to get to the robbery, the "marshall" isn't quite sure what he wants to do.  How it all plays out is the balance of the film.

Ride a Crooked Trail is loads of fun.  As stated, it's one of my favorite (so far) of Murphy's Westerns...it's right up there with No Name on the Bullet as one that is a 4-star, "really like it" film.  First of all, I'm a sucker for these kinds of storylines.  They draw me in every time. Besides Audie, who looks like he is having a lot of fun in this film, the one to watch here is Walter Matthau.  He is terrific in his role!  Gia Scala, who I'm not overly familiar with, is beautiful, and I think she is great in her part.  She and Audie have fantastic chemistry together. Finally, the film has a couple of very touching moments, both of which got me a little misty-eyed.

This film ought to be fairly easy to track down, as it is out on DVD, plus it is available in its entirety on YouTube.  Fans of Murphy, Matthau, and Scala ought to quite enjoy it.

Happy viewing!!


NOTE:  All photos in this article were obtained from the Audie L. Murphy Memorial Website  (HERE)

Cast a Long Shadow (1959)

From 1959, comes Cast a Long Shadow, a Western starring Audie Murphy, Terry Moore, and John Dehner.  Based on Wayne Overholser's novel of the same name, this film features James Best, Rita Lynn, and Denver Pyle in supporting roles.

Wealthy Jake Keenan has died, leaving his ranch to Matt Brown (Audie Murphy), an illegitimately-born young man, who has always believed that Keenan was his father.  Having been gone from New Mexico a long time, and uninterested in the ranch of a man who treated his mother so badly, Matt jumps at the chance to sell his new inheritance to the very men who had worked it for years.  He'll return only long enough to finalize the sale, then be on the road again.

Matt's return to the ranch brings former flame, Janet (Terry Moore), back into his life.  Though they had been in love, Janet broke things off. Older now, she vows that she knows what she wants, and it's Matt.  Because of Matt's "no name" status, though, Janet's brother declares that he's not good enough, which only serves to fill Matt with the desire to prove himself.

Before the sale can take place, Chip Donohue (John Dehner) discovers that the ranch is heavily in debt, and unless payment is made within days, the bank will foreclose. The only way to make payment is to get the cattle to market immediately.

Determined to prove himself to the town naysayers, Matt changes his mind about selling; instead, he'll run the ranch, and he'll lead the drive to market. More than that, he'll do it his way...with no input from anyone and a policy of zero tolerance for those who disobey him.

Though Janet insists that being a big man doesn't mean Matt has to throw away his good qualities or rule with an iron hand, Matt is determined to do things his way...even if he is killed in the process.  How everything plays out is the balance of the film.





Though Cast a Long Shadow is not a spectacular film---nor one of my favorite Murphy Westerns---I still found it to be interesting and exciting.  The action got underway immediately, and things never dragged.  Unlike the majority (if not all) of Audie's Westerns, this one is not in color, but that only serves to give the feeling that it's an early 1950's film, rather than late '50's.

Out on DVD, this should be fairly easy to track down. For me, it's a 3-star, "like it" film---nothing outstanding, but definitely watchable.

Happy viewing!


NOTE:  All photos used in this article were obtained from the Audie L. Murphy Memorial Website (HERE)