Tabu—A Story of the South Seas (1931) 82m. ½ D: F. W. Murnau. Anna Chevalier, Matahi, Hitu, Jean, Jules, Kong Ah. Fascinating melding of ethnographic documentary and narrative, about pearl fisherman Matahi and his ill-fated love for young Chevalier, who’s been deemed by the gods as taboo to all men. Shot in Tahiti in 1929, produced and scripted by Murnau and Robert Flaherty; the latter left the project in mid-production because of differences in opinion with Murnau—who died in a car accident just prior to the film’s premiere. Floyd Crosby’s cinematography won an Academy Award.

Taffy and the Jungle Hunter (1965) C-87m. D: Terry O. Morse. Jacques Bergerac, Manuel Padilla, Shary Marshall, Hari Rhodes. Unassuming tale of son of big game hunter who takes off for jungle adventures with pet elephant and chimp.

Taggart (1964) C-85m. ½ D: R. G. Springsteen. Tony Young, Dan Duryea, Peter Duryea, David Carradine, Jean Hale, Harry Carey, Jr., Bob Steele. Neat little action Western based on a Louis L’Amour novel with Young on a revenge hunt, pursued by gunslingers in Indian territory.

Tailor’s Maid, The (1957-Italian) C-92m. ½ D: Mario Monicelli. Vittorio De Sica, Marcello Mastroianni, Marisa Merlini, Fiorella Mari, Memmo Carotenuto, Raffaele Pisu. Saucy, inconsequential comedy about an amorous tailor. CinemaScope.

Tail Spin (1939) 84m. D: Roy Del Ruth. Alice Faye, Constance Bennett, Nancy Kelly, Joan Davis, Charles Farrell, Jane Wyman, Kane Richmond, Wally Vernon. Hackneyed saga of female flyers, with Faye (in a change-of-pace role) having to scrounge for pennies and face competition from socialite/aviatrix Bennett. Written by Frank “Spig” Wead.

Taira Clan Saga (1955-Japanese) C-110m. D: Kenji Mizoguchi. Raizo Ichikawa, Ichijiro Oya, Yoshiko Kuga, Michiyo Kogure, Eijiro Yanagi, Tatsuya Ishiguro, Narutoshi Hayashi, Tamao Nakamura, Koreya Senda. A Kyoto samurai, publicly hailed for bravery at sea, learns he is but a pawn in a game between a corrupt emperor and the military. Historically accurate 12th-century epic about the rise of the shoguns is an elegy for honor long gone. Second of only two color films by the great director.

Take a Chance (1933) 84m. ½ D: Laurence Schwab, Monte Brice. James Dunn, Cliff Edwards, June Knight, Charles “Buddy” Rogers, Lillian Roth, Dorothy Lee. Awful adaptation of Broadway musical of the same name about carnival hucksters aiming for the big time. Redeemed ever so slightly by its score (“It’s Only a Paper Moon,” “Eadie Was a Lady,” “New Deal Rhythm”) and a campy, risqué number with “Ukulele Ike” Edwards.

Take a Giant Step (1959) 100m. ½ D: Philip Leacock. Johnny Nash, Estelle Hemsley, Ruby Dee, Frederick O’Neal, Ellen Holly, Beah Richards. Earnest but only partly successful account of black teen Nash’s problems in a white world. Stagy adaptation of Louis S. Peterson’s play benefits from good performances.

Take a Letter, Darling (1942) 93m. D: Mitchell Leisen. Rosalind Russell, Fred MacMurray, Constance Moore, Robert Benchley, Macdonald Carey, Dooley Wilson, Cecil Kellaway. Witty repartee as advertising exec Roz hires MacMurray as secretary, but relationship doesn’t end there. Benchley is wry as Russell’s game-playing business partner.

Take Care of My Little Girl (1951) C-93m. D: Jean Negulesco. Jeanne Crain, Dale Robertson, Mitzi Gaynor, Jean Peters, Jeffrey Hunter, George Nader, Helen Westcott. Overdramatic story of sorority life at college.

Take Her, She’s Mine (1963) C-98m. D: Henry Koster. James Stewart, Sandra Dee, Audrey Meadows, Robert Morley, Philippe Forquet, John McGiver, Bob Denver, Irene Tsu. Obvious family comedy with Stewart the harried father of wild teen-age daughter Dee. Predictable gags don’t help. Script by Nunnally Johnson, from the Broadway hit by Phoebe and Henry Ephron; later ripped off by THE IMPOSSIBLE YEARS. Look for James Brolin in airport scene. CinemaScope.

Take It Big (1944) 75m. ½ D: Frank McDonald. Jack Haley, Harriet Hilliard, Ozzie Nelson and His Orchestra, Mary Beth Hughes, Richard Lane, Arline Judge, Lucile Gleason, Fuzzy Knight, Fritz Feld. Haley, the wrong end of a two-man horse act, mistakenly thinks he’s inherited a Nevada dude ranch. Though he’s the nominal star of this silly B musical, one’s attention is drawn more to the parents of David and Ricky Nelson. The all-female rodeo team is a keen idea.

Take It or Leave It (1944) 70m. ½ D: Benjamin Stoloff. Phil Baker, Edward Ryan, Marjorie Massow (Madge Meredith), Stanley Prager, Roy Gordon, Phil Silvers. Claptrap hinged on lives of contestants on Baker’s popular radio quiz show; uses clips from older pictures (featuring Alice Faye, Betty Grable, Al Jolson, and many others) to enliven the proceedings.

Take Me Out to the Ball Game (1949) C-93m. D: Busby Berkeley. Frank Sinatra, Esther Williams, Gene Kelly, Betty Garrett, Edward Arnold, Jules Munshin, Richard Lane, Tom Dugan. Contrived but colorful musical set in 1906, with Williams taking over Sinatra and Kelly’s baseball team. “O’Brien to Ryan to Goldberg” and Kelly’s “The Hat My Father Wore on St. Patrick’s Day” are musical highlights. Reworking of THEY LEARNED ABOUT WOMEN (1930).

Take Me to Town (1953) C-81m. ½ D: Douglas Sirk. Ann Sheridan, Sterling Hayden, Philip Reed, Lee Patrick, Lane Chandler, Lee Aaker. Unpretentious Americana of saloon singer Sheridan on the lam, finding love with widowed preacher Hayden and his three children.

Take One False Step (1949) 94m. ½ D: Chester Erskine. William Powell, Shelley Winters, Marsha Hunt, James Gleason, Sheldon Leonard, Dorothy Hart. Ex-flame Winters attempts to seduce now-married educator Powell, leading to his becoming a wanted man. OK mystery-drama, adapted by Erskine and Irwin Shaw from the novel by Shaw and his brother David.

Take the High Ground! (1953) C-101m. D: Richard Brooks. Richard Widmark, Karl Malden, Elaine Stewart, Steve Forrest, Carleton Carpenter, Russ Tamblyn, Jerome Courtland. Taut account of infantry basic training with on-location filming at Fort Bliss, Texas, helping.

Talent Scout (1937) 62m. ½ D: William Clemens. Donald Woods, Jeanne Madden, Fred Lawrence, Rosalind Marquis, Charles Halton. Tacky B musical about a Hollywood talent scout (Woods) and the singer (Madden) he promotes to stardom. The only fun is anticipating the clichéd dialogue scene by scene.

Tale of Five Women, A (1951-British) 86m. ½ D: Romollo Marcellini, Geza von Cziffra, Wolfgang Staudte, E. E. Reinert, Montgomery Tully. Bonar Colleano, Barbara Kelly, Anne Vernon, Lana Morris, Karen Humbold, Lily Kahn, Eva Bartok, Gina Lollobrigida. Magazine editor Kelly accompanies amnesiac RAF officer to visit lovers in five cities, hoping to jar his memory. Disappointingly dull multi-episode film. Originally titled A TALE OF FIVE CITIES, running 99m.

Tale of Two Cities, A (1917) 70m. D: Frank Lloyd. William Farnum, Jewel Carmen, Joseph Swickard, Herschell Mayall, Rosita Marstini. Ambitious silent-film version of Dickens story was a big hit in 1917, and it’s easy to see why: Farnum is an appealing hero, production is first rate, and battle scenes are reminiscent of Griffith’s INTOLERANCE.

Tale of Two Cities, A (1935) 128m. D: Jack Conway. Ronald Colman, Elizabeth Allan, Edna May Oliver, Reginald Owen, Basil Rathbone, Blanche Yurka, Isabel Jewell, Walter Catlett, Henry B. Walthall, H. B. Warner, Donald Woods. Dickens’ panorama of the 1780s French Revolution becomes an MGM blockbuster, with Colman as carefree lawyer awakened to responsibility, aiding victims of the Reign of Terror. Stage star Blanche Yurka creates a memorable Mme. Defarge in her film debut. Tremendous cast in a truly lavish production. Written for the screen by W.P. Lipscomb and S.N. Behrman. Also shown in computer-colored version.

Tale of Two Cities, A (1958-British) 117m. D: Ralph Thomas. Dirk Bogarde, Dorothy Tutin, Cecil Parker, Stephen Murray, Athene Seyler, Christopher Lee, Donald Pleasence, Ian Bannen. Faithful retelling of Dickens story in this well-made British production, with Bogarde a good Sydney Carton. Remade again for TV in 1980.

Tales of Hoffmann, The (1951-British) C-133m. ½ D: Michael Powell, Emeric Pressburger. Moira Shearer, Robert Rounseville, Leonide Massine, Robert Helpmann, Pamela Brown. Jacques Offenbach’s fantasy opera of student who engages in bizarre dreams, revealing three states of his life. Striking and offbeat film, not for all tastes. Beware of shorter prints. Famous score conducted by Sir Thomas Beecham.

Tales of Manhattan (1942) 118m. D: Julien Duvivier. Charles Boyer, Rita Hayworth, Henry Fonda, Ginger Rogers, Charles Laughton, Edward G. Robinson, Ethel Waters, Paul Robeson, Eddie “Rochester” Anderson, Thomas Mitchell, Cesar Romero, George Sanders. Charming film about the effect a dress tailcoat has on its various owners; five episodes, alternately amusing, poignant, ironic. Our favorite: down-and-out Robinson attending 25th class reunion. Pictorially stylish throughout; photographed by Joseph Walker. Video has 9m. W. C. Fields episode deleted from original theatrical release.

Tales of Robin Hood (1951) 60m. ½ D: James Tinling. Robert Clarke, Mary Hatcher, Paul Cavanagh, Wade Crosby, Whit Bissell, Ben Welden. Ultra-cheap, by-the-numbers account of Robin (Clarke) and his merry band of outlaws battling the Sheriff of Nottingham. Originally an unsold TV pilot that was released to theaters.

Tales of Terror (1962) C-90m. D: Roger Corman. Vincent Price, Peter Lorre, Basil Rathbone, Debra Paget, Maggie Pierce, Leona Gage, Joyce Jameson. Four Edgar Allan Poe stories distilled by Richard Matheson into three-part film, with Lorre’s comic performance as vengeful husband walling up adulterous wife the standout. Price appears in all three segments. Notable for its odd widescreen and color effects. Panavision.

Talk About a Stranger (1952) 65m. D: David Bradley. George Murphy, Nancy Davis (Reagan), Billy Gray, Kurt Kasznar, Lewis Stone. A lonely boy tries to prove reclusive neighbor Kasznar killed his dog. Good use of California orchard locations, well-judged direction, and John Alton’s moody photography result in a fine little B that deserves to be better known.

Talk of the Town, The (1942) 118m. D: George Stevens. Jean Arthur, Ronald Colman, Cary Grant, Glenda Farrell, Edgar Buchanan, Charles Dingle, Rex Ingram, Emma Dunn, Tom Tyler, Lloyd Bridges. Intelligent comedy with brilliant cast; fugitive Grant hides out with unsuspecting professor Colman and landlady Arthur, and tries to convince legal-minded Colman there’s a human side to all laws. Splendid film written by Irwin Shaw and Sidney Buchman.

Tall, Dark and Handsome (1941) 78m. ½ D: H. Bruce Humberstone. Cesar Romero, Virginia Gilmore, Charlotte Greenwood, Milton Berle, Sheldon Leonard, Stanley Clements, Marc Lawrence, Frank Jenks. Amusing Runyonesque gangster comedy about an underworld bigwig (Romero) who’s really a softie, and who falls for naive Gilmore. Leonard is the heavy, a role Romero played in the remake, LOVE THAT BRUTE.

Tall Headlines SEE: Frightened Bride, The

Tall in the Saddle (1944) 87m. D: Edwin L. Marin. John Wayne, Ella Raines, Ward Bond, Gabby Hayes, Elisabeth Risdon, Raymond Hatton, Paul Fix, Audrey Long. Fast-paced, entertaining Western with Wayne a cowhand who becomes involved in affairs of rancher Raines. Also shown in computer-colored version.

Tall Lie, The SEE: For Men Only

Tall Man Riding (1955) C-83m. ½ D: Lesley Selander. Randolph Scott, Dorothy Malone, Peggie Castle, John Dehner, Lane Chandler. Sturdy Western with Scott involved in outmaneuvering greedy ranchers during territorial land granting in Montana.

Tall Men, The (1955) C-122m. D: Raoul Walsh. Clark Gable, Jane Russell, Robert Ryan, Cameron Mitchell, Juan Garcia, Harry Shannon, Emile Meyer, Mae Marsh. Large-scale Western with Gable and Mitchell as ex-Rebels who sign on for Ryan’s cattle drive, and in short order all three are fighting Indians, blizzards, and each other (over Russell, of course). Pretty dull, considering stars and director. CinemaScope.

Tall Story (1960) 91m. ½ D: Joshua Logan. Anthony Perkins, Jane Fonda, Ray Walston, Marc Connelly, Anne Jackson, Murray Hamilton, Elizabeth Patterson, Bob Wright, Bart Burns, Gary Lockwood. Fast-moving froth about man-hungry coed Fonda (in film debut) falling in love with college basketball star Perkins. Based on Howard Lindsay–Russel Crouse play.

Tall Stranger, The (1957) C-81m. D: Thomas Carr. Joel McCrea, Virginia Mayo, Michael Ansara, Michael Pate. Standard fare of McCrea helping wagon convoy cross Colorado territory. Based on a Louis L’Amour novel. CinemaScope.

Tall T, The (1957) C-78m. D: Budd Boetticher. Randolph Scott, Richard Boone, Maureen O’Sullivan, Henry Silva, Skip Homeier, John Hubbard, Arthur Hunnicutt. Scott becomes involved with kidnapped O’Sullivan, and tries to undermine unity of outlaw gang holding them prisoner. Solid Western all the way, scripted by Burt Kennedy from an Elmore Leonard story.

Tall Target, The (1951) 78m. D: Anthony Mann. Dick Powell, Paula Raymond, Adolphe Menjou, Marshall Thompson, Ruby Dee, Will Geer, Leif Erickson. Gripping film noir–ish suspense as detective Powell follows tip that Abraham Lincoln is going to be assassinated during 1861 train ride. Interestingly, Powell’s character is named John Kennedy!

Tall Texan, The (1953) 82m. D: Elmo Williams. Lloyd Bridges, Lee J. Cobb, Marie Windsor, Luther Adler, Syd Saylor. Good cast cannot uplift this standard Western about a group seeking out a gold deposit in Indian territory. A tale of greed and gold that just doesn’t pan out.

Tamahine (1963-British) C-85m. D: Philip Leacock. Nancy Kwan, John Fraser, Dennis Price, Coral Browne, Dick Dentley, Derek Nimmo, Justin Lord, Michael Gough, James Fox, Allan Cuthbertson. Curious British comedy trifle, about a sheltered but uninhibited Polynesian girl upsetting the order of an upper-crust men’s university, might have been retitled Tamahine, Tell Me True, since it plays just like a Tammy movie. Cute but forgettable, notable only for its cast. CinemaScope.

Tamango (1957-French) C-98m. D: John Berry. Dorothy Dandridge, Curt Jurgens, Jean Servais, Roger Hanin, Guy Mairesse, Alex Cressan. Stirring historical drama in which newly enslaved black African Cressan stirs revolt while being transported to Cuba aboard a slave ship. Dandridge is excellent in the complex role of a slave who is ship captain Jurgens’ mistress. Way ahead of its time, and ripe for rediscovery. Based on a novelette by Prosper Merimée. CinemaScope.

Taming of the Shrew, The (1929) 66m. D: Sam Taylor. Mary Pickford, Douglas Fairbanks, Edwin Maxwell, Joseph Cawthorn, Clyde Cook, Geoffrey Wardell, Dorothy Jordan. Static version of Shakespeare classic, with wild Kate (Pickford) ardently pursued and “tamed” by swaggering, self-confident Petruchio (Fairbanks). Defeated by its lack of pacing and downright embarrassing performances, though it’s undeniably fascinating to see Doug and Mary in their only costarring appearance. This bears the infamous credit, “By William Shakespeare, with additional dialogue by Sam Taylor.” Original running time 73m. Newly scored—and shortened—in 1966.

Taming Sutton’s Gal (1957) 71m. ½ D: Lesley Selander. John Lupton, Gloria Talbott, Jack Kelly, May Wynn, Verna Felton. Bank clerk Lupton goes on a hunting trip and winds up tangling with villainous Kelly. Tedious hokum. Naturama.

T.A.M.I. Show, The (1964) 100m. D: Steve Binder. The Rolling Stones, James Brown, Chuck Berry, Marvin Gaye, The Supremes, Jan and Dean, Gerry & The Pacemakers, Smokey Robinson & The Miracles, Lesley Gore, Billy J. Kramer & The Dakotas. Historic rock and r&b concert at the Santa Monica Civic Auditorium was covered by television cameras and kinescoped onto film by whiz-kid Binder. Invaluable document of music history, with great early Mick Jagger and electrifying footwork by Brown. (Two of those go-go dancers are Teri Garr and Toni Basil!) Originally 113m., with Beach Boys sequence that was later cut (although they’re still visible in the finale). Title stands for Teenage Awards Music International. Followed by THE BIG T.N.T. SHOW; see also THAT WAS ROCK. James Brown’s performance was re-created in GET ON UP (2014).

Tammy and the Bachelor (1957) C-89m. D: Joseph Pevney. Debbie Reynolds, Walter Brennan, Leslie Nielsen, Mala Powers, Fay Wray, Sidney Blackmer, Mildred Natwick, Louise Beavers. Unpretentious if cutesy romantic corn of country girl Reynolds falling in love with pilot Nielsen whom she’s nursed back to health after plane crash. Followed by two sequels and a TV series. CinemaScope.

Tammy and the Doctor (1963) C-88m. ½ D: Harry Keller. Sandra Dee, Peter Fonda, Macdonald Carey, Beulah Bondi, Margaret Lindsay, Reginald Owen, Adam West. Sugary fluff involving homespun Tammy (Dee) courted by a doctor (Fonda, in his film debut); supporting cast adds touching cameos.

Tammy Tell Me True (1961) C-97m. D: Harry Keller. Sandra Dee, John Gavin, Virginia Grey, Beulah Bondi, Cecil Kellaway, Edgar Buchanan. Tired romance of girl coming to college for first time, makes name for herself by helping dean of women. Script and acting very uneven.

Tampico (1944) 75m. D: Lothar Mendes. Edward G. Robinson, Lynn Bari, Victor McLaglen, Marc Lawrence, Mona Maris. Robinson uplifts this otherwise obvious WW2 spy yarn, about a supply-ship captain contending with espionage; Bari is the femme fatale who may or may not be the guilty party.

Tanganyika (1954) C-81m. D: Andre de Toth. Van Heflin, Ruth Roman, Howard Duff, Jeff Morrow. OK adventure of explorer attempting land claim in East Africa with numerous perils along the way.

Tangier (1946) 76m. ½ D: George Waggner. Maria Montez, Preston Foster, Robert Paige, Louise Allbritton, Kent Taylor, Sabu, J. Edward Bromberg, Reginald Denny. Limp intrigue in Tangier with vengeful dancer Montez; it isn’t even in color.

Tangier Incident (1953) 77m. ½ D: Lew Landers. George Brent, Mari Aldon, Dorothy Patrick, Bert Freed. Tame actioner with Brent a federal agent hunting an espionage ring.

Tank Force (1958-British) C-81m. ½ D: Terence Young. Victor Mature, Leo Genn, Anthony Newley, Luciana Paluzzi. Clichéd dud of WW2 with assorted British prisoners escaping across Libyan desert. Originally titled NO TIME TO DIE. CinemaScope.

Tanks Are Coming, The (1951) 90m. D: Lewis Seiler. Steve Cochran, Philip Carey, Mari Aldon, Paul Picerni, Harry Bellaver, James Dobson, George O’Hanlon, Robert Horton. Stock characters and situations fill this WW2 yarn about the U.S. Army’s 3rd Armored Division as it rolls into Germany in 1944. The equipment outshines the actors. Based on a story by Sam Fuller.

Tanned Legs (1929) 71m. ½ D: Marshall Neilan. Arthur Lake, June Clyde, Dorothy Revier, Ann Pennington, Albert Gran, Allen Kearns, Sally Blane, Lloyd Hamilton. Among the better early-talkie musicals, this spirited (if occasionally clunky) curio chronicles the romantic shenanigans at a summer beach resort, with young Clyde setting out to reform her wayward parents while being romanced by Lake. Songs by Oscar Levant and Sidney Clare.

Tap Roots (1948) C-109m. ½ D: George Marshall. Van Heflin, Susan Hayward, Boris Karloff, Julie London, Whitfield Connor, Ward Bond, Richard Long, Arthur Shields. Oddball venture into GWTW territory, with Van and Susan as lovers in progressive Mississippi county that says it will secede from the state if the state secedes from the Union! No big deal, but watchable, with Karloff as an Indian medicine man.

Tarantula (1955) 80m. D: Jack Arnold. John Agar, Mara Corday, Leo G. Carroll, Nestor Paiva, Ross Elliott, Eddie Parker. Scientist Carroll’s new growth formula works a little too well, and pretty soon there’s a humongous spider chewing up the countryside. One of the best giant-insect films, with fast pacing, convincing special effects, and interesting subplot detailing formula’s effect on humans. That’s Clint Eastwood as the jet squadron leader in final sequence.

Taras Bulba (1962) C-122m. ½ D: J. Lee Thompson. Tony Curtis, Yul Brynner, Christine Kaufmann, Sam Wanamaker, George Macready. Cardboard costumer of 16th-century Ukraine, centering on Cossack life and fighting. Nice photography (on location in Argentina) by Joe MacDonald and fine musical score by Franz Waxman. The Gogol novel was previously filmed in 1936 in France (TARASS BOULBA) and in 1939 in England (THE REBEL SON). Remade in Russia in 2009.Panavision.

Tarawa Beachhead (1958) 77m. ½ D: Paul Wendkos. Kerwin Mathews, Julie Adams, Ray Danton, Karen Sharpe. Standard account of WW2 military assault with usual focus on problems of troops.

Target Earth (1954) 75m. ½ D: Sherman Rose. Richard Denning, Virginia Grey, Kathleen Crowley, Richard Reeves, Whit Bissell, Robert Roark, Steve Pendleton. People in deserted city trapped by invading robot force. Competently acted movie starts off beautifully but bogs down too soon.

Target Unknown (1951) 90m. D: George Sherman. Mark Stevens, Alex Nicol, Robert Douglas, Don Taylor, Gig Young, Joyce Holden, James Best. Standard drama of American flyers shot down and becoming POWs in German-occupied France during WW2; Nazis use devious means to interrogate them. Young has interesting role as German-American Nazi officer. Remake of Army training film RESISTING ENEMY INTERROGATION (1944).

Target Zero (1955) 92m. D: Harmon Jones. Richard Conte, Charles Bronson, Chuck Connors, L.Q. Jones, Peggie Castle, Strother Martin. Unrewarding Korean War film, focusing on plight of Lt. Conte as he leads his platoon behind enemy lines.

Tarnished Angel (1938) 67m. ½ D: Leslie Goodwins. Sally Eilers, Lee Bowman, Ann Miller, Alma Kruger, Paul Guilfoyle, Cecil Kellaway. Broadway showgirl–nightclub hostess Eilers, on the lam and in need of cash, transforms herself into Sister Connie, a phony “girl revivalist.” Moderately effective grade-B drama benefits from Miller’s all-too-brief dancing and singing.

Tarnished Angels, The (1958) 91m. ½ D: Douglas Sirk. Rock Hudson, Dorothy Malone, Robert Stack, Jack Carson, Robert Middleton, Troy Donahue, William Schallert. Compelling adaptation of William Faulkner’s fatalistic drama Pylon, set in 1930s, with Hudson as newspaperman drawn to barnstorming pilot Stack—his curious life-style and ethics, his put-upon wife, and his frustrated mechanic. CinemaScope.

Tarnished Lady (1931) 83m. ½ D: George Cukor. Tallulah Bankhead, Clive Brook, Phoebe Foster, Osgood Perkins, Elizabeth Patterson. Bankhead marries Brook for his money but falls in love with him almost too late. Ornate triangle has good performances.

Tars and Spars (1946) 88m. D: Alfred E. Green. Alfred Drake, Janet Blair, Sid Caesar, Marc Platt, Jeff Donnell, Ray Walker. Humdrum musical with Coast Guard backdrop, based very loosely on real-life camp show created by servicemen, one of whom, Sid Caesar, makes his movie debut doing a hilarious war-movie spoof. A rare film appearance for Broadway star Drake.

Tartars, The (1961-Italian) C-83m. D: Richard Thorpe. Orson Welles, Victor Mature, Folco Lulli, Liana Orfei. Welles’ performance as Burundai, head of Tartar invasion of Volga River, plus appearance of Mature, are only distinguishing features of otherwise routine spectacle. Totalscope.

Tartu SEE: Adventures of Tartu, The

Tartuffe (1926-German) 63m. ½ D: F. W. Murnau. Emil Jannings, Werner Krauss, Lil Dagover, Lucie Höflich, Rosa Valetti, Hermann Picha, André Mattoni. Solemn adaptation of the Molière classic, in which a wife (Dagover) attempts to persuade her mate (Krauss) that boastfully honest Jannings is actually a fraud. A parallel story involves a greedy housekeeper who’s scheming to murder her aged employer. Not Murnau’s (or Jannings’) best, but still well worth a look. Gérard Depardieu remade this as LE TARTUFFE (1984).

Tarzan Several generations of movie buffs have regarded Johnny Weissmuller as the definitive Tarzan, though Edgar Rice Burroughs’ jungle king has been portrayed by numerous others since 1918, when beefy Elmo Lincoln first swung onto the screen. There were other silent-film versions of the Tarzan tale, but the next film to make a major impact was the early talkie TARZAN THE APE MAN, which starred Olympic swimming hero Weissmuller. Though it wasn’t particularly faithful to Burroughs’ book, it was an entertaining, well-made film that captured the imagination of a Depression-era audience, and led to a string of equally entertaining sequels. Buffs generally cite TARZAN AND HIS MATE as the best of all. This and the other 1930s entries in this series were “class” films with fine production values, plenty of action, and strong supporting casts, led, of course, by lovely Maureen O’Sullivan as Jane. (The success of these films inspired other producers to try and cash in with their own Tarzan projects, most of which were second-rate endeavors, though they all starred good-looking men who, like Weissmuller, had been Olympic medal winners: Buster Crabbe, Herman Brix—later known as Bruce Bennett—and Glenn Morris.) The later MGM outings such as TARZAN’S NEW YORK ADVENTURE became more contrived, like other series films, with often-excessive comedy relief supplied by Cheetah the chimp, and family interest sparked by the arrival of Johnny Sheffield as Boy. When MGM lost interest in the series, Weissmuller continued making Tarzan movies for producer Sol Lesser at RKO, without O’Sullivan and without that MGM production sheen. Lex Barker took over the role in 1949, and the series became progressively more routine; Barker made his last jungle outing in 1953. Since then a number of people have played Tarzan, including Denny Miller (who starred in a 1959 remake of Weissmuller’s 1932 film, filled with tinted stock footage from the original), Jock Mahoney (who also played supporting roles in two other Tarzan films), Mike Henry, and Gordon Scott, the latter faring best in some well-produced British-made adventure stories (including TARZAN’S GREATEST ADVENTURE, an excellent jungle tale shot in color, with young Sean Connery in the cast). Ron Ely took on the role for a Mexican-filmed TV series, and some of these episodes have been strung together into ersatz feature films. But the most recent theatrical ventures involving Tarzan have all been unusual: an unappealing animated spoof called SHAME OF THE JUNGLE featuring the voice of Johnny Weissmuller, Jr.; a live-action farce called TARZAN, THE APE MAN designed as a showcase for sexy Bo Derek; a television update, with tongue in cheek, called TARZAN IN MANHATTAN; and the most ambitious of them all, GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES, which purported to return to Edgar Rice Burroughs’ original concept but (for all its dramatic success) deviated from the source in its own way. Compared to a film like GREYSTOKE, the old series films might look simplistic and even quaint—but they’re unpretentious and certainly entertaining. And while generations still think of Johnny Weissmuller as the definitive Tarzan, each decade brings new interpretations of the timeless character—the latest in animated form from Disney.

TARZAN

Tarzan of the Apes (1918)

Tarzan the Ape Man (1932)

Tarzan the Fearless (1933)

Tarzan and His Mate (1934)

The New Adventures of Tarzan (1935)

Tarzan Escapes (1936)

Tarzan’s Revenge (1938)

Tarzan and the Green Goddess (1938)

Tarzan Finds a Son! (1939)

Tarzan’s Secret Treasure (1941)

Tarzan’s New York Adventure (1942)

Tarzan Triumphs (1943)

Tarzan’s Desert Mystery (1943)

Tarzan and the Amazons (1945)

Tarzan and the Leopard Woman (1946)

Tarzan and the Huntress (1947)

Tarzan and the Mermaids (1948)

Tarzan’s Magic Fountain (1949)

Tarzan and the Slave Girl (1950)

Tarzan’s Peril (1951)

Tarzan’s Savage Fury (1952)

Tarzan and the She-Devil (1953)

Tarzan’s Hidden Jungle (1955)

Tarzan and the Lost Safari (1957)

Tarzan’s Fight for Life (1958)

Tarzan and the Trappers (1958)

Tarzan’s Greatest Adventure (1959)

Tarzan, the Ape Man (1959)

Tarzan the Magnificent (1960)

Tarzan and His Mate (1934) 105m. ½ D: Cedric Gibbons, Jack Conway. Johnny Weissmuller, Maureen O’Sullivan, Neil Hamilton, Paul Cavanagh, Forrester Harvey. Jane’s jilted fiance (Hamilton) returns to the jungle with a rapacious ivory poacher (Cavanagh) and tries to get Tarzan to lead them to the elephant graveyard, but the native couple is having too much fun swinging. Opulent, action-packed entry codirected by MGM’s famed art director Gibbons, and notable for pre-Code sexual candor and a distinct lack of clothes. Beware 95m. prints.

Tarzan and the Amazons (1945) 76m. ½ D: Kurt Neumann. Johnny Weissmuller, Brenda Joyce, Johnny Sheffield, Henry Stephenson, Maria Ouspenskaya, Barton MacLane. Archeologists seeking to plunder Amazon treasures have to deal with Tarzan first in this amusing nonsense highlighted by the diminutive Ouspenskaya as the Amazon Queen!

Tarzan and the Green Goddess (1938) 72m. ½ D: Edward Kull. Herman Brix (Bruce Bennett), Ula Holt, Frank Baker, Don Castello, Lewis Sargent. More juvenile jungle escapades, with an educated Ape Man. Derived from 1935’s THE NEW ADVENTURES OF TARZAN serial, produced by Edgar Rice Burroughs’ own company, and filmed on location in Guatemala. Contains footage not used in serial.

Tarzan and the Huntress (1947) 72m. D: Kurt Neumann. Johnny Weissmuller, Brenda Joyce, Johnny Sheffield, Patricia Morison, Barton MacLane. Familiar bungle in the jungle about Tarzan fighting a zoologist (Morison) who’s trying to make off with a menagerie. Weissmuller was tired by this time, and so were the plots.

Tarzan and the Leopard Woman (1946) 72m. D: Kurt Neumann. Johnny Weissmuller, Brenda Joyce, Johnny Sheffield, Acquanetta, Edgar Barrier, Tommy Cook. Tarzan and Boy take on a murder cult, and almost pay with their lives. The series was becoming increasingly silly, though it’s still fun by Saturday matinee standards.

Tarzan and the Lost Safari (1957-British) C-84m. D: H. Bruce Humberstone. Gordon Scott, Yolande Donlan, Robert Beatty, Betta St. John, Wilfrid Hyde-White, George Coulouris. Color and widescreen spruce up this entry about the passengers of a plane that crashes in the jungle, who are pursued by savage Oparians. But Tarzan still speaks in monosyllables, and the story is pretty slow going. RKO-Scope.

Tarzan and the Mermaids (1948) 68m. ½ D: Robert Florey. Johnny Weissmuller, Brenda Joyce, Linda Christian, John Lanenz, George Zucco, Fernando Wagner. Tarzan comes to the aid of a native (stunning Christian) who’s being forced to wed a phony island “God” (Wagner) by evil high-priest Zucco. Outlandish, often campy outing filmed in Mexico. Weissmuller hung up his loincloth after this.

Tarzan and the She-Devil (1953) 76m. ½ D: Kurt Neumann. Lex Barker, Joyce MacKenzie, Raymond Burr, Monique Van Vooren, Tom Conway. Boring hokum about ivory poachers led by seductive Van Vooren. Barker’s last appearance as Tarzan. Burr is an exceptionally good heavy.

Tarzan and the Slave Girl (1950) 74m. D: Lee Sholem. Lex Barker, Vanessa Brown, Robert Alda, Hurd Hatfield, Arthur Shields, Anthony Caruso, Denise Darcel. When a tribe of lion worshippers kidnaps Jane (Brown) and alluring half-breed Darcel, it’s Tarzan, Cheetah, and friends to the rescue.

Tarzan and the Trappers (1958) 74m. ½ D: Charles Haas, Sandy Howard. Gordon Scott, Eve Brent, Rickie Sorensen, Leslie Bradley. Cheaply made hokum about evil white hunters on an expedition to find a lost city filled with treasure. Edited together from three episodes of a Tarzan TV series that never got off the ground.

Tarzan Escapes (1936) 89m. D: Richard Thorpe. Johnny Weissmuller, Maureen O’Sullivan, John Buckler, Benita Hume, William Henry, Herbert Mundin. Graphically violent (for its time), and energetically directed, this entertaining entry has Tarzan captured by a hunter who wants to put him on exhibition in England. This film was completely reshot and reworked when the original version proved too potent and blood-curdling for preview audiences; as a result there are some plot holes in what might have been the best Tarzan movie of all.

Tarzan Finds a Son! (1939) 90m. D: Richard Thorpe. Johnny Weissmuller, Maureen O’Sullivan, Johnny Sheffield, Ian Hunter, Frieda Inescort, Laraine Day, Henry Wilcoxon. The jungle lovers find a child whose parents were killed in a plane crash and fight his greedy relatives to adopt him in this diverting entry. This was to be O’Sullivan’s final appearance as Jane, but the end was reshot so she could return (in TARZAN’S SECRET TREASURE).

Tarzan Goes to India (1962-British) C-86m. ½ D: John Guillermin. Jock Mahoney, Mark Dana, Simi, Leo Gordon, Jai. At the request of a dying maharajah, Tarzan tries to save a herd of elephants imperiled by the construction of a dam. Location shooting helps. CinemaScope.

Tarzan of the Apes (1918) 55m. ½ D: Scott Sidney. Elmo Lincoln, Enid Markey, True Boardman, Kathleen Kirkham, Gordon Griffith. The very first Tarzan film is a surprisingly watchable and straightforward telling of the Greystoke tale, though Lincoln looks like he’s about 50 years old, with a beer belly to boot.

Tarzan’s Desert Mystery (1943) 70m. ½ D: William Thiele. Johnny Weissmuller, Nancy Kelly, Johnny Sheffield, Otto Kruger, Joseph Sawyer, Lloyd Corrigan, Robert Lowery. Tarzan vs. Nazis, take two, with some evil Arabs and prehistoric creatures (including a giant spider) thrown in for good measure.

Tarzan’s Fight for Life (1958) C-86m. D: H. Bruce Humberstone. Gordon Scott, Eve Brent, Rickie Sorensen, Jil Jarmyn, James Edwards, Woody Strode. The jungle do-gooder helps a medic fight superstitious natives and a conniving witch doctor. Cheesy series entry with the cast stomping around a studio jungle set.

Tarzan’s Greatest Adventure (1959-British) C-88m. D: John Guillermin. Gordon Scott, Anthony Quayle, Sara Shane, Niall MacGinnis, Scilla Gabel, Sean Connery. Honorable attempt to upgrade the series’ quality, with Tarzan on the trail of diamond-hunting scoundrels (including a young Connery). A superior action yarn shot on location in Africa, more adult than most of its predecessors. Tarzan has a much expanded vocabulary in this one.

Tarzan’s Hidden Jungle (1955) 73m. D: Harold Schuster. Gordon Scott, Vera Miles, Peter Van Eyck, Jack Elam, Rex Ingram. Scott’s debut as Tarzan is a competent, if unexciting, outing focusing on his battle with evil hunter Elam who tries to butcher half the animal kingdom.

Tarzan’s Magic Fountain (1949) 73m. ½ D: Lee Sholem. Lex Barker, Brenda Joyce, Evelyn Ankers, Albert Dekker, Alan Napier, Charles Drake, Henry Brandon. Barker’s first series entry, and one of his most endurable, as Tarzan finds a secret valley where nobody ages—unless they leave. (Sound a bit like LOST HORIZON?) Too bad the rest of the Barker films weren’t as good. Elmo Lincoln, the screen’s first Tarzan, has a bit part.

Tarzan’s New Adventure SEE: New Adventures of Tarzan, The

Tarzan’s New York Adventure (1942) 72m. ½ D: Richard Thorpe. Johnny Weissmuller, Maureen O’Sullivan, Johnny Sheffield, Virginia Grey, Charles Bickford, Paul Kelly, Russell Hicks, Chill Wills. When Boy is snatched from the jungle by nasty circus owners, Tarzan swings into action across the seas and over the Brooklyn Bridge to retrieve him. Seems pretty original until you realize that KING KONG was made a decade earlier! Still, an amusing entry; Tarzan’s first encounter with indoor plumbing is truly memorable. O’Sullivan’s final appearance in the series.

Tarzan’s Peril (1951) 79m. ½ D: Byron Haskin. Lex Barker, Virginia Huston, George Macready, Douglas Fowley, Dorothy Dandridge, Alan Napier. White gunrunners out to get Tarzan try to stir up trouble between warring tribes in this fairly respectable entry with an interesting supporting cast. Dandridge is excellent, if wasted in a small role.

Tarzan’s Revenge (1938) 70m. D: D. Ross Lederman. Glenn Morris, Eleanor Holm, George Barbier, C. Henry Gordon, Hedda Hopper, George Meeker. Olympic decathlon champ Morris cavorts capably enough in this adventure about an evil African ruler who covets perky Holm (a champion swimmer herself). No other Tarzan film had the Ape Man off screen for such long stretches, however. But . . . Me Tarzan, you Eleanor?

Tarzan’s Savage Fury (1952) 80m. D: Cyril Endfield. Lex Barker, Dorothy Hart, Patric Knowles, Charles Korvin, Tommy Carlton. Slackly handled entry about diamond thieves who trick Tarzan into being their guide.

Tarzan’s Secret Treasure (1941) 81m. ½ D: Richard Thorpe. Johnny Weissmuller, Maureen O’Sullivan, Johnny Sheffield, Reginald Owen, Barry Fitzgerald, Tom Conway. Melodramatic entry about greedy gold seekers who try to dupe Tarzan into helping them. Tarzan and Jane’s treehouse has become pretty elaborate by now.

Tarzan’s Three Challenges (1963) C-92m. ½ D: Robert Day. Jock Mahoney, Woody Strode, Ricky Der, Tsuruko Kobayashi, Earl Cameron. Tarzan protects a young heir to the throne in Thailand from his malevolent uncle in this picturesque entry that includes a wicked machete fight. The athletic Mahoney became deathly ill while filming in India—which is all too obvious from his dramatic weight loss during the course of the picture. Dyaliscope.

Tarzan the Ape Man (1932) 99m. D: W. S. Van Dyke. Johnny Weissmuller, Maureen O’Sullivan, C. Aubrey Smith, Neil Hamilton, Doris Lloyd. British gentry meets jungle savagery when the daughter of an English hunter is captured by Tarzan and decides she prefers his primal charms to those of her upper-crust fiancé. The original Weissmuller-MGM Tarzan entry is a little starchy, but still holds up thanks to a plush production and vivid atmosphere (with jungle footage provided by TRADER HORN). Also shown in a computer-colored version.

Tarzan, the Ape Man (1959) C-82m. BOMB D: Joseph Newman. Denny Miller, Joanna Barnes, Cesare Danova, Robert Douglas, Thomas Yangha. Take one blond UCLA basketball star (Miller), the production values of a pep rally, steal Johnny Weissmuller’s famous yell and (tinted) footage of him swinging through the trees, add a pseudo African jazz score by Shorty Rogers, and what you have is a cheesy and inept effort by MGM to utilize safari footage from KING SOLOMON’S MINES for the umpteenth time.

Tarzan the Fearless (1933) 85m. ½ D: Robert Hill. Buster Crabbe, Jacqueline Wells (Julie Bishop), E. Alyn Warren, Edward Woods, Philo McCullough, Matthew Betz, Frank Lackteen, Mischa Auer. Feature version of a crude serial about a scientific expedition to find the lost city of Zar. Crabbe’s Tarzan is even more tightlipped than Weissmuller’s.

Tarzan the Magnificent (1960-British) C-88m. D: Robert Day. Gordon Scott, Jock Mahoney, Betta St. John, John Carradine, Alexandra Stewart, Lionel Jeffries, Earl Cameron. Tarzan captures a murderer and faces numerous perils trying to escort him to the police through the jungle. Similarly mature follow-up to TARZAN’S GREATEST ADVENTURE, with a strong supporting cast. Ironically, villain Mahoney would take over the lead role from Scott in the next entry.

Tarzan Triumphs (1943) 78m. D: William Thiele. Johnny Weissmuller, Frances Gifford, Johnny Sheffield, Stanley Ridges, Sig Ruman. First of the series made by RKO features stunning Gifford (who earlier starred as Edgar Rice Burroughs’ JUNGLE GIRL in a Republic serial) as the princess of a lost city invaded by Nazi paratroopers. WW2 propaganda all the way, with Tarzan an incongruous participant, but still an entertaining and energetic programmer. Cheetah’s curtain-closing bit with the Nazis’ short-wave radio is not to be missed.

Task Force (1949) 116m. ½ D: Delmer Daves. Gary Cooper, Jane Wyatt, Wayne Morris, Walter Brennan, Julie London, Bruce Bennett, Stanley Ridges, Jack Holt. Well-made but unremarkable story of a Naval officer’s career, tracing aircraft carrier development. Originally shown with some scenes in color.

Taste of Honey, A (1961-British) 100m. ½ D: Tony Richardson. Rita Tushingham, Robert Stephens, Dora Bryan, Murray Melvin, Paul Danquah. Homely young girl who has affair with black sailor and becomes pregnant is cared for by homosexual friend. Shelagh Delaney’s London and Broadway stage hit is poignant and uncompromising film with fine, sensitive performances. Screenplay by Delaney and Richardson.

Tattered Dress, The (1957) 93m. ½ D: Jack Arnold. Jeff Chandler, Jeanne Crain, Jack Carson, Gail Russell, George Tobias, Philip Reed. Slowly paced but watchable account of lawyer Chandler defending society man accused of murder; Crain is his sympathetic wife. CinemaScope.

Tattooed Stranger, The (1950) 64m. ½ D: Edward J. Montagne. John Miles, Patricia White (Barry), Walter Kinsella, Frank Tweddell, Rod McLennan, Henry Lasko, Arthur Jarrett, Jack Lord. The corpse of a tattooed woman is discovered in Central Park, and the NYPD—specifically, a scruffy veteran flatfoot (Kinsella) and a new-breed, college-educated rookie (Miles)—go into action. Generally engrossing NAKED CITY–influenced police procedural benefits from colorful N.Y.C. location filming, particularly in Brooklyn and the Bronx.

Tawny Pipit (1944-British) 85m. ½ D: Bernard Miles, Charles Saunders. Bernard Miles, Rosamund John, Niall MacGinnis, Jean Gillie, George Carney, Christopher Steele, Lucie Mannheim, Wylie Watson, Ian Fleming. Slight but appealing story of some English villagers’ fight to save the title rare breed of birds, who have nested in a nearby field. Miles and Saunders also scripted.

Taxi! (1932) 70m. ½ D: Roy Del Ruth. James Cagney, Loretta Young, George E. Stone, Dorothy Burgess, Guy Kibbee, Leila Bennett, Cotton Club Orchestra. Hokey but colorful Depression melodrama of warring N.Y.C. cab drivers, with Cagney fine as a hotheaded hack. Yes, that’s George Raft as his dance-contest rival. Nothing can top Jimmy’s opening bit in Yiddish!

Taxi (1953) 77m. D: Gregory Ratoff. Dan Dailey, Constance Smith, Neva Patterson, Blanche Yurka, Stubby Kaye. Mild little comedy of N.Y.C. cab driver Dailey trying to help an Irish girl find her husband. John Cassavetes’ film debut. Look for a young Geraldine Page.

Taza, Son of Cochise (1954) C-79m. ½ D: Douglas Sirk. Rock Hudson, Barbara Rush, Gregg Palmer, Bart Roberts (Rex Reason), Morris Ankrum, Joe Sawyer. Actually two sons: one wants to live peacefully with the white man, the other thinks Geronimo has a better idea. Sirk’s only Western is uneven follow-up to BROKEN ARROW—with Jeff Chandler popping in just long enough to die—but sweeping action scenes and sympathetic treatment of Indians help. 3-D.

Tea and Sympathy (1956) C-122m. D: Vincente Minnelli. Deborah Kerr, John Kerr, Leif Erickson, Edward Andrews, Darryl Hickman, Dean Jones, Norma Crane. Glossy but well-acted version of Robert Anderson play about prep school boy’s affair with a teacher’s wife, skirting homosexual issues. Both Kerrs give sensitive portrayals; they and Erickson re-create their Broadway roles. Scripted by the playwright. CinemaScope.

Teacher’s Pet (1958) 120m. D: George Seaton. Clark Gable, Doris Day, Gig Young, Mamie Van Doren, Nick Adams, Charles Lane. Self-educated city editor Gable clashes with journalism teacher Day in this airy, amusing comedy. Young is memorable as Doris’ intellectual boyfriend. Written by Fay and Michael Kanin. VistaVision.

Tea for Two (1950) C-98m. ½ D: David Butler. Doris Day, Gordon MacRae, Gene Nelson, Patrice Wymore, Eve Arden, Billy De Wolfe, S. Z. Sakall, Bill Goodwin, Virginia Gibson. Pleasant but unexceptional musical very loosely based on the stage play No, No, Nanette (which was filmed before in 1930 and 1940). Day bets uncle Sakall she can answer no to every question for the length of a weekend—in order to win her chance to star in a Broadway show.

Teahouse of the August Moon, The (1956) C-123m. ½ D: Daniel Mann. Marlon Brando, Glenn Ford, Machiko Kyo, Eddie Albert, Paul Ford, Henry (Harry) Morgan. Outstanding comedy scripted by John Patrick from his hit play of Army officers involved with Americanization of post-WW2 Okinawa. A warm and memorable film. Paul Ford re-creates his Broadway role and nearly steals the show. Based on book by Vern J. Sneider. CinemaScope.

Tear Gas Squad (1940) 55m. ½ D: Terry Morse. Dennis Morgan, John Payne, Gloria Dickson, George Reeves, Edgar Buchanan. Wiseguy nightclub crooner becomes a rookie cop to impress a girl from a police family. A romantic comedy with songs, nothing like what the title promises—until the three-quarters mark, when it shifts gears and becomes everything the title promises!

Teckman Mystery, The (1954-British) 89m. D: Wendy Toye. Margaret Leighton, John Justin, Meier Tzelniker, Roland Culver, George Coulouris, Michael Medwin. Justin is writer commissioned to do a biography of Medwin, presumably dead war hero, with surprising results. Capably acted.

Teenage Bad Girl SEE: Bad Girl

Teenage Cave Man (1958) 66m. D: Roger Corman. Robert Vaughn, Darrah Marshall, Leslie Bradley, Frank De Kova. Vaughn, light years away from THE YOUNG PHILADELPHIANS or S.O.B., is the title character, a prehistoric adolescent hankering for greener pastures, in this AIP quickie with predictable “surprise” ending. Superama.

Teen-Age Crime Wave (1955) 77m. BOMB D: Fred F. Sears. Tommy Cook, Molly McCart, Sue England, Frank Griffin, James Bell, Kay Riehl. Adolescent hoodlums terrorize farm family after a robbery and shooting. Bad.

Teenage Devil Dolls (1952) 58m. BOMB D: B. Lawrence Price, Jr. Barbara Marks, Robert A. Sherry, Robert Norman, Elaine Lindenbaum, Joel Climenhaga, B. Lawrence Price, Jr. Yet another entry in the REEFER MADNESS school of filmmaking, about an insecure, discontented teen girl’s (Marks) descent into drug addiction and crime. Presented as a case history and without dialogue; there’s only narration and sound effects. Originally titled ONE-WAY TICKET TO HELL.

Teenage Doll (1957) 68m. D: Roger Corman. June Kenney, Fay Spain, Richard Devon, Dorothy Neumann. Title dish (Kenney) doesn’t want to spend school nights at home in her room, gets involved with punk peers. This above-average sleazy B won’t obscure memory of Dreyer and Ozu, but is true to its era.

Teen-age Millionaire (1961) C/B&W-84m. BOMB D: Lawrence Doheny. Jimmy Clanton, ZaSu Pitts, Rocky Graziano, Diane Jergens, Chubby Checker, Jackie Wilson, Dion, Marv Johnson, Bill Black, Jack Larson, Vicki Spencer, Sid Gould, Maurice Gosfield. Deadening musical about teenager Clanton, with a huge inheritance, who becomes a pop star. The rock acts are unusually and annoyingly tame here.

Teenage Monster (1958) 65m. BOMB D: Jacques Marquette. Anne Gwynne, Gloria Castillo, Stuart Wade, Gil Perkins, Charles (Chuck) Courtney, Stephen Parker. In the Old West, radiation from a meteor causes a boy to grow into a hairy, muscular brute (Perkins), who is controlled by his mother (Gwynne)—for a while. Trivial combo of Western and sci-fi is too slight and dull to work on either level. Perkins was 50 when this was made! Aka METEOR MONSTER.

Teen-age Rebel (1956) 94m. ½ D: Edmund Goulding. Ginger Rogers, Michael Rennie, Betty Lou Keim, Mildred Natwick, Rusty Swope, Warren Berlinger, Lilli Gentle, Louise Beavers, Irene Hervey. Pat yet provocative film of divorcée Rogers, now remarried, trying to reestablish understanding with her daughter. CinemaScope.

Teenagers From Outer Space (1959) 86m. BOMB D: Tom Graeff. David Love, Dawn Anderson, Harvey B. Dunn, Bryant Grant, Tom Lockyear (Tom Graeff). Ridiculous sci-fi about alien youths who bring monster to Earth, shown as the shadow of a lobster! Very, very cheap; but still a camp classic. Besides directing and playing a small part, Graeff wrote, produced, photographed, and edited!

Teenage Zombies (1957) 73m. BOMB D: Jerry Warren. Don Sullivan, Katherine Victor, Steve Conte, Paul Pepper, Bri Murphy, Mitzi Albertson. Victor captures teenagers snooping around her island, imprisons them for experiments. Typically awful Warren horror film with long stretches in which nothing happens . . . and incidentally, no teenage zombies! Remade as FRANKENSTEIN ISLAND.

Telegraph Trail, The (1933) 54m. D: Tenny Wright. John Wayne, Frank McHugh, Marceline Day, Otis Harlan, Yakima Canutt, Lafe McKee. Government scout Wayne escorts supply train threatened by Indians to camp where crew is constructing the first cross-country telegraph line through the western plains. Lesser-grade Warner Bros. B Western. Wayne’s horse is named Duke—and gets second billing!

Television Spy (1939) 58m. ½ D: Edward Dmytryk. William Henry, Judith Barrett, William Collier, Sr., Richard Denning, John Eldredge, Dorothy Tree, Anthony Quinn, Minor Watson, Morgan Conway. Foreign agents attempt to steal an American scientist’s revolutionary device called the Iconoscope. Plotted and paced like an elongated serial chapter; just as nonsensical and just as much fun.

Tell It to the Judge (1949) 87m ½ D: Norman Foster. Rosalind Russell, Robert Cummings, Gig Young, Marie McDonald, Harry Davenport, Douglass Dumbrille. Flyweight marital farce with Russell and Cummings in and out of love every ten minutes; enjoyable if you like the stars.

Tell It to the Marines (1926) 103m. D: George W. Hill. Lon Chaney, William Haines, Eleanor Boardman, Eddie Gribbon, Carmel Myers, Warner Oland, Mitchell Lewis. Chaney, playing against type, is superb as a tough but compassionate leatherneck who mentors an immature recruit (Haines). The story is predictable, and little more than a U.S. Marine Corps recruiting poster, but it’s a treat to see Chaney acting without makeup.

Tell No Tales (1939) 69m. ½ D: Leslie Fenton. Melvyn Douglas, Louise Platt, Gene Lockhart, Douglass Dumbrille, Sara Haden, Florence George, Zeffie Tilbury. Editor tries to save his dying newspaper by capturing notorious kidnappers himself. Good B picture with some telling vignettes (particularly a black boxer’s wake), though it doesn’t hold up to the finish.

Tell-Tale Heart, The (1960-British) 81m. ½ D: Ernest Morris. Laurence Payne, Adrienne Corri, Dermot Walsh, Selma Vaz Dias. Atmospheric Edgar Allan Poe yarn about a meek librarian who becomes obsessed, sexually and otherwise, with his pretty new neighbor—but she shows more of an interest in his charming and good-looking best friend.

Tempest (1928) 102m. D: Sam Taylor. John Barrymore, Camilla Horn, Louis Wolheim, George Fawcett, Ullrich Haupt, Michael Visaroff. Lushly filmed tale of Russian Revolution, with peasant Barrymore rising to rank of sergeant, controlling fate of princess (Horn) who had previously scorned him.

Tempest (1959-Italian) C-125m. ½ D: Alberto Lattuada. Silvana Mangano, Van Heflin, Viveca Lindfors, Geoffrey Horne, Oscar Homolka, Robert Keith, Agnes Moorehead, Finlay Currie, Vittorio Gassman, Helmut Dantine. Turgid, disjointed costumer set in 18th-century Russia, loosely based on Pushkin novel about peasant uprising to dethrone Catherine the Great (Lindfors). Technirama.

Temptation (1946) 98m. ½ D: Irving Pichel. Merle Oberon, George Brent, Paul Lukas, Charles Korvin, Lenore Ulric, Ludwig Stossel. Woman-with-a-past Oberon marries archeologist Brent, then falls in love with unscrupulous Korvin. Nothing new, but smoothly done.

Temptress, The (1926) 117m. ½ D: Fred Niblo. Greta Garbo, Antonio Moreno, Roy D’Arcy, Marc MacDermott, Lionel Barrymore, Virginia Brown Faire. Garbo’s second American film is dated curio about wicked woman who drives men to death and destruction, only to have her own life ruined by falling in love with Moreno. Adapted from Blasco-Ibanez; some prints run 95m.

Ten Cents a Dance (1931) 80m. ½ D: Lionel Barrymore. Barbara Stanwyck, Ricardo Cortez, Monroe Owsley, Sally Blane, Blanche Frederici. Dreary, slow-moving drama about a taxi dancer’s unfortunate marriage to a worthless wimp, who turns out to be a crook and a cheat, as well.

Ten Commandments, The (1923) 146m. D: Cecil B. DeMille. Theodore Roberts, Charles de Roche, Estelle Taylor, Richard Dix, Rod La Rocque, Leatrice Joy, Nita Naldi, Agnes Ayres. Biblical story, told in compact form (but on a gargantuan scale—with several scenes in two-color Technicolor) is only first portion of this silent film. The rest is a modern-day parable involving two brothers, one a saint, the other a sinner—and it’s anything but subtle. Still, it’s good entertainment in the best DeMille style. Remade in 1956, for TV in 2006, and as an animated feature in 2007.

Ten Commandments, The (1956) C-220m. D: Cecil B. DeMille. Charlton Heston, Yul Brynner, Anne Baxter, Edward G. Robinson, Yvonne De Carlo, Debra Paget, John Derek, Cedric Hardwicke, H.B. Warner, Henry Wilcoxon, Nina Foch, Martha Scott, Judith Anderson, Vincent Price, John Carradine, Woodrow (Woody) Strode. Vivid storytelling at its best. Biblical epic follows Moses’ life from birth and abandonment through manhood, slavery, and trials in leading the Jews out of Egypt. Few subtleties in DeMille’s second handling of this tale (first filmed in 1923) but few lulls, either. Parting of the Red Sea, writing of the holy tablets are unforgettable highlights. Oscar-winning special effects. Roadshow version on video runs 231m. with overture, intermission/entr’acte, exit music. VistaVision.

Ten Days That Shook the World SEE: October

Ten Days to Tulara (1958) 77m. BOMB D: George Sherman. Sterling Hayden, Grace Raynor, Rodolfo Hoyos, Carlos Muzquiz. Dud adventure account of Hayden et al. pursued across Mexico by police for the gold they carry.

Tender Comrade (1943) C-102m. ½ D: Edward Dmytryk. Ginger Rogers, Robert Ryan, Ruth Hussey, Patricia Collinge, Mady Christians, Kim Hunter, Jane Darwell. Rogers and friends live communally while their men are out fighting the war, a situation that caused this Dmytryk–Dalton Trumbo collaboration to be labeled as Communist propaganda by HUAC in later years. Some unbearable—and ironically, pro-American—speechifying, but occasionally fascinating as social history.

Tenderfoot, The (1932) 70m. ½ D: Ray Enright. Joe E. Brown, Ginger Rogers, Lew Cody, George Chandler, Allan Lane, Vivien Oakland. Brown’s a naive cowboy who wants to back a Broadway show in the worst way—and does.

Tender Is the Night (1962) C-146m. ½ D: Henry King. Jennifer Jones, Jason Robards, Jr., Joan Fontaine, Tom Ewell, Jill St. John, Paul Lukas. Sluggish, unflavorful version of F. Scott Fitzgerald novel with Jones unsatisfactory as mentally unstable wife of psychiatrist Robards; Fontaine is her chic sister; set in 1920s Europe. CinemaScope.

Tender Trap, The (1955) C-111m. ½ D: Charles Walters. Frank Sinatra, Debbie Reynolds, Celeste Holm, David Wayne, Carolyn Jones, Lola Albright, Tom Helmore, James Drury. Silly romp of swinging, set-in-his-ways N.Y.C. bachelor Sinatra, who meets his match in determined, marriage-minded Reynolds. A real time capsule of 1950s attitudes toward men, women, and sex. Impeccable support from Holm and Wayne; memorable Cahn–Van Heusen title tune. Julius J. Epstein adapted the Max Shulman and Robert Paul Smith play. CinemaScope.

Tender Years, The (1948) 81m. D: Harold Schuster. Joe E. Brown, Richard Lyon, Noreen Nash, Charles Drake, Josephine Hutchinson. Warm drama of minister trying to protect dog his son is attached to; notable mainly for rare dramatic performance by Brown.

Ten Gentlemen From West Point (1942) 102m. D: Henry Hathaway. George Montgomery, Maureen O’Hara, John Sutton, Laird Cregar, Victor Francen, Harry Davenport, Ward Bond, Tom Neal, Ralph Byrd, Douglass Dumbrille. Early years of West Point, with focus on resentful commander Cregar, rivalry of cadets Montgomery and Sutton, and other assorted military film clichés; somehow, it’s still entertaining.

Tennessee Champ (1954) C-73m. ½ D: Fred M. Wilcox. Shelley Winters, Keenan Wynn, Dewey Martin, Earl Holliman, Dave O’Brien. Good performances highlight average story of boxer who reforms crooked employer. The climactic fight features Charles (Bronson) Buchinsky.

Tennessee Johnson (1942) 103m. ½ D: William Dieterle. Van Heflin, Lionel Barrymore, Ruth Hussey, Marjorie Main, Charles Dingle, Regis Toomey, Grant Withers, Lynne Carver, Noah Beery, Sr., Morris Ankrum. Sincere historical drama of President Andrew Johnson’s rise and subsequent conflicts with Congress, given a glossy MGM production.

Tennessee’s Partner (1955) C-87m. ½ D: Allan Dwan. John Payne, Rhonda Fleming, Ronald Reagan, Coleen Gray, Morris Ankrum. Offbeat little Western with Payne excellent in an unusual “heel” characterization, Reagan accidentally becoming his pal. Based on a Bret Harte story. Filmed in SuperScope.

Ten North Frederick (1958) 102m. D: Philip Dunne. Gary Cooper, Diane Varsi, Suzy Parker, Geraldine Fitzgerald, Tom Tully, Ray Stricklyn, Stuart Whitman, Barbara Nichols. Grasping wife (Fitzgerald) prods her husband (Cooper) into big-time politics, with disastrous results. He finds personal solace in love affair with much younger woman (Parker). Good performances in somewhat soapy adaptation of John O’Hara novel. CinemaScope.

Ten Seconds to Hell (1959) 93m. ½ D: Robert Aldrich. Jeff Chandler, Jack Palance, Martine Carol, Robert Cornthwaite, Dave Willock, Wesley Addy. Chandler and Palance are almost believable as Germans involved in defusing bombs in Berlin, while competing for Carol’s affection.

Tension (1949) 95m. ½ D: John Berry. Richard Basehart, Audrey Totter, Cyd Charisse, Barry Sullivan, Tom D’Andrea. Timid Basehart methodically plans to murder his wife’s lover, only to have someone beat him to it in this intriguing melodrama.

Tension at Table Rock (1956) C-93m. D: Charles Marquis Warren. Richard Egan, Dorothy Malone, Cameron Mitchell, Billy Chapin, Angie Dickinson. Soapy Western with Egan on the lam for a murder committed in self-defense.

Ten Tall Men (1951) C-97m. ½ D: Willis Goldbeck. Burt Lancaster, Jody Lawrance, Gilbert Roland, Kieron Moore. Tongue-in-cheek Foreign Legion tale, with dynamic Lancaster pushing the action along.

Tenth Avenue Angel (1948) 74m. BOMB D: Roy Rowland. Margaret O’Brien, Angela Lansbury, George Murphy, Phyllis Thaxter, Warner Anderson, Rhys Williams, Barry Nelson, Connie Gilchrist. Capable cast is lost in terrible, syrupy script about eight-year-old tenement girl O’Brien, her attachment to ex-con Murphy, and how she learns various, obvious lessons about faith. Filmed in 1946.

Ten Thousand Bedrooms (1957) C-114m. D: Richard Thorpe. Dean Martin, Anna Maria Alberghetti, Eva Bartok, Dewey Martin, Walter Slezak, Paul Henreid, Jules Munshin, Marcel Dalio, Dean Jones. Dean’s first film without Jerry Lewis seemed to spell doom for his career; it’s a lightweight but overlong musical romance with Dino as a playboy hotel-manager in Rome. CinemaScope.

Tenth Victim, The (1965-Italian) C-92m. D: Elio Petri. Marcello Mastroianni, Ursula Andress, Elsa Martinelli, Salvo Randone, Massimo Serato. Cult sci-fi of futuristic society where violence is channeled into legalized murder hunts. Here, Ursula hunts Marcello. Intriguing idea, well done. Based on Robert Sheckley’s story “The Seventh Victim.”

Ten Wanted Men (1955) C-80m. D: Bruce Humberstone. Randolph Scott, Jocelyn Brando, Richard Boone, Skip Homeier, Leo Gordon, Donna Martell. Conventional Western programmer with cattleman Scott’s dream of law and order smashed by ambitions of ruthless rival Boone.

Ten Who Dared (1960) C-92m. BOMB D: William Beaudine. Brian Keith, John Beal, James Drury, R. G. Armstrong, Ben Johnson, L. Q. Jones. Dreadful Disney film based on true story of Major John Wesley Powell’s exploration of Colorado River in 1869; cast is drowned in clichés, while action is sparse. Forget it.

Teresa (1951) 102m. D: Fred Zinnemann. Pier Angeli, John Ericson, Patricia Collinge, Richard Bishop, Peggy Ann Garner, Ralph Meeker, Bill Mauldin, Edward Binns, Rod Steiger. Ambitious but slow-moving psychological drama of a sensitive young man (Ericson), saddled with a mother from hell, who meets and marries a sweet young Italian (Angeli) while fighting in Italy during WW2. Steiger plays a psychiatrist in his screen debut. See if you can spot Lee Marvin as a GI on board the ship returning to the U.S.

Terminal Station SEE: Indiscretion of an American Wife

Term of Trial (1962-British) 113m. ½ D: Peter Glenville. Laurence Olivier, Simone Signoret, Sarah Miles, Terence Stamp, Roland Culver, Hugh Griffith. Talky story of schoolmaster charged with assault by young Miles, and subsequent trial’s effect on Olivier’s wife, Signoret. Despite fine cast, a wearisome film. Miles’ film debut.

Terrible Beauty, A SEE: Night Fighters

Terrible People, The (1960-German) 95m. D: Harald Reinl. Eddi Arent, Karin Dor, Elizabeth Flickenschildt, Fritz Rasp, Joachim Fuchsberger. Fair action story of condemned bank crook vowing to return from dead to punish those who prosecuted him. Retitled: HAND OF THE GALLOWS.

Terror, The (1963) C-81m. ½ D: Roger Corman. Boris Karloff, Jack Nicholson, Sandra Knight, Dick Miller. Engaging chiller nonsense with Karloff the mysterious owner of a castle where eerie deeds occur; set on Baltic coast in 1800s. This is the legendary Corman quickie for which all of Karloff’s scenes were shot in less than three days as the sets (from THE RAVEN) were being torn down around them! Vistascope.

Terror at Midnight (1956) 70m. D: Franklin Adreon. Scott Brady, Joan Vohs, Frank Faylen, John Dehner. Undynamic telling of Vohs being blackmailed and her law-enforcer boyfriend (Brady) helping out.

Terror By Night (1946) 60m. ½ D: Roy William Neill. Basil Rathbone, Nigel Bruce, Alan Mowbray, Dennis Hoey, Renee Godfrey, Mary Forbes. Sherlock Holmes dodges death at every turn while guarding a priceless diamond on a bullet-train en route from London to Edinburgh. Lesser, later entry does give Mowbray a fine supporting role. Also shown in computer-colored version.

Terror-Creatures From the Grave (1965-Italian) 85m. D: Ralph Zucker (Massimo Pupillo). Barbara Steele, Walter Brandt, Marilyn Mitchell (Mirella Maravidi), Alfred Rice (Alfredo Rizzo), Richard Garrett (Riccardo Garrone), Alan Collins (Luciano Pigozzi). In 1911 Italy, a lawyer (Brandt) is summoned to an isolated manor, only to discover that the man who sent for him has been dead a year, and his widow (Steele) is aloof. Soon the newcomer learns the castle was built over the graves of victims of the Black Plague; now those present at the man’s death begin mysteriously dying, one by one. OK Italian horror, a bit tamer than most, but blessed with Steele’s iconic presence.

Terror From the Year 5000 (1958) 74m. D: Robert J. Gurney, Jr. Ward Costello, Joyce Holden, Frederic Downs, John Stratton, Salome Jens, Fred Herrick. At an isolated lab in Florida, scientists succeed in “trading” objects with a future society via time travel; when this brings a radiation-scarred woman (Jens) from the future, trouble ensues. OK American International effort, more imaginative than most.

Terror House (1942) SEE: Night Has Eyes, The

Terror in a Texas Town (1958) 80m. ½ D: Joseph H. Lewis. Sterling Hayden, Sebastian Cabot, Carol Kelly, Eugene Martin, Ned Young, Victor Millan. Offbeat Western drama about Scandinavian whaler (Hayden) who comes to his father’s farm in Texas, finds town terrorized by Cabot, who’s forcing everyone to sell their oil-rich land. Incredible final showdown.

Terror in the Crypt (1964-Spanish-Italian) 82m. ½ D: Thomas Millar (Camillo Mastrocinque). Christopher Lee, José Campos, Audry Amber (Adriana Ambesi), Véra Valmont, Nela Conjiu, Ursula Davis. In 1911 Spain, a young man comes to a castle to research an ancestor of the Count (Lee) who was buried alive for being a witch, cursing her descendants. The visitor is drawn to the Count’s daughter, but she’s more interested in a young woman left stranded at the castle. Serious, adult, well photographed, but slow and dull; this is yet another adaptation of J. Sheridan Le Fanu’s Carmilla, and not really a horror movie.

Terror in the Haunted House SEE: My World Dies Screaming

Terror Is a Man (1959) 89m. D: Gerry DeLeon. Francis Lederer, Greta Thyssen, Richard Derr, Oscar Keesee. On Blood Island, doctor (Lederer) experiments with panther to turn him into a human. Filmed in the Philippines, this sci-fi horror story comes to life in last third of picture. Clearly inspired by H. G. Wells’ The Island of Dr. Moreau. Aka BLOOD CREATURE.

Terror of the Tongs (1961-British) C-79m. ½ D: Anthony Bushell. Geoffrey Toone, Burt Kwouk, Brian Worth, Christopher Lee, Richard Leech. Atmospheric British thriller of ship captain searching for killers of daughter; eventually breaks entire Tong society in Hong Kong. Good acting but may be a little gruesome for some viewers. Released theatrically in b&w.

Terror of Tiny Town, The (1938) 63m. ½ D: Sam Newfield. Billy Curtis, Yvonne Moray, Little Billy, John Bambury. If you’re looking for a midget musical Western, look no further. A typical sagebrush plot is enacted (pretty badly) by a cast of little people, and the indelible impression is that of characters sauntering into the saloon under those swinging doors!

Terror on a Train (1953-British) 72m. ½ D: Ted Tetzlaff. Glenn Ford, Anne Vernon, Maurice Denham, Victor Maddern. Tense little film of Ford defusing time bomb placed aboard train full of high explosives. Original British title: TIME BOMB.

Tess of the Storm Country (1922) 118m. D: John S. Robertson. Mary Pickford, Lloyd Hughes, Gloria Hope, David Torrence, Forrest Robinson, Jean Hersholt. Pickford is letter perfect in this engrossing version of Grace Miller White’s novel about a God-fearing, self-sacrificing squatter who becomes romantically involved with the son of a wealthy stuffed shirt while her father is falsely accused of murder. Hersholt makes a formidable villain. Pickford also played Tess in 1914; remade in 1932 and 1960.

Tess of the Storm Country (1960) C-84m. ½ D: Paul Guilfoyle. Diane Baker, Jack Ging, Lee Philips, Archie Duncan, Nancy Valentine, Bert Remsen, Wallace Ford. Leisurely paced reworking of the Grace Miller White novel set in Pennsylvania Dutch country. Here, Tess (Baker) becomes immersed in a dispute between farmers, Mennonites, and chemical plant operators who are polluting the environment. CinemaScope.

Testament of Dr. Mabuse, The (1933-German) 111m. ½ D: Fritz Lang. Rudolf Klein-Rogge, Otto Wernicke, Gustav Diessl, Karl Meixner. Criminal mastermind controls his underworld empire even while confined to an insane asylum! Fabled character from Lang’s silent-film epic returns in less stylized but no less entertaining crime story—which even incorporates supernatural elements. Film was a subject of controversy during Nazi era. Lang returned to this character once more for THE 1,000 EYES OF DR. MABUSE in 1960, but other hands remade this script in 1962. Aka THE LAST WILL OF DR. MABUSE. Some prints run 75m. Retitled THE CRIMES OF DR. MABUSE.

Testament of Orpheus, The (1959-French) 80m. ½ D: Jean Cocteau. Jean Cocteau, Edouard Dermit, Henri Cremieux, Jean-Pierre Léaud, Alice Saprich, Françoise Christophe, Yul Brynner, Daniel Gélin, Maria Casarès, François Perier, Charles Aznavour, Pablo Picasso, Luis Miguel Dominguin, Lucia Bosé, Jean Marais, Brigitte Bardot, Roger Vadim, Claudine Auger. Cocteau’s deeply personalized farewell is a catalogue of his philosophies and phantasies. Occasionally too artsy, his reverie has no storyline per se, just a succession of astonishingly dreamy images with a seemingly impossible cast. A few moments are in startling color. Third in his Orphic Trilogy after THE BLOOD OF A POET and ORPHEUS. Full title on-screen is THE TESTAMENT OF ORPHEUS OR DO NOT ASK ME WHY.

Test Pilot (1938) 118m. D: Victor Fleming. Clark Gable, Myrna Loy, Spencer Tracy, Lionel Barrymore, Samuel S. Hinds, Marjorie Main, Gloria Holden, Louis Jean Heydt. Blend of romantic comedy and drama doesn’t always work, but with those stars it’s well worth watching. Tracy steals film as Gable’s mechanic/pal in story of daredevils who try out new aircraft. Based on a Frank “Spig” Wead story.

Tevye (1939) 96m. ½ D: Maurice Schwartz. Maurice Schwartz, Rebecca Weintraub, Miriam Riselle, Leon Liebgold. Yiddish stage star Schwartz brightens the screen in his most famous role as Sholem Aleichem’s famed Ukrainian dairyman; a crisis comes when one of his daughters wishes to wed a non-Jew. This touching, profound drama was later musicalized as FIDDLER ON THE ROOF. Filmed in Jericho, Long Island. Aka TEVYA.

Texan Meets Calamity Jane, The (1950) C-71m. BOMB D: Ande Lamb. Evelyn Ankers, James Ellison, Jack Ingram, Lee “Lasses” White. Ankers is too subdued as famed cowgirl of yesteryear, involved in fight to prove claim to prosperous saloon.

Texans, The (1938) 92m. ½ D: James Hogan. Randolph Scott, Joan Bennett, May Robson, Walter Brennan, Robert Cummings, Robert Barrat. Post–Civil War Texas is setting for average Western with good cast.

Texans Never Cry (1951) 66m. D: Frank McDonald. Gene Autry, Pat Buttram, Mary Castle, Russell Hayden, Gail Davis, Richard Powers (Tom Keene), Don Harvey, Roy Gordon, Kenne Duncan. When Texas lawman Autry tries to stop a plot by Powers that involves Mexican lottery tickets, a deadly gunman is hired to get Gene out of the way . . . and the gunman falls for Gene’s girl! One of Gene’s best later efforts, with a terrific brawl between Autry and Duncan, the title tune, and a reprised “Ride, Ranger, Ride.”

Texas (1941) 93m. D: George Marshall. William Holden, Glenn Ford, Claire Trevor, George Bancroft, Edgar Buchanan. High-level Western of two friends, one a rustler (Holden), the other a cattleman (Ford), competing for Trevor’s affection.

Texas, Brooklyn and Heaven (1948) 76m. D: William Castle. Guy Madison, Diana Lynn, James Dunn, Lionel Stander, Florence Bates, Roscoe Karns. Stale “comedy” of cowboy who falls in love with city girl who loves horses. Good cast helps a little.

Texas Carnival (1951) C-77m. D: Charles Walters. Esther Williams, Red Skelton, Howard Keel, Ann Miller, Paula Raymond, Keenan Wynn, Tom Tully, Glenn Strange, Hans Conried, Red Norvo Trio. Carny performers Williams and Skelton are mistaken for a Texas cattle baron and his daughter. Energetic cast cannot save this emptier-than-usual musical.

Texas Cyclone (1932) 60m. ½ D: D. Ross Lederman. Tim McCoy, Shirley Grey, John Wayne, Wheeler Oakman, Wallace MacDonald, Vernon Dent, Walter Brennan. Daredevil McCoy rides into lawless town and is mistaken for heroic rancher thought killed five years earlier. Interesting William Colt MacDonald story has twist ending and young Wayne as cigarette-smoking ranch hand. A very young Brennan plays an old coot of a sheriff. Script includes the immortal words “This town ain’t big enough to hold the both of us . . . come a-shootin’ !” Remade five years later as ONE MAN JUSTICE with Charles Starrett.

Texas Lady (1955) C-86m. D: Tim Whelan. Claudette Colbert, Barry Sullivan, Greg Walcott, Horace McMahon, John Litel. Genteel oater with Colbert lovely as crusading newspaper editor in old West. Mediocre script. SuperScope.

Texas Legionnaires SEE: Man From Music Mountain (1943)

Texas Masquerade (1944) 59m. D: George Archainbaud. William Boyd, Andy Clyde, Jimmy Rogers, Don Costello, Mady Correll, Russell Simpson. Hopalong Cassidy impersonates eastern milquetoast to upend gang of “night riders” terrorizing ranchers who have oil on their property they don’t know about. Boyd enjoyed ditching his customary dark duds to play dandies, which works especially well here. Swell entertainment. Shoot-out among the Joshua trees makes for arresting finale.

Texas Rangers, The (1936) 95m. D: King Vidor. Fred MacMurray, Jack Oakie, Jean Parker, Lloyd Nolan, Edward Ellis, Bennie Bartlett, George (“Gabby”) Hayes. Fine, elaborate Western about three comrades who rob stagecoaches, with two of them (MacMurray and Oakie) eventually becoming Rangers. Reworked as STREETS OF LAREDO.

Texas Rangers, The (1951) C-74m. ½ D: Phil Karlson. George Montgomery, Gale Storm, Jerome Courtland, Noah Beery, Jr., William Bishop, John Litel, Douglas Kennedy, John Dehner, John Doucette, Jock O’Mahoney (Mahoney), Jim Bannon. Pretty good B Western with Montgomery and Beery as bandits who reform and join the Texas Rangers, then go undercover to get the goods on outlaw boss Sam Bass (Bishop).

Texas Rangers Ride Again, The (1940) 68m. D: James Hogan. Ellen Drew, John Howard, Akim Tamiroff, May Robson, Broderick Crawford, Anthony Quinn. Sequel is standard Western fare of lawmen involved with cattle rustlers in the modern-day West. Look fast for a young Robert Ryan.

Texas Terror (1935) 51m. D: Robert N. Bradbury. John Wayne, Lucille Brown, LeRoy Mason, Fern Emmett, George Hayes, Jack Duffy. In the belief he’s accidentally killed his best friend, anguished Texas lawman Wayne turns in his sheriff’s badge for the solitary life of a prospector, until he meets the dead pal’s sister. Formula low-budget Lone Star Western has Indians siding with protagonists against cattle-rustling and bank-robbing lawbreakers.

Texas Trail (1937) 59m. D: David Selman. William Boyd, Russell Hayden, George Hayes, Judith Allen, Billy King, Alexander Cross. At outbreak of Spanish-American War in 1898, Hopalong Cassidy is called upon by U.S. Army to find and supply cavalry horses but encounters rustlers. In the finest series of B Westerns ever made, this picture is near the top of the list, with expert use of Paramount music library, visually stunning locations, including Red Rock Canyon and Sedona, and an unusually appealing heroine (with little to do). Nominally derived from 1922 Clarence E. Mulford novel Tex.

Thanks a Million (1935) 87m. D: Roy Del Ruth. Dick Powell, Ann Dvorak, Fred Allen, Patsy Kelly, Alan Dinehart, Margaret Irving, Paul Whiteman and Orchestra, Yacht Club Boys. Very entertaining musical of crooner Powell running for governor, with help of wisecracking manager Allen, sweetheart Dvorak, and blustery politician Raymond Walburn. Good fun, with several breezy tunes and specialties by Whiteman and Yacht Club Boys. Script by Nunnally Johnson. Remade as IF I’M LUCKY.

Thanks for the Memory (1938) 77m. ½ D: George Archainbaud. Bob Hope, Shirley Ross, Charles Butterworth, Otto Kruger, Roscoe Karns, Hedda Hopper, Patricia Wilder, Laura Hope Crews, Eddie Anderson. Paper-thin romantic comedy (from a play by Albert Hackett and Frances Goodrich) reteams Hope and Ross, who sang the title tune in THE BIG BROADCAST OF 1938. Here, they’re newlyweds who face a crisis: he’s got to stop partying and finish his novel. Song highlight: “Two Sleepy People.”

Thank You, Jeeves! (1936) 57m. ½ D: Arthur Collins. Arthur Treacher, Virginia Field, David Niven, Lester Matthews, Willie Best. Treacher is at peak form playing P.G. Wodehouse’s impeccable butler; he and his master (Niven) become immersed in intrigue after crossing paths with mystery woman Field. Retitled: THANK YOU, MR. JEEVES; followed by STEP LIVELY, JEEVES.

Thank You, Mr. Moto (1937) 67m. D: Norman Foster. Peter Lorre, Pauline Frederick, Sidney Blackmer, Sig Rumann, John Carradine, Nedda Harrigan. Second series entry (possibly the best) involves the Oriental sleuth in a complicated case centering on seven scrolls which hold the key to hidden treasure of Genghis Khan.

Thank Your Lucky Stars (1943) 127m. D: David Butler. Eddie Cantor, Dennis Morgan, Joan Leslie; guest stars Humphrey Bogart, Bette Davis, Olivia de Havilland, Errol Flynn, John Garfield, Ida Lupino, Ann Sheridan, etc. Very lame plot (Cantor plays both himself and lookalike cabbie) frames all-star Warner Bros. show, with Davis singing “They’re Either Too Young or Too Old,” Flynn delightfully performing “That’s What You Jolly Well Get,” other staid stars breaking loose.

That Certain Age (1938) 101m. ½ D: Edward Ludwig. Deanna Durbin, Melvyn Douglas, Jackie Cooper, Irene Rich, Nancy Carroll, John Halliday, Jack Searl. Deanna develops crush on her parents’ houseguest, sophisticated Douglas, leaving boyfriend Cooper out in the cold—and saddled with responsibility for putting on amateur show. Silly script made bearable by stars.

That Certain Feeling (1956) C-103m. BOMB D: Norman Panama, Melvin Frank. Bob Hope, Eva Marie Saint, George Sanders, Pearl Bailey, Al Capp, Jerry Mathers. Incredibly bad Hope comedy with Bob as neurotic cartoonist; Sanders gives only life to stale film. Pearl sings title song. VistaVision.

That Certain Woman (1937) 93m. ½ D: Edmund Goulding. Bette Davis, Henry Fonda, Ian Hunter, Donald Crisp, Anita Louise, Minor Watson, Sidney Toler. Remake of Goulding’s early talkie THE TRESPASSER (with Gloria Swanson) features Bette as a gangster’s widow who’s trying to start life afresh and finds herself in a romantic triangle with weak-willed playboy Fonda and lawyer Hunter. Well-acted soaper.

That Dangerous Age SEE: If This Be Sin

That Darn Cat! (1965) C-116m. D: Robert Stevenson. Hayley Mills, Dean Jones, Dorothy Provine, Roddy McDowall, Neville Brand, Elsa Lanchester, William Demarest, Frank Gorshin, Ed Wynn. Long but entertaining suspense comedy from Disney, about a cat that leads FBI man Jones on trail of kidnapped woman. Slapstick scenes and character vignettes highlight this colorful film. Remade in 1997.

That Forsyte Woman (1949) C-114m. ½ D: Compton Bennett. Errol Flynn, Greer Garson, Walter Pidgeon, Robert Young, Janet Leigh, Harry Davenport. Rather superficial adaptation of John Galsworthy novel of a faithless woman (Garson) who finds herself attracted to her niece’s fiancé; good-looking, but no match for the later BBC-TV series The Forsyte Saga.

That Funny Feeling (1965) C-93m. ½ D: Richard Thorpe. Sandra Dee, Bobby Darin, Donald O’Connor, Nita Talbot, Larry Storch, Leo G. Carroll, Robert Strauss. Funny only if you adore Darin and Dee, and even then story of footloose playboy and maid who pretends she lives in his apartment wears thin.

That Gang of Mine (1940) 62m. D: Joseph H. Lewis. Leo Gorcey, Bobby Jordan, Sunshine Sammy Morrison, Clarence Muse, Dave O’Brien, Joyce Bryant, Donald Haines, David Gorcey. Muggs (Gorcey) trains to be a thoroughbred jockey in this East Side Kids entry marked by director Lewis’ expertise with galloping racing action.

That Girl From Paris (1936) 105m. ½ D: Leigh Jason. Lily Pons, Jack Oakie, Gene Raymond, Herman Bing, Mischa Auer, Frank Jenks, Lucille Ball. Breezy Pons vehicle. She flees Continental wedding and runs to America. Tuneful songs, fine supporting cast. A remake of STREET GIRL; remade as FOUR JACKS AND A JILL.

That Hagen Girl (1947) 83m. ½ D: Peter Godfrey. Ronald Reagan, Shirley Temple, Rory Calhoun, Lois Maxwell, Dorothy Peterson, Charles Kemper, Conrad Janis, Penny Edwards, Jean Porter, Harry Davenport. Obvious but fascinating time capsule about small-town small-mindedness, with teen Temple ostracized because gossips think she’s illegitimate. Of interest for the casting of Temple and Reagan (playing a lawyer who supposedly is Shirley’s father), and as a portrait of a time in which illegitimate children were victimized because of the circumstances of their births.

That Hamilton Woman (1941) 128m. D: Alexander Korda. Vivien Leigh, Laurence Olivier, Alan Mowbray, Sara Allgood, Gladys Cooper, Henry Wilcoxon, Heather Angel, Halliwell Hobbes, Gilbert Emery. Olivier and Leigh—both breathtakingly beautiful—enact ill-fated historical romance of Lord Admiral Nelson and Lady Emma Hamilton in American-made film intended to spur pro-British feelings before the U.S. entered WW2. Vincent Korda’s sets are incredibly opulent. P.S. This was Winston Churchill’s favorite movie. Aka LADY HAMILTON.

That Kind of Woman (1959) 92m. D: Sidney Lumet. Sophia Loren, Tab Hunter, George Sanders, Jack Warden, Keenan Wynn, Barbara Nichols. WW2 soldier Hunter and dishy Loren are attracted to each other on a train, but she’s the mistress of elegant fatcat Sanders. Surprisingly adult comedy-drama for its era; excellent performances from all but Hunter, and even he’s better than usual. Well shot by Boris Kaufman. Remake of THE SHOPWORN ANGEL, scripted by Walter Bernstein. Look for young Bea Arthur as a WAC.VistaVision.

That Lady (1955) C-100m. ½ D: Terence Young. Olivia de Havilland, Gilbert Roland, Paul Scofield, Dennis Price, Christopher Lee. Unemotional costumer set in 16th-century Spain, with de Havilland a widowed noblewoman involved in court intrigue. Scofield’s film debut. CinemaScope.

That Lady in Ermine (1948) C-89m. ½ D: Ernst Lubitsch. Betty Grable, Douglas Fairbanks, Jr., Cesar Romero, Walter Abel, Reginald Gardiner, Harry Davenport. Entertaining if overblown musical of mythical European kingdom where Grable is a just-married princess; her ancestors magically come to life as Fairbanks’ conquering army descends on her castle. Lubitsch died during production, which was completed by Otto Preminger. Script by Samson Raphaelson.

That Man From Rio (1964-French) C-114m. D: Philippe De Broca. Jean-Paul Belmondo. Françoise Dorleac, Jean Servais, Adolfo Celi, Simone Renant. Engaging spoof of Bond-type movies features Belmondo as hero, chasing double-crosser and thief in search for Brazilian treasure. Nice cinematography by Edmond Séchan complements fast-moving script. Enjoyed great international success and spawned many imitations.

That Midnight Kiss (1949) C-96m. ½ D: Norman Taurog. Kathryn Grayson, Mario Lanza, Jose Iturbi, Ethel Barrymore, Keenan Wynn, J. Carrol Naish, Jules Munshin. Flimsy musical romance between Lanza and Grayson salvaged by pleasant musical interludes and glossy production.

That Naughty Girl SEE: Mam’zelle Pigalle

That Night! (1957) 88m. ½ D: John Newland. John Beal, Augusta Dabney, Malcolm Brodrick, Shepperd Strudwick, Rosemary Murphy. Straightforward account of writer suffering a heart attack, and the effect it has on his family.

That Night in Rio (1941) C-90m. ½ D: Irving Cummings. Alice Faye, Don Ameche, Carmen Miranda, S. Z. Sakall, J. Carrol Naish, Curt Bois, Leonid Kinskey, Frank Puglia. Standard 20th Century-Fox musical of mistaken identities, uses Miranda to best advantage; Maria Montez has a tiny role. Filmed before as FOLIES BERGÈRE, and again as ON THE RIVIERA.

That Night With You (1945) 84m. D: William A. Seiter. Franchot Tone, Susanna Foster, David Bruce, Louise Allbritton, Jacqueline de Wit, Buster Keaton. OK vehicle for soprano Foster who connives her way to show biz break via producer Tone.

That’s My Boy (1951) 98m. D: Hal Walker. Dean Martin, Jerry Lewis, Marion Marshall, Eddie Mayehoff, Ruth Hussey, Polly Bergen, John McIntire. Ex-football star Mayehoff wants klutzy son Lewis to follow in his footsteps, induces Martin to coach him. Supposed comic idea is played straight, with very few laughs, maudlin situations . . . yet it was considered quite funny in 1951 when M&L were in their heyday. Later a TV series.

That’s My Man (1947) 99m. D: Frank Borzage. Don Ameche, Catherine McLeod, Roscoe Karns, Joe Frisco, John Ridgely, Kitty Irish, Frankie Darro. Nice-guy accountant Ameche buys a race horse that becomes a champ, but he turns into a heel and neglects his family in the process. Minor love story is lighthearted and offbeat, then turns into a maudlin and clichéd triangle tale about a man, a woman, and a horse.

That’s Right—You’re Wrong (1939) 93m. ½ D: David Butler. Kay Kyser, Adolphe Menjou, May Robson, Lucille Ball, Dennis O’Keefe, Edward Everett Horton, Roscoe Karns, Moroni Olsen. Amiable film debut for popular radio band leader Kyser as he and his wacky crew are offered a Hollywood contract and get into all sorts of trouble in Tinseltown. Much of the humor (and music) is dated, but there’s plenty to enjoy in the supporting cast, including gossip queens Sheilah Graham and Hedda Hopper as themselves.

That’s the Spirit (1945) 93m. D: Charles Lamont. Peggy Ryan, Jack Oakie, June Vincent, Gene Lockhart, Johnny Coy, Andy Devine, Arthur Treacher, Irene Ryan, Buster Keaton. Whimsy is too studied in this syrupy fantasy of Oakie returning from heaven to make explanations to wife on Earth. Songs include “How Come You Do Me Like You Do?”

That Touch of Mink (1962) C-99m. ½ D: Delbert Mann. Cary Grant, Doris Day, Gig Young, Audrey Meadows, John Astin, Dick Sargent. Attractive cast in silly piece of fluff with wealthy playboy Grant pursuing Day. Amusing at times, but wears thin; Astin is memorable as a creep with designs on poor Doris, and there’s a clever sequence featuring Mickey Mantle, Roger Maris, Yogi Berra, and umpire Art Passarella. Panavision.

That Uncertain Feeling (1941) 84m. D: Ernst Lubitsch. Merle Oberon, Melvyn Douglas, Burgess Meredith, Alan Mowbray, Olive Blakeney, Harry Davenport, Sig Rumann, Eve Arden. Chic little Lubitsch comedy about married couple with problems, and their absurd pianist friend. Stolen hands down by Meredith as the musical malcontent. Filmed before (in 1925) by Lubitsch as KISS ME AGAIN. Also shown in computer-colored version.

That Way With Women (1947) 84m. D: Frederick de Cordova. Dane Clark, Martha Vickers, Sydney Greenstreet, Alan Hale, Craig Stevens. Tired reworking of George Arliss’ THE MILLIONAIRE, with Greenstreet as wealthy man who plays Cupid for Clark and Vickers.

That Woman Opposite SEE: City After Midnight

That Wonderful Urge (1948) 82m. ½ D: Robert B. Sinclair. Tyrone Power, Gene Tierney, Arleen Whelan, Reginald Gardiner, Lucile Watson, Gene Lockhart, Gertrude Michael, Porter Hall. Fairly entertaining remake of LOVE IS NEWS about heiress getting back at nasty reporter. Power repeats his role from the 1937 film.

Their Own Desire (1929) 65m. ½ D: E. Mason Hopper. Norma Shearer, Robert Montgomery, Lewis Stone, Belle Bennett, Helene Millard. Shearer and Montgomery become amorously attached, only there’s a complication: her father has left her mother for another woman, who happens to be Montgomery’s mother! Interesting premise in this well-acted early talkie.

Thelma Jordon SEE: File on Thelma Jordon, The

Them! (1954) 94m. ½ D: Gordon Douglas. James Whitmore, Edmund Gwenn, Joan Weldon, James Arness, Onslow Stevens. First-rate ’50s sci-fi about giant ant mutations running wild in the Southwest. Intelligent script (by Ted Sherdeman, from George Worthing Yates’ story) extremely well directed, with memorable climax in L.A. sewers. Fess Parker has small but memorable role. Look fast for Leonard Nimoy at a teletype machine.

Theodora Goes Wild (1936) 94m. ½ D: Richard Boleslawski. Irene Dunne, Melvyn Douglas, Thomas Mitchell, Thurston Hall, Rosalind Keith, Spring Byington. Dunne’s first starring comedy is a delightful story about small-town woman who writes scandalous best-seller and falls in love with sophisticated New Yorker who illustrated the book. Lots of funny twists in this engaging farce, scripted by Sidney Buchman from a Mary McCarthy story.

Theodora, Slave Empress (1954-Italian) 88m. D: Riccardo Freda. Gianna Maria Canale, Georges Marchal, Renato Baldini, Henri Guisol, Irene Papas. Better-than-average production values are only asset in standard plot of hero thwarting plan of Roman generals to overthrow empress.

There Goes My Heart (1938) 84m. D: Norman Z. McLeod. Fredric March, Virginia Bruce, Patsy Kelly, Alan Mowbray, Nancy Carroll, Eugene Pallette, Claude Gillingwater, Harry Langdon, Arthur Lake. Typical ’30s fluff about runaway heiress Bruce spotted by reporter March; good cast makes one forget trite storyline.

There Goes the Groom (1937) 65m. D: Joseph Santley. Burgess Meredith, Ann Sothern, Louise Henry, Mary Boland, Onslow Stevens, William Brisbane. Strained screwball comedy about newly rich Meredith suddenly courted by Sothern and her wacky family; a smile or two but little else.

There’s Always a Price Tag (1957-French) 102m. ½ D: Denys de la Patelliere. Michele Morgan, Daniel Gelin, Peter Van Eyck, Bernard Blier. Morgan is excellent in DOUBLE INDEMNITY–type plot about wife who conspires to murder her husband, but film drags and loses credibility after promising start.

There’s Always a Woman (1938) 82m. D: Alexander Hall. Joan Blondell, Melvyn Douglas, Mary Astor, Frances Drake, Jerome Cowan, Robert Paige, Thurston Hall. Fine blend of mystery and comedy as D.A. Douglas and detective-wife Blondell try to solve the same crime.

There’s Always Tomorrow (1956) 84m. ½ D: Douglas Sirk. Barbara Stanwyck, Fred MacMurray, Joan Bennett, William Reynolds, Pat Crowley, Gigi Perreau, Jane Darwell. MacMurray is in a rut, at work and at home, making him particularly susceptible to old flame Stanwyck, who comes back into his life. Sudsy but well-acted soap opera, filmed before in 1934.

Therese Desqueyroux (1962-French) 107m. ½ D: Georges Franju. Emmanuele Riva, Philippe Noiret, Edith Scob, Sami Frey. Bored Riva tries to poison rich husband Noiret; she’s acquitted in court, but still does not escape punishment. Riva stands out in this otherwise gloomy drama adapted from a François Mauriac novel.

Thérèse Raquin (1953-French-Italian) 103m. ½ D: Marcel Carné. Simone Signoret, Raf Vallone, Jacques Duby, Sylvie, Roland Lesaffre, Maria Pia Casilio, Marcel André. Complications ensue when weary Signoret, saddled with a small-minded husband and a mother-in-law from hell, begins an affair with earthy truck driver Vallone. Melodrama of passion and obsession has the right pedigree—Carné and Charles Spaak adapted Émile Zola’s novel—but lacks the necessary fire to make it memorable. Remade in 2014 as IN SECRET.

There’s Magic in Music (1941) 79m. D: Andrew L. Stone. Allan Jones, Susanna Foster, Diana Lynn, Margaret Lindsay, Lynne Overman, Grace Bradley. Adequate showcase for Foster, an ex-burlesque singer who becomes an opera diva at a summer music camp.

There’s No Business Like Show Business (1954) C-117m. ½ D: Walter Lang. Ethel Merman, Dan Dailey, Donald O’Connor, Marilyn Monroe, Johnnie Ray, Mitzi Gaynor, Hugh O’Brian, Frank McHugh. Gaudy (and seemingly interminable) hokum about a show-biz family, built around catalog of Irving Berlin songs. Entertaining if not inspired, with several expensive numbers designed to fill the wide screen. Merman and Dailey are fine, Marilyn’s at her sexiest, and O’Connor is in top form throughout. Then there’s Johnnie Ray deciding to become a priest. . . . CinemaScope.

There’s One Born Every Minute (1942) 59m. D: Harold Young. Hugh Herbert, Tom Brown, Peggy Moran, Guy Kibbee, Gus Schilling, Edgar Kennedy, Carl “Alfalfa” Switzer, Elizabeth Taylor. Contrived comedy of nutty family whose erstwhile head (Herbert) runs a pudding company. Notable as screen debut of 10-year-old Liz as junior member of the clan.

These Are the Damned (1963-British) 96m. ½ D: Joseph Losey. Macdonald Carey, Shirley Anne Field, Viveca Lindfors, Alexander Knox, Oliver Reed, James Villiers. Odd film chronicling American Carey’s confrontation with a Teddy Boy motorcycle gang in Weymouth—after which the scenario becomes a Twilight Zone– like sci-fi drama! Original British title: THE DAMNED. Hammerscope.

These Glamour Girls (1939) 80m. ½ D: S. Sylvan Simon. Lew Ayres, Lana Turner, Richard Carlson, Anita Louise, Marsha Hunt, Ann Rutherford, Mary Beth Hughes, Jane Bryan, Tom Brown. Turner is effective as nonsocialite who turns the tables on sneering girls at swank college weekend; naive but polished gloss.

These Thousand Hills (1959) C-95m. D: Richard Fleischer. Don Murray, Richard Egan, Lee Remick, Patricia Owens, Stuart Whitman, Albert Dekker, Harold J. Stone, Royal Dano, Jean Willes. Quietly solid, adult Western, based on an A. B. Guthrie, Jr., novel, with Murray a determined young dreamer whose ambitions clash with his loyalty to those who help him—in particular, much-abused dance-hall girl Remick. CinemaScope.

These Three (1936) 93m. D: William Wyler. Miriam Hopkins, Merle Oberon, Joel McCrea, Catherine Doucet, Alma Kruger, Bonita Granville, Marcia Mae Jones, Margaret Hamilton, Walter Brennan. Penetrating drama of two young women (Oberon, Hopkins) running girls’ school, ruined by lies of malicious student Granville; loosely based on Lillian Hellman’s The Children’s Hour. Superb acting by all, with Granville chillingly impressive; scripted by the playwright. Remade in 1961 by same director as THE CHILDREN’S HOUR.

These Wilder Years (1956) 91m. ½ D: Roy Rowland. James Cagney, Barbara Stanwyck, Walter Pidgeon, Betty Lou Keim, Don Dubbins, Edward Andrews, Dean Jones, Tom Laughlin. Unusual to see Cagney in this kind of soap opera, about a man who wants to find his illegitimate son, and becomes involved with teenage unwed mother (Keim) through intervention of foundling home director Stanwyck. Look for young Michael Landon in pool room.

They All Come Out (1939) 70m. D: Jacques Tourneur. Rita Johnson, Tom Neal, Bernard Nedell, Edward Gargan, John Gallaudet, Addison Richards, Frank M. Thomas, George Tobias, Charles Lane. Can a hardened gang of crooks be rehabilitated in prison? Expanded from an MGM Crime Does Not Pay short, this film is fine when concentrating on the gang’s bank robbery and escape but sags when the story moves to prison and the tone becomes insufferably sanctimonious.

They All Kissed the Bride (1942) 85m. ½ D: Alexander Hall. Joan Crawford, Melvyn Douglas, Roland Young, Billie Burke, Allen Jenkins. Good stars in fairly amusing film of man being arrested for kissing bride at wedding.

They Call It Sin (1932) 75m. D: Thornton Freeland. Loretta Young, David Manners, George Brent, Louis Calhern, Una Merkel, Elizabeth Patterson. Restless small-town girl is wooed by visiting New Yorker, and follows him to the big city, where she discovers he’s engaged to another woman. Interesting at first, then increasingly silly and predictable, but the stars certainly are attractive. Merkel is fun as Loretta’s perky pal.

They Came to Blow Up America (1943) 73m. D: Edward Ludwig. George Sanders, Anna Sten, Ward Bond, Dennis Hoey, Sig Ruman, Ludwig Stossel, Robert Barrat. Overzealous espionage yarn designed for WW2 audiences, dated now. Good cast is only virtue.

They Came to Cordura (1959) C-123m. ½ D: Robert Rossen. Gary Cooper, Rita Hayworth, Van Heflin, Tab Hunter, Richard Conte, Michael Callan, Dick York. Soapy oater set in 1916 Mexico. Cooper is Army officer accused of cowardice, sent to find five men worthy of Medal of Honor. Hayworth is shady lady he meets on the way. CinemaScope.

They Dare Not Love (1941) 76m. ½ D: James Whale. George Brent, Martha Scott, Paul Lukas, Egon Brecher, Roman Bohnen, Edgar Barrier. Good story idea submerged by silly script and Brent’s miscasting as dashing Austrian prince, who tries to bargain with Gestapo officer Lukas on behalf of his country. Lloyd Bridges has small role as Nazi seaman.

They Died With Their Boots On (1941) 138m. D: Raoul Walsh. Errol Flynn, Olivia de Havilland, Arthur Kennedy, Charley Grapewin, Gene Lockhart, Anthony Quinn, Stanley Ridges, Sydney Greenstreet, Regis Toomey, Hattie McDaniel, Walter Hampden. Sweeping Hollywood version of Little Bighorn battle, with Flynn flamboyant as Custer. Fine vignettes amidst episodic buildup to exciting Last Stand climax. This being Errol and Olivia’s final film together lends poignance to their farewell scene. Superb score by Max Steiner. Also shown in computer-colored version.

They Drive By Night (1938-British) 83m. D: Arthur Woods. Emlyn Williams, Anna Konstam, Allan Jeayes, Ernest Thesiger, Antony Holles, Ronald Shiner. Gripping suspenser about a man who is just released from prison and finds himself wanted for the murder of a former girlfriend he found strangled with a silk stocking; he goes on the run to find the real killer. Moody Hitchcockian thriller highlighted by the marvelous Thesiger’s scene-stealing portrayal of a gentlemanly sex maniac.

They Drive by Night (1940) 93m. ½ D: Raoul Walsh. George Raft, Ann Sheridan, Ida Lupino, Humphrey Bogart, Gale Page, Alan Hale, Roscoe Karns. Marvelous melodrama of truck-driving brothers, Bogie and Raft, battling the dangers of the open road as well as a murder frame-up by Lupino. Unforgettable dialogue by Jerry Wald and Richard Macaulay. Partial reworking of BORDERTOWN. Also shown in computer-colored version.

They Gave Him a Gun (1937) 94m. ½ D: W. S. Van Dyke II. Spencer Tracy, Gladys George, Franchot Tone, Edgar Dearing, Charles Trowbridge, Cliff Edwards, Mary Lou Treen. Gun-shy hayseed Tone, who was taught “thou shalt not kill,” changes dramatically when he fights in WW1. Tracy is his devoted pal, who later tries to save him from a life of crime. Dramatically obvious, and falls apart with the entrance of nurse George; still, the opening montage is striking, and the war-related scenes exceptional.

They Got Me Covered (1943) 95m. D: David Butler. Bob Hope, Dorothy Lamour, Lenore Aubert, Otto Preminger, Eduardo Ciannelli, Marion Martin, Donald MacBride, Walter Catlett, Donald Meek. Spy yarn (by Harry Kurnitz) set in Washington was topical at the time, awkward now; not up to Hope standards.

They Had to See Paris (1929) 83m. D: Frank Borzage. Will Rogers, Irene Rich, Owen Davis, Jr., Marguerite Churchill, Fifi D’Orsay, Rex Bell, Bob Kerr, Ivan Lebedeff, Edgar Kennedy. When simple mechanic from Claremore, Oklahoma (Rogers’ real-life hometown), strikes it rich as part owner of an oil well, his wife insists that the family travel to Paris to improve themselves. Each member of the clan winds up having an adventure. Leisurely adaptation of Homer Croy’s novel is primarily a vehicle for the lovable Rogers; he’s right at home in his talkie debut. Originally released at 95m.

They Knew What They Wanted (1940) 96m. D: Garson Kanin. Carole Lombard, Charles Laughton, William Gargan, Harry Carey, Frank Fay. Laughton and Lombard are excellent in this flawed adaptation by Robert Ardrey of Sidney Howard’s play (filmed twice before). He’s an Italian grape-grower in California who conducts correspondence with waitress and asks her to marry him. Fay is too sanctimonious for words as local priest. Watch for Karl Malden and Tom Ewell as rowdy guests at the pre-wedding party.

They Learned About Women (1930) 81m. D: Jack Conway, Sam Wood. Joseph T. Schenck, Gus Van, Bessie Love, Mary Doran, J. C. Nugent, Benny Rubin, Tom Dugan, Eddie Gribbon, Nina Mae McKinney. Enjoyable early-talkie musical is a precursor/variation of TAKE ME OUT TO THE BALL GAME. Real-life vaudeville stars Van and Schenck play a pair of baseball-playing vaudevillians. Schenck is set to marry nice-girl Love, but a vamp (Doran) gets in the way.

They Live by Night (1949) 95m. ½ D: Nicholas Ray. Farley Granger, Cathy O’Donnell, Howard da Silva, Jay C. Flippen, Helen Craig. Director Ray’s first film is sensitive, well-made story of young lovers who are fugitives from the law. Set in 1930s, it avoids clichés and builds considerable impact instead. Based on Edward Anderson’s Thieves Like Us, remade in 1974 under that name. Also shown in computer-colored version.

They Loved Life SEE: Kanal

They Made Me a Criminal (1939) 92m. ½ D: Busby Berkeley. John Garfield, Claude Rains, Gloria Dickson, May Robson, Billy Halop, Huntz Hall, Leo Gorcey, Bobby Jordan, Gabriel Dell, Barbara Pepper, Ward Bond, Ann Sheridan. Garfield takes it on the lam when he thinks he’s killed a reporter, stays out West with Robson and Dead End Kids. Enjoyable, with Rains miscast as a Dick Tracy type. Remake of THE LIFE OF JIMMY DOLAN.

They Made Me a Fugitive (1947-British) 103m. D: Cavalcanti. Trevor Howard, Sally Gray, Griffith Jones, Rene Ray, Mary Merrall, Charles Farrell. Dilettante crook is double-crossed by his boss and seeks revenge while on the lam from police. Potent (yet little-known) British film noir packs a real punch, with no holds barred in terms of brutality (and refusal to provide a pat, happy ending). Strikingly photographed by Otto Heller. Look sharp and you’ll spot young Peter Bull and Sebastian Cabot. Originally cut when released in U.S. as I BECAME A CRIMINAL; also trimmed for British reissue. Finally restored on video in 1999.

They Meet Again (1941) 67m. ½ D: Erle C. Kenton. Jean Hersholt, Dorothy Lovett, Robert Baldwin, Neil Hamilton, Maude Eburne, Anne Bennett, Barton Yarborough, Arthur Hoyt. Boring entry in Hersholt’s Dr. Christian series, with the good doctor attempting to prove the innocence of bank teller Yarborough, accused of pilfering $3,000. A real drag, except for little Leon Tyler’s jive musical number during a birthday party, a real pip.

They Met in Argentina (1941) 77m. ½ D: Leslie Goodwins, Jack Hively. Maureen O’Hara, James Ellison, Alberto Vila, Buddy Ebsen, Joseph Buloff. Hollywood embraces Pan America in this dismal musical; oil company representative Ellison goes South of the Border, where he mixes business with beautiful O’Hara.

They Met in Bombay (1941) 93m. ½ D: Clarence Brown. Clark Gable, Rosalind Russell, Peter Lorre, Jessie Ralph, Reginald Owen, Eduardo Ciannelli. Two jewel thieves team up in ordinary romantic comedy-actioner, spiced by Lorre as money-hungry cargo-ship captain. Look for Alan Ladd in a small role.

They Must Be Told SEE: Sex Madness

They Passed This Way SEE: Four Faces West

They Rode West (1954) C-84m. ½ D: Phil Carlson. Robert Francis, Donna Reed, May Wynn, Phil Carey, Onslow Stevens, Roy Roberts, Jack Kelly. Better-than-average Western with young Army doctor Francis arriving at military outpost, battling hostile superior Carey while attempting to combat malaria epidemic on Indian reservation.

They Saved Hitler’s Brain (1963) 74m. BOMB D: David Bradley. Walter Stocker, Audrey Caire, Carlos Rivas, John Holland, Dani Lynn, Marshall Reed, Nestor Paiva. Daughter of kidnapped scientist traces him to isle of Mandoras, where Nazis still flourish under the leadership of Hitler’s still-living head. Unbelievably muddled plot results from intercutting 1950s studio potboiler, beautifully photographed by Stanley Cortez (MAGNIFICENT AMBERSONS) with super-cheap 1960s footage involving completely different cast. Originally titled MADMEN OF MANDORAS.

They Shall Have Music (1939) 101m. D: Archie Mayo. Jascha Heifetz, Joel McCrea, Andrea Leeds, Walter Brennan, Gene Reynolds, Marjorie Main, Porter Hall, Dolly Loehr (Diana Lynn), Terry Kilburn. Cornerstone of Samuel Goldwyn’s efforts to bring classical music to the masses. Slum brat Reynolds’ interest in the violin is sparked after hearing Heifetz in concert; the boy soon becomes a student at a settlement music school. Heifetz has five violin solos. Film debut of Lynn, as a young pianist. Music director Alfred Newman appears onscreen as a conductor.

They Were Expendable (1945) 135m. D: John Ford. Robert Montgomery, John Wayne, Donna Reed, Jack Holt, Ward Bond, Louis Jean Heydt, Marshall Thompson, Leon Ames, Cameron Mitchell, Russell Simpson, Jack Pennick, Robert Barrat, Tom Tyler. One of the finest (and most underrated) of all WW2 films, based on the true story of America’s PT boat squadron in the Philippines during the early days of the war. Moving, exquisitely detailed production (photographed by Joseph August) under Ford’s distinctive hand, with real-life Naval officer Montgomery a convincing lead. Screenplay by Frank “Spig” Wead. Also shown in computer-colored version.

They Were Sisters (1945-British) 110m. ½ D: Arthur Crabtree. Phyllis Calvert, James Mason, Hugh Sinclair, Anne Crawford, Peter Murray-Hill, Dulcie Gray, Barry Livesey, Pamela Kellino (Mason). Fresh approach to stock drama about three sisters with contrasting marriages and lives. Mason is tops as a sadistic husband; Kellino, then his real-life spouse, is cast as his daughter. Scripted by Roland Pertwee, who plays Sir Hamish.

They Were So Young (1954-German) 78m. D: Kurt Neumann. Scott Brady, Raymond Burr, Johanna Matz, Ingrid Stenn, Gisela Fackeldey, Kurt Meisel, Katharina Mayberg, Gert Fröbe. “They” are naïve European women recruited to become models in Rio de Janeiro, but instead are forced into white slavery. One of them (Matz) rebels, and it’s American mining engineer Brady to the rescue. Well-made little melodrama. Aka VIOLATED and PARTY GIRLS FOR SALE. Original running time 95m.

They Who Dare (1953-British) C-101m. ½ D: Lewis Milestone. Dirk Bogarde, Denholm Elliott, Akim Tamiroff, Eric Pohlmann, David Peel. Effective WW2 actioner with good character delineation, tracing commando raid on German-controlled Aegean air fields.

They Won’t Believe Me (1947) 95m. ½ D: Irving Pichel. Susan Hayward, Robert Young, Jane Greer, Rita Johnson, Tom Powers, Don Beddoe, Frank Ferguson. Fine James Cain–type melodrama about a philanderer who gets involved with three women, leading to tragedy (and a terrific twist ending). Young excels in his unsympathetic role; Johnson does wonders with her scenes as his wife.

They Won’t Forget (1937) 95m. D: Mervyn LeRoy. Claude Rains, Gloria Dickson, Otto Kruger, Allyn Joslyn, Elisha Cook, Jr., Edward Norris. Electrifying drama begins when pretty high school student is murdered in Southern town. A man is arrested, and a big-time Northern lawyer takes the case, but everyone seems more interested in exploiting personal interests than in seeing justice triumph. No punches are pulled in this still-powerful film. Lana Turner plays the unfortunate girl, in her first important role. Script by Robert Rossen and Aben Kandel, from the book Death in the Deep South by Ward Greene; based on notorious 1913 incident later dramatized for TV as THE MURDER OF MARY PHAGAN.

Thief, The (1952) 85m. ½ D: Russell Rouse. Ray Milland, Rita Gam, Martin Gabel, Harry Bronson. Spy yarn set in N.Y.C. with a difference: no dialogue. Gimmick grows wearisome, script is tame.

Thief of Bagdad, The (1924) 155m. ½ D: Raoul Walsh. Douglas Fairbanks, Julanne Johnston, Anna May Wong, Sojin, Snitz Edwards, Charles Belcher, Brandon Hurst. Fairbanks is unusually balletic (and ingratiating as ever) in this elaborate Arabian Nights pantomime, designed to instill a true sense of wonder. Quite long, but never dull; one of the most imaginative of all silent films, with awesome sets by William Cameron Menzies. Remade three times (so far).

Thief of Bagdad, The (1940-British) C-106m. D: Ludwig Berger, Tim Whelan, Michael Powell. Sabu, John Justin, June Duprez, Conrad Veidt, Rex Ingram, Miles Malleson, Mary Morris. Remarkable fantasy of native boy Sabu outdoing evil magician Veidt in Arabian Nights fable with incredible Oscar-winning Technicolor photography by Georges Perinal and Osmond Borradaile, special effects, and art direction. Ingram gives splendid performance as a genie; vivid score by Miklos Rozsa.

Thief of Baghdad (1961-Italian) C-90m. D: Arthur Lubin. Steve Reeves, Giorgia Moll, Arturo Dominici, Edy Vessel. Reeves searches for enchanted blue rose so he can marry Sultan’s daughter. Nothing like Sabu version, but occasionally atmospheric. CinemaScope.

Thief of Damascus (1952) C-78m. D: Will Jason. Paul Henreid, John Sutton, Jeff Donnell, Lon Chaney (Jr.), Elena Verdugo. Jumbled costume spectacle featuring Aladdin, Sinbad, and Ali Baba out to liberate Damascus from conqueror Sutton; typical Sam Katzman quickie reuses footage from JOAN OF ARC!

Thieves Fall Out (1941) 72m. D: Ray Enright. Eddie Albert, Joan Leslie, Jane Darwell, Alan Hale, William T. Orr, John Litel, Anthony Quinn, Edward Brophy, Minna Gombell, Frank Faylen. Slight tale of ambitious Albert, the son of stuffy mattress manufacturer Hale, who finds trouble at every turn as he sets out to establish himself in business and wed the girl he loves. Darwell steals the film as Eddie’s spunky grandmother.

Thieves’ Highway (1949) 94m. D: Jules Dassin. Richard Conte, Valentina Cortese, Lee J. Cobb, Barbara Lawrence, Jack Oakie, Millard Mitchell, Joseph Pevney. Tough postwar drama of a returning vet seeking to avenge his trucker/father’s treatment at the hands of a crooked fruit dealer in San Francisco. Masterfully directed; script by A. I. Bezzerides, from his novel. Only the ending seems pat.

Thieves’ Holiday SEE: Scandal in Paris, A

Thing From Another World, The (1951) 87m. ½ D: Christian Nyby. Kenneth Tobey, Margaret Sheridan, Robert Cornthwaite, Douglas Spencer, James Arness, Dewey Martin, William Self, George Fenneman. Classic blend of science-fiction and horror, loosely based on John W. Campbell, Jr.’s Who Goes There? Scientists at lonely Arctic outpost dig up alien (Arness) from the permafrost and must fight for their lives when it’s accidentally thawed. Tense direction (often credited to producer Howard Hawks), excellent performances, eerie score by Dimitri Tiomkin. Screenplay by Charles Lederer. Watch out for 81m. reissue prints. Remade in 1982. Followed by a prequel in 2011. Also shown in computer-colored version.

Things Happen at Night (1947-British) 79m. ½ D: Francis Searle. Gordon Harker, Alfred Drayton, Garry Marsh, Gwynneth Vaughan, Robertson Hare, Wylie Watson, Joan Young, Beatrice Campbell. Insurance investigator Harker arrives at the estate of pompous Drayton and finds himself and everyone in the house the victims of a prankish poltergeist. Brisk, funny little comedy that introduced to movies the concept of poltergeists. Harker and Drayton are fun as contrasting very-British types. Based on Frank Harvey’s play The Poltergeist.

Things to Come (1936-British) 92m. D: William Cameron Menzies. Raymond Massey, Cedric Hardwicke, Ralph Richardson, Maurice Braddell, Edward Chapman, Ann Todd. Stunning visualization of H. G. Wells’ depiction of the future. Massey portrays leader of new world, Richardson despotic wartime ruler. Aloof but always interesting, enhanced by Menzies’ sets. Vibrant music by Arthur Bliss; Wells himself wrote the screenplay. 1979 movie THE SHAPE OF THINGS TO COME, though taking the actual title of Wells’ book, has nothing in common with this film.

Thing That Couldn’t Die, The (1958) 69m. D: Will Cowan. Andra Martin, William Reynolds, Robin Hughes, Carolyn Kearney, Jeffrey Stone. You never know what a dowsing rod will find. In this thriller, one finds the still living, decapitated head of a 15th-century devil worshipper who’s looking for his body. Cheap, and looks it, but Hughes is good in title role.

Thin Ice (1937) 78m. ½ D: Sidney Lanfield. Sonja Henie, Tyrone Power, Arthur Treacher, Joan Davis, Alan Hale, Raymond Walburn, Sig Rumann. Satisfactory Henie vehicle, with sly, dashing prince Power romancing commoner Sonja. A highlight: Davis singing “I’m Olga From the Volga.”

Think Fast, Mr. Moto (1937) 66m. D: Norman Foster. Peter Lorre, Virginia Field, Thomas Beck, Sig Rumann, Murray Kinnell, Lotus Long, J. Carrol Naish. Lorre’s first appearance as Moto, the wily Japanese detective, sends him from San Francisco to Shanghai on a worldwide chase after diamond smugglers. Swift, entertaining mystery with Lorre most amusing as the bespectacled master of disguise.

The Thin Man One series stands apart from the others; its episodes were filmed two and three years apart, its stars were those of the major rank, and the films were not looked down at as Grade-B efforts. This was THE THIN MAN, a highly successful series launched quite unexpectedly in 1934 with a delightfully unpretentious blend of screwball comedy and murder mystery, from a story by Dashiell Hammett. William Powell and Myrna Loy starred as Nick and Nora Charles, a perfectly happy, sophisticated couple whose marriage never stood in the way of their having fun and going off on detective capers. This blithe, carefree portrayal of a modern American couple was beautifully handled by Loy and Powell, and audiences loved it. Five Thin Man films followed, from 1936 to 1947. None of them fully captured the essence of the original, although they retained much of the charm and had the infallible byplay of the two stars, aided by their dog Asta, who soon became a star in his own right. AFTER THE THIN MAN featured an up-and-coming actor named James Stewart as a suspect, and Sam Levene in the detective role played in the original by Nat Pendleton (and repeated in ANOTHER THIN MAN). ANOTHER THIN MAN also introduced Nick Charles, Jr., as a baby, who grew up in each successive film. SHADOW OF THE THIN MAN was next in the series, and featured Nick and Nora sleuthing at the race track. THE THIN MAN GOES HOME presented Nick’s parents (Harry Davenport and Lucile Watson), who never wanted him to be a detective in the first place. The final film, SONG OF THE THIN MAN, had Nick and Nora frequenting many jazz hangouts (à la Peter Gunn) for some offbeat sequences. While the original THIN MAN rated above its follow-ups, even the weakest entries were fresh and enjoyable, thanks mainly to the two stars. An attempt to rekindle that magic in the 1991 Broadway musical Nick and Nora failed miserably. (A 1957–59 TV series starred Peter Lawford and Phyllis Kirk.) By the way, “The Thin Man” really wasn’t Powell—he was a character in the first film, played by Edward Ellis.

THE THIN MAN

The Thin Man (1934)

After the Thin Man (1936)

Another Thin Man (1939)

Shadow of the Thin Man (1941)

The Thin Man Goes Home (1944)

Song of the Thin Man (1947)

Thin Man, The (1934) 93m. D: W. S. Van Dyke. William Powell, Myrna Loy, Maureen O’Sullivan, Nat Pendleton, Minna Gombell, Cesar Romero, Natalie Moorhead, Edward Ellis, Porter Hall. Nick and Nora investigate the disappearance of an inventor in this classic blend of laughs and suspense which marked the first pairing of what was to become one of the movies’ great romantic teams. Shot in just two weeks by director Woody “One-Shot” Van Dyke and cinematographer James Wong Howe, this has gone on to become the sophisticated comedy-mystery par excellence, inspiring five sequels as well as countless imitations. Frances Goodrich and Albert Hackett adapted Dashiell Hammett’s novel.

Thin Man Goes Home, The (1944) 100m. D: Richard Thorpe. William Powell, Myrna Loy, Lucile Watson, Gloria De Haven, Anne Revere, Helen Vinson, Harry Davenport, Leon Ames, Donald Meek, Edward Brophy. Nick takes the family on a vacation to Sycamore Springs to visit his parents, but naturally winds up embroiled in a murder case. Leisurely entry, with even more comedy than usual.

Thin Red Line, The (1964) 99m. D: Andrew Marton. Keir Dullea, Jack Warden, James Philbrook, Kieron Moore. Gritty adaptation of James Jones’ novel about personal conflict during the bloody attack on Guadalcanal during WW2. Dullea is the sensitive, iconoclastic soldier and Warden is the brutal sergeant who won’t leave him alone. Remade in 1998. CinemaScope.

Third Day, The (1965) C-119m. ½ D: Jack Smight. George Peppard, Elizabeth Ashley, Roddy McDowall, Arthur O’Connell, Mona Washbourne, Herbert Marshall, Robert Webber, Charles Drake, Sally Kellerman, Vincent Gardenia, Arte Johnson. Capable cast helps standard amnesia tale about Peppard’s inability to remember events that have caused him to be accused of murder. Panavision.

Third Finger, Left Hand (1940) 96m. D: Robert Z. Leonard. Myrna Loy, Melvyn Douglas, Raymond Walburn, Lee Bowman, Bonita Granville. Mediocre comedy with attractive stars. Loy dissuades romance by pretending to be married, so Douglas claims to be her husband!

Third Key, The (1956-British) 96m. D: Charles Frend. Jack Hawkins, John Stratton, Dorothy Alison, Geoffrey Keen, Ursula Howells. Exciting story of Scotland Yard, as Inspector Hawkins and rookie sergeant (Stratton) diligently pursue safecracking incident to its surprising conclusion. Original British title: THE LONG ARM.

Third Man, The (1949-British) 104m. D: Carol Reed. Orson Welles, Joseph Cotten, (Alida) Valli, Trevor Howard, Bernard Lee, Wilfrid Hyde-White. Graham Greene’s account of mysterious Harry Lime (Welles) in post-WW2 Vienna is a bona fide classic, with pulp-writer Cotten on a manhunt for Harry. Anton Karas’ zither rendition of “The Third Man Theme” adds just the right touch; cinematographer Robert Krasker won an Oscar. Note: there are two versions of this film. The British version features introductory narration by director Reed; the American print is narrated by Cotten, and runs 93m. Little of substance was actually cut, but the film was tightened somewhat by coproducer David O. Selznick. Later on radio with Welles and on TV with Michael Rennie. Also shown in computer-colored version.

Third Man on the Mountain (1959) C-105m. D: Ken Annakin. James MacArthur, Michael Rennie, Janet Munro, James Donald, Herbert Lom, Laurence Naismith. Fine Disney adventure about Swiss boy (MacArthur) determined to climb the Matterhorn (here called the Citadel) who learns more than just mountain-climbing in his dogged pursuit. Look quickly to spot MacArthur’s mother Helen Hayes in a cameo as tourist.

Third Secret, The (1964-British) 103m. ½ D: Charles Crichton. Stephen Boyd, Jack Hawkins, Richard Attenborough, Diane Cilento, Pamela Franklin, Paul Rogers, Alan Webb, Judi Dench. Police rule that a celebrated psychoanalyst has committed suicide. His 14-year-old daughter (Franklin) thinks otherwise, and convinces news commentator Boyd (who also was one of the doctor’s patients) to investigate. Talky, episodic whodunit; Dench’s screen debut. CinemaScope.

Third Voice, The (1960) 79m. D: Hubert Cornfield. Edmond O’Brien, Laraine Day, Julie London, Ralph Brooks, Roque Ybarra, Henry Delgado. Neat suspense film involving murder, impersonation, and double-crossing. CinemaScope.

Thirst (1949) SEE: Three Strange Loves

13 Fighting Men (1960) 69m. ½ D: Harry Gerstad. Grant Williams, Brad Dexter, Carole Mathews, Robert Dix, Richard Garland, Rayford Barnes, John Erwin. Minor film about Union soldiers fighting off Rebel troops to protect gold shipment. CinemaScope.

13 Frightened Girls (1963) C-89m. BOMB D: William Castle. Murray Hamilton, Joyce Taylor, Hugh Marlowe, Khigh Dhiegh. One of Castle’s weirdest films (no mean feat), set in Swiss boarding school catering to daughters of diplomats; after trading bits of info they picked up from Daddy during the holidays, the girls decide to go off and do spy stuff. Castle held a worldwide talent search to find his “stars,” for whom this was their first—and no doubt last—film. A side-splitting camp classic awaiting rediscovery.

13 Ghosts (1960) C/B&W-88m. ½ D: William Castle. Charles Herbert, Donald Woods, Martin Milner, Jo Morrow, Rosemary DeCamp, Margaret Hamilton, John Van Dreelen. Typically tongue-in-cheek Castle spook opera, about nice, all-American family (with children named Buck and Medea!) that inherits a haunted house. Plenty of chills and chuckles, with Hamilton cleverly cast as sinister housekeeper. Some prints run 85m., minus footage of Castle introducing “Illusion-O”—movie patrons were given “ghost viewers” enabling them to see (or not see) the spirits. Remade in 2001.

Thirteen Hours by Air (1936) 80m. ½ D: Mitchell Leisen. Fred MacMurray, Joan Bennett, ZaSu Pitts, John Howard, Bennie Bartlett, Grace Bradley, Alan Baxter, Ruth Donnelly, Dean Jagger. Dated but diverting tale of transcontinental flight, with romance, murder, and intrigue surrounding mysterious passengers.

13 Lead Soldiers (1948) 64m. D: Frank McDonald. Tom Conway, Maria Palmer, Helen Westcott, John Newland, Terry Kilburn, William Stelling. Ancient toy soldiers hold the key to buried treasure in this minor Bulldog Drummond yarn.

13 Rue Madeleine (1947) 95m. D: Henry Hathaway. James Cagney, Annabella, Richard Conte, Frank Latimore, Walter Abel, Melville Cooper, Sam Jaffe. Gripping documentary-style WW2 story about the training of new O.S.S. operatives, their first overseas assignments, and the ferreting-out of a German enemy agent in their ranks. Good cast also includes young E. G. Marshall, Karl Malden, Red Buttons.

Thirteenth Chair, The (1937) 67m. ½ D: George B. Seitz. Dame May Whitty, Madge Evans, Lewis Stone, Elissa Landi, Thomas Beck, Henry Daniell, Janet Beecher, Ralph Forbes. A murder is committed, and various suspects come together for an evening of surprises in the company of a secretive medium (Whitty) and a persistent police inspector (Stone). Entertaining whodunit is based on a Bayard Veiller play, previously filmed in 1919 and 1929.

Thirteenth Guest, The (1932) 69m. ½ D: Albert Ray. Ginger Rogers, Lyle Talbot, J. Farrell MacDonald, Paul Hurst, James C. Eagles. Guests are reassembled from dinner party that took place 13 years earlier—at which the host fell dead—in order to solve mystery of unnamed 13th guest to whom the deceased bequeathed his estate. Enjoyable antique chiller complete with hooded murderer. Remade as THE MYSTERY OF THE THIRTEENTH GUEST.

Thirteenth Hour, The (1947) 65m. ½ D: William Clemens. Richard Dix, Karen Morley, Mark Dennis, John Kellogg, Bernadene Hayes, Jim Bannon, Regis Toomey. A trucking company owner is suspected of murder when the cop he had a feud with turns up dead. Efficient entry in The Whistler series, and Dix’s last movie.

13th Letter, The (1951) 85m. ½ D: Otto Preminger. Linda Darnell, Charles Boyer, Michael Rennie, Constance Smith, Judith Evelyn. Interesting account of effect of series of poison pen letters on townsfolk, set in Canada. Remake of Henri Georges Clouzot’s LE CORBEAU.

13 West Street (1962) 80m. ½ D: Philip Leacock. Alan Ladd, Rod Steiger, Michael Callan, Dolores Dorn, Jeanne Cooper. Early version of DEATH WISH has Ladd out to get gang of hoodlums; taut actioner with most capable cast. Based on novel The Tiger Among Us by Leigh Brackett.

Thirteen Women (1932) 73m. D: George Archainbaud. Irene Dunne, Ricardo Cortez, Myrna Loy, Jill Esmond, Florence Eldridge, Kay Johnson. Silly tripe with Loy as a half-caste with hypnotic powers who has sworn revenge on sorority sisters who rejected her years ago in school.

—30— (1959) 96m. ½ D: Jack Webb. Jack Webb, William Conrad, David Nelson, Whitney Blake, Louise Lorimer, Joe Flynn, James Bell. Hackneyed, overwritten tale of a typical night on a big-city newspaper. Conrad chews the scenery as city editor, but the script’s the main villain, abetted by atrocious music score. Title, by the way, is journalists’ way of indicating “the end.”

Thirty Day Princess (1934) 75m. ½ D: Marion Gering. Sylvia Sidney, Cary Grant, Edward Arnold, Vince Barnett, Lucien Littlefield. Lightly entertaining if formulaic fluff, with Sidney cast in two roles: a princess making a goodwill tour of the U.S. and an unemployed actress hired to impersonate her. Coscripted by Preston Sturges.

30-Foot Bride of Candy Rock, The (1959) 75m. D: Sidney Miller. Lou Costello, Dorothy Provine, Gale Gordon, Charles Lane, Jimmy Conlin, Peter Leeds. Lou Costello’s only starring film without Bud Abbott is nothing much, mildly entertaining, with Provine enlarged to gigantic proportions. Released after Costello’s death.

39 Steps, The (1935-British) 87m. D: Alfred Hitchcock. Robert Donat, Madeleine Carroll, Lucie Mannheim, Godfrey Tearle, Peggy Ashcroft, John Laurie, Wylie Watson. Classic Hitchcock mystery with overtones of light comedy and romance, as innocent Donat is pulled into spy-ring activities. Memorable banter between Donat and Carroll, who thinks he’s a criminal, set style for sophisticated dialogue for years. John Buchan’s novel was adapted by Charles Bennett and Alma Reville; additional dialogue by Ian Hay. Remade three times and later adapted to the Broadway stage.

39 Steps, The (1959-British) C-93m. ½ D: Ralph Thomas. Kenneth More, Taina Elg, Brenda de Banzie, Barry Jones, Reginald Beckwith, Sidney James, James Hayter. Young man is accidentally involved in murder and espionage and ensnares the aid of disbelieving young woman. More and Elg are delightful in this replica of 1935 classic; not nearly as good, but still entertaining. Remade in 1978 and as a 2008 TVM.

Thirty Seconds Over Tokyo (1944) 138m. D: Mervyn LeRoy. Van Johnson, Robert Walker, Spencer Tracy, Phyllis Thaxter, Scott McKay, Robert Mitchum, Don DeFore, Stephen McNally, Louis Jean Heydt, Leon Ames, Paul Langton, Bill Williams. Exciting WW2 actioner of first American attack on Japan with sturdy cast, guest appearance by Tracy as General Doolittle. Script by Dalton Trumbo. Oscar-winning special effects.

36 Hours (1964) 115m. ½ D: George Seaton. James Garner, Eva Marie Saint, Rod Taylor, Werner Peters, Celia Lovsky, Alan Napier. Intriguing WW2 yarn with Garner as captured spy brainwashed into thinking the war is over begins well, but peters out fast. Taylor as German officer is interesting casting. Remade for cable TV as BREAKING POINT in 1989 with Corbin Bernsen. Also shown in computer-colored version. Panavision.

36 Hours to Kill (1936) 66m. ½ D: Eugene Forde. Brian Donlevy, Gloria Stuart, Douglas Fowley, Isabel Jewell, Stepin Fetchit, Julius Tannen, Warren Hymer. G-man Donlevy and reporter Stuart board a train to trap fugitive gangster Fowley. Zippy B-movie mix of crime, comedy, and romance. Based on a W. R. Burnett story, Across the Aisle.

30 Years of Fun (1963) 85m. Compiled by Robert Youngson. Charlie Chaplin, Buster Keaton, Laurel and Hardy, Harry Langdon, Sydney Chaplin, Charley Chase, etc. Without repeating from previous films, Youngson presents hilarious silent comedy footage. Included is rare sequence of Laurel and Hardy performing together for the first time in 1917’s LUCKY DOG.

This Above All (1942) 110m. D: Anatole Litvak. Tyrone Power, Joan Fontaine, Thomas Mitchell, Nigel Bruce, Gladys Cooper, Sara Allgood, Phillip Merivale, Alexander Knox. Timely WW2 film shows its age, but is still good, with strong cast in Eric Knight tale of embittered soldier Power finding courage and love with patriotic Britisher Fontaine; adapted by R. C. Sherriff.

This Angry Age (1958-Italian-U.S.) C-111m. D: René Clement. Silvana Mangano, Anthony Perkins, Alida Valli, Richard Conte, Jo Van Fleet, Nehemiah Persoff. Ludicrous mishmash set in IndoChina with Van Fleet a stereotyped, dominating mother who’s convinced that her children (Perkins and Mangano) can make their rice fields a going proposition. Originally titled THE SEA WALL. Technirama.

This Could Be the Night (1957) 103m. ½ D: Robert Wise. Jean Simmons, Paul Douglas, Anthony Franciosa, Joan Blondell, Neile Adams, ZaSu Pitts, J. Carrol Naish. Forced, frantic comedy of prim teacher Simmons working as secretary to gangster Douglas, who runs a nightclub; Franciosa is the young associate who romances her. CinemaScope.

This Day and Age (1933) 85m. D: Cecil B. DeMille. Charles Bickford, Judith Allen, Richard Cromwell, Harry Green, Eddie Nugent, Ben Alexander, Bradley Page. Fascinating story of high-schoolers taking law into their own hands to pin mobster Bickford for murder of tailor Green. Hardly subtle, yet powerfully effective.

This Earth Is Mine (1959) C-125m. ½ D: Henry King. Rock Hudson, Jean Simmons, Dorothy McGuire, Claude Rains, Kent Smith, Anna Lee, Ken Scott. Disjointed soaper set in 1930s California vineyards about intertwining family romances, focusing on Hudson-Simmons love story. CinemaScope.

This Gun for Hire (1942) 80m. D: Frank Tuttle. Alan Ladd, Veronica Lake, Robert Preston, Laird Cregar, Tully Marshall, Marc Lawrence, Pamela Blake. Ladd came into his own as paid gunman seeking revenge on man who double-crossed him, with Lake as a fetching vis-à-vis. Script by W. R. Burnett and Albert Maltz, from Graham Greene’s novel A Gun For Sale. Remade in 1957 (as SHORT CUT TO HELL) and for cable TV in 1991 (with Robert Wagner).

This Happy Breed (1944-British) C-110m. ½ D: David Lean. Robert Newton, Celia Johnson, John Mills, Kay Walsh, Stanley Holloway, Amy Veness, Alison Leggatt. Splendidly acted saga follows British family from 1919 to 1939 in this adaptation of Noel Coward play. Scripted by director Lean, cinematographer Ronald Neame, and coproducer Anthony Havelock-Allan. Unbilled Laurence Olivier provides opening narration.

This Happy Feeling (1958) C-92m. D: Blake Edwards. Debbie Reynolds, Curt Jurgens, John Saxon, Alexis Smith, Estelle Winwood, Mary Astor, Troy Donahue, Joe Flynn. Most engaging cast gives zip to simple yarn of Reynolds enthralled by actor Jurgens, but sparked by suitor Saxon; Winwood fine as eccentric housekeeper. CinemaScope.

This Is Cinerama (1952) C-122m. D: No director credited. Hosted by Lowell Thomas. A movie milestone, this elaborate travelogue was designed to show off a three-camera widescreen image, projected onto a giant curved screen, with stereophonic sound. Quaint today but still fascinating. Highlights include a roller-coaster ride in Rockaway, N.Y., a performance of Aida at La Scala Opera House in Milan, and a paean to the beauty of America as seen from the air. Majestic score by Max Steiner and Roy Webb. 2012 restoration is presented in a curved-screen simulation that replicates the feeling of seeing the film in a theater. Cinerama.

This Island Earth (1955) C-86m. D: Joseph Newman. Jeff Morrow, Rex Reason, Faith Domergue, Russell Johnson, Lance Fuller, Douglas Spencer. Suspenseful, intelligent science fiction about scientists lured to mysterious project, only to find they’ve been recruited—or more appropriately, shanghaied—by aliens to help them defend their invasion-torn planet. Thoughtful and exciting, with excellent visuals; based on Raymond F. Jones’ novel. Film is spoofed in MYSTERY SCIENCE THEATER 3000: THE MOVIE.

This Is My Affair (1937) 101m. D: William A. Seiter. Barbara Stanwyck, Robert Taylor, Victor McLaglen, Brian Donlevy, Sidney Blackmer, John Carradine, Sig Ruman. Exciting film of undercover man Taylor joining gang of robbers on order from President McKinley; Stanwyck is saloon singer who loves Taylor (they married in real life two years later).

This Is My Love (1954) C-91m. D: Stuart Heisler. Linda Darnell, Rick Jason, Dan Duryea, Faith Domergue, Hal Baylor, Jerry Mathers. Darnell and her sister Domergue (who’s married to invalid Duryea) compete for affections of Jason in this murky soap-drama.

This Is the Army (1943) C-121m. D: Michael Curtiz. George Murphy, Joan Leslie, Lt. Ronald Reagan, Sgt. Joe Louis, Kate Smith, George Tobias, Alan Hale, Charles Butterworth, Dolores Costello, Una Merkel, Stanley Ridges, Rosemary DeCamp, Frances Langford, Irving Berlin, many others. Soldiers who staged Irving Berlin’s WW1 musical Yip Yip Yaphank reunite to help mount similar WW2 effort; corny but enjoyable framework (with Warner Bros. cast) for filmed record of legendary 1940s show, a topical melange of songs and skits. P.S.: This is the film where George Murphy plays Ronald Reagan’s father! Restored video version runs 125m. with overture and exit music.

This Is the Life (1944) 87m. D: Felix E. Feist. Donald O’Connor, Peggy Ryan, Susanna Foster, Patric Knowles. Spunky cast of versatile performers with Foster torn between swank Knowles and performer O’Connor. Based on a play by Sinclair Lewis and Fay Wray!

This Is the Night (1932) 78m. ½ D: Frank Tuttle. Lily Damita, Charlie Ruggles, Roland Young, Thelma Todd, Cary Grant, Irving Bacon. Enjoyable if somewhat strained romantic comedy in the Lubitsch mold, set in Paris and Venice, with Young hiring Damita to pose as his wife to help cover up his amorous pursuit of Todd. Grant has a wonderful entrance (as Todd’s athletic husband) in his feature debut.

This Land Is Mine (1943) 103m. D: Jean Renoir. Charles Laughton, Maureen O’Hara, George Sanders, Walter Slezak, Kent Smith, Una O’Connor, Philip Merivale, George Coulouris, Nancy Gates. Meek French teacher Laughton, aroused by Nazi occupation, becomes hero. Patriotic wartime film is dated and disappointing today; written by Dudley Nichols.

This Love of Ours (1945) 90m. ½ D: William Dieterle. Merle Oberon, Charles Korvin, Claude Rains, Carl Esmond, Sue England, Jess Barker, Harry Davenport, Ralph Morgan. Sudsy soaper of Korvin leaving wife Oberon, meeting 12 years later, falling in love again. Rains steals show in supporting role. Remade in 1956 as NEVER SAY GOODBYE.

This Man Is Mine (1934) 76m. D: John Cromwell. Irene Dunne, Ralph Bellamy, Constance Cummings, Kay Johnson, Sidney Blackmer, Charles Starrett, Vivian Tobin. Lightweight script does in this lesser Dunne vehicle, with Irene vying with Cummings for the love of Bellamy.

This Man Is News (1938-British) 77m. D: David MacDonald. Barry K. Barnes, Valerie Hobson, Alastair Sim, John Warwick, Garry Marsh. Framed newspaperman goes after jewel thieves in this crisp, stylish little comedy-thriller. Sequel: THIS MAN IN PARIS.

This Man’s Navy (1945) 100m. D: William Wellman. Wallace Beery, Tom Drake, James Gleason, Jan Clayton, Selena Royle, Noah Beery, Sr., Steve Brodie. Usual Beery service story nicely rehashed; Beery treats Drake as a son, gets vicarious pleasure out of his Navy career.

This Marriage Business (1938) 70m. D: Christy Cabanne. Victor Moore, Allan Lane, Vicki Lester, Cecil Kellaway, Jack Carson, Richard Lane, Paul Guilfoyle. Whenever modest small-town judge Moore issues marriage licenses, the newlyweds are assured wedded bliss. Complications arise when hotshot N.Y. reporter Lane hypes him as a “cupid.” Slight, forgettable programmer.

This Modern Age (1931) 76m. D: Nicholas Grinde. Joan Crawford, Pauline Frederick, Neil Hamilton, Monroe Owsley, Hobart Bosworth, Emma Dunn. Crawford falls for Hamilton, but his conservative parents don’t take to the free-living lifestyle she and her expatriate mother (Frederick) espouse. Standard, predictable plot.

This Rebel Age SEE: Beat Generation, The

This Rebel Breed (1960) 90m. ½ D: Richard L. Bare. Rita Moreno, Mark Damon, Gerald Mohr, Jay Novello, Eugene Martin, Tom Gilson, Diane (Dyan) Cannon, Al Freeman (Jr.). Above average drama about racial tensions in a multi-ethnic high school, with Moreno well cast as a Latina teen involved with an Anglo boy (which displeases her trouble-prone brother). Cannon is amusingly cast as a gang deb! Retitled THREE SHADES OF LOVE and THE BLACK REBELS, the latter with incongruous R-rated footage added.

This Side of the Law (1950) 74m. D: Richard L. Bare. Viveca Lindfors, Kent Smith, Janis Paige, Monte Blue. Hokey script has Smith hired by crooked lawyer to impersonate missing wealthy man.

This Sporting Life (1963-British) 129m. ½ D: Lindsay Anderson. Richard Harris, Rachel Roberts, Alan Badel, William Hartnell, Colin Blakely, Arthur Lowe. Yorkshire coal miner “betters” himself by becoming professional rugby player. Powerful film (written by David Storey) about love, success, and disillusionment; also serves to illustrate what a grueling game rugby is. Film debut of Glenda Jackson. Originally 134m.

This Strange Passion SEE: El

This Thing Called Love (1941) 98m. D: Alexander Hall. Rosalind Russell, Melvyn Douglas, Binnie Barnes, Allyn Joslyn, Gloria Dickson, Lee J. Cobb. Adult comedy of newlyweds who set up three-month trial run for their marriage. Stars’ expertise puts it over.

This Time for Keeps (1942) 72m. D: Charles Riesner. Robert Sterling, Ann Rutherford, Guy Kibbee, Irene Rich, Virginia Weidler, Henry O’Neill, Dorothy Morris. Trouble ensues for newlyweds Rutherford and Sterling when he goes to work for his father-in-law (Kibbee) in this marginally likable small-town family comedy. Second and last entry in an attempt by MGM to come up with another Andy Hardy–type series, based on characters created by Herman J. Mankiewicz for 1940’s KEEPING COMPANY. Look for Ava Gardner in a bit part.

This Time for Keeps (1947) C-105m. ½ D: Richard Thorpe. Esther Williams, Jimmy Durante, Lauritz Melchior, Johnnie Johnston, Xavier Cugat, Dame May Whitty, Sharon McManus. Slight MGM musical with Johnston falling for aquacade star Williams, neglecting to inform her that he’s engaged.

This Way Please (1937) 75m. ½ D: Robert Florey. Charles “Buddy” Rogers, Betty Grable, Mary Livingstone, Ned Sparks, Jim Jordan, Marion Jordan, Porter Hall, Lee Bowman, Rufe Davis. Second-string musical about movie theater usherette with a crush on bandleader Rogers; amusing specialty material by Davis, engaging moments with radio’s Fibber McGee and Molly (Jim and Marion Jordan).

This Woman Is Dangerous (1952) 100m. ½ D: Felix E. Feist. Joan Crawford, Dennis Morgan, David Brian, Richard Webb, Sherry Jackson. In typical tough-girl role, Crawford finds true love after countless mishaps, including an eye operation.

Thoroughbreds Don’t Cry (1937) 80m. ½ D: Alfred E. Green. Judy Garland, Mickey Rooney, Ronald Sinclair, Sophie Tucker, C. Aubrey Smith, Frankie Darro, Henry Kolker, Helen Troy. Fairly good racetrack story with jockey Rooney involved in crooked deals, young Garland adding some songs. Mickey and Judy’s first film together.

Those Calloways (1965) C-131m. D: Norman Tokar. Brian Keith, Vera Miles, Brandon de Wilde, Walter Brennan, Ed Wynn, Linda Evans, Philip Abbott. Long, episodic but rewarding Disney film about an eccentric New England man (Keith) and his family, focusing on his determined efforts to use nearby lake for bird sanctuary before it’s bought up by business interests. Film debut of Linda Evans. Music score by Max Steiner.

Those Endearing Young Charms (1945) 81m. ½ D: Lewis Allen. Robert Young, Laraine Day, Ann Harding, Bill Williams, Marc Cramer, Anne Jeffreys, Lawrence Tierney. Surprisingly effective wartime romance finds salesgirl Day being wooed by boyish nice guy Williams and becoming interested in smooth-talking heel Young. Nothing special, but nicely played and sparked by some amusing Jerome Chodorov dialogue.

Those Magnificent Men in Their Flying Machines (1965) C-132m. D: Ken Annakin. Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Morley, Gert Frobe, Jean-Pierre Cassel, Terry-Thomas, Irina Demick, Benny Hill, Flora Robson, Sam Wanamaker, Gordon Jackson, Millicent Martin, Red Skelton, Tony Hancock; narrated by James Robertson Justice. Long but enjoyable film of great 1910 London-to-Paris airplane race involving international conflicts, cheating, and romance. Skelton has funny cameo in amusing prologue, tracing history of aviation. Clever title caricatures and designs by Ronald Searle. Roadshow version on video runs 138m. with intermission/entr’acte.Todd-AO.

Those Redheads From Seattle (1953) C-90m. D: Lewis R. Foster. Rhonda Fleming, Gene Barry, Agnes Moorehead, Teresa Brewer, Guy Mitchell. Modestly produced musical nonsense set in gold-rush era with Moorehead the mother of four girls who takes her brood to Alaska. Originally in 3-D.

Those Three French Girls (1930) 73m. D: Harry Beaumont. Fifi D’Orsay, Reginald Denny, Cliff Edwards, Yola d’Avril, Sandra Ravel, George Grossmith, Edward Brophy. Britisher Denny hooks up with Yanks Edwards and Brophy in jail and embarks on a series of zany romantic escapades with those three sexy damsels of the title. Frivolous confection cowritten by P. G. Wodehouse, of some interest for song and dance interludes by Edwards, but mostly for pre-Code views of the young ladies revealing their frilly lingerie as often as possible.

Those Were the Days (1940) 76m. D: J. Theodore Reed. William Holden, Bonita Granville, Ezra Stone, Judith Barrett, Vaughan Glaser, Lucien Littlefield, Richard Denning. Light-hearted (and -headed) comedy from George Fitch’s Siwash stories, with Holden as a college hellraiser (circa 1904) who woos judge’s daughter Granville to avoid a jail sentence. We give it a C-minus. Alan Ladd has a small role as a student.

Thousand and One Nights, A (1945) C-93m. D: Alfred E. Green. Cornel Wilde, Evelyn Keyes, Phil Silvers, Adele Jergens, Dusty Anderson, Dennis Hoey, Rex Ingram. Wilde is a genial, singing Aladdin in this slice of Technicolor escapism, with Silvers as his very contemporary sidekick. Keyes is fun as the impish genie who emerges from a magic lamp. Ingram (who played the genie in THE THIEF OF BAGDAD) has a throwaway role here as a giant. Look fast for Shelley Winters.

Thousand Clowns, A (1965) 118m. ½ D: Fred Coe. Jason Robards, Barbara Harris, Martin Balsam, Barry Gordon, Gene Saks, William Daniels. Faithful adaptation by Herb Gardner of his Broadway comedy about society dropout who’s being pressured to drop in again for the sake of young nephew who lives with him. Perfectly cast, filmed in N.Y.C., with Balsam’s Oscar-winning performance as Robards’ brother.

Thousand Eyes of Dr. Mabuse, The SEE: 1,000 Eyes of Dr. Mabuse, The

Thousands Cheer (1943) C-126m. ½ D: George Sidney. Mickey Rooney, Judy Garland, Gene Kelly, Red Skelton, Eleanor Powell, Ann Sothern, Lucille Ball, Virginia O’Brien, Frank Morgan, Kathryn Grayson, Lena Horne, many others. Grayson lives with officer-father John Boles at Army base, falls for hotheaded private Kelly and decides to prepare an all-star show for the soldiers. Dubious plot is an excuse for specialty acts by top MGM stars.

Thou Shalt Not Kill (1961-Italian-French-Yugoslavian) 129m. ½ D: Claude Autant-Lara. Laurent Terzieff, Horst Frank, Suzanne Flon, Mica Orlovic. Too-often sterile narrative dealing with trial of French conscientious objector, with side plot of German priest facing penalty for having killed Frenchman during WW2. Based on a true story, and quite controversial when released. Dyaliscope.

Threat, The (1949) 65m. D: Felix Feist. Charles McGraw, Michael O’Shea, Virginia Grey, Julie Bishop, Robert Shayne, Anthony Caruso. Thug McGraw escapes prison, kidnaps cop and D.A. who put him away, plus singer he suspects of having squealed. Fast, rugged little “B” keeps action hopping until tough conclusion.

Threat, The (1960) 66m. D: Charles R. Rondeau. Robert Knapp, Linda Lawson, Lisabeth Hush, James Seay, Mary Castle, Barney Phillips. A cop (Knapp) kills a fabled hoodlum, then finds himself stalked by a mysterious man seeking vengeance. Aimless drama.

Three Ages (1923) 63m. D: Buster Keaton, Edward F. Cline. Buster Keaton, Margaret Leahy, Wallace Beery, Joe Roberts, Horace Morgan, Lillian Lawrence. Buster’s comic observations on the pursuit of a mate in the Stone Age, the Roman Empire, and modern times. Entertaining silent comedy, with Keaton making a memorable entrance atop a dinosaur.

3 Bad Men (1926) 92m. ½ D: John Ford. George O’Brien, Lou Tellegen, J. Farrell MacDonald, Tom Santschi, Frank Campeau. Three gruff outlaws become benevolent protectors of young woman whose father is killed during Western settlement period. Beautiful mixture of action, drama, comedy, and sentiment in one of Ford’s best silents. An obvious variation on 3 GODFATHERS. Remade as NOT EXACTLY GENTLEMEN (1931).

Three Bad Sisters (1956) 76m. ½ D: Gilbert L. Kay. Marla English, Kathleen Hughes, Sara Shane, John Bromfield, Jess Barker, Madge Kennedy, Tony (Anthony) George. Bad indeed! Trashy melodrama with zillionaire tycoon dying in plane crash. His three offspring—one ruthless, one sluttish, one merely “intense” and psychotic—become immersed in battle over his estate.

Three Blind Mice (1938) 75m. ½ D: William A. Seiter. Loretta Young, Joel McCrea, David Niven, Stuart Erwin, Marjorie Weaver, Pauline Moore, Jane Darwell, Binnie Barnes. Familiar idea of three fortune-hunting girls going after well-heeled male prospects; slickly done. Remade, reworked many times.

Three Blondes in His Life (1960) 81m. D: Leon Chooluck. Jock Mahoney, Greta Thyssen, Anthony Dexter, Jesse White, Valerie Porter. Occasionally tangy mystery with Mahoney a private eye determined to probe the death of his insurance investigator pal.

Three Brave Men (1957) 88m. ½ D: Philip Dunne. Ray Milland, Frank Lovejoy, Ernest Borgnine, Nina Foch, Dean Jagger, Virginia Christine, Edward Andrews, Andrew Duggan, Joseph Wiseman. Navy clerk Borgnine is fired as a security risk because of alleged Communist leanings; lawyer Milland tries to get him reinstated. Adapted by Dunne from Pulitzer Prize–winning articles by Anthony Lewis, courtroom drama is interesting but unexceptional. CinemaScope.

Three Broadway Girls SEE: Greeks Had a Word for Them, The

Three Caballeros, The (1945) C-70m. D: Norman Ferguson. Aurora Miranda, Carmen Molina, Dora Luz, voices of Sterling Holloway, Clarence Nash, José Oliviera, Joaquin Garay. Colorful Disney pastiche that followed 1940s Good Neighbor Policy by saluting Latin America, through the eyes of Donald Duck. Filled with infectious music (including “Baia,” “You Belong to My Heart”), eye-popping visuals, amusing cartoon sequences, and clever combinations of live action and animation. Donald, José Carioca, and Panchito perform title song in a dazzling display of cartoon wizardry.

Three Came Home (1950) 106m. ½ D: Jean Negulesco. Claudette Colbert, Patric Knowles, Florence Desmond, Sessue Hayakawa, Sylvia Andrew, Phyllis Morris. Stunning performances by Colbert and Hayakawa make this a must. British and American families living on Borneo during WW2 are sent to prison camps by Japanese, but cultured officer Hayakawa takes an interest in authoress Colbert. Producer Nunnally Johnson adapted Agnes Newton Keith’s autobiographical book.

Three Cases of Murder (1955-British) 99m. ½ D: Wendy Toye, David Eady, George More O’Ferrall. Alan Badel, Hugh Pryse, John Gregson, Elizabeth Sellars, Emrys Jones, Orson Welles, Maxwell Reed, Richard Wattis; introduced by Eammon Andrews. Three offbeat murder stories; opener “In the Picture” is genuinely eerie, closer “Lord Mountdrago” (from Somerset Maugham story) has Welles in absorbing tale of a pompous British government official haunted by a rival.

Three Cheers for the Irish (1940) 100m. D: Lloyd Bacon. Thomas Mitchell, Dennis Morgan, Priscilla Lane, Alan Hale, Virginia Grey, Irene Hervey, Frank Jenks, William Lundigan. Mitchell is the whole show (and chews the scenery) as a stereotypically ornery N.Y.C. Irish beat cop who’s forced into retirement. Daughter Lane falls for his replacement (Morgan), who—heaven help him—is a Scotsman.

Three Coins in the Fountain (1954) C-102m. D: Jean Negulesco. Clifton Webb, Dorothy McGuire, Jean Peters, Louis Jourdan, Maggie McNamara, Rossano Brazzi, Cathleen Nesbitt. Splashy romance yarn made ultra-pleasing by Rome locations. Three women make wishes for romance at Fountain of Trevi, spurring several amorous adventures. Won Oscars for Milton Krasner’s photography and the Jule Styne–Sammy Cahn title tune (sung by Frank Sinatra). Remade by same director as THE PLEASURE SEEKERS; reworked for TV in 1990 as COINS IN THE FOUNTAIN. CinemaScope.

Three Comrades (1938) 98m. ½ D: Frank Borzage. Robert Taylor, Margaret Sullavan, Franchot Tone, Robert Young, Guy Kibbee, Lionel Atwill. Beautifully poignant film of Erich Maria Remarque’s tale of post-WW1 Germany, and three life-long friends who share a love for dying Sullavan. Excellent performances all around; coscripted by F. Scott Fitzgerald.

Three-Cornered Moon (1933) 77m. D: Elliott Nugent. Claudette Colbert, Richard Arlen, Mary Boland, Wallace Ford, Hardie Albright, William Bakewell, Lyda Roberti. Spoiled family goes broke and has to face the Depression head-on. Smart mix of comedy and drama anticipates ingredients of classic screwball comedies.

Three Daring Daughters (1948) C-115m. ½ D: Fred M. Wilcox. Jeanette MacDonald, Jose Iturbi, Elinor Donahue, Ann B. Todd, Jane Powell, Edward Arnold, Larry Adler. Contrived musical comeback vehicle for MacDonald, as a divorcée whose daughters try to reunite her with her ex while she falls in love with Iturbi.

Three Desperate Men (1951) 71m. ½ D: Sam Newfield. Preston Foster, Virginia Grey, Jim Davis, Ross Latimer, William Haade, Monte Blue, Sid Melton. Two brothers set out to rescue their sibling, who’s condemned to hang, in this meager Western.

Three Faces East (1930) 71m. ½ D: Roy Del Ruth. Constance Bennett, Eric (Erich) von Stroheim, Anthony Bushell, William Holden, William Courtenay, Charlotte Walker, Crauford Kent. WW1 drama pits master spies Bennett and von Stroheim against each other in a stately British home where he is the butler and she is visiting under false pretenses. But who’s really a double agent? Creaky in some ways but the stars are compelling. Anthony Paul Kelly’s play was filmed before in 1926 and again in 1940, as BRITISH INTELLIGENCE.

Three Faces of Eve, The (1957) 91m. ½ D: Nunnally Johnson. Joanne Woodward, David Wayne, Lee J. Cobb, Nancy Kulp, Vince Edwards; narrated by Alistair Cooke. Academy Award tour de force by Woodward as young woman with multiple personalities and three separate lives. Cobb is psychiatrist who tries to cure her. Johnson also produced and wrote the screenplay. CinemaScope.

Three Faces West (1940) 79m. ½ D: Bernard Vorhaus. John Wayne, Sigrid Gurie, Charles Coburn, Spencer Charters, Roland Varno, Russell Simpson. In Republic Pictures’ take on THE GRAPES OF WRATH, North Dakota farmers are defeated by endless dust storms and contemplate a mass migration to Oregon’s greener fields. Wayne is the glue holding the community together, Gurie a newly arrived Viennese refugee he’s stuck on. Offbeat drama is worth a look.

Three for Bedroom C (1952) C-74m. D: Milton Bren. Gloria Swanson, Fred Clark, James Warren, Steve Brodie, Hans Conried, Margaret Dumont. Sadly uneven comedy of romance between movie star and scientist aboard transcontinental train heading to L.A. A derailment for Swanson after her SUNSET BLVD. triumph.

Three for Jamie Dawn (1956) 81m. D: Thomas Carr. Laraine Day, Ricardo Montalban, Richard Carlson, June Havoc. Diverting story poorly executed, about jury members being pressured to swing a not-guilty verdict for the defendant.

Three for the Show (1955) C-93m. D: H. C. Potter. Betty Grable, Marge and Gower Champion, Jack Lemmon, Myron McCormick. Grable’s dead husband (Lemmon) turns out to be very much alive in this weak musical remake of TOO MANY HUSBANDS. Dance numbers cleverly staged for widescreen by Jack Cole. CinemaScope.

Three Girls About Town (1941) 73m. ½ D: Leigh Jason. Joan Blondell, Binnie Barnes, Janet Blair, John Howard, Robert Benchley, Eric Blore, Hugh O’Connell, Una O’Connor. Wacky but amusing comedy of three sisters encountering a corpse in N.Y.C. hotel and the frantic consequences. Blair’s film debut; Lloyd Bridges, Larry Parks, and Bruce Bennett play three of Howard’s fellow reporters.

Three Godfathers (1936) 82m. D: Richard Boleslawski. Chester Morris, Lewis Stone, Walter Brennan, Irene Hervey, Willard Robertson, Sidney Toler. Little-seen and underrated version of Peter B. Kyne’s story (filmed twice before) about three bad guys who adopt a foundling in the desert. Beautifully shot and warmly acted.

3 Godfathers (1949) C-105m. D: John Ford. John Wayne, Pedro Armendariz, Harry Carey, Jr., Ward Bond, Mae Marsh, Jane Darwell, Ben Johnson, Mildred Natwick. Sturdy, sentimental, sometimes beautiful rendition of Peter B. Kyne’s oft-filmed saga of three bandits who “adopt” a baby born in the desert. Final scene doesn’t ring true, but Ford makes up for it in balance of film. Dedicated to the director’s first star, Harry Carey, Sr. Remade for TV as THE GODCHILD and as a Japanese animated feature, TOKYO GODFATHERS.

Three Guys Named Mike (1951) 90m. D: Charles Walters. Jane Wyman, Van Johnson, Barry Sullivan, Howard Keel, Phyllis Kirk, Jeff Donnell. Enthusiastic (to the point of nausea) stewardess Wyman has her choice of the title trio of nice, handsome, eligible bachelors. Only in the movies. Scripted by Sidney Sheldon.

Three Hearts for Julia (1943) 83m. D: Richard Thorpe. Ann Sothern, Melvyn Douglas, Lee Bowman, Richard Ainley, Felix Bressart, Marta Linden, Reginald Owen. Only debonair Douglas could seem right as husband romancing his wife who is divorcing him, but he can’t support whole film.

Three Hours to Kill (1954) C-77m. D: Alfred L. Werker. Dana Andrews, Donna Reed, Dianne Foster, Stephen Elliott, Richard Webb, Carolyn Jones, Whit Bissell. Andrews plays stagecoach driver unjustly accused of killing fiancée’s brother; he returns to find real killer. Tight, well done.

365 Nights in Hollywood (1934) 74m. D: George Marshall. James Dunn, Alice Faye, Frank Mitchell, Jack Durant, Grant Mitchell, John Bradford. Cheerfully mediocre musical about a girl (Faye, in her Jean Harlow look-alike period) who enrolls at a phony Hollywood talent school, where ex-big-shot director Dunn now teaches. Songwriter Richard Whiting appears briefly as himself.

300 Spartans, The (1962) C-114m. ½ D: Rudolph Maté. Richard Egan, Ralph Richardson, Diane Baker, Barry Coe, David Farrar, Donald Houston, Kieron Moore, Laurence Naismith. Events leading up to heroic Greek stand against the Persian Army at Thermopylae; strictly cardboard, despite Mediterranean locations filmed in widescreen by Geoffrey Unsworth. However, this did have a profound effect on Frank Miller, who later created the graphic novel 300. CinemaScope.

Three Husbands (1950) 78m. ½ D: Irving Reis. Eve Arden, Ruth Warrick, Howard da Silva, Vanessa Brown, Shepperd Strudwick, Billie Burke, Emlyn Williams, Jane Darwell. Pleasing comedy of three husbands trying to find out whether or not deceased playboy spent time with their wives. Undoubtedly inspired by the 1949 hit A LETTER TO THREE WIVES, and cowritten by Vera Caspary, who adapted the earlier film.

Three Is a Family (1944) 81m. ½ D: Edward Ludwig. Fay Bainter, Marjorie Reynolds, Charlie Ruggles, Helen Broderick, Arthur Lake, Hattie McDaniel, Jeff Donnell, Walter Catlett, Cheryl Walker. Above-par fluff of hectic homelife in apartment filled with family, friends, and new babies.

Three Little Girls in Blue (1946) C-90m. D: H. Bruce Humberstone. June Haver, George Montgomery, Vivian Blaine, Celeste Holm, Vera-Ellen, Frank Latimore, Charles Smith. Cheerful tale of three spunky sisters out to trap wealthy husbands; familiar plot with good tunes like “You Make Me Feel So Young.” A remake of THREE BLIND MICE and MOON OVER MIAMI, set in turn-of-the-20th-century Atlantic City. Holm’s film debut.

Three Little Words (1950) C-102m. D: Richard Thorpe. Fred Astaire, Vera-Ellen, Red Skelton, Arlene Dahl, Keenan Wynn, Gloria De Haven, Debbie Reynolds, Carleton Carpenter. Standard MGM musical about famous songwriters Kalmar and Ruby and their climb to fame; bouncy cast, fine tunes, including “Who’s Sorry Now?,” “Thinking of You,” title song. Debbie plays Helen Kane, but the real Helen dubbed “I Wanna Be Loved by You.”

Three Lives of Thomasina, The (1964) C-97m. D: Don Chaffey. Patrick McGoohan, Susan Hampshire, Karen Dotrice, Matthew Garber, Vincent Winter, Denis Gilmore, Laurence Naismith, Finlay Currie. Charming Disney film made in England from Paul Gallico’s story about a heartless veterinarian, his daughter’s devotion to her pet cat, and a mystical young woman with life-giving “powers.” A winner.

Three Loves Has Nancy (1938) 69m. D: Richard Thorpe. Janet Gaynor, Robert Montgomery, Franchot Tone, Guy Kibbee, Claire Dodd, Reginald Owen. Silly screwball comedy with scatterbrained small-town Southerner Gaynor coming to N.Y.C. to search for her wayward fiancé, causing endless problems for writer Montgomery.

Three Men From Texas (1940) 75m. D: Lesley Selander. William Boyd, Russell Hayden, Andy Clyde, Morris Ankrum, Morgan Wallace, Esther Estrella. A favorite among Hopalong Cassidy fans, this marks the series debut of comedy star Clyde; he steals the show as California Jack Carlson, who joins the Bar 20 boys traveling west as Texas Rangers to resolve a squabble over land grants. Production polish, flying fists, gunplay, rousing Victor Young score, and beautiful scenery surround a solid story. Cowboy costume purists object to lighter-than-usual shirt worn by Boyd.

Three Men in a Boat (1956-British) C-84m. ½ D: Ken Annakin. Laurence Harvey, Jimmy Edwards, David Tomlinson, Shirley Eaton, Jill Ireland, Martita Hunt, Adrienne Corri, Lisa Gastoni. Third filming of the Jerome K. Jerome book is a frantic, frequently annoying comedy about womanizer Harvey and bumbling pals Edwards and Tomlinson on a boat trip up the Thames. CinemaScope.

Three Men in White (1944) 85m. D: Willis Goldbeck. Lionel Barrymore, Van Johnson, Marilyn Maxwell, Keye Luke, Ava Gardner, Alma Kruger, Rags Ragland, Nell Craig, Walter Kingsford. MGM continued to spot its young starlets in this extension of the Dr. Kildare series, revolving around efforts (once again) to decide who should be Dr. Gillespie’s assistant.

Three Men on a Horse (1936) 88m. D: Mervyn LeRoy. Frank McHugh, Sam Levene, Joan Blondell, Teddy Hart, Guy Kibbee, Carol Hughes, Allen Jenkins, Edgar Kennedy, Eddie Anderson. First-rate comedy of timid McHugh who always picks winning racehorses; stagy but funny. Blondell’s fun as Levene’s Brooklynese girlfriend. Adapted from Broadway play by George Abbott and John Cecil Holm.

3 Murderesses (1960-French) C-96m. ½ D: Michel Boisrond. Alain Delon, Mylene Demongeot, Pascale Petit, Jacqueline Sassard, Anita Ruf, Simone Renant. Most diverting cast in standard playboy yarn with Delon romancing trio of contrasting females. Originally titled WOMEN ARE WEAK.

Three Musketeers, The (1921) 118m. D: Fred Niblo. Douglas Fairbanks, Marguerite De La Motte, Adolphe Menjou, Barbara La Marr, Leon Barry, George Siegmann, Eugene Pallette, Nigel de Brulier, Boyd Irwin, Mary MacLaren, Sidney Franklin, Charles Stevens. Robust period adventure with Fairbanks a hearty D’Artagnan, Alexandre Dumas’ swashbuckling hero who joins the King’s Musketeers, becomes pals with Athos, Porthos, and Aramis, and battles evil in the court of Louis XIII. De Brulier almost steals the film as Cardinal Richelieu. Great fun! Followed by THE IRON MASK.

Three Musketeers, The (1935) 90m. D: Rowland V. Lee. Walter Abel, Paul Lukas, Ian Keith, Onslow Stevens, Ralph Forbes, Margot Grahame, Heather Angel. Dullest version of Dumas story, with Abel miscast as D’Artagnan.

Three Musketeers, The (1939) 73m. D: Allan Dwan. Don Ameche, The Ritz Brothers, Lionel Atwill, Binnie Barnes, Miles Mander, Gloria Stuart, Pauline Moore, John Carradine, Joseph Schildkraut. Spirited musical, generally faithful to Dumas story; Ameche flavorful as D’Artagnan, Barnes lovely as Lady DeWinter, Ritz Brothers funny substitutes for unsuspecting musketeers.

Three Musketeers, The (1948) C-125m. ½ D: George Sidney. Lana Turner, Gene Kelly, June Allyson, Van Heflin, Angela Lansbury, Robert Coote, Frank Morgan, Vincent Price, Keenan Wynn, Gig Young. Oddball, lavish production of Dumas tale with Kelly as D’Artagnan. Occasional bright moments, but continual change of tone, and Heflin’s drowsy characterization as Athos, bog down the action. Lana makes a stunning Lady DeWinter.

Three Must-Get-Theres, The (1922) 57m. D: Max Linder. Max Linder, Frank Cooke, Caroline Rankin, Bull Montana, Harry Mann, Jobyna Ralston, Jack Richardson. Deft, funny parody of Douglas Fairbanks’ THE THREE MUSKETEERS with Linder (who also scripted) playing Dart-in-Again, a young nobleman who at the outset barely can mount a horse. Nevertheless, he hooks up with the title trio (who are named Walrus, Octopus, and Porpoise). The comical swordplay is especially entertaining. The last of Linder’s three U.S.-made movies was also his final feature film.

Three Nuts in Search of a Bolt (1964) C/B&W-80m. ½ D: Tommy Noonan. Mamie Van Doren, Tommy Noonan, Ziva Rodann, Paul Gilbert, John Cronin, Peter Howard, T. C. Jones, Alvy Moore, Marjorie Bennett. Neurotic stripper Mamie and her two pals hire Noonan to act out their personalities for shrink Rodann, so they can receive psychoanalysis at a discount. Because of a couple of scenes in which Mamie plies her trade, this was considered to be quite risqué back in ’64; today it’s merely idiotic and would be hard-pressed to earn a PG-13 rating. Some stripper and nudie sequences in color although rest of film is b&w. Noonan also coproduced and coscripted.

Three of a Kind SEE: Cookin’ Up Trouble

Three on a Match (1932) 64m. D: Mervyn LeRoy. Warren William, Joan Blondell, Bette Davis, Ann Dvorak, Humphrey Bogart, Lyle Talbot, Glenda Farrell, Dawn O’Day (Anne Shirley), Edward Arnold. Fine, fast-moving (and surprisingly potent) pre-Code melodrama of three girls who renew childhood friendship, only to find suspense and tragedy. Dvorak is simply marvelous. Remade as BROADWAY MUSKETEERS.

Three on a Ticket (1947) 64m. D: Sam Newfield. Hugh Beaumont, Cheryl Walker, Paul Bryar, Ralph Dunn, Louise Currie, Gavin Gordon. Efficient low-budget Michael Shayne detective entry, revolving around a scramble to piece together a railway locker ticket which holds the key to a fortune in bank loot.

Three on the Trail (1936) 66m. D: Howard Bretherton. William Boyd, Jimmy Ellison, Onslow Stevens, Muriel Evans, George Hayes, William Duncan. Ellison is framed for murder while courting schoolmarm Evans. Fifth Hopalong Cassidy series entry deals with cattle rustling and stagecoach robbing while showcasing Hayes as Windy Halliday and making the most of the chemistry between Boyd and Ellison. Also capitalizes on spectacular Lone Pine location landscape. Loosely based on 1921 novel Bar-20 Three by series creator Clarence E. Mulford.

3 Penny Opera, The (1931-German) 112m. ½ D: G. W. Pabst. Rudolph Forster, Lotte Lenya, Carola Neher, Reinhold Schunzel, Fritz Rasp, Valeska Gert. Fine musical satire chronicling activities of dashing gangster Forster, his cohorts, and antagonists, with Lenya outstanding as Pirate Jenny. From Bertolt Brecht’s play, with music by Kurt Weill, adapted from John Gay’s The Beggar’s Opera. Remade many times since.

3 Ring Circus (1954) C-103m. D: Joseph Pevney. Dean Martin, Jerry Lewis, Joanne Dru, Zsa Zsa Gabor, Wallace Ford, Sig Ruman, Nick Cravat, Elsa Lanchester. So-so Martin and Lewis comedy has them as discharged servicemen up to trouble in a circus. Reissued in shorter version as JERRICO, THE WONDER CLOWN. Remade as ROUSTABOUT. VistaVision.

Three’s a Crowd (1927) 61m. BOMB D: Harry Langdon. Harry Langdon, Gladys McConnell, Cornelius Keefe, Brooks Benedict, Arthur Thalasso. Downtrodden Harry takes in a pregnant homeless woman and gives himself a chance at having a real family for the first time. Langdon’s directorial debut—a surprisingly morose film for a silent comedy star—put his skyrocketing career on the skids.

Three Sailors and a Girl (1953) C-95m. D: Roy Del Ruth. Jane Powell, Gordon MacRae, Gene Nelson, Sam Levene, Jack E. Leonard. Bland musical of three gobs who invest ship’s surplus funds in a musical show starring Powell. Based on George S. Kaufman’s The Butter and Egg Man.

Three Secrets (1950) 98m. D: Robert Wise. Eleanor Parker, Patricia Neal, Ruth Roman, Frank Lovejoy, Leif Erickson. Sturdy melodrama; three women wait anxiously for word of which one’s child survived plane crash. Remade for TV in 1999.

Three Shades of Love SEE: This Rebel Breed

Three Smart Girls (1936) 84m. ½ D: Henry Koster. Deanna Durbin, Binnie Barnes, Alice Brady, Ray Milland, Barbara Read, Mischa Auer, Nan Grey, Charles Winninger. Delightful musicomedy with Deanna’s feature-film debut as matchmaking girl who brings long-divided parents back together. Songs: “Someone to Care for Me,” “My Heart Is Singing.” Sequel: THREE SMART GIRLS GROW UP.

Three Smart Girls Grow Up (1939) 90m. D: Henry Koster. Deanna Durbin, Charles Winninger, Nan Grey, Helen Parrish, Robert Cummings, William Lundigan. Little Deanna still matchmaking for sisters, warming up stern father, singing “Because,” winning over everyone in sight.

Three Sons (1939) 73m. D: Jack Hively. Edward Ellis, William Gargan, Kent Taylor, J. Edward Bromberg, Katharine Alexander, Robert Stanton (Kirby Grant), Virginia Vale, Dick Hogan, Grady Sutton, Adele Pearce (Pamela Blake). Saccharine remake of SWEEPINGS, with Ellis replacing Lionel Barrymore as a self-made Chicago department store proprietor who assumes that his offspring will take over the business—until complications arise. Occasionally effective but too often wallows in forced sentiment. Gargan played the eldest son in the original; here, he’s cast as Ellis’ brother.

Three Steps North (1951) 81m. D: W. Lee Wilder. Lloyd Bridges, Lea Padovani, Aldo Fabrizi, William C. Tubbs, Dino Galvani, Adriano Ambrogi, Gianni Rizzo. Before being tossed into the brig for black-market activities, an American G.I. (Bridges) in WW2 Italy stashes away several million lira. After the war, he returns to recover the buried loot, becomes involved with an old flame, and gets embroiled in murder. Location filming helps this predictable mystery, with a solid performance by Bridges.

Three Stooges Go Around the World in a Daze, The (1963) 94m. ½ D: Norman Maurer. Three Stooges, Jay Sheffield, Joan Freeman, Walter Burke, Peter Forster. Even those who dislike the Stooges may enjoy this funny updating of Jules Verne’s tale, replete with sight gags and world travel.

Three Stooges in Orbit, The (1962) 87m. ½ D: Edward Bernds. The Three Stooges, Carol Christensen, Edson Stroll, Emil Sitka. Nutty scientist Sitka invents a tanklike contraption that flies and floats. The Stooges accidentally launch it and run headlong into a few Martian invaders, with usual slapstick results for younger audiences.

Three Stooges Meet Hercules, The (1962) 89m. ½ D: Edward Bernds. The Three Stooges, Vicki Trickett, Quinn Redeker, George N. Neise. Time machine takes the Stooges back to era of Roman legions; they are trapped on galley ship, battle Cyclops, and wind up with chariot chase. Good slapstick for kids and fans.

Three Strange Loves (1949-Swedish) 84m. D: Ingmar Bergman. Eva Henning, Birger Malmsten, Birgit Tengroth, Mimi Nelson, Hasse Ekman. Interesting early Bergman drama which foreshadows much of his future work. This one explores the dynamics of a three-cornered love relationship, from a distinctly female perspective, and examines the possibility of two women having the same personality. Bergman can be seen on camera as a train passenger. Aka THIRST.

Three Strangers (1946) 92m. ½ D: Jean Negulesco. Sydney Greenstreet, Geraldine Fitzgerald, Peter Lorre, Joan Lorring, Robert Shayne, Marjorie Riordan. Greenstreet and Lorre team up with Fitzgerald as partners holding winning sweepstakes ticket under unusual circumstances. Bizarre John Huston–Howard Koch script makes fascinating viewing.

Three Stripes in the Sun (1955) 93m. ½ D: Richard Murphy. Aldo Ray, Phil Carey, Dick York, Chuck Connors, Mitsuko Kimura. Good film of Japan-hating American soldier Ray, who softens when he becomes involved with Japanese orphans and romances a pretty translator (Kimura). This based-on-fact account effectively mirrors postwar U.S.-Japanese relations. Murphy also scripted.

3:10 to Yuma (1957) 92m. ½ D: Delmer Daves. Van Heflin, Glenn Ford, Felicia Farr, Leora Dana, Henry Jones, Richard Jaeckel, Robert Emhardt. Extremely suspenseful Western, one of the best of the 1950s. Farmer Heflin, needing the money, agrees to hold captured outlaw Ford until the train arrives, but Ford starts to psych him out. Gripping every step of the way, with memorable George Duning theme sung by Frankie Laine. Script by Halsted Welles from an Elmore Leonard story. Remade in 2007.

Three Texas Steers (1939) 57m. ½ D: George Sherman. John Wayne, Ray Corrigan, Max Terhune, Carole Landis, Ralph Graves, Billy Curtis, Roscoe Ates, Dave Sharpe. Mesquite County’s Three Mesquiteers rescue Landis when crooks sabotage her impoverished circus to force sale of the ranch she inherited to double-dealing business manager Graves. Played for laughs; fast, lively, with several twists, but still a bit disappointing in view of the top cast. Corrigan doubles as the circus gorilla!

Three Violent People (1956) C-100m. ½ D: Rudolph Maté. Charlton Heston, Anne Baxter, Gilbert Roland, Tom Tryon, Forrest Tucker, Elaine Stritch, Bruce Bennett, Barton MacLane. Adequately paced Western set in post-Civil War Texas; Heston, returning home with bride Baxter, is forced to fight carpetbaggers and deal with wife’s shady past. VistaVision.

Three Wise Fools (1946) 90m. D: Edward Buzzell. Margaret O’Brien, Lionel Barrymore, Lewis Stone, Edward Arnold, Thomas Mitchell, Jane Darwell, Cyd Charisse. Intended as fanciful, this turns out mawkish with adorable O’Brien winning over three crusty old men.

Three Wise Girls (1932) 66m. D: William Beaudine. Jean Harlow, Mae Clarke, Walter Byron, Jameson Thomas, Marie Prevost, Andy Devine, Lucy Beaumont. Harlow plays a small-town girl who moves to N.Y.C. and quickly learns that all men are after just one thing. Strictly so-so, but interesting as Harlow’s first starring vehicle, with Clarke giving a typically natural and believable performance as her big city mentor.

3 Worlds of Gulliver, The (1960-British) C-100m. D: Jack Sher. Kerwin Mathews, Jo Morrow, June Thorburn, Lee Patterson, Gregoire Aslan, Basil Sydney, Peter Bull. Hero is washed overboard and finds himself in the Land of Lilliput . . . but that’s just the beginning. Well-made adventure/fantasy designed for kids, fun for older viewers, too. Fine special effects by Ray Harryhausen, charming Bernard Herrmann score.

Three Young Texans (1954) C-78m. D. Henry Levin. Mitzi Gaynor, Keefe Brasselle, Jeffrey Hunter, Harvey Stephens, Dan Riss. Standard Western has Hunter pulling railroad robbery to prevent crooks from forcing his father to do same job, expected complications.

Thrill of a Romance (1945) C-105m. D: Richard Thorpe. Van Johnson, Esther Williams, Frances Gifford, Henry Travers, Spring Byington, Carleton G. Young, Lauritz Melchior, Tommy Dorsey. Slight musical-romance with sweet Williams, abandoned by her businessman husband on their honeymoon, falling for war hero Johnson.

Thrill of Brazil, The (1946) 91m. ½ D: S. Sylvan Simon. Evelyn Keyes, Keenan Wynn, Ann Miller, Allyn Joslyn, Tito Guizar. Pleasant South-of-the-border romance with music and spirited cast giving life to ordinary script.

Thrill of It All, The (1963) C-108m. D: Norman Jewison. Doris Day, James Garner, Arlene Francis, Edward Andrews, Reginald Owen, ZaSu Pitts, Elliott Reid. Enjoyable spoof of TV and commercials by Carl Reiner; good vehicle for Day as housewife-turned-TV-spokeswoman and Garner as her neglected husband. Reiner has a particularly funny series of cameos.

Throne of Blood (1957-Japanese) 108m. D: Akira Kurosawa. Toshiro Mifune, Isuzu Yamada, Takashi Shimura, Minoru Chiaki. Graphic, powerful adaptation of Macbeth in a samurai setting. Gripping finale, with Taketoki Washizu (the Macbeth character, masterfully played by Mifune) attacked by arrows.

Through a Glass, Darkly (1961-Swedish) 91m. ½ D: Ingmar Bergman. Harriet Andersson, Gunnar Bjornstrand, Max von Sydow, Lars Passgard. Four-character drama about just-released mental patient, her husband, her father, and her younger brother who spend summer together on secluded island. Moody, evocative story of insanity—well-deserved Oscar winner, one of Bergman’s best. The first in the filmmaker’s “faith” trilogy, followed by WINTER LIGHT and THE SILENCE.

Through the Back Door (1921) 90m. D: Alfred E. Green, Jack Pickford. Mary Pickford, Gertrude Astor, Elinor Fair, Helen Raymond, Wilfred Lucas, John Harron, Adolphe Menjou. Minor Pickford vehicle with Mary a neglected daughter of wealth who is abandoned by her widowed mother when she remarries. Pickford is always watchable, but she’s defeated by a hackneyed storyline. Her brother Jack codirected.

Thunder Afloat (1939) 94m. ½ D: George B. Seitz. Wallace Beery, Chester Morris, Virginia Grey, Clem Bevans, John Qualen, Regis Toomey. Above-average Beery vehicle of old salt pitted against rival (Morris) when he joins the Navy.

Thunderball (1965-British) C-129m. ½ D: Terence Young. Sean Connery, Claudine Auger, Adolfo Celi, Luciana Paluzzi, Rik Van Nutter, Martine Beswick, Bernard Lee, Lois Maxwell, Desmond Llewelyn, Roland Culver. Fourth James Bond film isn’t as lively as the others. Plenty of gimmicks, and Oscar-winning special effects, as world is threatened with destruction, but film tends to bog down—especially underwater. Celi makes a formidable Bond villain. Remade 18 years later—with Connery—as NEVER SAY NEVER AGAIN. Panavision.

Thunder Bay (1953) C-102m. D: Anthony Mann. James Stewart, Joanne Dru, Gilbert Roland, Dan Duryea, Jay C. Flippen, Henry (Harry) Morgan. Action-packed account of oil-drillers vs. Louisiana shrimp fishermen, with peppery cast.

Thunder Below (1932) 67m. ½ D: Richard Wallace. Tallulah Bankhead, Charles Bickford, Paul Lukas, Eugene Pallette, James Finlayson, Edward Van Sloan. Tallulah loves Lukas, but when husband Bickford goes blind, she can’t bear to leave him. Melodramatic triangle story, well acted by all.

Thunder Birds (1942) C-78m. D: William Wellman. Gene Tierney, Preston Foster, John Sutton, Dame May Whitty, Reginald Denny, Jack Holt, George Barbier. Ultra-patriotic time capsule is an ode to the WW2 lyer/flying instructor. Freewheeling veteran aviator Foster and intern-turned-trainee Sutton (who’s afraid of heights) compete for the affection of flirtatious Tierney.

Thunderbirds (1952) 98m. ½ D: John H. Auer. John Derek, John Barrymore, Jr., Mona Freeman, Gene Evans. Fact-based tale of Native Americans who fought in the 45th Infantry Division during WW2.

Thunderbolt (1929) 91m. D: Josef von Sternberg. George Bancroft, Fay Wray, Richard Arlen, Tully Marshall, Eugenie Besserer, James Spottswood, Fred Kohler. While on death row, gangster Bancroft plots to get revenge on Arlen, who stole his moll (Wray), by setting up a frame job to get him sent to the same jail. Von Sternberg’s first talkie contains some of the expected visual flourishes and makes imaginative use of sound, but isn’t in the same league as UNDERWORLD or THE BLUE ANGEL (1930).

Thundercloud SEE: Colt .45

Thunderhead—Son of Flicka (1945) C-78m. ½ D: Louis King. Roddy McDowall, Preston Foster, Rita Johnson, James Bell, Diana Hale, Carleton Young. Good, colorful attempt to repeat MY FRIEND FLICKA’s success; doesn’t match original, but it’s enjoyable. Followed by GREEN GRASS OF WYOMING.

Thunderhoof (1948) 77m. D: Phil Karlson. Preston Foster, Mary Stuart, William Bishop. Offbeat, symbolic three-character Western centering on the search for a beautiful wild stallion in the Mexican desert and the conflict that erupts between an older rancher (Foster) and his adopted son (Bishop) over the father’s sultry young wife (Stuart). Strikingly directed and unusually ambitious for a B Western from Columbia. Originally released in sepiatone.

Thunder in Carolina (1960) C-92m. D: Paul Helmick. Rory Calhoun, Alan Hale, Jr., Connie Hines, John (Race) Gentry, Ed McGrath, Troyanne Ross. Dull programmer of stock car racing in the South, with Calhoun as a skirt-chasing driver. Video title: HARD DRIVIN’.

Thundering Jets (1958) 73m. D: Helmut Dantine. Rex Reason, Dick Foran, Audrey Dalton, Barry Coe, Buck Class, Robert Dix, Lee Farr, Sid Melton, Gregg Palmer, Robert Conrad. Familiar chronicle of life at a U.S. Air Force pilot training school, with Reason the center of the story as a frustrated instructor. RegalScope.

Thunder in the City (1937-British) 86m. D: Marion Gering. Edward G. Robinson, Luli Deste, Nigel Bruce, Constance Collier, Ralph Richardson, Arthur Wontner. Amusing film about a go-getting American promoter who visits England and gambles on a long shot: hitherto unknown mineral known as Magnelite, which he proceeds to “ballyhoo.” Tailor-made for an ebullient Robinson.

Thunder in the East (1953) 98m. ½ D: Charles Vidor. Alan Ladd, Deborah Kerr, Charles Boyer, Corinne Calvet, Cecil Kellaway, John Williams. Adequate, politically loaded adventure with gunrunner Ladd caught amid tension and rebellion in rural India. Kerr and Boyer uplift the proceedings as a refined blind woman who falls for Ladd and a stubbornly pacifistic government official.

Thunder in the Sun (1959) C-81m. ½ D: Russell Rouse. Susan Hayward, Jeff Chandler, Jacques Bergerac, Blanche Yurka, Carl Esmond, Fortunio Bonanova. Hayward is romanced by wagon train scout Chandler and Bergerac, head of French Basque immigrants on way to California.

Thunder in the Valley (1947) C-103m. ½ D: Louis King. Lon McCallister, Peggy Ann Garner, Edmund Gwenn, Reginald Owen. Usual tale of boy in love with his dog, cruel father who doesn’t share his feelings; colorful but standard.

Thunder Island (1963) 65m. D: Jack Leewood. Gene Nelson, Fay Spain, Brian Kelly, Miriam Colon, Art Bedard. A hit man is hired to kill the former dictator of a Latin country who’s now living in exile on a nearby island. Unexceptional programmer cowritten by Jack Nicholson. CinemaScope.

Thunder of Drums, A (1961) C-97m. ½ D: Joseph M. Newman. George Hamilton, Luana Patten, Richard Boone, Charles Bronson, Richard Chamberlain, Slim Pickens. Better than average cast saves average story of new lieutenant having rough time in cavalry. CinemaScope.

Thunder on the Hill (1951) 84m. D: Douglas Sirk. Claudette Colbert, Ann Blyth, Robert Douglas, Anne Crawford, Gladys Cooper. Nun Colbert can’t believe visitor Blyth, about to be hanged, is murderess, sets out to prove her innocent; Cooper fine as Mother Superior. Sincere, interesting drama.

Thunder Over Arizona (1956) C-75m. D: Joseph Kane. Skip Homeier, Kristine Miller, George Macready, Wallace Ford. Undemanding minor Western showing the corruption and greed of people incited by a rich silver ore discovery. Filmed in widescreen Naturama.

Thunder Over Hawaii SEE: Naked Paradise

Thunder Over Mexico SEE: ¡Qué Viva México!

Thunder Over Tangier (1957-British) 66m. ½ D: Lance Comfort. Robert Hutton, Martin Benson, Derek Sydney, Lisa Gastoni. Passable account of movie stuntman Hutton accidentally becoming involved in a scheme involving forged passports. Original British title: MAN FROM TANGIER.

Thunder Over the Plains (1953) C-82m. D: Andre de Toth. Randolph Scott, Lex Barker, Phyllis Kirk, Henry Hull, Elisha Cook, Jr., Richard Benjamin, Charles McGraw, Fess Parker. Routine Western set in post-Civil War Texas, with Scott as Army officer sent to prevent carpetbaggers from harassing all.

Thunder Pass (1954) 76m. D: Frank McDonald. Dane Clark, Andy Devine, Dorothy Patrick, John Carradine, Raymond Burr. Usual story of resolute Army officer (Clark) pushing settlers onward in face of Indian attack.

Thunder Road (1958) 92m. D: Arthur Ripley. Robert Mitchum, Gene Barry, Jacques Aubuchon, Keely Smith, James Mitchum. Rural bootlegger takes on Feds and the Mob in cult favorite that even today continues to play in drive-ins; for many this remains the definitive moonshine picture. Jim Mitchum makes screen debut playing Bob’s brother; the elder Mitchum got a hit record out of the title tune, which he also wrote!

Thunder Rock (1942-British) 112m. D: Roy Boulting. Michael Redgrave, Barbara Mullen, Lilli Palmer, James Mason, Frederick Valk. Allegorical fable of discouraged newspaperman-turned-lighthouse keeper given renewed faith by visions of various drowned people. Excellent cast makes this most enjoyable; based on Robert Ardrey’s play.

Thunderstorm (1956-Spanish) 81m. ½ D: John Guillermin. Carlos Thompson, Linda Christian, Charles Korvin, Gary Thorne. Warmed-over trivia concerning Christian’s provocative arrival in a small fishing village on the Spanish coast.

Thursday’s Child (1943-British) 81m. ½ D: Rodney Ackland. Sally Ann Howes, Wilfrid Lawson, Kathleen O’Regan, Eileen Bennett, Stewart Granger, Marianne Davis, Gerhardt Kempinski, Felix Aylmer. Melodramatic soap opera of 12-year-old girl from middle-class family who becomes child film star, to the detriment of all around her. Howes, making her film debut, is excellent as the level-headed youngster. Recommended mainly for buffs and fans of dashing Granger (in an early supporting role).

Tiara Tahiti (1962-British) C-100m. D: William (Ted) Kotcheff. James Mason, John Mills, Claude Dauphin, Herbert Lom. Mild comedy-drama involving Mason and Mills as former Army officers who have an old grudge to settle; establishment of a Tahiti resort hotel sets wheels in motion.

Ticket of Leave Man, The (1937-British) 71m. D: George King. Tod Slaughter, John Warwick, Marjorie Taylor, Frank Cochran, Robert Adair, Peter Gawthorne. Fiendish strangler and all-round criminal mastermind The Tiger (Slaughter) frames innocent Warwick for forgery, hoping to pursue singer Taylor, the convicted man’s sweetie. OK barnstorming melodrama of the very old school with Slaughter in particularly ripe, leering form. Based on an 1866 play; a “ticket of leave man” is a prison parolee. Marred by dated Jewish character played by Cochran.

Ticket to Tomahawk, A (1950) C-90m. D: Richard Sale. Dan Dailey, Anne Baxter, Rory Calhoun, Walter Brennan, Charles Kemper, Connie Gilchrist, Arthur Hunnicutt, Mauritz Hugo, Chief Yowlachie, Victor Sen Yung. Engaging comedy-Western about stagecoach company that hires gunslinger Calhoun to keep dreaded railroad from running on time. Good fun; one of the chorus girls with Dailey in a musical number is Marilyn Monroe. Filmed in Colorado.

Tickle Me (1965) C-90m. ½ D: Norman Taurog. Elvis Presley, Jocelyn Lane, Julie Adams, Jack Mullaney, Merry Anders, Connie Gilchrist. That’s the only way to get any laughs out of this one: Elvis works at all-girl dude ranch singing his usual quota of songs. Written by Elwood Ullman and Edward Bernds, both of whom worked with The Three Stooges in better days. Panavision.

Ticklish Affair, A (1963) C-89m. D: George Sidney. Shirley Jones, Gig Young, Red Buttons, Carolyn Jones, Edgar Buchanan. Amiable film of Navy commander Young falling in love with widow Jones; all it lacks is wit, sparkle, and a fresh script. Panavision.

Tide of Empire (1929) 72m. D: Allan Dwan. Renée Adorée, George Duryea (Tom Keene), George Fawcett, William Collier, Jr., Fred Kohler, Harry Gribbon, Paul Hurst. Colorful, action-packed tale based on Peter B. Kyne’s novel about gold seekers and bandits disrupting the lives of peaceful Spanish ranchers in old California. Lusty silent Western with synchronized music, sound effects, and some background vocals; interesting early use of zoom lenses.

Tiefland (1954-German) 98m. ½ D: Leni Riefenstahl. Leni Riefenstahl, Franz Eichberger, Bernard Minetti, Maria Koppenhofer, Luis Rainer. Blonde, dreamy shepherd Eichberger and arrogant marquis Minetti vie for Spanish dancer Riefenstahl. Atmospheric, visually poetic drama, even though the characters lack depth. Filmed between 1942 and 1945; editing wasn’t completed until 1954.

Tiger Bay (1933-British) 79m. D: J. Elder Wills. Anna May Wong, Henry Victor, Rene Ray, Lawrence Grossmith, Victor Garland, Ben Soutten. Tacky grade-B melodrama is strictly a vehicle for the always-compelling Wong, as a nightclub owner/performer fiercely protective of her adoptive sister, a bleach-blond who’s irresistible to the sailors that frequent Tiger Bay, “the home of all the riff-raff of the seven seas.”

Tiger Bay (1959-British) 105m. D: J. Lee Thompson. John Mills, Horst Buchholz, Hayley Mills, Yvonne Mitchell, Megs Jenkins, Anthony Dawson. Lonely Cardiff child witnesses a murder and is abducted by the Polish sailor-killer. A poignant, sensitive, and very different police chase story. Hayley steals the film in first major acting role.

Tiger Likes Fresh Blood, The (1964-French-Italian) 83m. D: Claude Chabrol. Roger Hanin, Daniela Bianchi, Maria Mauban, Roger Dumas, Antonio Passalia, Jimmy Karoubi, Stéphane Audran. Chabrol’s sly, tongue-in-cheek contribution to the ’60s spy craze centers on an agent known as The Tiger (Hanin), who tries to protect a Turkish government official in Paris from being assassinated while wooing his sexy daughter. Followed by AN ORCHID FOR THE TIGER.

Tiger of Eschnapur, The (1958-German) C-101m. D: Fritz Lang. Debra Paget, Paul Hubschmid, Walther Reyer, René Deltgen, Luciana Paluzzi. Exotic dancer Paget is desired by dastardly maharajah Reyer, but she loves architect Hubschmid; meanwhile, Reyer’s subjects are plotting revolution. Slow-moving, disappointing adventure-romance of interest mostly for Lang’s participation. The first of the director’s Indian diptych, followed by THE INDIAN TOMB; both were originally edited down to 95m., dubbed and released as JOURNEY TO THE LOST CITY.

Tiger Shark (1932) 80m. D: Howard Hawks. Edward G. Robinson, Richard Arlen, Zita Johann, J. Carrol Naish, Vince Barnett. Robinson gives rich, colorful performance as Portuguese tuna fisherman who marries wayward girl out of pity, then sees her fall in love with his best friend—a plot gambit Warner Bros. reused several times (SLIM, MANPOWER, etc.). Authentically filmed amid fisheries on Monterey coast.

Tiger Walks, A (1964) C-91m. ½ D: Norman Tokar. Brian Keith, Vera Miles, Pamela Franklin, Sabu, Kevin Corcoran, Peter Brown, Una Merkel, Frank McHugh, Edward Andrews, Jack Albertson. Oddball Disney film about young girl (Franklin) whose compassion for tiger which has broken away from circus stirs controversy and political wheeling-and-dealing. Surprisingly bitter portrait of small-town America. Sabu’s last film.

Tight Little Island (1949-British) 82m. D: Alexander Mackendrick. Basil Radford, Joan Greenwood, James Robertson Justice, Jean Cadell, Gordon Jackson, Wylie Watson, John Gregson; narrated by Finlay Currie. Hilarious, fast-paced comedy about WW2 ship sinking while loaded with whiskey and the antics of local Scottish islanders thirsting for its cargo. A solid hit. Scripted by Compton Mackenzie, the author of the novel, who has a small role as Captain Buncher. British title: WHISKY GALORE! Followed by MAD LITTLE ISLAND.

Tight Shoes (1941) 68m. D: Albert S. Rogell. Broderick Crawford, Binnie Barnes, John Howard, Anne Gwynne. Cast pushes hard to make this Damon Runyon yarn amusing at times: Crawford is big-shot crook who has big feet.

Tight Spot (1955) 97m. D: Phil Karlson. Ginger Rogers, Edward G. Robinson, Brian Keith, Lorne Greene, Katherine Anderson. Rogers, key witness at a N.Y.C. crime lord’s upcoming trial, does a lot of high-volume BORN YESTERDAY–like verbal sparring with Keith, her police lieutenant bodyguard, in this slack crime melodrama based on a flop Broadway play. A double dose of disappointment for Eddie G. fans: His screen time is short, and he plays the uninteresting role of the prosecutor!

Tijuana Story, The (1957) 72m. BOMB D: Leslie Kardos. Rodolfo Acosta, James Darren, Robert McQueeney, Jean Willes, Joy Stoner, Paul Newlan, George E. Stone, Michael Fox, Robert Blake. Turgid programmer, fact-based and set south of the border, with newspaperman Acosta waging war against a well-connected crime organization involved in drug dealing.

Tillie and Gus (1933) 58m. ½ D: Francis Martin. W.C. Fields, Alison Skipworth, Baby LeRoy, Edgar Kennedy, Jacqueline Wells (Julie Bishop), Clifford Jones, Barton MacLane, Clarence Wilson. Fields and Skipworth are perfectly matched as card hustlers in this very entertaining comedy, which also pits W.C. against Baby LeRoy for the first time. Nominal plot has them helping niece Wells win a crucial riverboat race.

Tillie’s Punctured Romance (1914) 73m. ½ D: Mack Sennett. Charlie Chaplin, Marie Dressler, Mabel Normand, Mack Swain, Charles Bennett, Chester Conklin, Keystone Kops. A comic curio, the first full-length comedy feature film, with Dressler repeating stage role as farm girl fleeced by city-slicker Chaplin (appearing out of his usual character). Not terribly funny, or coherent, but there are good moments; mainly interesting for historical purposes. Dressler starred in a pair of sequels, TILLIE’S TOMATO SURPRISE and TILLIE WAKES UP.

Till the Clouds Roll By (1946) C-137m. ½ D: Richard Whorf. Robert Walker, Van Heflin, Lucille Bremer, Dorothy Patrick, many guest stars including Judy Garland, Kathryn Grayson, Lena Horne, Tony Martin, Dinah Shore, Frank Sinatra, June Allyson, Angela Lansbury, Cyd Charisse, Virginia O’Brien. Soggy biography of songwriter Jerome Kern (Walker), uplifted by song numbers featuring some high-powered MGM talent. Highlights include Lansbury’s “How D’Ya Like to Spoon With Me,” Lena’s “Why Was I Born?,” Judy’s “Look for the Silver Lining,” and mini-production of Show Boat.

Till the End of Time (1946) 105m. D: Edward Dmytryk. Dorothy McGuire, Guy Madison, Robert Mitchum, Bill Williams, Tom Tully, William Gargan, Jean Porter, Ruth Nelson. Solid, sympathetic drama of three returning WW2 veterans was released months before THE BEST YEARS OF OUR LIVES; the focus is on Madison falling for troubled war widow McGuire. Screenplay by Allen Rivkin, based on Niven Busch’s novel They Dream of Home. Title song (based on Chopin’s Polonaise in A-flat Major) was a big hit.

Till We Meet Again (1944) 88m. D: Frank Borzage. Ray Milland, Barbara Britton, Walter Slezak, Lucile Watson, Mona Freeman. Fair wartime drama of nun Britton helping pilot Milland return to Allied lines; elements don’t always click in this one.

’Til We Meet Again (1940) 99m. ½ D: Edmund Goulding, Merle Oberon, George Brent, Pat O’Brien, Geraldine Fitzgerald, Binnie Barnes, Frank McHugh, Eric Blore, George Reeves. Overblown remake of ONE WAY PASSAGE recounts romance between suave crook Brent and fatally ill Oberon; McHugh repeats comedy-relief role from 1932 original.

Timberjack (1955) C-94m. D: Joseph Kane. Vera Ralston, Sterling Hayden, David Brian, Adolphe Menjou, Hoagy Carmichael. Young man fights crooks taking over lumber mill who also killed his father. Harmless potboiler.

Timber Queen (1944) 66m. ½ D: Frank McDonald. Richard Arlen, Mary Beth Hughes, June Havoc, Sheldon Leonard, George E. Stone, Dick Purcell. Static programmer with pilot Arlen romancing Hughes while helping to keep her lumber company solvent.

Timbuktu (1959) 91m. D: Jacques Tourneur. Victor Mature, Yvonne De Carlo, George Dolenz, John Dehner, Marcia Henderson, James Foxx. Mature plays adventurer involved in African story of plot to overthrow government. Script is below average; cast is uneven.

Time Bomb (1953-British) SEE: Terror on a Train

Time in the Sun SEE: ¡Qué Viva México!

Time Limit (1957) 96m. D: Karl Malden. Richard Widmark, Richard Basehart, Dolores Michaels, June Lockhart, Carl Benton Reid, Martin Balsam, Rip Torn, Kaie Deei (Khigh Dhiegh). Powerful drama involving military investigator Widmark’s effort to determine if Basehart, suspected of collaborating with the enemy while a POW in North Korea, should go on trial for treason. Impressive location filming on Governors Island (in New York Harbor). Malden’s sole foray behind the camera.

Time Machine, The (1960) C-103m. D: George Pal. Rod Taylor, Alan Young, Yvette Mimieux, Sebastian Cabot, Tom Helmore, Whit Bissell, Doris Lloyd. H. G. Wells’ fantasy reduced to comic book level, but still entertaining, with Taylor as single-minded turn-of-the-20th-century London scientist who invents time-travel device and has vivid experiences in the future. Oscar-winning special effects. Remade in 1978 (for TV) and 2002.

Time of Indifference (1964-Italian) 84m. D: Francesco Maselli. Rod Steiger, Shelley Winters, Claudia Cardinale, Paulette Goddard, Tomas Milian. Turgid melodrama of moral and social decay in Italy during late 1920s, focusing on one nouveau-poor family; from novel by Alberto Moravia.

Time of Their Lives, The (1946) 82m. D: Charles Barton. Bud Abbott, Lou Costello, Marjorie Reynolds, Binnie Barnes, John Shelton, Gale Sondergaard, Jess Barker. Most unusual film for A&C, and one of their best. Costello and Reynolds are killed during Revolutionary times, and their ghosts haunt a country estate where (in the 20th century) Abbott and friends come to live. Imaginative, funny, and well done.

Time of Your Life, The (1948) 99m. D: H. C. Potter. James Cagney, William Bendix, Wayne Morris, Jeanne Cagney, Broderick Crawford, Ward Bond, James Barton, Paul Draper, James Lydon, Gale Page, Richard Erdman. Uninspired version of William Saroyan’s prizewinning morality play about the various characters who populate Nick’s Saloon, Restaurant and Entertainment Palace, which is actually a waterfront dive. Interesting cast, but it just doesn’t come together.

Time Out for Love (1961-French-Italian) 91m. ½ D: Jean Valère. Jean Seberg, Maurice Ronet, Micheline Presle, Françoise Prevost. Sometimes-effective drama chronicling the coming-of-age of young Seberg, an American living in Paris, who falls in love with capricious Ronet.

Time Out for Rhythm (1941) 75m. D: Sidney Salkow. Rudy Vallee, Ann Miller, Rosemary Lane, Allen Jenkins, The Three Stooges. Mediocre show-biz musical turns out to be a wonderful showcase for the Stooges, who do some of their best material (including the “Maja? Aha!” routine). One good production number, “Boogie Woogie Man,” features Glen Gray and His Casa Loma Orchestra.

Time Out of Mind (1947) 88m. D: Robert Siodmak. Phyllis Calvert, Robert Hutton, Ella Raines, Eddie Albert, Leo G. Carroll. Plodding period piece, set in 1889 New England, of girl in love above her station seeing her lover live unhappy life. From a Rachel Field novel.

Timeslip SEE: Atomic Man, The

Times Square Lady (1935) 69m. D: George B. Seitz. Robert Taylor, Virginia Bruce, Helen Twelvetrees, Isabel Jewell, Nat Pendleton, Pinky Tomlin, Henry Kolker, Raymond Hatton, Jack La Rue. When naïve Bruce inherits her father’s Broadway businesses, crooked lawyer Kolker assigns Taylor to get control of them, but Taylor falls for her and double-crosses his boss. Programmer starts out promisingly but bogs down in clichés. Taylor’s first lead role in a feature; Ward Bond has a bit as a murderous hockey player.

Time Table (1956) 79m. D: Mark Stevens. Mark Stevens, King Calder, Felicia Farr, Marianne Stewart, Wesley Addy, Alan Reed, Jack Klugman. Several plot twists only slightly enliven this small-scale account of a train heist, with overworked insurance investigator Stevens on the case.

Time, the Place and the Girl, The (1946) C-105m. ½ D: David Butler. Dennis Morgan, Martha Vickers, Jack Carson, Janis Paige, S. Z. Sakall, Alan Hale, Florence Bates, Carmen Cavallero. Best thing about this flimsily plotted put-on-a-show musical is the Arthur Schwartz–Leo Robin score, including “A Gal in Calico” and “Rainy Night in Rio.” No relation to 1929 musical of same name.

Time to Kill (1942) 61m. D: Herbert I. Leeds. Lloyd Nolan, Ralph Byrd, Heather Angel, Doris Merrick, Richard Lane. Michael Shayne (Nolan) versus counterfeiters of rare coins. Adequate entry in the series, sparked by Nolan’s tough-guy performance. Though a Mike Shayne movie, it’s based on a Raymond Chandler story; remade as THE BRASHER DOUBLOON.

Time to Love and a Time to Die, A (1958) C-132m. D: Douglas Sirk. John Gavin, Lilo Pulver, Jock Mahoney, Don DeFore, Keenan Wynn, Thayer David, Dana (Jim) Hutton, Klaus Kinski. Intensely dramatic love story set against background of WW2. German soldier on furlough from battle falls in love, inevitably must return to the trenches. Well-directed version of Erich Maria Remarque novel (with the author in a small role). Hutton’s film debut. CinemaScope.

Time Travelers, The (1964) C-82m. ½ D: Ib Melchior. Preston Foster, Philip Carey, Merry Anders, John Hoyt, Steve Franken. Spirited flashes of imagination heighten this sci-fi story about scientists who journey into the future and find their actions there will affect the past. Not bad, with downbeat ending; one of the first American films photographed by Vilmos Zsigmond.

Time Without Pity (1956-British) 88m. D: Joseph Losey. Michael Redgrave, Alec McCowen, Ann Todd, Peter Cushing, Leo McKern, Renee Houston, Lois Maxwell, Joan Plowright. Tense thriller with an anti-capital punishment point-of-view, as alcoholic Redgrave has 24 hours to prove son McCowen’s innocence on a murder rap. Scripted by Ben Barzman, from an Emlyn Williams play.

Tingler, The (1959) 82m. ½ D: William Castle. Vincent Price, Judith Evelyn, Darryl Hickman, Philip Coolidge, Patricia Cutts. Preposterous but original shocker: coroner Price discovers that fear causes a creepy-crawly creature to materialize on people’s spines; it can be subdued only by screaming. This is the infamous picture that got moviegoers into the spirit with vibrating gizmos under selected theater seats!—a gimmick director/producer Castle billed as “Percepto.” Also noteworthy as likely the earliest film depicting an LSD trip. One critical sequence is in color.

Tin Pan Alley (1940) 94m. D: Walter Lang. Alice Faye, Betty Grable, Jack Oakie, John Payne, Esther Ralston, Allen Jenkins, Nicholas Brothers, John Loder, Elisha Cook, Jr. Predictable plot of struggling pre-WW1 songwriters enlivened by Alfred Newman’s Oscar-winning score and colorful numbers including “Sheik of Araby” with Billy Gilbert as sultan. Oakie is in top form. Remade as I’LL GET BY.

Tin Star, The (1957) 93m. D: Anthony Mann. Henry Fonda, Anthony Perkins, Betsy Palmer, Neville Brand, Lee Van Cleef, John McIntire, Michel Ray. Fledgling sheriff Perkins turns to bounty hunter Fonda to help combat outlaws preying on his town; solid, well-acted Western. Scripted by Dudley Nichols. VistaVision.

Tip-Off, The (1931) 73m. D: Albert Rogell. Eddie Quillan, Robert Armstrong, Ginger Rogers, Joan Peers, Ralf Harolde. Consistently clever, amusing little film with naïve Quillan earning boxer Armstrong’s eternal gratitude by (inadvertently) saving him from a going-over by gangster Harolde. That comes in handy when Quillan falls in love with the mobster’s moll. Armstrong is very funny as the prizefighter who’s always groping for big words, which are supplied by his perky girlfriend Rogers.

Tip-Off Girls (1938) 61m. ½ D: Louis King. Mary Carlisle, Lloyd Nolan, Roscoe Karns, Larry (Buster) Crabbe, J. Carrol Naish, Evelyn Brent, Anthony Quinn, Benny Baker, Harvey Stephens. Racketeers employ alluring damsels in distress to flag down truckers on highways and then hijack their shipments. Crisp crime programmer.

Tip on a Dead Jockey (1957) 99m. D: Richard Thorpe. Dorothy Malone, Robert Taylor, Gia Scala, Martin Gabel, Jack Lord. Neat account of Taylor tied in with smuggling syndicate in Madrid, romancing Malone. Good Charles Lederer adaptation of Irwin Shaw story. CinemaScope.

Titanic (1943-German) 85m. ½ D: Herbert Selpin, Werner Klingler. Sybille Schmitz, Hans Nielsen, Karl Schönböck, Charlotte Thiele, Otto Wernicke. Little-seen German drama about the doomed ocean liner was made during WW2, so a German officer is depicted as the only brave, outspoken man on board, while the English owner pursues an “endless quest for profit.” Creditable disaster film, although the script is no more inspired than later versions of the saga. Some shots were reused in A NIGHT TO REMEMBER. Banned in Germany in 1943 because the scenes of panic were considered too potent in the midst of wartime air raids.

Titanic (1953) 98m. D: Jean Negulesco. Clifton Webb, Barbara Stanwyck, Robert Wagner, Richard Basehart, Audrey Dalton, Thelma Ritter, Brian Aherne. Hollywoodized version of sea tragedy centers on shipboard story. Not bad, but events better told in A NIGHT TO REMEMBER . . . and more spectacularly in the 1997 film. Oscar-winning script by producer Charles Brackett, Walter Reisch, and Richard Breen.

Titanic: Disaster in the Atlantic (1929-British-German) 99m. D: E. A. Dupont. German cast: Fritz Kortner, Elsa Wagner, Heinrich Schroth, Julia Serda, Elfriede Borodin, Lucie Mannheim, Franz (Francis) Lederer, Willi Forst. British cast: Franklin Dyall, Madeleine Carroll, Monty Banks, John Stuart, John Longden. Doomed ocean liner’s first to final moments are dutifully chronicled, but in the peculiar guise of a roman à clef. Dupont’s first talkie was shot once as a German silent, then in German and British sound versions, each with different casts and scripts. Adapted from Ernest Raymond’s play The Berg, and more an experiment in early sound than a sound drama. Aka ATLANTIK and ATLANTIC.

Titfield Thunderbolt, The (1953-British) C-84m. D: Charles Crichton. Stanley Holloway, George Relph, Naunton Wayne, John Gregson, Godfrey Tearle, Edie Martin, Hugh Griffith, Sid James, Jack MacGowran. Boisterous Ealing comedy about villagers who are attached to their antiquated railway line and run it themselves in competition with the local bus line. Lovely photography by Douglas Slocombe. Script by T.E.B. Clarke.

T-Men (1947) 92m. D: Anthony Mann. Dennis O’Keefe, Alfred Ryder, Charles McGraw, Wallace Ford, Mary Meade, June Lockhart. Semidocumentary-style story of undercover treasury agents trying to get to the bottom of counterfeit ring. Vividly exciting; director Mann and cameraman John Alton went out of their way to use unusual, effective lighting and compositions in this A-1 film.

Toast of New Orleans, The (1950) C-97m. ½ D: Norman Taurog. Kathryn Grayson, Mario Lanza, David Niven, Rita Moreno, J. Carrol Naish. Lanza plays fisherman transformed into operatic star. Rest of cast good, and Lanza sings “Be My Love.”

Toast of New York, The (1937) 109m. D: Rowland V. Lee. Edward Arnold, Cary Grant, Frances Farmer, Jack Oakie, Donald Meek, Clarence Kolb, Billy Gilbert, Stanley Fields. Arnold is in fine form as rags-to-riches businessman Jim Fisk in mid-19th century. Grant is his partner in hokey but entertaining biographical fiction; good showcase for spirited Farmer.

Tobacco Road (1941) 84m. ½ D: John Ford. Charley Grapewin, Marjorie Rambeau, Gene Tierney, William Tracy, Elizabeth Patterson, Dana Andrews, Slim Summerville, Ward Bond, Grant Mitchell. Lightly entertaining but genuinely odd seriocomedy about “quaint” Georgia backwoods community; worthwhile mainly to see Grapewin repeating his stage role as cheerful ne’er-do-well Jeeter Lester. Adapted (and sanitized) by Nunnally Johnson from the long-running Broadway play by Jack Kirkland, based on Erskine Caldwell’s novel.

To Beat the Band (1935) 67m. D: Ben Stoloff. Hugh Herbert, Helen Broderick, Roger Pryor, Fred Keating, Eric Blore, Phyllis Brooks, Ray Mayer, Joy Hodges. Strange, silly B musical with Herbert forced to marry a widow to collect an inheritance while trying to prevent a neighbor (Pryor) from committing suicide. Musical numbers feature vocals by young Johnny Mercer (who also wrote the score with Matty Malneck) and an incredible specialty dance by one Sonny Lamont.

To Bed . . . or Not to Bed (1963-Italian) 103m. ½ D: Gian Luigi Polidoro. Alberto Sordi, Bernhard Tarschys, Inger Sjostrand, Ulf Palme. Saucy sex romp. Sordi expects to find free love on business trip to Stockholm, discovers home sweet home is best. Retitled: THE DEVIL.

To Be or Not to Be (1942) 99m. ½ D: Ernst Lubitsch. Jack Benny, Carole Lombard, Robert Stack, Lionel Atwill, Felix Bressart, Sig Ruman, Tom Dugan, Helmut Dantine, Stanley Ridges. Benny has the role of a lifetime as “that great, great actor” Joseph Tura, whose Polish theater troupe is put out of business by invading Nazis—until they become involved in espionage and find their thespian skills being put to the ultimate test. Superb black comedy scripted by Edwin Justus Mayer; the opening gag with Dugan is a gem. Lombard’s final film, released after her death. Remade in 1983.

Tobor the Great (1954) 77m. ½ D: Lee Sholem. Charles Drake, Karin Booth, Billy Chapin, Taylor Holmes, Steven Geray. Scientist allows his genius grandson to become pals with the robot of the title, leading to complications when spies try to glom onto the plans; terrible acting and dialogue. A botched attempt at a heartwarming sci-fi comedy-thriller.

Toby Tyler, or Ten Weeks with a Circus (1960) C-96m. ½ D: Charles Barton. Kevin Corcoran, Henry Calvin, Gene Sheldon, Bob Sweeney, Richard Eastham, James Drury. Likable Disney fare about a young boy who runs away to join the circus at the turn of the 20th century.

To Catch a Thief (1955) C-106m. D: Alfred Hitchcock. Grace Kelly, Cary Grant, Jessie Royce Landis, John Williams, Charles Vanel, Brigitte Auber. The French Riviera serves as picturesque backdrop for this entertaining (if fluffy) Hitchcock caper with Grant as reformed cat burglar suspected in new wave of jewel robberies. Chic and elegant in every way—and Kelly never looked more ravishing. Script (including much-imitated fireworks scene) by John Michael Hayes; Oscar-winning photography by Robert Burks. VistaVision.

Today We Live (1933) 113m. D: Howard Hawks. Joan Crawford, Gary Cooper, Robert Young, Franchot Tone, Roscoe Karns. Stilted William Faulkner story of WW1 romance and heroism; despite star-studded cast, not much. Faulkner cowrote the screenplay. Torpedo attack scenes were directed by Richard Rosson.

To Die in Madrid (1963-French) 87m. D: Frédéric Rossif. Narrated by John Gielgud, Irene Worth. Masterpiece in documentary filmmaking dealing with bloody civil war in Spain in which more than a million people died. 

To Each His Own (1946) 122m. D: Mitchell Leisen. Olivia de Havilland, John Lund, Mary Anderson, Roland Culver, Phillip Terry, Griff Barnett. Well-turned soaper of unwed mother giving up baby, lavishing love on him as his “aunt” without revealing truth. Fine support by Culver as aging Olivia’s beau. De Havilland won Best Actress Oscar. Lund’s film debut.

Together Again (1944) 100m. D: Charles Vidor. Irene Dunne, Charles Boyer, Charles Coburn, Mona Freeman, Elizabeth Patterson. Little bit of nothing carried off beautifully by Dunne, widow mayor of small town, and Boyer, suave New Yorker whom she hires to sculpt a statue of her late husband; charming comedy.

To Have and Have Not (1944) 100m. ½ D: Howard Hawks. Humphrey Bogart, Walter Brennan, Lauren Bacall, Hoagy Carmichael, Dan Seymour, Marcel Dalio, Dolores Moran, Sheldon Leonard. Hemingway’s “worst novel” forms the basis for Hawks’ version of CASABLANCA: tough skipper-for-hire Bogart reluctantly becomes involved with French Resistance, less reluctantly woos even tougher Bacall (in her film debut). Their legendary love scenes make the movie, but there are also solid performances, taut action, and a couple of songs. (Andy Williams was hired to dub Bacall’s singing, but that’s her voice, after all.) Super dialogue by William Faulkner and Jules Furthman; remade as THE BREAKING POINT and THE GUN RUNNERS. Also shown in computer-colored version.

To Hell and Back (1955) C-106m. D: Jesse Hibbs. Audie Murphy, Marshall Thompson, Charles Drake, Jack Kelly, Paul Picerni, Gregg Palmer, Brett Halsey, David Janssen, Art Aragon, Rand Brooks, Denver Pyle, Susan Kohner. Murphy (the most decorated soldier of WW2) stars in very good war film based on his autobiography, with excellent battle sequences depicting Murphy’s often breathtaking heroic exploits. Clichés in script are overcome by Murphy and cast’s easygoing delivery. CinemaScope.

To Joy (1950-Swedish) 95m. ½ D: Ingmar Bergman. Stig Olin, Maj-Britt Nilsson, John Ekman, Margit Carlquist, Victor Seastrom (Sjöström), Birger Malmsten. Early Bergman drama offers a thematic prelude of what was to come from the filmmaker. Modest, occasionally insightful chronicle of Olin and Nilsson’s failing marriage.

To Kill a Mockingbird (1962) 129m. D: Robert Mulligan. Gregory Peck, Mary Badham, Philip Alford, John Megna, Brock Peters, Robert Duvall, Frank Overton, Rosemary Murphy, Paul Fix, Collin Wilcox, Alice Ghostley, William Windom; narrated by Kim Stanley. In a small Alabama town in the 1930s, lawyer Atticus Finch (Peck) defends a black man (Peters) accused of raping a white woman. Their father’s innate decency affects his two motherless children as they learn about life, especially about that spooky house in the neighborhood. Peck won a well-deserved Best Actor Oscar; screenwriter Horton Foote received one as well. This outstanding film only gains in stature as time passes. One of the best of the 1960s. From the semiautobiographical novel by Harper Lee. Duvall makes his screen debut as Boo Radley. Produced by Alan J. Pakula, with a memorable score by Elmer Bernstein.

Tokyo Chorus (1931-Japanese) 91m. ½ D: Yasujiro Ozu. Tokihiko Okada, Emiko Yagumo, Hideo Sugawara, Hideko Takamine, Tatsuo Saito, Choko Iida, Takashi Sakamoto, Reiko Tani. Elegant, emotionally resounding social drama with comedic touches involves the everyday struggles of a Tokyo family, with the proud husband-father (Okada) losing his job after speaking out against an injustice. Ozu offers poignant commentary on the plight of the unemployed and movingly contrasts the carefree nature of childhood to the stresses of adult responsibility.

Tokyo Joe (1949) 88m. ½ D: Stuart Heisler. Humphrey Bogart, Florence Marly, Sessue Hayakawa, Alexander Knox, Jerome Courtland. Lesser Bogart film about American in postwar Tokyo pulled into smuggling and blackmail for the sake of his ex-wife and child.

Tokyo Olympiad (1965) C-170m. D: Kon Ichikawa. Once compromised by edited versions that diminished its power, epic documentary about the 1964 Olympics is artistically mentionable in the same breath as Leni Riefenstahl’s OLYMPIA—and without the Hitler baggage. Though Ichikawa had over a hundred Tohoscope cameras at his disposal, result is less a reportorial chronicle than a sensory agony/ecstasy portrayal set against panoramic crowd shots. Broad jumpers compete on a messy, muddy track and a lonely runner from Chad finds himself . . . somewhere . . . in downtown Tokyo. CinemaScope.

Tokyo Story (1953-Japanese) 134m. D: Yasujiro Ozu. Chishu Ryu, Chieko Higashiyama, So Yamamura, Haruko Sugimura, Setsuko Hara. An elderly couple (Ryu, Higashiyama) visit their children in Tokyo, who are too busy living their lives and treat them tactlessly. Quietly powerful story of old age, the disappointments parents experience with their children, and the fears the young have of time passing. A masterpiece. Not shown in the U.S. until 1972.

Tokyo Twilight (1957-Japanese) 141m. ½ D: Yasujiro Ozu. Setsuko Hara, Ineko Arima, Chishu Ryu, Isuzu Yamada, Teiji Takahashi, Masami Taura. An aura of profound sadness permeates this quietly devastating account of the secrets and lies that eat away at the core of an otherwise average Japanese family. The eldest daughter (Hara) is unhappily married; meanwhile, her younger sister (Arima) is harboring a terrible secret. Ozu (who scripted with Kôgo Noda) paints a vivid portrait of characters whose souls are tainted by their inability to share their feelings.

Tol’able David (1921) 94m. ½ D: Henry King. Richard Barthelmess, Gladys Hulette, Ernest Torrence, Warner Richmond, Walter P. Lewis. A mild-mannered boy is forced to take his brother’s place delivering the mail—and dealing with a trio of heinous criminals who’ve moved into their rural community. Beautifully crafted Americana, shot on location in Virginia. The finale is a rip-roaring piece of movie storytelling. Remade in 1930.

Toll Gate, The (1920) 59m. D: Lambert Hillyer. William S. Hart, Anna Q. Nilsson, Jack Richardson, Joseph Singleton, Richard Headrick. One of Hart’s best films, casting him as fleeing outlaw who stops to save young boy’s life, becomes involved with the child’s widowed mother.

Toll of the Sea, The (1922) C-54m. D: Chester M. Franklin. Anna May Wong, Kenneth Harlan, Beatrice Bentley, Baby Moran, Etta Lee, Ming Young. Lotus Flower (Wong), a gentle young Chinese woman, discovers an unconscious Caucasian American by the edge of the sea; the two soon marry, but there are complications. Poignant story of love, longing, and self-sacrifice offers a sharp-edged view of the racial attitudes of the era. Pioneering two-color Technicolor feature is exquisite to watch. The final sequence, which did not survive, was reshot at the Pacific Ocean in 1985 using a genuine two-color Technicolor camera.

Tomahawk (1951) C-82m. ½ D: George Sherman. Yvonne De Carlo, Van Heflin, Preston Foster, Jack Oakie, Alex Nicol, Tom Tully, Rock Hudson. Colorful Western spiked with sufficient action to overcome bland account of friction between Indians and the Army.

To Mary—With Love (1936) 86m. D: John Cromwell. Warner Baxter, Myrna Loy, Ian Hunter, Claire Trevor, Jean Dixon, Pat Somerset. Humdrum drama of Baxter and Loy enduring ups and downs over a decade of married life.

Tomb of Ligeia, The (1964-British) C-81m. D: Roger Corman. Vincent Price, Elizabeth Shepherd, John Westbrook, Derek Francis. In 1821 England, castle lord Price’s late wife manifests herself all over the place, both as a cat and in new bride Shepherd. Super-stylish chiller with superb location work. The last of Corman’s eight Poe adaptations; screenplay by Robert Towne. Filmed in Widescreen Colorscope.

Tomboy and the Champ (1961) C-92m. D: Francis D. Lyon. Candy Moore, Ben Johnson, Jesse White, Jess Kirkpatrick, Rex Allen. Mild B film about a young girl and her prize cow; strictly for children, who will probably enjoy it, despite standard plot devices.

Tom Brown of Culver (1932) 82m. ½ D: William Wyler. Tom Brown, H. B. Warner, Richard Cromwell, Slim Summerville, Ben Alexander, Sidney Toler, Russell Hopton, Andy Devine. Well-made but corny military-school picture has Tom Brown in namesake role of wayward boy who gets a scholarship to famed Indiana military academy during the Depression. Much of the film was shot on location. Tyrone Power (billed as Jr.) makes his screen debut here, and reportedly, Alan Ladd can be spotted in a bit. Remade as SPIRIT OF CULVER.

Tom Brown’s School Days (1940) 86m. ½ D: Robert Stevenson. Cedric Hardwicke, Freddie Bartholomew, Gale Storm, Jimmy Lydon, Josephine Hutchinson, Billy Halop, Polly Moran. Occasionally overbaked but still entertaining, fast-paced account of life at a Victorian boys’ school. Although most of cast is American, British flavor seeps through. Retitled: ADVENTURES AT RUGBY.

Tom Brown’s Schooldays (1951-British) 93m. ½ D: Gordon Parry. John Howard Davies, Robert Newton, Diana Wynyard, Hermione Baddeley, Kathleen Byron, James Hayter, John Charlesworth, John Forrest, Michael Hordern, Max Bygraves. Well-acted film of Victorian England school life with exceptional British cast and good direction. Noel Langley scripted, from Thomas Hughes’ novel.

Tom, Dick and Harry (1941) 86m. ½ D: Garson Kanin. Ginger Rogers, George Murphy, Alan Marshal, Burgess Meredith, Joe Cunningham, Jane Seymour, Phil Silvers. Spirited comic dilemma as wide-eyed Ginger chooses among three anxious suitors: sincere Murphy, wealthy Marshal, nonconformist Meredith. Silvers has hilarious role as obnoxious ice-cream man. Written by Paul Jarrico. Remade as THE GIRL MOST LIKELY.

Tom Jones (1963-British) C-129m. D: Tony Richardson. Albert Finney, Susannah York, Hugh Griffith, Edith Evans, Joyce Redman, Diane Cilento, Joan Greenwood, David Tomlinson, Peter Bull, David Warner; narrated by Micheál MacLiammoir. High-spirited adaptation of the Henry Fielding novel about a young man’s misadventures and bawdy experiences in 18th-century England; rowdy, randy, and completely disarming. Academy Award winner as Best Picture, it also won Oscars for Richardson, who directed with great flair and imagination, screenwriter John Osborne, who caught the gritty flavor of the period to perfection, and composer John Addison, whose infectious score suits the picture to a tee. Film debuts of Lynn Redgrave and David Warner. Richardson cut the film by seven minutes for its 1989 reissue.

Tommy Steele Story, The SEE: Rock Around the World

Tomorrow at Seven (1933) 62m. ½ D: Ray Enright. Chester Morris, Vivienne Osborne, Frank McHugh, Allen Jenkins, Henry Stephenson, Grant Mitchell, Charles Middleton, Oscar Apfel. Writer Morris is penning a book about the “Black Ace,” a notorious murderer. When will he strike again? “Tomorrow at seven,” perhaps? Clever edge-of-your-seat mystery is entertaining most of the way; McHugh and Jenkins are in vintage form as a pair of comical cops.

Tomorrow at Ten (1963-British) 80m. ½ D: Lance Comfort. John Gregson, Robert Shaw, Alec Clunes, Alan Wheatley. Taut drama involving kidnapper who dies, leaving boy in house (whereabouts unknown) with time bomb set to explode.

Tomorrow Is Another Day (1951) 90m. ½ D: Felix E. Feist. Ruth Roman, Steve Cochran, Lurene Tuttle, Ray Teal, Morris Ankrum, Hugh Sanders. Frank little film of ex-con Cochran marrying dime-a-dance girl Roman, heading for California, thinking he’s killed her old boyfriend.

Tomorrow Is Forever (1946) 105m. D: Irving Pichel. Claudette Colbert, Orson Welles, George Brent, Lucile Watson, Richard Long, Natalie Wood. Weepy rehash of Enoch Arden, with Welles as man listed dead in WW1 returning decades later with new face to find wife Colbert remarried to Brent. Bravura work by Welles with good support by Wood as his adopted daughter.

Tomorrow, the World! (1944) 95m. D: Leslie Fenton. Fredric March, Betty Field, Agnes Moorehead, Skippy Homeier, Joan Carroll. Homeier re-creates his knockout Broadway performance as a German-raised child adopted by his American uncle, who soon discovers that the boy is a rabid Nazi with a sinister mindset. Still-potent and thoughtful drama about tolerance. Scripted by Ring Lardner, Jr., and Leopold Atlas from the play by James Gow and Armand D’Usseau.

Tomorrow We Live (1942) 64m. D: Edgar G. Ulmer. Ricardo Cortez, Jean Parker, Emmett Lynn, William Marshall, Roseanne Stevens, Ray Miller. In modern-day Arizona, gangster Cortez, known as The Ghost, develops an unwelcome interest in desert cafe waitress Parker, the daughter of old geezer Lynn, who’s secretly in The Ghost’s employ. Odd wartime melodrama is less a story than a series of incidents; weakened by a bad (and incessant) score.

Tom Sawyer (1930) 86m. ½ D: John Cromwell. Jackie Coogan, Mitzi Green, Junior Durkin, Jackie Searl, Clara Blandick, Lucien Littlefield. Enjoyable but slow-moving adaptation of the Mark Twain classic. Coogan, Green, Durkin, and Searl are, respectively, Tom, Becky Thatcher, Huck Finn, and Sid Sawyer; they all repeated their roles the following year in HUCKLEBERRY FINN. Remade in 1938 (as THE ADVENTURES OF TOM SAWYER) and twice in 1973.

Tom Sawyer, Detective (1938) 68m. ½ D: Louis King. Billy Cook, Donald O’Connor, Porter Hall, Phillip Warren, Janet Waldo, Elisabeth Risdon, William Haade. Pleasant little family film based on Mark Twain’s novella that turns Tom (Cook) and Huck (O’Connor) into backwoods detectives.

tom thumb (1958) C-98m. ½ D: George Pal. Russ Tamblyn, June Thorburn, Peter Sellers, Terry-Thomas, Alan Young, Jessie Matthews, Bernard Miles. Excellent children’s picture with Tamblyn as tiny tom thumb, taken in by kindly couple but exploited by villainous Terry-Thomas and henchman Sellers. Charming Puppetoons sequences, Oscar-winning special effects, perfect Peggy Lee–Sonny Burke score. Filmed in England.

Toni (1935-French) 90m. ½ D: Jean Renoir. Charles Blavette, Celia Montalvan, Jenny Helia, Max Dalban. Italian quarry worker Blavette lives with Montalvan, but falls in love with farm girl Helia—who in turn is wooed away by swaggering foreman Dalban. Renoir coscripted this simple, touching drama, which he filmed in a style that influenced the Italian Neorealist movement of the 1940s.

Tonight and Every Night (1945) C-92m. D: Victor Saville. Rita Hayworth, Janet Blair, Lee Bowman, Marc Platt, Leslie Brooks, Professor Lamberti, Florence Bates. Entertaining, brightly colored wartime musical of British theater that never misses a performance, despite bombings and personal hardships. Try spotting Shelley Winters as one of the chorines. Story of the real-life theater also chronicled in MRS HENDERSON PRESENTS (2005).

Tonight at 8:30 (1952-British) C-81m. D: Anthony Pélissier. Valerie Hobson, Stanley Holloway, Nigel Patrick, Ted Ray, Kay Walsh, Jack Warner, Jessie Royce Landis, Betty Ann Davies, Martita Hunt, Yvonne Furneaux. Compact anthology based on a trio of playlets from Noel Coward’s Tonight at 8:30. “Red Peppers” involves squabbling husband-and-wife music hall performers; “Fumed Oak: An Unpleasant Comedy,” the best of the lot, spotlights the sweet revenge of a much-put-upon husband-father (Holloway); “Ways and Means” centers on a freeloading couple in a Riviera villa. Original British title: MEET ME TONIGHT.

Tonight Is Ours (1933) 75m. ½ D: Stuart Walker. Claudette Colbert, Fredric March, Alison Skipworth, Arthur Byron, Paul Cavanagh, Ethel Griffies. Princess Colbert falls in love with commoner March, though she is already spoken for in a planned marriage. Colbert is luminously beautiful (photographed by Karl Struss) in this sexy, pre-Code romance that opens light and airy, then turns serious. Mitchell Leisen is credited as Associate Director. Based on Noel Coward’s play The Queen Was in the Parlour, filmed under that name in 1927.

Tonight or Never (1931) 81m. D: Mervyn LeRoy. Gloria Swanson, Melvyn Douglas, Alison Skipworth, Ferdinand Gottschalk, Robert Greig, Boris Karloff. Stylishly mounted but stagebound romantic comedy about a flighty opera singer (Swanson) who’s criticized because her performances lack passion. Swanson is beautifully costumed by Coco Chanel. Douglas’ screen debut, re-creating his Broadway role.

Tonight’s the Night (1954-British) C-88m. D: Mario Zampi. David Niven, Yvonne De Carlo, Barry Fitzgerald, George Cole, Robert Urquhart. Good British cast bolsters appealing comedy about house in Ireland which natives claim is haunted. Original British title: HAPPY EVER AFTER.

Tonight We Raid Calais (1943) 70m. ½ D: John Brahm. Annabella, John Sutton, Lee J. Cobb, Beulah Bondi, Blanche Yurka, Howard da Silva, Marcel Dalio. Fast-paced if undistinguished WW2 tale of sabotage mission in France with good performances; written by Waldo Salt.

Tonight We Sing (1953) C-109m. ½ D: Mitchell Leisen. David Wayne, Ezio Pinza, Roberta Peters, Anne Bancroft, Tamara Toumanova, Isaac Stern, Jan Peerce. Hodgepodge supposedly based on impresario Sol Hurok’s life, allowing for disjointed string of operatic/musical interludes. Produced by George Jessel.

Tonka (1958) C-97m. ½ D: Lewis R. Foster. Sal Mineo, Philip Carey, Jerome Courtland, Rafael Campos, H. M. Wynant, Joy Page. Mineo stands out in this modest Disney film about an Indian brave’s attachment to a wild horse, lone “survivor” of Little Bighorn battle, which he captures and tames. Weak resolution and cut-rate version of Custer’s Last Stand detract from promising story. Retitled A HORSE NAMED COMANCHE.

Tony Draws a Horse (1950-British) 91m. ½ D: John Paddy Carstairs. Cecil Parker, Anne Crawford, Derek Bond, Mervyn Johns, Barbara Murray, Edward Rigby, Anthony Lang, Sebastian Cabot. Dr. Parker and psychologist Crawford cannot agree on the proper method of rearing their 8-year-old son; his mischief ends up affecting their marriage and entire family. Occasionally funny but overly talky (not to mention outdated) satire.

Too Bad She’s Bad (1955-Italian) 95m. D: Alessandro Blasetti. Sophia Loren, Vittorio De Sica, Marcello Mastroianni, Lina Furia. Unremarkable little comedy about life and love among happy-go-lucky crooks, set in Rome.

Too Busy to Work (1932) 76m. ½ D: John G. Blystone. Will Rogers, Marian Nixon, Dick Powell, Frederick Burton, Charles Middleton, Louise Beavers. A hobo named Jubilo rides the rails to California in search of the man who made off with his wife years ago. When he learns that she passed away, he manages to insinuate himself into the lives of the family members—including his own daughter. Agreeable entertainment for Rogers fans.

Too Hot to Handle (1938) 105m. D: Jack Conway. Clark Gable, Myrna Loy, Walter Pidgeon, Leo Carrillo, Johnny Hines, Virginia Weidler. Gable and Pidgeon are rival newsreel photographers vying for aviatrix Loy in this fast-paced action-comedy; Gable’s scene faking enemy attack on China is a gem.

Too Hot to Handle (1960-British) C-92m. D: Terence Young. Jayne Mansfield, Leo Genn, Carl Boehm, Christopher Lee, Barbara Windsor. Seamy study of chanteuse Mansfield involved with one man too many in the nightclub circuit. Aka PLAYGIRL AFTER DARK.

Too Late Blues (1962) 100m. D: John Cassavetes. Bobby Darin, Stella Stevens, John Cassavetes, Rupert Crosse, Vincent Edwards, Cliff Carnell, Seymour Cassel. Somewhat pretentious drama about jazz musician Darin becoming involved with selfish Stevens. Score by David Raksin, with on-camera performances “doubled” by such jazz greats as Benny Carter, Shelly Manne, and Jimmy Rowles.

Too Late for Tears (1949) 99m. ½ D: Byron Haskin. Lizabeth Scott, Don DeFore, Dan Duryea, Arthur Kennedy, Kristine Miller. Atmospheric but muddled drama detailing what happens when a bag filled with cash is dropped into the car of greedy bad-girl Scott and nice-guy husband Kennedy. Duryea is at his best as a heavy. Aka KILLER BAIT.

Too Many Crooks (1958-British) 85m. ½ D: Mario Zampi. Terry-Thomas, George Cole, Brenda De Banzie, Sid James, Sydney Tafler. OK satire on racketeer films buoyed by Terry-Thomas’ presence.

Too Many Girls (1940) 85m. D: George Abbott. Lucille Ball, Richard Carlson, Eddie Bracken, Ann Miller, Hal LeRoy, Desi Arnaz, Frances Langford. Engaging Rodgers-Hart musical comedy with winning cast, sharp dialogue. Four boys are hired to keep an eye on footloose Lucy at Pottawatomie College in Stopgap, New Mexico. Stagy presentation of musical numbers seems to work fine here; Van Johnson is very noticeable as one of the chorus boys (it was his film debut, as well as Arnaz and Bracken’s). Incidentally, this is where Lucy and Desi met.

Too Many Husbands (1940) 84m. D: Wesley Ruggles. Jean Arthur, Fred MacMurray, Melvyn Douglas, Harry Davenport, Dorothy Peterson, Edgar Buchanan. Jean is married to Douglas when husband #1 (MacMurray), thought dead, turns up. Engaging farce from W. Somerset Maugham’s play Home and Beauty. Remade as THREE FOR THE SHOW.

Too Many Winners (1947) 61m. ½ D: William Beaudine. Hugh Beaumont, Trudy Marshall, Ralph Dunn, Claire Carleton, Charles Mitchell, John Hamilton. Sleuth Michael Shayne tries to take a vacation, but naturally gets entangled in crime solving instead. Final entry in cut-rate series.

Too Much Harmony (1933) 76m. ½ D: A. Edward Sutherland. Bing Crosby, Jack Oakie, Grace Bradley, Judith Allen, Lilyan Tashman, Ned Sparks. Pleasant, if plotty, backstage musical with some good song numbers, including “Thanks,” “The Day You Came Along.”

Too Much, Too Soon (1958) 121m. D: Art Napoleon. Dorothy Malone, Errol Flynn, Efrem Zimbalist, Jr., Ray Danton, Neva Patterson, Martin Milner, Murray Hamilton. But not enough, in sensationalistic tale of Diana Barrymore’s decline. Flynn steals the show as John Barrymore.

Too Soon to Love (1960) 85m. D: Richard Rush. Jennifer West, Richard Evans, Warren Parker, Ralph Manza, Jack Nicholson. Mildly interesting period piece about illicit teenage love, pregnancy, and abortion. An early credit for Nicholson and writer-director Rush.

Too Young to Kiss (1951) 91m. ½ D: Robert Z. Leonard. June Allyson, Van Johnson, Gig Young, Paula Corday, Hans Conried. Allyson is fetching as pianist posing as child prodigy to get her big break falling in love with Johnson.

Too Young to Know (1945) 86m. D: Frederick de Cordova. Joan Leslie, Robert Hutton, Rosemary DeCamp, Dolores Moran. Slick, empty drama of career girl Leslie torn between husband and job.

To Paris With Love (1955-British) C-78m. ½ D: Robert Hamer. Alec Guinness, Odile Versois, Vernon Gray, Elina Labourdette, Claude Romain, Jacques François, Austin Trevor. Middle-aged widower Guinness and son (Gray) try to marry each other off while on holiday in Paris. So-so comedy should amuse Guinness fans and Francophiles.

Topaze (1933) 78m. D: (Harry) D’Abbadie D’Arrast. John Barrymore, Myrna Loy, Albert Conti, Luis Alberni, Reginald Mason, Jobyna Howland. Delightful film adapted from Marcel Pagnol’s play about an impeccably honest but naive schoolteacher in France who unwittingly becomes a dupe for wealthy baron’s business scheme. Barrymore is perfect. Remade as I LIKE MONEY.

Topaze (1951-French) 136m. D: Marcel Pagnol. Fernandel, Hélène Perdrière, Pierre Larquey, Jacques Morel, Jacqueline Pagnol, Marcel Vallée, Jacques Castelot. Fernandel is in top form as the title character, a naive, exploited schoolteacher cruelly fired from his job, who finds himself merrily wallowing in corruption. Pagnol scripted, from his play; filmed in 1933, 1935, 1936 (by Pagnol), and 1960 (as I LIKE MONEY). Beware edited versions.

Top Banana (1954) C-100m. D: Alfred E. Green. Phil Silvers, Rose Marie, Danny Scholl, Judy Lynn, Jack Albertson, Joey Faye, Herbie Faye. Fascinating curio is literally a filmed version of Silvers’ Broadway hit about a Milton Berle–like TV comic. Full of burlesque chestnuts, and filmed (believe it or not) in 3-D. Current prints run 84m., with some musical numbers deleted.

Top Gun (1955) 73m. ½ D: Ray Nazarro. Sterling Hayden, William Bishop, Karin Booth, Regis Toomey, Rod Taylor, Denver Pyle. Hayden, unwelcome in his own home town because of his gunfighter past, must help defend it against outlaws. OK Western drama, somewhat reminiscent of HIGH NOON.

Top Hat (1935) 99m. D: Mark Sandrich. Fred Astaire, Ginger Rogers, Edward Everett Horton, Helen Broderick, Eric Blore, Erik Rhodes. What can we say? Merely a knock-out of a musical with Astaire and Rogers at their brightest doing “Cheek to Cheek,” “Isn’t This a Lovely Day to Be Caught in the Rain,” “Top Hat, White Tie, and Tails,” and the epic “Piccolino,” and other Irving Berlin songs, as the duo goes through typical mistaken-identity plot. Wonderful support from rest of cast; that’s Lucille Ball as the flower shop clerk. Scripted by Dwight Taylor and Allan Scott, from a play by Alexander Farago and Aladar Laszlo. Originally 101m.; some prints are 93m. Later a stage musical.

Topkapi (1964) C-120m. D: Jules Dassin. Melina Mercouri, Peter Ustinov, Maximilian Schell, Robert Morley, Akim Tamiroff, Despo Diamantidou. First-rate entertainment of would-be thieves who plan perfect crime in Constantinople museum; lighthearted caper has inspired many imitations. Filmed in Istanbul, with Ustinov’s delightful performance copping an Academy Award. Written by Monja Danischewsky, from Eric Ambler’s novel The Light of Day; memorable score by Manos Hadjidakis.

To Please a Lady (1950) 91m. ½ D: Clarence Brown. Clark Gable, Barbara Stanwyck. Adolphe Menjou, Roland Winters, Will Geer, Emory Parnell, Frank Jenks. Unremarkable love story of reporter Stanwyck and race-car driver-heel Gable.

Top Man (1943) 74m. ½ D: Charles Lamont. Donald O’Connor, Susanna Foster, Peggy Ryan, Richard Dix, Anne Gwynne, Lillian Gish, Noah Beery, Jr., Samuel S. Hinds, Louise Beavers, Count Basie and His Orchestra, Borrah Minnevitch and His Harmonica Rascals. When his father is recalled into active service, teenaged O’Connor becomes the head of the family. Oddly comical Oedipal situation, with a sidebar pitch for high schoolers to volunteer at defense plants, is frequently interrupted by swell musical numbers. Surprising to see Gish in an absolutely ordinary wartime mom role.

Top of the World (1955) 90m. D: Lewis R. Foster. Dale Robertson, Evelyn Keyes, Frank Lovejoy, Nancy Gates. Set in Alaska, movie revolves around jet pilot Robertson, his ex-wife Keyes, and her new boyfriend Lovejoy.

Top o’ the Morning (1949) 100m. ½ D: David Miller. Bing Crosby, Barry Fitzgerald, Ann Blyth, Hume Cronyn, John McIntire, Eileen Crowe. Crosby-Fitzgerald malarkey is wearing thin in this fanciful musical of Bing searching for thief hiding the Blarney Stone.

Topper (1937) 97m. ½ D: Norman Z. McLeod. Constance Bennett, Cary Grant, Roland Young, Billie Burke, Alan Mowbray, Eugene Pallette, Arthur Lake, Hedda Hopper. Delightful gimmick comedy with ghosts Grant and Bennett dominating life of meek Young; sparkling cast in adaptation of Thorne Smith novel, scripted by Jack Jevne, Eddie Moran, and Eric Hatch. Followed by two sequels, a TV series, and a 1979 TV remake starring Kate Jackson and Andrew Stevens. Also shown in computer-colored version (the first b&w film to be “colorized,” in 1985).

Topper Returns (1941) 88m. D: Roy Del Ruth. Joan Blondell, Roland Young, Carole Landis, Billie Burke, Dennis O’Keefe, Patsy Kelly, Eddie “Rochester” Anderson. Topper helps ghostly Blondell solve her own murder in the last of this series, with hilarious results. Also shown in computer-colored version.

Topper Takes a Trip (1939) 85m. D: Norman Z. McLeod. Constance Bennett, Roland Young, Billie Burke, Alan Mowbray, Verree Teasdale, Franklin Pangborn. Cary Grant is missing (except in a flashback), but rest of cast returns for repeat success as Young is frustrated on Riviera vacation by ghostess Bennett. Also shown in computer-colored version.

Top Secret Affair (1957) 100m. ½ D: H. C. Potter. Susan Hayward, Kirk Douglas, Paul Stewart, Jim Backus, John Cromwell. John P. Marquand’s Melville Goodwin, U.S.A. becomes fair comedy, with most credit going to Hayward as fiery publisher who knows all about the past of Senate appointee (Douglas).

Tops Is the Limit SEE: Anything Goes (1936)

Top Speed (1930) 71m. D: Mervyn LeRoy. Joe E. Brown, Bernice Claire, Jack Whiting, Frank McHugh, Laura Lee, Rita Flynn, Edwin Maxwell. Big-mouth bond clerk Brown and pal Whiting pose as millionaires at a fancy hotel to impress a couple of rich cuties. One of Brown’s best vehicles, a funny musical comedy (from the show by Bert Kalmar, Harry Ruby, and Guy Bolton), with zippy production numbers, some racy gags, and a wild speedboat race finale.

Torch, The (1950-Mexican) 90m. D: Emilio Fernandez. Paulette Goddard, Pedro Armendariz, Gilbert Roland, Walter Reed. Mexican revolutionary captures town and falls for daughter of nobility. Rare English-language effort by Mexico’s top director; a shame it isn’t better. Remake of Fernandez’s ENAMORADA (1946), with Armendariz repeating his role. Both films beautifully photographed by Gabriel Figueroa.

Torch Singer (1933) 71m. D: Alexander Hall, George Somnes. Claudette Colbert, Ricardo Cortez, David Manners, Lyda Roberti, Baby LeRoy, Florence Roberts, Charley Grapewin, Cora Sue Collins. A poor unwed mother tries to make it on her own but finally has to give up her child. She then becomes a notorious nightclub chanteuse and secretly moonlights as the host of a radio show for kiddies, which she uses to try to find her child. Colbert was never better—by turns sweet, vulnerable, sexy, and sophisticated. (She also reveals the “dark side of the moon,” the little-seen right side of her face.) Funny, sentimental pre-Code examination of women’s roles in a man’s world. Featured song: “Give Me Liberty or Give Me Love.”

Torch Song (1953) C-90m. ½ D: Charles Walters. Joan Crawford, Michael Wilding, Marjorie Rambeau, Gig Young, Henry (Harry) Morgan, Dorothy Patrick, Benny Rubin, Nancy Gates. Crawford is hard as nails as a Broadway musical star who chews up people for lunch—until she meets blind pianist Wilding, who isn’t cowed by her. Glossy, often hilariously clichéd drama reminds us that It’s Lonely At the Top. There’s one absurd musical number in which Crawford appears in blackface! Her “clumsy” dance partner in the opening number is director Walters, a former dancer and choreographer.

Torchy Blane Glenda Farrell was one of the leading lights of the Warner Bros. stock company; she could always be counted on to add zip and zest to a film, especially if provided with good wisecracks by the screenwriters. Her reward was a series of her own, Torchy Blane, which was adapted from a series of pulp magazine stories by the prolific Frederick Nebel. Nebel’s mystery-solving reporter was a man, and his name was Kennedy, but the gender switch worked. In every film, Torchy matches wits with police lieutenant Steve McBride, who never quite seems to understand what’s going on. It’s usually up to Torchy to solve the case at hand, which causes Steve certain embarrassment, since he and Torchy are engaged to be married. Barton MacLane’s casting as McBride rescued him from playing the same harsh-mouthed bad guys over and over again, but his part wasn’t well written enough to make him terribly endearing. Comic actor Tom Kennedy was cast as Gahagan, McBride’s right hand and the dumbest cop ever to hit the screen (though the recurring character of the desk sergeant, played in most cases by George Guhl, just might be his equal). There is nothing to distinguish these quickly made B pictures except for the usual Warner Bros. pizzazz, and the snap of Glenda Farrell. The first film in the series, SMART BLONDE, is easily the best (and the only one to be based directly on a Nebel story); most of the others are quite forgettable. Lola Lane and Paul Kelly replaced Farrell and MacLane for one episode, TORCHY BLANE IN PANAMA; Jane Wyman and Allen Jenkins finished off the series in TORCHY BLANE . . . PLAYING WITH DYNAMITE.

TORCHY BLANE

Smart Blonde (1936)

Fly-Away Baby (1937)

Adventurous Blonde (1937)

Blondes at Work (1938)

Torchy Blane in Panama (1938)

Torchy Gets Her Man (1938)

Torchy Blane in Chinatown (1939)

Torchy Runs for Mayor (1939)

Torchy Blane . . . Playing With Dynamite (1939)

Torchy Blane in Chinatown (1939) 59m. ½ D: William Beaudine. Glenda Farrell, Barton MacLane, Tom Kennedy, Patric Knowles, Henry O’Neill, James Stephenson. Torchy and fiancé Steve get mixed up with jade smuggling and murder in this tiresome and confusing series episode. Remake of a 1930 film, MURDER WILL OUT which itself was later remade in 1940.

Torchy Blane in Panama (1938) 58m. ½ D: William Clemens. Lola Lane, Paul Kelly, Tom Kennedy, Anthony Averill, Larry Williams, Betty Compson. Lane and Kelly temporarily replaced Glenda Farrell and Barton MacLane in this indifferent entry about New York bank robbers who flee to Panama on an ocean liner.

Torchy Blane . . . Playing With Dynamite (1939) 59m. D: Noel Smith. Jane Wyman, Allen Jenkins, Tom Kennedy, Sheila Bromley, Joe Cunningham, Eddie Marr. Wyman, who had a small part in the first Torchy Blane entry, plays the lead in this farcical final episode, in which she goes to jail undercover to get the goods on a crook. Jenkins, replacing Barton MacLane, is very funny.

Torchy Gets Her Man (1938) 62m. D: William Beaudine. Glenda Farrell, Barton MacLane, Tom Kennedy, Willard Robertson, George Guhl, John Ridgely, Tommy Jackson. Farrell and MacLane returned for this mostly comical addition to the series, with Torchy in hot pursuit of a counterfeiting gang.

Torchy Runs for Mayor (1939) 58m. ½ D: Ray McCarey. Glenda Farrell, Barton MacLane, Tom Kennedy, John Miljan, Frank Shannon, Joe Cunningham, Irving Bacon. Torchy digs up some dirt on corrupt politicians and you can guess the rest from the title. Pretty good series entry with some very snappy dialogue.

Torment (1944-Swedish) 100m. ½ D: Alf Sjoberg. Mai Zetterling, Stig Jarrel, Alf Kjellin, Olof Winnerstrand. Schoolboy Kjellin and girl he falls in love with (Zetterling) are hounded by sadistic teacher Jarrel. Moody and evocative, with a script by Ingmar Bergman. Also known as FRENZY.

Tormented (1960) 75m. BOMB D: Bert I. Gordon. Richard Carlson, Juli Reding, Susan Gordon, Lugene Sanders, Joe Turkel, Lillian Adams. Low-budget hogwash of guilt-ridden pianist dubious over his forthcoming marriage to society woman. Weak ghost story.

Torpedo Alley (1953) 84m. D: Lew Landers. Dorothy Malone, Mark Stevens, Charles Winninger, Bill Williams. Typical Korean War actioner involving U.S. submarine offensives. Look fast for Charles Bronson as sub crew member.

Torpedo Bay (1963-Italian-French) 91m. ½ D: Charles Frend. James Mason, Lilli Palmer, Gabriele Ferzetti, Alberto Lupo, Geoffrey Keen. British and Italian naval crews meet on neutral territory during WW2; modest but fairly interesting drama.

Torpedo Run (1958) C-98m. ½ D: Joseph Pevney. Glenn Ford, Ernest Borgnine, Diane Brewster, Dean Jones. Sluggish WW2 revenge narrative of sub-commander Ford whose family was aboard Jap prison ship he had to blow up. CinemaScope

Torrent (1926) 87m. D: Monta Bell. Ricardo Cortez, Greta Garbo, Gertrude Olmstead, Edward Connelly, Lucien Littlefield, Tully Marshall, Mack Swain. Garbo stars in her first American film as a Spanish peasant girl who becomes a famous prima donna after being deserted by nobleman Cortez, whose life is ruled by his mother. A still entertaining tale of lost love, based on a Blasco-Ibanez novel.

Torrid Zone (1940) 88m. ½ D: William Keighley. James Cagney, Ann Sheridan, Pat O’Brien, Andy Devine, Helen Vinson, Jerome Cowan, George Tobias, George Reeves. South-of-the-border comedy, action and romance with nightclub star Sheridan helping plantation owner O’Brien keep Cagney from leaving. Zesty dialogue (scripted by Richard Macauley and Jerry Wald) in this variation on THE FRONT PAGE.

Tortilla Flat (1942) 105m. D: Victor Fleming. Spencer Tracy, Hedy Lamarr, John Garfield, Frank Morgan, Akim Tamiroff, Sheldon Leonard, Donald Meek, John Qualen, Allen Jenkins. Steinbeck’s salty novel of California fishing community vividly portrayed by three top stars, stolen by Morgan as devoted dog lover. Also shown in computer-colored version.

To the Ends of the Earth (1948) 109m. ½ D: Robert Stevenson. Dick Powell, Signe Hasso, Ludwig Donath, Vladimir Sokoloff, Edgar Barrier. Fast-moving thriller of government agent tracking down narcotics smuggling ring has good acting and ironic ending.

To the Shores of Tripoli (1942) C-86m. ½ D: H. Bruce Humberstone. John Payne, Maureen O’Hara, Randolph Scott, Nancy Kelly, William Tracy, Maxie Rosenbloom, Iris Adrian. Spoiled rich boy Payne joins Marines with off-handed attitude, doesn’t wake up until film’s end. Routine.

To the Victor (1948) 100m. ½ D: Delmer Daves. Dennis Morgan, Viveca Lindfors, Victor Francen, Eduardo Ciannelli, Anthony Caruso, Tom D’Andrea, William Conrad, Dorothy Malone, Joseph Buloff, Bruce Bennett. Thought-provoking post-WW2 drama about an apolitical black marketer (Morgan) who becomes involved with a mystery woman (Lindfors) whose life is in danger. Richard Brooks’ script attempts to deal with issues relating to war, peace, morality, and responsibility, but too many dull stretches do this in. Strikingly photographed on location in Paris and especially at Normandy’s Omaha Beach.

Touch and Go (1955-British) C-85m. ½ D: Michael Truman. Jack Hawkins, Margaret Johnston, Roland Culver, June Thorburn. Wry study of sturdy English family trying to overcome obstacles upsetting their planned emigration to Australia.

Touchez Pas au Grisbi (1954-French) 94m. ½ D: Jacques Becker. Jean Gabin, René Dary, Jeanne Moreau, Dora Doll, Gaby Basset, Denise Clair, Michel Jourdan, Daniel Cauchy, Lino Ventura. An elegant French gangster who’s pulled off a daring heist forsakes his plan to keep the loot under wraps in order to save the life of his impetuous best friend. As much an observation about a certain way of life as it is a crime thriller; unpretentious and skillfully made, with a typically commanding performance by the incomparable Gabin. Aka GRISBI.

Touch of Evil (1958) 111m. D: Orson Welles. Charlton Heston, Orson Welles, Janet Leigh, Joseph Calleia, Akim Tamiroff, Marlene Dietrich, Dennis Weaver, Valentin de Vargas, Mort Mills, Victor Milian, Joanna Moore, Zsa Zsa Gabor. Narc Heston and corrupt cop Welles tangle over murder investigation in sleazy Mexican border town, with Heston’s bride Leigh the pawn of their struggle. Fantastic, justifiably famous opening shot merely commences stylistic masterpiece, dazzlingly photographed by Russell Metty. Great Latin rock score by Henry Mancini; neat unbilled cameos by Joseph Cotten, Ray Collins, and especially Mercedes McCambridge. Originally released at 93m. Years later a 108m. preview print was unearthed and reissued. Then the film was reconstructed in 1998 by Walter Murch, using Welles’ notes, to present length.

Touch of Larceny, A (1959-British) 93m. D: Guy Hamilton. James Mason, George Sanders, Vera Miles, Oliver Johnston, William Kendall, Duncan Lamont. Ingenious comedy of officer who uses availability of military secrets to his advantage in off-beat plan.

Tough as They Come (1942) 61m. D: William Nigh. Billy Halop, Huntz Hall, Bernard Punsly, Gabriel Dell, Helen Parrish, Paul Kelly, Ann Gillis. Contrived Little Tough Guys tale about law student Halop trying to straighten out a crooked credit union.

Tougher They Come, The (1950) 69m. D: Ray Nazarro. Wayne Morris, Preston Foster, Kay Buckley, William Bishop, Frank McHugh, Gloria Henry, Mary Castle, Joseph Crehan. Lumbering lumberjack saga has two-fisted loggers Foster and Morris battling sabotage from traitorous foreman Bishop, who is secretly working for a rival lumber combine. Stock footage of real loggers and a raging forest fire are the best things on display here.

Toughest Gun in Tombstone (1958) 72m. D: Earl Bellamy. George Montgomery, Jim Davis, Beverly Tyler, Gerald Milton, Don Beddoe, Scotty Morrow, Harry Lauter, Lane Bradford. Standard low-budget fare with Montgomery going undercover to break up a gang of rustlers—including the likes of Ike Clanton and Johnny Ringo, the same men who murdered his wife.

Toughest Man Alive, The (1955) 72m. D: Sidney Salkow. Dane Clark, Lita Milan, Ross Elliott, Myrna Dell, Syd Saylor, Anthony Caruso. Mild caper with Clark a U.S. agent who goes undercover as a gun runner to sniff out the culprits who are smuggling arms to Central America.

Toughest Man in Arizona (1952) C-90m. ½ D: R. G. Springsteen. Vaughn Monroe, Joan Leslie, Edgar Buchanan, Victor Jory. While waging war on crime, marshal Monroe falls for girl with expected results. Weak Western vehicle for crooner Monroe.

Tough Guy (1936) 76m. ½ D: Chester Franklin. Jackie Cooper, Joseph Calleia, Rin Tin Tin, Jr., Harvey Stephens, Jean Hersholt, Edward Pawley, Mischa Auer. Cooper is a rich kid who runs away with Rinty because his father doesn’t like the pooch. Calleia is a crook he meets along the way, and the two develop an unusual bond. Efficient, fast-moving blend of gunplay and tears.

Tovarich (1937) 98m. D: Anatole Litvak. Claudette Colbert, Charles Boyer, Basil Rathbone, Anita Louise, Melville Cooper, Isabel Jeans, Morris Carnovsky. Boyer and Colbert, royal Russians who fled the Revolution with court treasury but nothing for themselves, are reduced to working as servants. Enjoyable but dated romantic comedy set in Paris. Based on a French play Americanized by Robert E. Sherwood.

Toward the Unknown (1956) C-115m. D: Mervyn LeRoy. William Holden, Lloyd Nolan, Virginia Leith, Charles McGraw, Murray Hamilton, Paul Fix, James Garner, L. Q. Jones, Karen Steele, Jon Provost. Intelligent, crisply filmed precursor to THE RIGHT STUFF spotlights tarnished air officer Holden, who cracked under pressure while a POW in Korea. He must overcome the skepticism of his fellow flyers as he attempts to reestablish himself as a test pilot. Filmed on location at California’s Edwards Air Force Base. Garner’s film debut.

Tower of London (1939) 92m. ½ D: Rowland V. Lee. Basil Rathbone, Boris Karloff, Barbara O’Neil, Ian Hunter, Vincent Price, Nan Grey, Leo G. Carroll, John Sutton, Miles Mander, Donnie Dunagan. Muddled historical melodrama (not a horror film, as many believe), with Rathbone as unscrupulous, power-hungry Richard III and Karloff as his dutiful executioner Mord. Court intrigue leads to uninspired battle scenes. Same-named 1962 movie has little in common with this—except the historical figures.

Tower of London (1962) 79m. ½ D: Roger Corman. Vincent Price, Michael Pate, Joan Freeman, Robert Brown. Price gives his all as Richard III, who dispatches his rivals for the crown of England, but this is a far cry from Shakespeare, and not even up to par for director Corman. Has little in common with the 1939 film of the same name, in which Price played the Duke of Clarence.

Town Like Alice, A (1956-British) 107m. ½ D: Jack Lee. Virginia McKenna, Peter Finch, Maureen Swanson, Vincent Ball. Taut WW2 tale, well acted, about Japanese oppression of female British POWs in Malaysia. Based on Nevil Shute’s novel, later remade as TV miniseries. Retitled: RAPE OF MALAYA.

Town on Trial (1956-British) 96m. ½ D: John Guillermin. John Mills, Charles Coburn, Derek Farr, Barbara Bates, Alec McCowen. A murder investigation in a small British town, where there’s no shortage of suspects. Low-key drama makes good use of natural locations.

Town Tamer (1965) C-89m. D: Lesley Selander. Dana Andrews, Terry Moore, Pat O’Brien, Lon Chaney (Jr.), Bruce Cabot, Lyle Bettger, Coleen Gray, Barton MacLane, Richard Arlen, Richard Jaeckel, Sonny Tufts. As title indicates, Andrews cleans up community, and among the rubble are some veteran actors. Routine Western has minor nostalgia value, in light of the cast. Techniscope.

Town Went Wild, The (1944) 78m. D: Ralph Murphy. Freddie Bartholomew, Jimmy Lydon, Edward Everett Horton, Tom Tully, Jill Browning, Minna Gombell. Fitfully amusing Poverty-Row comedy concerning two feuding families and the interesting possibility that their children were switched at birth.

Town Without Pity (1961) 105m. ½ D: Gottfried Reinhardt. Kirk Douglas, E. G. Marshall, Christine Kaufmann, Robert Blake, Richard Jaeckel, Frank Sutton, Barbara Rutting. Courtroom drama of G.I.s accused of raping German girl. Decent cast, but could have been better handled. Title song, sung by Gene Pitney, was a big hit. Filmed in Germany.

Toys in the Attic (1963) 90m. ½ D: George Roy Hill. Dean Martin, Geraldine Page, Yvette Mimieux, Wendy Hiller, Gene Tierney, Larry Gates, Nan Martin. Timid adaptation (by James Poe) of Lillian Hellman play about man returning home to New Orleans with childlike bride; Page and Hiller are Martin’s overprotective sisters. Panavision.

Toy Tiger (1956) C-88m. ½ D: Jerry Hopper. Jeff Chandler, Laraine Day, Tim Hovey, Cecil Kellaway, Richard Haydn, David Janssen. Pleasant remake of MAD ABOUT MUSIC with Hovey “adopting” Chandler as his father to back up tales to school chums about a real dad.

Toy Wife, The (1938) 95m. D: Richard Thorpe. Luise Rainer, Melvyn Douglas, Robert Young, Barbara O’Neil, H. B. Warner, Alma Kruger, Libby Taylor. In the pre–Civil War South, lively belle Rainer weds lawyer Douglas even though Young would be a more suitable match. Inconsequential drama based on Ludovic Halévy and Henri Meilhac’s play Frou-frou and Augustin Daly’s American version. Previously filmed in 1914, 1917 (as A HUNGRY HEART, with Alice Brady), 1918, and 1923.

Track of the Cat (1954) C-102m. D: William Wellman. Robert Mitchum, Teresa Wright, Tab Hunter, Diana Lynn, Beulah Bondi, Philip Tonge, William Hopper, Carl (“Alfalfa”) Switzer. Tennessee Williams meets American Gothic in this unusually harsh drama about a household filled with bitterness, regret, and envy, and how the hunt for a killer cougar changes the dynamics of the family. A. I. Bezzerides adapted the story by Walter Van Tilburg Clark; William Clothier’s “colorless” palette, and daring camera angles, are the film’s strongest assets.

Track the Man Down (1955-British) 75m. D: R. G. Springsteen. Kent Taylor, Petula Clark, Renee Houston, George Rose. Dog-tracking background makes this standard Scotland Yard murder hunt above par.

Trader Horn (1931) 120m. D: W. S. Van Dyke II. Harry Carey, Edwina Booth, Duncan Renaldo, Olive Golden (Carey), Mutia Omoolu, C. Aubrey Smith. Early talkie classic filmed largely in African jungles still retains plenty of excitement in tale of veteran native dealer Carey encountering tribal hostility. Remade in 1973.

Trade Winds (1938) 90m. D: Tay Garnett. Fredric March, Joan Bennett, Ralph Bellamy, Ann Sothern, Sidney Blackmer, Thomas Mitchell. Debonair detective March goes after murder suspect Bennett; by the end of the around-the-world chase, they fall in love and solve mystery. Director Garnett filmed background footage on round-the-world cruise, but the stars never left the studio! This is the film where Bennett went from blonde to brunette—and never went back.

Traffic in Souls (1913) 74m. ½ D: George Loane Tucker. Jane Gail, Ethel Grandin, William Turner, Matt Moore, William Welsh, William Cavanaugh. Lurid drama about a pair of sisters and how they unwittingly become involved with a band of white slavers. The first and most famous of the “white slave” exploitation features that were popular during the 1910s; once highly controversial, but now a trashy, corny guilty pleasure.

Tragedy of Othello: The Moor of Venice, The SEE: Othello (1952-Italian)

Trail Beyond, The (1934) 55m. ½ D: Robert N. Bradbury. John Wayne, Verna Hillie, Noah Beery, Noah Beery, Jr., Robert Frazer, Iris Lancaster, Earl Dwire. Wayne goes into northwest wilderness searching for mentor’s missing niece and a gold mine. One of Wayne’s better Lone Star efforts, based on James Oliver Curwood’s novel The Wolf Hunters. Beautifully shot in what is now King’s Canyon National Park by Archie Stout. Daredevil water leaps and stunts by Yakima Canutt, including one that misfired for all to see!

Trail Dust (1936) 77m. D: Nate Watt. William Boyd, Jimmy Ellison, George Hayes, Stephen Morris (Morris Ankrum), Gwynne Shipman, Britt Wood. Hopalong Cassidy and cowhands compete against unscrupulous profiteers driving herds to drought-ridden area, desperate to acquire stock for food. Timely Dust Bowl story, faithfully adapted from same-named 1934 novel by Clarence E. Mulford. One of the series’ finest efforts.

Trail of ’98, The (1928) 87m. D: Clarence Brown. Dolores Del Rio, Ralph Forbes, Karl Dane, Harry Carey, Tully Marshall, George Cooper, Russell Simpson, Emily Fitzroy. Celebrated silent epic charting the effects of gold fever on various characters who leave home and embark on a grueling trek to Alaska during the Klondike gold rush of 1898. You can practically feel the bitter wind and freezing snow in this entertaining “Northern Western,” with a vivid you-are-there quality and several spectacular scenes.

Trail of Robin Hood (1950) C-67m. D: William Witney. Roy Rogers, Penny Edwards, Gordon Jones, Jack Holt, Emory Parnell, Clifton Young, Carol Nugent, Foy Willing and the Riders of the Purple Sage. Roy’s final Trucolor Western has him rounding up a host of Western guest stars—Rex Allen, Allan “Rocky” Lane, Monte Hale, Tom Tyler, William Farnum, Ray “Crash” Corrigan, Kermit Maynard, Tom Keene—to help thwart Christmas tree rustlers. Delightful; the perfect Christmas Western.

Trail of the Lonesome Pine, The (1936) C-99m. D: Henry Hathaway. Sylvia Sidney, Henry Fonda, Fred MacMurray, Fred Stone, Fuzzy Knight, Beulah Bondi, Spanky McFarland, Nigel Bruce. Classic story of feuding families and changes that come about when railroad is built on their land. Still strong today, with fine performances, and Fuzzy Knight’s rendition of “Melody from the Sky.” First outdoor film in full Technicolor. Previously filmed in 1915.

Trail of the Vigilantes (1940) 78m. ½ D: Allan Dwan. Franchot Tone, Warren William, Broderick Crawford, Peggy Moran, Andy Devine, Mischa Auer, Porter Hall. Tone is Eastern law enforcer out West to hunt down outlaw gang; lively comedy-Western.

Trail Street (1947) 84m. ½ D: Ray Enright. Randolph Scott, Anne Jeffreys, Robert Ryan, George “Gabby” Hayes, Madge Meredith, Steve Brodie. Fast-paced Western in which Bat Masterson (Scott) takes on murderers, robbers, cattle rustlers, and other ornery critters in the town of Liberal, Kansas.

Trail to San Antone (1947) 67m. D: John English. Gene Autry, Peggy Stewart, Sterling Holloway, William Henry, Johnny Duncan, Tristram Coffin, Dorothy Vaughan, Ralph Peters, Cass County Boys. Gene tries to help a young jockey (Duncan) ride again in this odd Western entry. No real outlaws or excitement in one of Autry’s later Republic Pictures vehicles.

Train, The (1964) 133m. D: John Frankenheimer. Burt Lancaster, Paul Scofield, Jeanne Moreau, Michel Simon, Suzanne Flon, Wolfgang Preiss, Albert Remy. Gripping WW2 actioner of French Resistance trying to waylay train carting French art treasures to Germany. High-powered excitement all the way.

Traitor’s Gate (1964-British-German) 85m. D: Freddie Francis. Albert Lieven, Gary Raymond, Catherina von Schell (Catherine Schell), Margot Trooger, Klaus Kinski, Heinz Bernard, Eddi Arent, Edward Underdown. Suspenseful and entertaining Edgar Wallace thriller (adapted by Jimmy Sangster) about a meticulous plot to steal the crown jewels from the Tower of London by abducting a guard and replacing him with a look-alike escaped convict.

Tramp, Tramp, Tramp (1926) 62m. ½ D: Harry Edwards. Harry Langdon, Joan Crawford, Edwards Davis, Carlton Griffin, Alec B. Francis, Brooks Benedict, Tom Murray. Langdon made his feature debut in this tale of a hobo who enters a cross-country walking race to raise money for his father and impress the pretty daughter (Crawford) of a shoe manufacturer. Frank Capra was one of the writers of this cute comedy featuring some impressive stunt sequences.

Tramp, Tramp, Tramp (1942) 70m. ½ D: Charles Barton. Jackie Gleason, Florence Rice, Jack Durant, Bruce Bennett. Meager comedy as Gleason and Durant, 4-F rejects, protect the homefront, becoming involved in murder caper.

Transatlantic Merry-Go-Round (1934) 92m. D: Ben Stoloff. Jack Benny, Nancy Carroll, Gene Raymond, Sidney Blackmer, Patsy Kelly, Mitzi Green, The Boswell Sisters. Whodunit set against musical story of oceangoing radio troupe led by Benny. Just fair, with some odd production numbers, and a plot resolution that’s for the birds. But the Boswell Sisters are great.

Trans-Atlantic Tunnel (1935-British) 70m. ½ D: Maurice Elvey. Richard Dix, Leslie Banks, Madge Evans, Helen Vinson, C. Aubrey Smith, George Arliss, Walter Huston. Disappointing story about building of transatlantic tunnel bogs down in two-dimensional character conflicts. Futuristic sets are main distinction. Originally 94m. and titled THE TUNNEL.

Transgression (1931) 70m. D: Herbert Brenon. Kay Francis. Paul Cavanagh, Ricardo Cortez, Nance O’Neil, Doris Lloyd, John St. Polis. Happily married Francis’ husband is on assignment in India, so she heads off to Paris and is romanced by suave, assertive Cortez. Melodramatic soaper of guilt and recrimination.

Trap, The (1947) 68m. ½ D: Howard Bretherton. Sidney Toler, Mantan Moreland, Victor Sen Yung, Tanis Chandler, Larry Blake, Kirk Alyn, Rita Quigley, Anne Nagel. Toler’s swan song as Charlie Chan, about a series of murders striking actors at Malibu beach.

Trap, The (1959) C-84m. ½ D: Norman Panama. Richard Widmark, Lee J. Cobb, Tina Louise, Earl Holliman, Carl Benton Reid, Lorne Greene. Turgid drama set in Southwest desert town, with gangsters on the lam intimidating the few townspeople.

Trapeze (1956) C-105m. D: Carol Reed. Burt Lancaster, Tony Curtis, Gina Lollobrigida, Katy Jurado, Thomas Gomez, Johnny Puleo. Moody love triangle with a European circus background; aerialists Lancaster and Curtis vie in the air and on the ground for Gina’s attention. Nice aerial stunt work by various big top professionals. CinemaScope.

Trapped (1949) 78m. ½ D: Richard Fleischer. Lloyd Bridges, Barbara Payton, John Hoyt, James Todd, Russ Conway, Robert Karnes. The FBI’s hot on the trail of a gang of counterfeiters in this so-so thriller, done in the semi-documentary style typical of that era.

Trapped by Boston Blackie (1948) 67m. ½ D: Seymour Friedman. Chester Morris, June Vincent, Richard Lane, Patricia White (Barry), Edward Norris, George E. Stone, Frank Sully. Blackie springs into action to clear himself when an expensive pearl necklace disappears from a party for which he was a security guard.

Trauma (1962) 92m. D: Robert Malcolm Young. John Conte, Lynn Bari, Lorrie Richards, David Garner, Warren Kemmerling. Heavy-handed chiller about Richards’ attempt to recover lost memory of past horrors in spooky mansion.

Traveling Saleslady (1935) 63m. ½ D: Ray Enright. Joan Blondell, Glenda Farrell, William Gargan, Hugh Herbert, Grant Mitchell, Ruth Donnelly. Snappy programmer with Blondell helping to put over inventor Herbert’s booze-flavored toothpaste in order to teach her stubborn father (a rival toothpaste manufacturer) a lesson.

Traveling Saleswoman (1950) 75m. D: Charles F. Riesner. Joan Davis, Andy Devine, Adele Jergens, Chief Thundercloud. Davis and Devine mug it up as soap sales woman and fiancé in stale Western comedy.

Tread Softly Stranger (1958-British) 90m. ½ D: Gordon Parry. Diana Dors, George Baker, Terence Morgan, Patrick Allen, Jane Griffiths, Joseph Tomelty. Sultry Dors comes between two brothers in a dreary British factory town in this atmospheric drama.

Treasure Island (1934) 105m. ½ D: Victor Fleming. Wallace Beery, Jackie Cooper, Lewis Stone, Lionel Barrymore, Otto Kruger, Nigel Bruce, Douglass Dumbrille. Stirring adaptation of Robert Louis Stevenson pirate yarn of 18th-century England and journey to isle of hidden bounty; Beery is a boisterous Long John Silver in fine film with top production values. Only flaw is a stiff Cooper as Jim Hawkins. Also shown in computer-colored version.

Treasure Island (1950) C-96m. ½ D: Byron Haskin. Bobby Driscoll, Robert Newton, Basil Sydney, Walter Fitzgerald, Denis O’Dea, Ralph Truman, Finlay Currie. Vivid Disney version of Robert Louis Stevenson’s classic, filmed in England, with Driscoll a fine Jim Hawkins and Newton the definitive Long John Silver. Changes the novel’s original ending, but who’s quibbling?

Treasure of Fear SEE: Scared Stiff (1945)

Treasure of Lost Canyon, The (1952) C-82m. D: Ted Tetzlaff. William Powell, Julia (Julie) Adams, Rosemary DeCamp, Charles Drake, Tommy Ivo. Mild Western, uplifted by Powell as old prospector. Youth uncovers treasure which causes unhappiness to all. From a Robert Louis Stevenson story.

Treasure of Monte Cristo (1949) 79m. D: William Berke. Glenn Langan, Adele Jergens, Steve Brodie, Robert Jordan, Michael Whelan, Sid Melton. Jergens marries seaman Langan, a descendant of the Count of Monte Cristo, for his inheritance, then falls in love with him. Adequate programmer.

Treasure of Pancho Villa, The (1955) C-96m. ½ D: George Sherman. Rory Calhoun, Shelley Winters, Gilbert Roland, Joseph Calleia. Good cast wasted in plodding account of Calhoun and Roland’s search for gold. SuperScope.

Treasure of Ruby Hills (1955) 71m. ½ D: Frank McDonald. Zachary Scott, Carole Matthews, Barton MacLane, Dick Foran, Lola Albright, Gordon Jones, Raymond Hatton, Lee Van Cleef. Scott gets involved with scheming ranchers in an Arizona town; uninspired Western.

Treasure of the Golden Condor (1953) C-93m. ½ D: Delmer Daves. Cornel Wilde, Constance Smith, Fay Wray, Anne Bancroft, Leo G. Carroll, Bobby (Robert) Blake. Predictable costumer set in 18th-century Latin America, with noble-born Wilde out to claim his fortune. Remake of SON OF FURY.

Treasure of the Sierra Madre, The (1948) 124m. D: John Huston. Humphrey Bogart, Walter Huston, Tim Holt, Bruce Bennett, Barton MacLane, Alfonso Bedoya. Excellent adaptation of B. Traven’s tale of gold, greed, and human nature at its worst, with Bogart, Huston, and Holt as unlikely trio of prospectors. John Huston won Oscars for Best Direction and Screenplay, and his father Walter won as Best Supporting Actor. That’s John as an American tourist near the beginning, and young Robert Blake selling lottery tickets. Also shown in computer-colored version.

Tree Grows in Brooklyn, A (1945) 128m. D: Elia Kazan. Dorothy McGuire, Joan Blondell, James Dunn, Lloyd Nolan, Peggy Ann Garner, Ted Donaldson, James Gleason, Ruth Nelson, John Alexander. Splendid, sensitive film from Betty Smith’s novel about a bright young girl trying to rise above the hardships of her tenement life in turn-of-the-20th-century Brooklyn, New York. Perfect in every detail. Dunn won an Oscar as the father, an incurable pipe dreamer; Garner received a special Academy Award for her performance. Screenplay by Tess Slesinger and Frank Davis. An impressive Hollywood directorial debut by Kazan. Remade for TV in 1974 with Cliff Robertson and Diane Baker.

Trent’s Last Case (1952-British) 90m. ½ D: Herbert Wilcox. Michael Wilding, Margaret Lockwood, Orson Welles, Hugh McDermott. Superior cast in lukewarm tale of the investigation of businessman’s death. Previously filmed (by Howard Hawks) in 1929.

Trial (1955) 105m. D: Mark Robson. Glenn Ford, Dorothy McGuire, John Hodiak, Arthur Kennedy, Katy Jurado, Rafael Campos. Intelligent filming of Don Mankiewicz novel, scripted by the author. Courtroomer involves Mexican boy accused of murder, but actually tied in with pro- vs. anti-Communist politics.

Trial, The (1962-French-Italian-German) 118m. ½ D: Orson Welles. Anthony Perkins, Jeanne Moreau, Romy Schneider, Elsa Martinelli, Orson Welles, Akim Tamiroff. Gripping, if a bit confusing, adaptation of Kafka novel of man in nameless country arrested for crime that is never explained to him. Not for all tastes.

Trial and Error (1962-British) SEE: Dock Brief, The

Trial of Mary Dugan, The (1929) 114m. D: Bayard Veiller. Norma Shearer, Lewis Stone, H. B. Warner, Raymond Hackett, Lilyan Tashman, Olive Tell. Stagy adaptation of director Veiller’s hit play about a “fallen woman” (Shearer, chewing up the scenery) accused of killing her wealthy lover. MGM’s first all-talkie is historically interesting but stiff as a board and drags on forever. Remade in 1941 with Laraine Day.

Trial of Vivienne Ware, The (1932) 56m. D: William K. Howard. Joan Bennett, Donald Cook, Richard “Skeets” Gallagher, ZaSu Pitts, Lilian Bond, Alan Dinehart, Herbert Mundin. Incredibly fast-moving courtroom yarn in which Bennett is defended by ex-beau Cook when she’s accused of killing her faithless fiancé, while the trial is broadcast live on the radio! A virtual textbook of early ’30s filmmaking techniques, chock-full of whip-pans, jump-cuts, wipes, dissolves, tilted camera angles, and a flashback-laden narrative jammed with mystery and comic relief, all in less than an hour. Possibly the speediest film ever made.

Trials of Oscar Wilde, The (1960-British) C-123m. D: Ken Hughes. Peter Finch, Yvonne Mitchell, John Fraser, Lionel Jeffries, Nigel Patrick, James Mason. Fascinating, well-acted chronicle of Oscar Wilde’s libel suit against the Marquis of Queensberry and the tragic turn his life takes because of it. Finch is superb as the once brilliant wit; stylish widescreen photography by Ted Moore. Released at the same time as OSCAR WILDE with Robert Morley. Super Technirama 70.

Tribute to a Bad Man (1956) C-95m. D: Robert Wise. James Cagney, Don Dubbins, Stephen McNally, Irene Papas, Vic Morrow, Royal Dano, Lee Van Cleef. Cagney is the whole show in this Western about a resourceful, ruthless land baron using any means possible to retain his vast possessions. CinemaScope.

Trigger, Jr. (1950) C-68m. D: William Witney. Roy Rogers, Dale Evans, Pat Brady, Gordon Jones, Grant Withers, George Cleveland, Peter Miles, Foy Willing and the Riders of the Purple Sage. Villain Withers sets loose a killer horse in order to terrorize local ranchers into joining his protective association. A young boy (Miles), deathly afraid of horses, surmounts his fear and saves the day for Roy. Remarkable horse scenes and touching performances make it one of Roy’s best . . . though Jones’ oafish comedy relief is a debit.

Trigger Talk SEE: Silent Conflict

Trio (1950-British) 88m. D: Ken Annakin, Harold French. James Hayter, Kathleen Harrison, Anne Crawford, Nigel Patrick, Jean Simmons, Michael Rennie. Following the success of QUARTET, three more diverting Somerset Maugham stories, “The Verger,” “Mr. Knowall,” and “Sanatorium.” All beautifully acted.

Triple Deception (1956-British) C-85m. D: Guy Green. Michael Craig, Julia Arnall, Brenda De Banzie, Barbara Bates, David Kosoff, Geoffrey Keen, Gerard Oury, Anton Diffring, Eric Pohlmann. Adequate thriller in which sailor Craig is brought in by British and French authorities to impersonate his double, a member of a gang of counterfeiters who’s just been killed in an auto accident. Original British title: HOUSE OF SECRETS. VistaVision.

Triple Trouble (1950) 66m. D: Jean Yarbrough. Leo Gorcey, Huntz Hall, Gabriel Dell, William Benedict, G. Pat Collins, Lyn Thomas, Bernard Gorcey, Paul Dubov, David Gorcey. The Bowery Boys are mistaken for robbers and try to catch the real culprits from behind prison bars in this wearisome entry.

Tripoli (1950) C-95m. D: Will Price. John Payne, Maureen O’Hara, Howard da Silva, Philip Reed, Grant Withers, Lowell Gilmore, Connie Gilchrist, Alan Napier. Good cast cannot save average script of U.S. Marines battling Barbary pirates in 1805; sole standout is da Silva.

Triumph of Sherlock Holmes, The (1935-British) 75m. ½ D: Leslie Hiscott. Arthur Wontner, Ian Fleming, Lyn Harding, Leslie Perrins, Jane Carr, Charles Mortimer. Wontner and Fleming make a very acceptable team as Holmes and Watson in this minor British series entry about murder and a secret society among coal miners. Based on Conan Doyle’s “The Valley of Fear.” Original British running time: 84m.

Triumph of the Will (1935-German) 110m. D: Leni Riefenstahl. Riefenstahl’s infamous documentary on Hitler’s 1934 Nuremberg rallies is rightly regarded as the greatest propaganda film of all time. Fascinating and (of course) frightening to see.

Trocadero (1944) 74m. D: William Nigh. Rosemary Lane, Johnny Downs, Ralph Morgan, Dick Purcell, Sheldon Leonard, Marjorie Manners, Cliff Nazarro, Erskine Johnson, Dewey Robinson, Ida James, The Radio Rogues. Humdrum B musical about the ups and downs of a Hollywood nightclub. Simple story leaves ample room for songs by bandleaders Bob Chester, Eddie LeBaron, Wingy Manone, and Matty Malneck, plus amusing double-talk by Nazarro and tableside pen-and-ink animation by Dave Fleischer.

Trojan Horse, The (1962-Italian) C-105m. ½ D: Giorgio Ferroni. Steve Reeves, John Drew Barrymore, Hedy Vessel, Juliette Mayniel. Above-average production values and Barrymore’s presence in role of Ulysses inflates rating of otherwise stale version of Homer’s epic. Techniscope.

Trollenberg Terror, The SEE: Crawling Eye, The

Trooper Hook (1957) 81m. ½ D: Charles Marquis Warren. Joel McCrea, Barbara Stanwyck, Earl Holliman, Susan Kohner, Sheb Wooley, Celia Lovsky. Woman scorned by whites for having lived with Indians and having child by the chief, begins anew with cavalry sergeant.

Troopship SEE: Farewell Again

Tropic Holiday (1938) 78m. ½ D: Theodore Reed. Dorothy Lamour, Ray Milland, Martha Raye, Bob Burns, Tito Guizar. Silly musical set in Mexico, with perky performances by all.

Tropic Zone (1953) C-94m. ½ D: Lewis R. Foster. Ronald Reagan, Rhonda Fleming, Estelita, Noah Beery (Jr.). Blah actioner set in South America with Reagan fighting the good cause to save a banana plantation from outlaws.

Trottie True SEE: Gay Lady, The

Trouble Along the Way (1953) 110m. ½ D: Michael Curtiz. John Wayne, Donna Reed, Charles Coburn, Sherry Jackson, Marie Windsor, Tom Tully, Leif Erickson, Chuck Connors. Unusually sentimental Wayne vehicle casts him as divorced man trying to maintain custody of his daughter (Jackson); he earns back self-respect by coaching football team for small Catholic school.

Trouble at 16 SEE: Platinum High School

Trouble for Two (1936) 75m. D: J. Walter Ruben. Robert Montgomery, Rosalind Russell, Frank Morgan, Reginald Owen, Louis Hayward. Unique, offbeat black comedy of Montgomery and Russell joining London Suicide Club; based on Robert Louis Stevenson story.

Trouble in Paradise (1932) 83m. D: Ernst Lubitsch. Miriam Hopkins, Kay Francis, Herbert Marshall, Charlie Ruggles, Edward Everett Horton, C. Aubrey Smith, Robert Grieg, Leonid Kinskey. Sparkling Lubitsch confection about two jewel thieves (Marshall and Hopkins) who fall in love, but find their relationship threatened when he turns on the charm to their newest (female) victim. This film is a working definition of the term “sophisticated comedy.” Script by Samson Raphaelson and Grover Jones.

Trouble in Store (1953-British) 85m. ½ D: John Paddy Carstairs. Margaret Rutherford, Norman Wisdom, Moira Lister, Megs Jenkins. Full of fun sight gags and good character actors, film traces ups and downs of naive department store worker. Wisdom’s film debut.

Trouble in the Glen (1954-British) C-91m. D: Herbert Wilcox. Margaret Lockwood, Orson Welles, Forrest Tucker, Victor McLaglen. Scottish-based drama of feud over closing of road that has been used for a long time. Average-to-poor script benefits from Welles.

Troublemaker, The (1964) 80m. D: Theodore Flicker. Tom Aldredge, Joan Darling, Theodore Flicker, Buck Henry, Godfrey Cambridge, Al Freeman, Jr. Terribly dated, independently made comedy about a country bumpkin’s adventures in N.Y.C.; interesting as an artifact of its time, made by the talented improvisational comedy troupe known as The Premise.

Trouble Makers (1948) 69m. D: Reginald LeBorg. Leo Gorcey, Huntz Hall, Gabriel Dell, Billy Benedict, David Gorcey, Helen Parrish, Fritz Feld, Lionel Stander, Frankie Darro, John Ridgely, Bennie Bartlett, Bernard Gorcey. The Bowery Boys pose as hotel bellboys to probe a murder. This was one of veteran character actor Stander’s last films before being blacklisted.

Trouble With Harry, The (1955) C-99m. D: Alfred Hitchcock. Edmund Gwenn, John Forsythe, Shirley MacLaine, Mildred Natwick, Mildred Dunnock, Jerry Mathers, Royal Dano. Offbeat, often hilarious black comedy courtesy Mr. Hitchcock and scripter John Michael Hayes about bothersome corpse causing all sorts of problems for peaceful neighbors in New England community. Gwenn is fine as usual, MacLaine appealing in her first film. Beautiful autumn locations, whimsical score (his first for Hitch) by Bernard Herrmann. VistaVision.

Trouble With Women, The (1947) 80m. D: Sidney Lanfield. Ray Milland, Teresa Wright, Brian Donlevy, Rose Hobart, Charles Smith, Lewis Russell, Iris Adrian, Lloyd Bridges. Professor Milland announces that women like to be treated roughly; you can guess the rest of this tame comedy.

True Confession (1937) 85m. ½ D: Wesley Ruggles. Carole Lombard, Fred MacMurray, John Barrymore, Una Merkel, Porter Hall, Edgar Kennedy, Lynne Overman, Irving Bacon, Fritz Feld. Alarmingly unfunny “comedy” about pathological liar Lombard and the trouble she causes for herself and good-natured lawyer husband MacMurray when she confesses to a murder she didn’t commit. Remade with Betty Hutton as CROSS MY HEART.

True Heart Susie (1919) 93m. D: D. W. Griffith. Lillian Gish, Robert Harron, Clarine Seymour, Kate Bruce, Raymond Cannon, Carol Dempster, George Fawcett. Gish is wonderful as a plain farm girl who secretly sells her cow to send her sweetheart to college, but when he returns he becomes a minister and marries a scheming city girl. Will he learn the truth before it’s too late? One of Griffith’s most charmingly old-fashioned films, made with a warm innocence and purity of style that is truly refreshing.

True Story of Jesse James, The (1957) C-92m. ½ D: Nicholas Ray. Robert Wagner, Jeffrey Hunter, Hope Lange, Agnes Moorehead, Alan Hale (Jr.), John Carradine, Alan Baxter, Frank Gorshin. Remake of 1939 Tyrone Power/Henry Fonda classic (JESSE JAMES) understandably lacks its star power, but there are enough offbeat Ray touches to keep things interesting (along with some stock footage from the original). Screenplay by Walter Newman. CinemaScope.

True Story of Lynn Stuart, The (1958) 78m. ½ D: Lewis Seiler. Betsy Palmer, Jack Lord, Barry Atwater, Kim Spaulding. Modest, straightforward account of housewife Palmer posing as gun moll to trap gang.

True to Life (1943) 94m. D: George Marshall. Mary Martin, Franchot Tone, Dick Powell, Victor Moore, Mabel Paige, William Demarest, Ernest Truex. Engaging comedy of radio writer going to live with “typical” American family to get material for his soap opera. Not a musical, but boasts delightful Hoagy Carmichael–Johnny Mercer song “The Old Music Master.”

True to the Army (1942) 76m. D: Albert S. Rogell. Allan Jones, Ann Miller, Judy Canova, Jerry Colonna. Zany nonsense erupts when military life and romance clash; loud WW2 escapism. This remake of SHE LOVES ME NOT was remade again as HOW TO BE VERY, VERY POPULAR.

True to the Navy (1930) 71m. D: Frank Tuttle. Clara Bow, Fredric March, Sam Hardy, Eddie Fetherston, Jed Prouty, Rex Bell. Silly early talkie about on-again, off-again romance between sailor March and soda-fountain waitress Bow. Buffs will get a kick out of it; Clara does one sexy dance number. Bow and Bell later married in real life.

Trumpet Blows, The (1934) 72m. D: Stephen Roberts. George Raft, Adolphe Menjou, Frances Drake, Sidney Toler, Edward Ellis, Nydia Westman, Katherine DeMille. Raft is oddly cast in this slight, forgettable yarn as an American-educated Mexican who returns to brother Menjou’s ranch; their mutual affection for dancer Drake puts them at odds. Raft in matador gear somehow doesn’t quite cut it.

Truth About Spring, The (1965-British) C-102m. D: Richard Thorpe. Hayley Mills, John Mills, James MacArthur, Lionel Jeffries, Harry Andrews, Niall MacGinnis, David Tomlinson. Skipper Mills introduces daughter Hayley to first boyfriend, MacArthur, in enjoyable film geared for young viewers.

Truth About Women, The (1958-British) C-98m. ½ D: Muriel Box. Laurence Harvey, Julie Harris, Diane Cilento, Mai Zetterling, Eva Gabor, Wilfrid Hyde-White, Christopher Lee, Ernest Thesiger. Multi-episode tale about playboy Harvey’s flirtations; well mounted and cast, but slow-going.

Truth About Youth, The (1930) 67m. ½ D: William A. Seiter. Loretta Young, Conway Tearle, David Manners, Myrna Loy, J. Farrell MacDonald, Myrtle Stedman, Harry Stubbs. Loy adds the only spark of life to this wooden and dated tale of a callow young man (Manners) who is engaged to the sweet daughter (Young) of his guardian’s housekeeper, but becomes infatuated with a seductive, gold-digging cabaret singer (Loy). Based on Henry V. Esmond’s play When We Were Twenty-One, previously filmed in 1915 and 1921.

Try and Get Me! (1950) 90m. D: Cyril Endfield. Frank Lovejoy, Kathleen Ryan, Richard Carlson, Lloyd Bridges, Katherine Locke, Adele Jergens, Renzo Cesara. Husband and father Lovejoy can’t find a job, so he reluctantly helps slick Bridges in a series of robberies . . . but he isn’t prepared for kidnapping and murder. Very impressive independent film noir indicts yellow journalism and lynch-mob violence, but doesn’t let the criminals off the hook. Based on a true story that took place in California during the 1930s. Deserves to be better known. Originally shown as THE SOUND OF FURY.

Tugboat Annie (1933) 87m. ½ D: Mervyn LeRoy. Marie Dressler, Wallace Beery, Robert Young, Maureen O’Sullivan, Willard Robertson, Frankie Darro. Marie is skipper of the tugboat Narcissus, Beery her ne’er-do-well husband in this rambling, episodic comedy drama; inimitable stars far outclass their wobbly material. Followed by TUGBOAT ANNIE SAILS AGAIN, and a 1950s TV series.

Tugboat Annie Sails Again (1940) 77m. D: Lewis Seiler. Marjorie Rambeau, Alan Hale, Jane Wyman, Ronald Reagan, Clarence Kolb, Charles Halton. Airy comedy with predictable plot about Annie’s job in jeopardy. Rambeau takes up where Marie Dressler left off; Reagan saves the day for her.

Tulsa (1949) C-90m. D: Stuart Heisler. Susan Hayward, Robert Preston, Pedro Armendariz, Lloyd Gough, Chill Wills, Ed Begley, Jimmy Conlin. Bouncy drama of cattlewoman Hayward entering the wildcat oil business to avenge the death of her father, losing her values along the way as she becomes blinded by her success.

Tumbleweed (1953) C-79m. D: Nathan Juran. Audie Murphy, Lori Nelson, Chill Wills, Lee Van Cleef. Bland oater with Murphy trying to prove he didn’t desert wagon train under Indian attack.

Tumbleweeds (1925) 81m. ½ D: King Baggot. William S. Hart, Barbara Bedford, Lucien Littlefield, J. Gordon Russell, Richard R. Neill. One of the screen’s most famous Westerns, with Hart deciding to get in on the opening of the Cherokee Strip in 1889, particularly if pretty Bedford is willing to marry him and settle there. Land-rush scene is one of the great spectacles in silent films. Above running time does not include a poignant eight-minute introduction Hart made to accompany 1939 reissue of his classic.

Tumbling Tumbleweeds (1935) 57m. D: Joe Kane. Gene Autry, Smiley Burnette, George Hayes, Lucile Browne, Edward Hearn, Charles King. Gene’s first musical Western sets the stage for all that would follow—a traditional B Western with songs introduced naturally, enough riding and shooting to satisfy, and a dash of slapstick comedy from Burnette. Gene appears slightly uncomfortable in dialogue scenes but is totally at ease singing his hit song “That Silver Haired Daddy of Mine.”

Tuna Clipper (1949) 79m. ½ D: William Beaudine. Roddy McDowall, Elena Verdugo, Ronald Winters, Rick Vallin, Dickie Moore. Flabby tale of youth (McDowall) who pushes himself into rugged fishing life to prove his worth.

Tunes of Glory (1960-British) C-106m. D: Ronald Neame. Alec Guinness, John Mills, Susannah York, Kay Walsh, Dennis Price, John Fraser, Duncan Macrae, Gordon Jackson, Allan Cuthbertson. Engrossing clash of wills in peacetime Scottish Highland regiment as popular, easygoing Lt. Col. (Guinness) is replaced by stiff-necked martinet (Mills). Outstanding performances by both men, each in a role more naturally suited to the other! Impressive bagpipe-driven score by Malcolm Arnold. Scripted by James Kennaway, from his novel. York’s film debut.

Tunnel, The SEE: Transatlantic Tunnel

Tunnel of Love, The (1958) 98m. D: Gene Kelly. Doris Day, Richard Widmark, Gig Young, Gia Scala. Bright comedy of married couple Widmark and Day enduring endless red tape to adopt a child. Good cast spices adaptation of Joseph Fields–Peter de Vries play. CinemaScope.

Turnabout (1940) 83m. D: Hal Roach. John Hubbard, Carole Landis, Adolphe Menjou, Mary Astor, William Gargan, Joyce Compton, Verree Teasdale, Donald Meek. Unique, but incredibly bad comedy, risqué in its day, about husband and wife switching personalities and voices thanks to magic Buddha; from a story by Thorne Smith, later a short-lived TV series in the 1970s.

Turn Back the Clock (1933) 77m. D: Edgar Selwyn. Lee Tracy, Mae Clarke, Otto Kruger, George Barbier, Peggy Shannon, C. Henry Gordon, Clara Blandick. Fascinating Depression-era sleeper with an intriguing premise. Tracy is ideally cast as a middle-aged working man who gets to relive his life . . . and marry into wealth and power. Snappy script by director Selwyn and Ben Hecht. And watch for The Three Stooges!

Turning Point, The (1952) 85m. ½ D: William Dieterle. William Holden, Alexis Smith, Edmond O’Brien, Ed Begley, Tom Tully, Don Porter, Ted de Corsia, Neville Brand, Carolyn Jones. Tough script by Warren Duff sparks this gritty if familiar drama. O’Brien is a crime-buster investigating big-city corruption; Holden, his boyhood friend, is a cynical reporter. Scenario was inspired by the Kefauver Committee hearings into organized crime.

Turn the Key Softly (1953-British) 83m. D: Jack Lee. Yvonne Mitchell, Terence Morgan, Joan Collins, Kathleen Harrison, Thora Hird, Geoffrey Keen. Film recounts incidents in lives of three women ex-convicts upon leaving prison; contrived dramatics.

Tuttles of Tahiti, The (1942) 91m. D: Charles Vidor. Charles Laughton, Jon Hall, Peggy Drake, Florence Bates, Mala, Alma Ross, Victor Francen. Laughton and family lead leisurely life on South Seas island, avoiding any sort of hard labor. That’s it . . . but it’s good.

12 Angry Men (1957) 95m. D: Sidney Lumet. Henry Fonda, Lee J. Cobb, Ed Begley, E. G. Marshall, Jack Klugman, Jack Warden, Martin Balsam, John Fiedler, George Voskovec, Robert Webber, Edward Binns, Joseph Sweeney. Brilliant film about one man who tries to convince 11 other jurors that their hasty guilty verdict for a boy on trial should be reconsidered. Formidable cast (including several character-stars-to-be); Lumet’s impressive debut film. Script by Reginald Rose, from his television play. Remade for TV in 1997 and as 12 in Russia in 2007.

Twelve Hours to Kill (1960) 83m. D: Edward L. Cahn. Nico Minardos, Barbara Eden, Grant Richards, Art Baker, Russ Conway, Byron Foulger. On his first night in N.Y.C., immigrant Minardos witnesses a gangland hit; his life in peril from both the mob and a cop on the take, he flees to a tiny upstate village, where he’s sheltered by Eden. So-so thriller from the pre–Witness Protection era, well photographed by Floyd Crosby. Mary Tyler Moore Show fans will enjoy seeing early appearances by Gavin MacLeod and Ted Knight (though they have no scenes together). CinemaScope.

Twelve O’Clock High (1949) 132m. D: Henry King. Gregory Peck, Hugh Marlowe, Gary Merrill, Millard Mitchell, Dean Jagger, Paul Stewart. Taut WW2 story of U.S. flyers in England, an officer replaced for getting too involved with his men (Merrill) and his successor who has same problem (Peck). Jagger won Oscar in supporting role; Peck has never been better. Written by Sy Bartlett and Beirne Lay, Jr., from their novel. Later a TV series.

12 to the Moon (1960) 74m. BOMB D: David Bradley. Ken Clark, Michi Kobi, Tom Conway, Tony Dexter, John Wengraf, Anna-Lisa. International expedition to the moon encounters hostile aliens who freeze North America solid. An ambitious failure.

Twentieth Century (1934) 91m. D: Howard Hawks. John Barrymore, Carole Lombard, Walter Connolly, Roscoe Karns, Etienne Girardot, Ralph Forbes, Charles Levison (Lane), Edgar Kennedy. Super screwball comedy in which egomaniacal Broadway producer Barrymore makes shopgirl Lombard a star; when she leaves him, he does everything he can to woo her back on lengthy train trip. Barrymore has never been funnier, and Connolly and Karns are aces as his long-suffering cronies. Matchless script by Ben Hecht and Charles MacArthur, from their play; later a hit Broadway musical, On the Twentieth Century.

24 Hours of a Woman’s Life SEE: Affair in Monte Carlo

24 Hours to Kill (1965-British) C-92m. ½ D: Peter Bezencenet. Mickey Rooney, Lex Barker, Walter Slezak, Michael Medwin, Helga Somerfeld, Wolfgang Lukschy. OK suspenser with Rooney marked for execution by Slezak’s smuggling ring when his plane is forced to land in Beirut for 24 hours. Techniscope.

20 Million Miles to Earth (1957) 82m. D: Nathan Juran. William Hopper, Joan Taylor, Frank Puglia, Thomas B. Henry, John Zaremba, Tito Vuolo, Bart Bradley (Braverman). First spaceship to Venus crashes into the sea off Sicily, with two survivors: pilot Hopper and a fast-growing Venusian monster that just wants to be left alone (but fights back when frightened). Climax takes place in the Colosseum in Rome. Intelligent script, fast pace, and exceptional special effects by Ray Harryhausen make this one of the best monster-on-the-loose movies ever. Unnamed monster is known as “the Ymir” to its fans. Also shown in a computer-colored version.

Twenty Million Sweethearts (1934) 89m. ½ D: Ray Enright. Dick Powell, Ginger Rogers, Pat O’Brien, Allen Jenkins, Grant Mitchell, The Mills Brothers. Contrived musical about unscrupulous promoter O’Brien building Powell into radio star, career coming between him and happy marriage to Ginger. Plot soon wears thin, as does constant repetition of Powell’s “I’ll String Along With You,” but bright cast helps out. Two good songs by the Mills Brothers. Remade as MY DREAM IS YOURS.

20 Mule Team (1940) 84m. D: Richard Thorpe. Wallace Beery, Leo Carrillo, Marjorie Rambeau, Anne Baxter, Douglas Fowley. Minor Western of borax-miners in Arizona with usual Beery mugging and standard plot. Baxter’s first film.

21 Days Together (1939-British) 75m. ½ D: Basil Dean. Vivien Leigh, Laurence Olivier, Hay Petrie, Leslie Banks, Francis L. Sullivan. John Galsworthy’s play of lovers with three weeks together before man goes on trial for murder; Olivier and Leigh are fine in worthwhile, but not outstanding, film. Script by Graham Greene. Original title: 21 DAYS.

Twenty Plus Two (1961) 102m. D: Joseph M. Newman. David Janssen, Jeanne Crain, Dina Merrill, Agnes Moorehead, Brad Dexter. Poor production values detract from potential of yarn with private eye Janssen investigating a murder, encountering a neat assortment of people.

27th Day, The (1957) 75m. ½ D: William Asher. Gene Barry, Valerie French, Arnold Moss, George Voskovec. Imaginative sci-fi study of human nature with five people given pellets capable of destroying the world. Based on John Mantley’s novel.

20000 Leagues Under the Sea (1954) C-127m. D: Richard Fleischer. Kirk Douglas, James Mason, Paul Lukas, Peter Lorre, Robert J. Wilke, Carleton Young. Superb Disney fantasy-adventure on grand scale, from Jules Verne’s novel. 19th-century scientist Lukas and sailor Douglas get involved with power-hungry Captain Nemo (Mason) who operates futuristic submarine. Memorable action sequences, fine cast make this a winner. Won Oscars for Art Direction and Special Effects. First filmed in 1916. Remade in 1997 as both a miniseries and made-for-TV movie. CinemaScope.

20,000 Pound Kiss, The (1963-British) 57m. ½ D: John Moxey. Dawn Addams, Michael Goodliffe, Richard Thorp, Anthony Newlands. Edgar Wallace tale of blackmail, with a most intricate plot.

20,000 Years in Sing Sing (1933) 81m. D: Michael Curtiz. Spencer Tracy, Bette Davis, Arthur Byron, Lyle Talbot, Warren Hymer, Louis Calhern, Grant Mitchell, Sheila Terry. Still-powerful prison drama has only teaming of Tracy and Davis. He’s a hardened criminal, she’s his girl. Based on Warden Lewis E. Lawes’ book. Remade as CASTLE ON THE HUDSON.

23 Paces to Baker Street (1956) C-103m. D: Henry Hathaway. Van Johnson, Vera Miles, Cecil Parker, Patricia Laffan, Maurice Denham, Estelle Winwood. Absorbing suspenser filmed in London has blind playwright Johnson determined to thwart crime plans he has overheard. CinemaScope.

Twice Blessed (1945) 78m. ½ D: Harry Beaumont. Preston Foster, Gail Patrick, Lee Wilde, Lyn Wilde, Richard Gaines, Jean Porter, Marshall Thompson, Jimmy Lydon, Gloria Hope. Intriguing precursor to THE PARENT TRAP, involving the shenanigans of two very different twins who plot to reunite their divorced parents. Predictable but fun.

Twice Round the Daffodils (1962-British) 89m. D: Gerald Thomas. Juliet Mills, Donald Sinden, Donald Houston, Kenneth Williams, Jill Ireland, Nanette Newman. Mills is charming nurse in a male TB ward, trying to avoid romantic inclinations of her patients; expected sex jokes abound.

Twice-Told Tales (1963) C-119m. D: Sidney Salkow. Vincent Price, Sebastian Cabot, Mari Blanchard, Brett Halsey, Richard Denning. Episodic adaptation of Hawthorne stories has good cast, imaginative direction, and sufficient atmosphere to keep one’s interest. One of the TALES is an abbreviated HOUSE OF THE SEVEN GABLES, which also starred Price in the 1940 version.

Twilight for the Gods (1958) C-120m. ½ D: Joseph Pevney. Rock Hudson, Cyd Charisse, Arthur Kennedy, Leif Erickson, Charles McGraw, Ernest Truex, Richard Haydn, Wallace Ford. Ernest K. Gann book, adapted by the author, becomes turgid soaper of people on run-down vessel heading for Mexico, their trials and tribulations to survive when ship goes down.

Twilight in the Sierras (1950) C-67m. D: William Witney. Roy Rogers, Dale Evans, Pat Brady, Estelita Rodriguez, Russ Vincent, George Meeker, Fred Kohler, Jr., Edward Keane, Pierce Lyden, House Peters, Jr., Foy Willing and the Riders of the Purple Sage. Roy is a parole officer working at a camp that rehabilitates parolees, one of whom (Vincent) is kidnapped by his former gang when they need help with a counterfeiting scheme. As if that weren’t enough, Roy also tangles with a wild mountain lion in this average Trucolor Western.

Twilight of Honor (1963) 115m. ½ D: Boris Sagal. Richard Chamberlain, Nick Adams, Joan Blackman, Claude Rains, Joey Heatherton, James Gregory, Pat Buttram, Jeanette Nolan. Routine drama of struggling lawyer who takes on murder case with assistance of older expert Rains. Look for Linda Evans in a bit part. Panavision.

Twilight on the Rio Grande (1947) 71m. D: Frank McDonald. Gene Autry, Sterling Holloway, Adele Mara, Bob Steele, Charles Evans, Martin Garralaga, Howard J. Negley, George J. Lewis, Cass County Boys. When their partner is killed, Gene and the Cass County Boys get involved with crooks smuggling jewels across the Mexican border and a dancer (Mara) looking for her father’s murderer. One of Gene’s lesser post-WW2 Westerns, with everyone simply going through the motions.

Twilight on the Trail (1941) 57m. D: Howard Bretherton. William Boyd, Andy Clyde, Brad King, Wanda McKay, Jack Rockwell, Norman Willis. Rangers Hopalong Cassidy and his pals disguise themselves as tenderfoot detectives to help rancher trap a crooked foreman who’s rustling cattle, which seem to vanish. Routine series entry with excess of outdoor scenes shot indoors. Some nice harmonizing by the Jimmy Wakely Trio, with songwriter Johnny Bond. Screenplay cowritten by character actress Ellen Corby; title taken from the song introduced in TRAIL OF THE LONESOME PINE.

Twin Beds (1942) 85m. D: Tim Whelan. Joan Bennett, George Brent, Mischa Auer, Una Merkel, Glenda Farrell, Ernest Truex, Margaret Hamilton, Cecil Cunningham. Life of newly married couple Bennett and Brent is constantly interrupted by wacky neighbor Auer; he easily steals the picture.

Twinkle and Shine SEE: It Happened to Jane

Twinkle in God’s Eye, The (1955) 73m. D: George Blair. Mickey Rooney, Coleen Gray, Hugh O’Brian, Joey Forman, Michael Connors. Simple yarn of clergyman Rooney trying to convert wrongdoers in Western town to God’s faith via good humor.

Twist All Night (1961) 78m. BOMB D: William Hole, Jr. Louis Prima, June Wilkinson, Sam Butera and The Witnesses, Gertrude Michael, David Whorf. Stupid comedy about Prima’s attempts to keep his nightclub going; sexy Wilkinson is his girlfriend. Sometimes shown with a nine-minute color prologue, TWIST CRAZE, directed by Allan David. Aka THE CONTINENTAL TWIST.

Twist Around the Clock (1961) 86m. D: Oscar Rudolph. Chubby Checker, Dion, The Marcels, Vicki Spencer, Clay Cole, John Cronin, Mary Mitchell. Agent Cronin tries to book Twist performers; of course, by the finale, the dance is the rage of America. Dion performs “The Wanderer” and “Runaround Sue.” Remake of ROCK AROUND THE CLOCK.

Twist of Fate (1954-British) 89m. D: David Miller. Ginger Rogers, Herbert Lom, Stanley Baker, Jacques Bergerac, Margaret Rawlings, Coral Browne, Lisa Gastoni, Ferdy Mayne. Turgid thriller in which Rogers is taken in by wealthy Baker, who lavishes her with gifts, which she accepts because she thinks marriage is in the offing. But she’s unaware of the true nature of his business and his marital status. Original British title: BEAUTIFUL STRANGER.

Two Against the World (1932) 70m. ½ D: Archie Mayo. Constance Bennett, Neil Hamilton, Helen Vinson, Allen Vincent, Gavin Gordon, Walter Walker, Roscoe Karns, Alan Mowbray. Rich-girl Bennett, a humanist at heart despite the influence of her greedy, insensitive relations, is intrigued by lawyer Hamilton, who advocates for the poor. Thoughtful Depression-era morality tale starts off nicely but wallows in soap opera when murder enters the picture.

Two Against the World (1936) 57m. D: William McGann. Humphrey Bogart, Beverly Roberts, Linda Perry, Carlyle Moore, Jr., Henry O’Neill, Claire Dodd. Remake of FIVE STAR FINAL set in radio station is more contrived, not as effective. Retitled: ONE FATAL HOUR.

Two and Two Make Six (1961-British) 89m. D: Freddie Francis. George Chakiris, Janette Scott, Alfred Lynch, Jackie Lane. Mild romantic yarn of A.W.O.L. soldier Chakiris falling in love with Scott.

Two Arabian Knights (1927) 92m. ½ D: Lewis Milestone. William Boyd, Mary Astor, Louis Wolheim, Ian Keith, Michael Vavitch, M. (Michael) Visaroff, Boris Karloff, DeWitt Jennings. Fairly engaging paraphrase of WHAT PRICE GLORY about the adventures of two roughneck soldiers who have a buddy/rivalry relationship overseas during WW1. Stylishly designed by William Cameron Menzies and directed with visual flair by Milestone, who won the only Oscar awarded for Best Directing of a Comedy Picture, given the first year of the Academy Awards. Produced by Howard Hughes.

Two Daughters (1961-Indian) 114m. ½ D: Satyajit Ray. Anil Chatterjee, Chandana Bannerjee, Soumitra Chatterjee, Aparna Das Gupta, Sita Mukherji. A pair of episodes, adapted from the writings of Rabindranath Tagore, one good and the other superb. The former concerns the curious relationship between a postmaster and an orphan girl; the latter is the funny, gentle chronicle of what happens when a student rejects the woman his mother has chosen for his wife, deciding instead to marry the local tomboy. Ray scripted both stories. Originally released in India as part of a trilogy, running 171m.

Two Dollar Bettor (1951) 72m. ½ D: Edward L. Cahn. Steve Brodie, Marie Windsor, John Litel, Barbara Logan, Robert Sherwood, Barbara Bestar, Walter Kingsford, Carl Switzer, Barbara Billingsley. Naïve nice-guy Litel wins a two-dollar bet at the racetrack and becomes hooked on playing the ponies. Entertaining programmer with Windsor at her femme-fatale best.

Two-Faced Woman (1941) 94m. ½ D: George Cukor. Greta Garbo, Melvyn Douglas, Constance Bennett, Roland Young, Robert Sterling, Ruth Gordon, Frances Carson. Garbo’s last film, in which MGM tried unsuccessfully to Americanize her personality. Attempted chic comedy of errors is OK, but not what viewer expects from the divine Garbo. Constance Bennett is much more at home in proceedings, stealing the film with her hilarious performance.

Two Faces of Dr. Jekyll, The (1960-British) C-88m. D: Terence Fisher. Paul Massie, Dawn Addams, Christopher Lee, David Kossoff, Francis De Wolff, Norma Marla. Uneven, sometimes unintentionally funny reworking of Stevenson story stresses Mr. and Mrs. relationship, plus fact that doctor himself is a weakling (and Hyde is suave and handsome!). Unfortunately, dialogue and situations are boring. Look for Oliver Reed as a bouncer. Originally shown in U.S. as HOUSE OF FRIGHT. Megascope.

Two Fisted Law (1932) 64m. D: D. Ross Lederman. Tim McCoy, John Wayne, Walter Brennan, Tully Marshall, Alice Day, Wheeler Oakman, Wallace MacDonald. Crook cheats intense cowpoke McCoy out of ranch after first rustling his cattle. Action-filled but ordinary Western with Wayne as a cowhand named Duke. Story by pulp writer William Colt MacDonald presages his later Three Mesquiteers series, which would also feature Wayne.

Two Flags West (1950) 92m. D: Robert Wise. Joseph Cotten, Linda Darnell, Jeff Chandler, Cornel Wilde, Dale Robertson, Jay C. Flippen, Noah Beery, Jr. Very uneven Civil War Western. Battle scenes of good quality mixed with unappealing script and weak performances.

Two for the Seesaw (1962) 119m. ½ D: Robert Wise. Robert Mitchum, Shirley MacLaine, Edmon Ryan, Elisabeth Fraser. Well-acted but dated drama about the evolving relationship between two imperfect, vulnerable people: wandering Nebraska lawyer Mitchum and eccentric “born victim” MacLaine. Based on the William Gibson play. Panavision.

Two for Tonight (1935) 61m. ½ D: Frank Tuttle. Bing Crosby, Joan Bennett, Mary Boland, Lynne Overman, Thelma Todd, James Blakeley. Songwriter Crosby is forced to write musical play in one week. Entertaining slapstick musical with Boland as his mother, Bennett his girl.

Two Gals and a Guy (1951) 71m. D: Alfred E. Green. Janis Paige, Robert Alda, James Gleason, Lionel Stander. Trials and tribulations of married vocal duo, caught up in the early days of TV performing; standard production.

Two Girls and a Sailor (1944) 124m. D: Richard Thorpe. Van Johnson, June Allyson, Gloria DeHaven, Jose Iturbi, Jimmy Durante, Lena Horne, Donald Meek, Virginia O’Brien, Gracie Allen, Harry James and Xavier Cugat orchestras. Singing sisters Allyson and DeHaven operate a canteen for GIs, and become romantically linked with sailor-with-a-secret Johnson. Breezy entertainment, with many fine musical numbers (from Gracie Allen playing the piano to Lena Horne singing “Paper Doll”). Watch for Ava Gardner as a dancing showgirl and in the dream sequence.

Two Girls on Broadway (1940) 71m. D: S. Sylvan Simon. Lana Turner, George Murphy, Joan Blondell, Kent Taylor, Wallace Ford. Sisters love same man (Murphy) but everything works out in this routine musical, sparked by snappy Blondell. Remake of THE BROADWAY MELODY.

Two-Gun Lady (1955) 71m. D: Richard H. Bartlett. Peggy (Peggie) Castle, William Talman, Marie Windsor, Earle Lyon, Robert Lowery, Ian MacDonald, Joe Besser, Barbara Turner. Why has the title character (Castle), the world’s greatest trick-shot artist, brought her “big-time act” to a one-horse Western town? Modest Western is mostly all talk and little action. Turner, who plays Jenny, went on to become a writer-producer and is the mother of Jennifer Jason Leigh.

Two Gun Man from Harlem (1938) 61m. ½ D: Richard C. Kahn. Herbert Jeffrey (Herb Jeffries), Margaret (Marguerite) Whitten, Clarence Brooks, Mantan Moreland, Stymie Beard, Spencer Williams, Jr., Mae Turner, Jesse Lee Brooks, Rose Lee Lincoln, Tom Southern, The Cats and the Fiddle, The Four Tones. The first of three affable low-budget all-black-cast oaters with singing cowboy Jeffrey cast as Bob Blake, a cowpoke who’s wrongfully accused of murder. He ends up in Harlem, where he takes on an assumed identity and sets out to prove his innocence. Followed by HARLEM RIDES THE RANGE and THE BRONZE BUCKAROO.

Two Guns and a Badge (1954) 69m. D: Lewis D. Collins. Wayne Morris, Morris Ankrum, Beverly Garland, Roy Barcroft, William Phipps, Damian O’Flynn, I. Stanford Jolley, Robert J. Wilke, Chuck Courtney. Former jailbird Morris is thought to be a famed gunman who’s come to the rescue of a beleaguered Western town. Familiar faces dot the cast of this routine oater.

Two Gun Territory SEE: Sinister Journey

Two Guys From Milwaukee (1946) 90m. ½ D: David Butler. Dennis Morgan, Jack Carson, Joan Leslie, Janis Paige, S. Z. Sakall, Patti Brady. Silly story of European prince Morgan Americanized by cabdriver Carson; cast is so engaging it doesn’t matter. Look for Humphrey Bogart and Lauren Bacall in cameos.

Two Guys From Texas (1948) C-86m. ½ D: David Butler. Dennis Morgan, Jack Carson, Dorothy Malone, Penny Edwards, Fred Clark, Forrest Tucker. Average musical about two vaudevillians who find themselves on a Texas ranch. Highlight is an animated sequence with Bugs Bunny and caricatures of Morgan and Carson. Remake of THE COWBOY FROM BROOKLYN.

Two-Headed Spy, The (1958-British) 93m. D: Andre de Toth. Jack Hawkins, Gia Scala, Alexander Knox, Felix Aylmer, Donald Pleasence, Michael Caine, Laurence Naismith. Exciting true story of British spy (Hawkins) who operated in Berlin during WW2 is loaded with heart-stopping tension and suspense. Fine performances all around; one of Caine’s earliest roles.

Two in a Crowd (1936) 85m. D: Alfred E. Green. Joan Bennett, Joel McCrea, Henry Armetta, Alison Skipworth, Nat Pendleton, Reginald Denny, Andy Clyde, Donald Meek, Elisha Cook, Jr. Down-and-out McCrea and Bennett find a stolen $1,000 bill on New Year’s Eve. Starts cute but quickly fizzles.

Two Kinds of Women (1932) 75m. D: William C. deMille. Miriam Hopkins, Phillips Holmes, Wynne Gibson, Irving Pichel, Vivienne Osborne, Stuart Erwin, James Crane, Robert Emmett O’Connor. Entertaining pre-Code yarn about righteous South Dakota senator Pichel traveling to Manhattan on a crusade to declare that New York’s values are not America’s. His daughter tags along and, naturally, falls in love with the city’s leading playboy-wastrel. Hopkins is dynamic as always, but Gibson almost steals the show as a party girl who blackmails Holmes. Full of inventive visual touches by deMille and cinematographer Karl Struss. Adapted from Robert E. Sherwood’s play This Is New York.

Two Little Bears, The (1961) 81m. D: Randall Hood. Eddie Albert, Jane Wyatt, Soupy Sales, Nancy Kulp, Brenda Lee. Harmless fable-comedy of Albert confused to discover that his two children turn into bears at night, cavorting around the house. CinemaScope.

Two Lost Worlds (1950) 61m. ½ D: Norman Dawn. Laura Elliott (Kasey Rogers), James Arness, Bill Kennedy, Gloria Petroff. Draggy story of shipwreck on uncharted island with prehistoric monsters; stock footage courtesy of such films as ONE MILLION B.C. and CAPTAIN FURY. Cast doesn’t reach island until last 20 minutes; you may not wait that long.

Two Loves (1961) C-100m. D: Charles Walters. Shirley MacLaine, Laurence Harvey, Jack Hawkins, Juano Hernandez, Nobu McCarthy. Plodding sudser set in New Zealand with spinster teacher MacLaine trying to decide between suitors Harvey and Hawkins. CinemaScope.

Two Men in Manhattan (1959-French) 85m. D: Jean-Pierre Melville. Pierre Grasset, Jean-Pierre Melville, Christiane Eudes, Ginger Hall, Monique Hennessy, Jean Darcante. Imagine if Melville, who loved American films, had come to the U.S. to make one of his classic studies in film noir. That’s exactly what he did with this thriller, much of it in English, about two French reporters in N.Y.C. (one of whom is played by Melville with hangdog cynicism) embroiled in a labyrinthine mystery while looking for a French U.N. diplomat who has disappeared. A stylish and entertaining ride through nocturnal, neon-lit Manhattan, set to a cool jazz beat.

Two Mrs. Carrolls, The (1947) 99m. ½ D: Peter Godfrey. Humphrey Bogart, Barbara Stanwyck, Alexis Smith, Nigel Bruce, Isobel Elsom. Shrill murder drama with Bogie as psychopathic artist who paints wives as Angels of Death, then kills them; Stanwyck registers all degrees of panic as the next marital victim. Filmed in 1945. Also shown in computer-colored version.

Two Nights With Cleopatra (1953-Italian) C-77m. ½ D: Mario Mattoli. Sophia Loren, Alberto Sordi, Ettore Manni, Paul Muller, Nando Bruno, Alberto Talegalli, Gianni Cavalieri. Broad, broad farce about the randy but cautious queen of the Nile, whose lover from last night is always this morning’s execution. What does it take to survive for a second evening? Well, more than we get in this “sex comedy” that is neither. Widely promoted nude scene by 19-year-old stunner Loren, who plays both brunette Cleo and her blonde double, reveals nothing. Very disappointing. Cowritten by Ettore Scola.

Twonky, The (1953) 72m. ½ D. Arch Oboler. Hans Conried, Gloria Blondell, Trilby Conried, Billy Lynn. Satirical sci-fi is misfire entertainment, when Conried’s TV set actually takes charge of his life, possessed by a spirit from the future.

Two O’Clock Courage (1945) 68m. D: Anthony Mann. Tom Conway, Ann Rutherford, Richard Lane, Lester Matthews, Roland Drew, Bettejane (Jane) Greer. Conway wakes up on a street corner with amnesia and finds himself the top suspect in a murder case, joins with cabbie Rutherford to solve mystery. Routine effort which looks and sounds like a typical Saint or Falcon entry, but is actually a remake of a 1936 film, TWO IN THE DARK.

Two of a Kind (1951) 75m. ½ D: Henry Levin. Edmond O’Brien, Lizabeth Scott, Terry Moore, Alexander Knox, Griff Barnett. Minor but ingenious crime drama in which orphan O’Brien, in cahoots with femme fatale Scott and shady attorney Knox, poses as the long-missing son of an older, filthy-rich couple.

Two on a Guillotine (1965) 107m. ½ D: William Conrad. Connie Stevens, Dean Jones, Cesar Romero, Parley Baer, Virginia Gregg. To receive inheritance from her late father (Romero), a stage illusionist, Connie must spend a week in his spooky mansion. Familiar plot with some scares. Panavision.

Two Rode Together (1961) C-109m. ½ D: John Ford. James Stewart, Richard Widmark, Linda Cristal, Shirley Jones, Andy Devine, John McIntire, Mae Marsh, Henry Brandon, Anna Lee. Fair Western with Stewart as cynical marshal hired to rescue pioneers captured by the Comanches years ago; Widmark is cavalry officer who accompanies him.

Two Seconds (1932) 68m. ½ D: Mervyn LeRoy. Edward G. Robinson, Vivienne Osborne, Preston Foster, J. Carrol Naish, Guy Kibbee, Berton Churchill. Offbeat and engrossing, if not entirely successful, melodrama tells Robinson’s life as he sees it in two seconds it takes for him to die in electric chair. Often overplayed, sometimes unusually effective; a most interesting curio.

Two Sisters From Boston (1946) 112m. D: Henry Koster. Kathryn Grayson, June Allyson, Lauritz Melchior, Jimmy Durante, Peter Lawford, Ben Blue. Grayson and Allyson go to work in Durante’s Bowery saloon in this entertaining turn-of-the-20th-century musical; bright score helps.

Two Smart People (1946) 93m. D: Jules Dassin. Lucille Ball, John Hodiak, Lloyd Nolan, Hugo Haas, Lenore Ulric, Elisha Cook, Jr. Conniving couple involved in art forgery; laughs don’t come very often. Cowritten by Leslie Charteris.

Two Thousand Women (1944-British) 97m. ½ D: Frank Launder. Phyllis Calvert, Flora Robson, Patricia Roc, Renee Houston, Reginald Purdell, Anne Crawford, Jean Kent, James McKechnie, Thora Hird, Dulcie Gray. A group of British women, housed in an internment camp in Occupied France, attempts to harbor some downed RAF flyers. Spirited but dated WW2 tale.

Two Tickets to Broadway (1951) C-106m. ½ D: James V. Kern. Tony Martin, Janet Leigh, Gloria De Haven, Eddie Bracken, Ann Miller, Barbara Lawrence, Smith and Dale, Bob Crosby. Modest musical involving Martin et al. trying to get on Crosby’s TV show. Forget the hackneyed plot and enjoy the Jule Styne–Leo Robin score, along with old standards. Best bit: Crosby’s musical spoof of brother Bing, “Let’s Make Comparisons” (by Bob C. and Sammy Cahn).

Two Tickets to London (1943) 79m. D: Edwin L. Marin. Michele Morgan, Alan Curtis, Barry Fitzgerald, C. Aubrey Smith. Passable drama of Curtis helped by Morgan in hunting down espionage agents.

Two Tickets to Paris (1962) 78m. BOMB D: Greg Garrison. Joey Dee and The Starlighters, Gary Crosby, Kay Medford, Jeri Lynne Fraser, Lisa James, Charles Nelson Reilly. Engaged to be married teenagers Dee and Fraser sail for France, with each having a meaningless flirtation. Trifling musical comedy; originally released at 90m.

Two Way Stretch (1960-British) 87m. D: Robert Day. Peter Sellers, Wilfrid Hyde-White, Lionel Jeffries, Liz Fraser, Maurice Denham, Bernard Cribbins, David Lodge. Wry shenanigans of Sellers et al. as prisoners who devise a means of escaping to commit a robbery and then return to safety of their cell.

Two Weeks in Another Town (1962) C-107m. D: Vincente Minnelli. Kirk Douglas, Edward G. Robinson, Cyd Charisse, George Hamilton, Claire Trevor, Daliah Lavi, Rossana Schiaffino, Constance Ford. Overly ambitious attempt to intellectualize Irwin Shaw novel, revolving around problems of people involved in movie-making in Rome. Reunites much of the talent from THE BAD AND THE BEAUTIFUL, footage from which is used as the film-within-a-film here. CinemaScope.

Two Weeks-With Love (1950) C-92m. ½ D: Roy Rowland. Jane Powell, Ricardo Montalban, Louis Calhern, Ann Harding, Debbie Reynolds, Carleton Carpenter. Powell fans will enjoy her role as daughter vacationing in Catskills proving to her parents that she’s grown up. Reynolds sings “Aba Daba Honeymoon” with Carpenter.

Two Women (1960-Italian) 99m. D: Vittorio De Sica. Sophia Loren, Raf Vallone, Eleanora Brown, Jean-Paul Belmondo. Loren deservedly won Oscar for heart-rending portrayal of Italian mother who, along with young daughter, is raped by Allied Moroccan soldiers during WW2. How they survive is an intensely moving story. Screenplay by Cesare Zavattini from an Alberto Moravia novel. Loren remade this in 1989 as a two-part Italian TVM.

Two Yanks in Trinidad (1942) 88m. D: Gregory Ratoff. Brian Donlevy, Pat O’Brien, Janet Blair, Donald MacBride. Donlevy and O’Brien are hoods who join the Army, turning their talents to fighting the enemy; patriotic fervor rings hollow here.

Two Years Before the Mast (1946) 98m. ½ D: John Farrow. Alan Ladd, Brian Donlevy, William Bendix, Esther Fernandez, Howard da Silva, Barry Fitzgerald, Albert Dekker, Darryl Hickman. Badly scripted story of Richard Henry Dana’s (Donlevy) crusade to expose mistreatment of men at sea. Da Silva is standout as tyrannical captain.

Tycoon (1947) C-128m. ½ D: Richard Wallace. John Wayne, Laraine Day, Cedric Hardwicke, Judith Anderson, James Gleason, Anthony Quinn, Grant Withers. Wayne plays determined railroad builder in this overlong, but well-acted drama with fine cast.

Typhoon (1940) C-70m. ½ D: Louis King. Dorothy Lamour, Robert Preston, Lynne Overman, J. Carrol Naish, Chief Thundercloud, Jack Carson. Another Lamour sarong epic, typically romantic; Overman provides good comedy support.

Tyrant of the Sea (1950) 70m. D: Lew Landers. Rhys Williams, Ron Randell, Valentine Perkins, Doris Lloyd, Lester Matthews, Terry Kilburn, William Fawcett. Undistinguished melodrama set in 1803. Napoleon is ready to invade England and only retired tough sea captain (Williams) can destroy French landing barges and save the country. Meanwhile, romance blossoms between young Lt. Randell and captain’s daughter Perkins.