The Story of Ruth
by Henry Koster
from 20th Century Fox
The Old Testament story of the pagan idolater Ruth (Elana Eden), who married Mahlon (Tom Tryon), found faith and a great mother-in-law, Naomi (Peggy Wood).
The Thing from Another World
by Howard Hawks
from Turner Home Ent
With its modest special effects, lean plot, and small cast of lesser stars, this 1951 thriller remains a sturdy blueprint for fusing horror and science fiction. The formula has been employed countless times since, fleshed out with more extensive and elaborate production values, and manned by higher profiled marquee names, but the results have yet to improve on The Thing from Another World, Howard Hawks's lone foray into sci-fi.
The story begins as military airmen are dispatched to a remote Arctic research station where scientists have detected the crash of a spacecraft. An effort to retrieve the saucer-shaped vehicle fails, but the team returns to the station with the frozen body of its sole occupant. When the extraterrestrial pilot is accidentally thawed, the crew, headed by a tough-talking pilot (Kenneth Tobey), grapples with a massive, chlorophyll-based humanoid (James Arness) thirsty for blood and in no mood for galactic diplomacy.
Hawks takes only a production credit for this low-budget exercise, but his filmmaking style transcends Christian Nyby's nominal direction: rapid-fire, overlapping dialogue, an ensemble of comrades whose professionalism is tempered by wisecracks, and unsentimental female characters (embodied by feisty romantic interest Margaret Sheridan) recall Hawks's signature works, while propelling the plot over any potential gaps in credibility. It's hardly surprising, then, that The Thing from Another World remains among the most influential science fiction movies ever shot, or that it remains exciting entertainment a half century later. --Sam Sutherland
Members of an Antarctic research team are killed off by a frozen alien they uncover.
Hatari!
by Howard Hawks
from Paramount
Howard Hawks's 1962 adventure-comedy is basically the same, loosely plotted movie Hawks made over and over again for decades. A collection of professionals with a common goal--in this case, animal trapping in Tanganyika--forms a pocket community and holds each other to high standards in their work. This is a film about camaraderie, crisp banter, romance, and exciting action (the animal sequences are great). John Wayne played this part in about a thousand ways for Hawks over the years, and he could not be more entertaining as a grizzled pro. --Tom Keogh
Francis of Assisi
by Michael Curtiz
from 20th Century Fox
Lavish Bio Of St. Francis, 13th-Century Monk Who Talked To Animals.
The Desert Fox
by Henry Hathaway
from 20th Century Fox
What a difference a few years can make. The Desert Fox, released six years after the end of World War II, is a solemnly respectful tribute to Erwin Rommel, Germany's most celebrated military genius. James Mason's portrayal of this gallant warrior became a highlight of his career iconography. The film itself is oddly disjointed: a precredit commando raid to liquidate Rommel is followed by a flashback to the field-marshal's lightning successes commanding the Afrika Korps—-a compressed account via documentary footage and copious narration (spoken by Michael Rennie, who also dubs Desmond Young, the Rommel biographer and onetime British POW appearing briefly as himself). The dramatic core is Rommel's growing disenchantment with Hitler (Luther Adler), his involvement in the plot to assassinate der Führer, and his subsequent martyrdom. Mason's Rommel returned two years later for a flamboyant, mostly German-speaking cameo in The Desert Rats, a prequel focusing on the battle for Tobruk. --Richard T. Jameson
James Mason delivers a strong performance in this fascinating portrait of Field Marshal Erwin Rommel. In the early 1940's, Rommel's juggernaut Afrika Korps dominated North Africa. But as the tide turned and he came to the painful realization that his Fuhrer, to whom he hd sworn allegiance, was destroying Germany, his ingrained sense of duty pushed him into a conspiracy against Hitler. Co-starring Jessica Tandy as Rommel's wife and Cedric Hardwicke as another anti-Hitler conspirator, The Desert Fox is an intimate look at one of the most respected military tacticians of modern times.
Whirlpool (Fox Film Noir)
by Otto Preminger
from 20th Century Fox
Laura will always be director Otto Preminger's most beloved movie, but he gets closer to the essence of film noir in this fascinatingly slippery item about a psychiatrist's wife whose weakness for kleptomania makes her prey to an oily hypnotist, con artist, and manipulator par excellence. The fashion-plate wife (dresses, robes, and peignoirs by Oleg Cassini) is played by Laura herself, Gene Tierney. The mellifluous conniver is Jose Ferrer, coming off like the illegitimate son of Waldo Lydecker ("I'm so glad you're here--you make Tina's party seem an almost human event"). Among other things, Ferrer would probably like to get Tierney into bed, and a good many people--including Richard Conte as the caring husband--come to believe he has. But that's not the extent of his ambitions, and before long Tierney has been framed for a murder of convenience to clear up another bit of messiness in the cad's career. Whirlpool's mise-en-scène has a sinuous fluidity and subtle play of light and shadow (it was among the last films shot by that master of black-and-white, Arthur C. Miller), and the complexly structured screenplay--by Ben Hecht and Andrew Solt--takes us by surprise in reel after reel. There's nothing redeeming about Ferrer's character (except how much pleasure his villainy affords), but Preminger doesn't really side with any of the characters or permit our facile identification with anyone. Different parts of the movie are dominated by each of the key figures, including police detective Charles Bickford, and we keep learning there's more to each of them than we initially assumed. Whirlpool's a good title for it. Dive in. --Richard T. Jameson
The wife of a psycho-analyst falls prey to a devious quack hypnotist when he discovers she is an habitual shoplifter. Then one of his previous patients now being treated by the real doctor is found murdered, with her still at the scene, and suspicion points only one way.
The President's Analyst
by Theodore J. Flicker
from Paramount
Greenwich Village satirist Theordore J. Flicker made one of the zaniest spy spoofs of the '60s--the ultimate in paranoia and conspiracy. James Coburn stars as a hip New York psychiatrist recruited by his mentor to take on the president as his exclusive patient. After quitting his job because of the stress, he's forced to go into hiding when spies from all sides want to know his secrets. The social and political satire never lets up, as the usually unflappable Coburn becomes completely neurotic. Godfrey Cambridge is hilarious as his cohort and former patient (his opening monologue about self-hatred is a classic), and so is Severn Darden, who plays a charming Russian agent. A true original with the utmost retro appeal today. --Bill Desowitz
Wake of the Red Witch
by Edward Ludwig
from Republic Pictures
John Wayne battles enemies above and below the waves-including a giant killer octopus-in Wake Of the Red Witch. This sprawling epic adventure pits the tough-minded Captain Ralls (John Wayne) against the treacherous Captain Sidneye (Luther Adler) in a bitter rivalry on a South Seas isle. At stake is a fortune in pearls hidden in an underwater cave. At risk is the hand of the beautiful Angelique (Gail Russell) daughter of Desiax the tyrant ruler of the island who plans to marry her off to Sidneye. In an attempt to rescue Angelique Ralls must seize the pearls and exchange them for her freedom. The danger continues as fate holds on final test of strength for the bold Captain and the woman he loves. SPECIAL FEATURES :Full screen version 2.0 Dolby surround Digitally Mastered Scene AccessInteractive Menus Other Information: Running Time: 106 Minutes Format: DVD MOVIE
John Wayne stars as a 19th-century sea captain out for revenge against a wealthy shipping magnate in this interesting and unlikely 1948 offering from Republic Pictures. Wayne plays the wronged Captain Ralls with a convincing bitterness that foreshadows his later work in the John Ford classic The Searchers, and his grim portrayal of Ralls hits a high point when Ralls purposely wrecks his enemy's prize treasure ship. The painfully beautiful Gail Russell costarred with Wayne only the year before in The Angel and the Badman and delivers a memorable performance as the tragic Angelique. Gig Young also stands out as a crewman who eventually learns the truth about Ralls. Wake of the Red Witch shares similarities in both character and climax to an earlier Wayne picture, C.B. DeMille's Reap the Wild Wind, but this film has a more direct approach in exploring the complex motivations of its characters. --Mark Savary
Broken Lance
by Edward Dmytryk
from 20th Century Fox
Broken Lance is a noble entry in the trend of adult Westerns of the early 1950s, scoring on a couple of fronts: (1) as a multigenerational saga, with Shakespearian overtones, of a family bickering over a giant ranch, and (2) as a grown-up look at the dilemma of the Native American... its title perhaps inspired by the Indian-friendly Broken Arrow? Spencer Tracy stars as the blustery patriarch of a cattle spread, threatened by pollution from a nearby copper mine as well as the shiftiness of his older sons (Richard Widmark, Hugh O'Brian, and Earl Holliman). Tracy's bluff characterization--as ever, he seems to be yanking at the script like a cat unraveling a ball of yarn--carries the film effortlessly along. The central character is actually his youngest and wisest son, played by Robert Wagner, who's not especially convincing as the mixed-race issue of Tracy's second marriage, to an Indian woman (Oscar nominee Katy Jurado). Edward Dmytryk directs in a style that could be called "intelligent," which is another way of saying "not very exciting." The early CinemaScope probably accounts for some of the static set-ups, although there are exteriors that are breathtaking (watching this film in its full-screen version would be crazy). The cast is certainly tops; Widmark is overqualified to play a third lead, but who's complaining? Most memorable is the loving relationship between Tracy's cattleman and his Indian wife, although the subject of Native Americans is secondary here (check out The Devil's Doorway and Apache for more overt Fifties looks at the topic). Veteran screenwriter Philip Yordan won an Oscar for his "original story," a curious and long-defunct Academy Award category. --Robert Horton
The feisty, domineering cattle baron Matt Devereaux (Tracy) rules his vast empire with a ruthless hand. Because Matt's greatest love id for his Indian wife, Princess (Jurado) and their son Joe, Matt's three sons from a previous marriage deeply resent them. After Joe agrees to go to jail for a crime his father commits, he returns three years later to a different world-his father has died and his vengeful brothers control the land.
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