Siodmak, Robert

The Spiral Staircase

An unusual suspense film, The Spiral Staircase tells the story of a mute servant girl threatened by a murderer who has a penchant for killing the handicapped. Ethel Barrymore, Elsa Lanchester, and George Brent co-star, while Dorothy McGuire expertly captures the dilemma of the mute Helen Capel. Capel, who has not been able to speak since childhood, must somehow call for help before becoming the killer's next victim. McGuire's performance carries the film far past any B-movie qualities in the plot, and the last line is one of the most memorable in film history. Silent movie buffs will especially enjoy the opening scene, which takes place at a turn-of-the-century movie parlor. --Mark Savary

A murderer is targeting disabled young women in a sleepy New England town, and Helen (Dorothy McGuire), a mute servant in a Gothic mansion, is terrified she's next! Mrs. Warren (legendary actress Ethel Barrymore in an Oscar®-nominated* performance [Best Supporting Actress, 1946]), the invalid, bullying mistress of the house, warns Helen to leave at once, rather than rely on her weak son and stepson for protection. But even as Helen is packing her things, she suspects she may be too late and the murderer is closer than she ever imagined!

Custer of the West

General George Armstrong Custer has been portrayed as everything from a vain but ultimately honorable hero (Errol Flynn in They Died with Their Boots On) to an insane, pompous incompetent (Richard Mulligan in the biting Little Big Man), but few have attempted an ambitious look at the man in all his contradictions. Robert Siodmak's Custer of the West, his final American production, attempts the task with fine results, portraying the career soldier as a pragmatist, a disciplinarian with a bullying streak, a loner, and ultimately an Old World romantic in the modern age. Robert Shaw gives the role a regal bearing (though his continental accent keeps drifting in) and a sense of dignity, depicting a man who ironically identifies more with the Indians than with the U.S. Army. Jeffrey Hunter and Ty Hardin costar as his battling junior officers and Robert Ryan is memorable in a brief appearance as a gold-mining deserter. Shooting in handsome widescreen and vivid Technicolor, Siodmak makes his outdoor settings come alive and nimbly handles the many action scenes, most notably a chase that sends an escaping soldier whooshing down a log water chute like a Disney ride. Siodmak's sweeping visuals deliver both grand images and ironic counterpoint, but ultimately Custer of the West eschews the heroism of Hollywood adventures for a portrait of the corrupt state of the American military and one man's hopeless fight against it. --Sean Axmaker

From decorated war hero to doomed commander General George Armstrong Custer is brilliantly portrayed by Robert Shaw (Jaws The Sting) in this stunning giant spectacle of a film (Motion Picture Herald). With an all-star cast that includes Jeffrey Hunter and Robert Ryan this epic adventure is a "giant spectacle of a film" (Motion Picture Herald) that vividly chronicles the rise and fall of this larger-than-life legend! After his triumphs in the Civil War General Custer becomes one of the most renowned military figures of his time. But he infuriates as many people as he impresses never more so than in the days leading up to the Battle of Little Bighorn where his sense of pride overshadows his dedication to duty with disastrous consequences.System Requirements: Running Time 141 MinFormat: DVD MOVIE Genre: WESTERN/MISC. Rating: G UPC: 027616905802 Manufacturer No: 1006380

Criss Cross (Universal Noir Collection)

A certified film noir classic, Criss Cross embraces the genre's darkness with an uncompromising tale of doomed lovers and multilayered betrayal. Reuniting with director Robert Siodmak after their success with The Killers, Burt Lancaster plays a love-struck loser who seals his fate when he returns to Los Angeles to find his ex-wife (Yvonne DeCarlo) eager to rekindle their love against all better judgment. She encourages their torrid affair but marries a mobster (Dan Duryea); to deflect suspicion, Lancaster lures Duryea into an armored-truck robbery, creating a vortex of greed and passion from which he cannot escape. Featuring the brief screen debut of Tony Curtis, Criss Cross is a stylish masterpiece of clashing fates and fatal attractions; Franz Planer's cinematography creates a shadow world in which every desire is tainted by the threat of violence, and Miklos Rozsa's score underlines a love story that could never end happily. Film noir doesn't get any bleaker--or better--than this. --Jeff Shannon

The Crimson Pirate

Released well after Douglas Fairbanks's and Errol Flynn's heydays, this good-natured Burt Lancaster vehicle is, nevertheless, a superior example of the classic swashbuckler: set in the 16th century, along the Spanish Main, this lusty adventure both expands on and explodes genre conventions. Lancaster, a circus acrobat before turning to movies in the '40s, gives what may be his most physical performance as sword-for-hire Captain Vallo, a.k.a. the Crimson Pirate.

Nick Cravat, Lancaster's real-life circus buddy, matches the star leap for leap, somersault for somersault as Vallo's mute sidekick. The fetching Eva Bartok causes Vallo to throw over the Spanish for rebel forces, and a young Christopher Lee demonstrates the swordsmanship that would later make him a natural in Richard Lester's The Three Musketeers.

Director Robert Siodmak, known for his claustrophobic noir thrillers (1946's The Killers), handled most of the interiors, while Lancaster coordinated the tongue-in-cheek humor and macho derring-do. The broadly played action scenes, including the climactic 18-minute battle aboard a frigate, wouldn't be improved on for another three decades--by Spielberg's Raiders of the Lost Ark. The big difference: Harrison Ford needed a stunt double, Lancaster didn't. --Glenn Lovell

Notorious raider of the eighteenth century sea lanes, Captain Vallo, a.k.a. The Crimson Pirate, and his band of buccaneers overtake a Spanish galleon filled with guns and ammunition. When he decides to sell the stolen arsenal to rebel leader El Libre on the island of Cobra, the representative of Spain, Baron Gruda, offers Vallo 50,000 florins if he will deliver El Libre instead. Vallo is soon caught between the Spanish, the rebellion, and even the mutiny of his own men. But having allen in love with El Libre's daughter Consuelo, Vallo gains back his crew's trust and leads the island of Cobra to freedom.

Dracula's Daughter/Son of Dracula

Dracula's Daughter This cut-rate sequel to Dracula, sans Bela Lugosi, turns out to be an unexpectedly sleek and stylish movie. Gloria Holden, tall, dark, and continental, is the aristocratic title character fighting her nature and seeking a cure for her affliction. A sympathetic psychiatrist, Dr. Garth (Otto Kruger), encourages her to "face her fears," but when she lures a pretty young streetwalker to her room to model for a painting, the temptation of her fleshy offering proves too much to overcome. Edward Van Sloan reprises his role as Van Helsing, held by the police for the murder of Count Dracula (the film opens on the final scene from Dracula) but released in the nick of time to help Garth, now at the mercy of the bitter and vindictive vampire. Director Lambert Hillyer makes the most of his low budget, with austere, angular sets and an almost abstract sense of the foggy city night. Holden's mysterious face and tall, willowy body make her an even more striking vampire than Lugosi, and Irving Pichel's offbeat servant is like an American gangster with the breeding of a European aristocrat: thick and thuggish, but always proper. The script falls into the usual rut of Universal's later horror films, losing the mood in the busy plot, but the smooth style and Holden's dignified performance lift Dracula's Daughter above most Universal sequels.

Son of Dracula It was perhaps inevitable that, after playing the Wolf Man, Frankenstein's monster, and the Mummy, Lon Chaney Jr. would round out his horror resumé with a turn at the great bloodsucker himself (not, as the title would suggest, his son). Looking dapper and dignified under the cape, if not exactly threatening, Chaney plays Count Alucard (that's Dracula spelled backwards), a mysterious Carpathian summoned to America by a "morbid" heiress (Louise Allbritton). Eric Taylor's script is rather clunky, but the story (by horror specialist Curt The Wolfman Siodmak) is often quite clever, playing like a supernatural twist on a psycho-thriller. Allbritton's frustrated fiancé Robert Page accidentally "kills" her while trying to shoot Alucard (who imperiously stands up to the hail of bullets) and then goes stark raving mad as he watches the dead rise to life and the living disappear in wisps of smoke and morph into creaky stage bats.

Future film noir legend (and Curt's brother) Robert Siodmak (The Killers) does wonders with the swampy, misty Deep South setting despite his obviously threadbare budget, transforming the usual clichés into moments of inspired melodrama. Only the clumsy antics of the skeptical cops and the plodding exposition spouted by an old Carpathian doctor (he just happens to be the local MD) get in the way of this moody minor horror gem. --Sean Axmaker

Custer of the West

General George Armstrong Custer has been portrayed as everything from a vain but ultimately honorable hero (Errol Flynn in They Died with Their Boots On) to an insane, pompous incompetent (Richard Mulligan in the biting Little Big Man), but few have attempted an ambitious look at the man in all his contradictions. Robert Siodmak's Custer of the West, his final American production, attempts the task with fine results, portraying the career soldier as a pragmatist, a disciplinarian with a bullying streak, a loner, and ultimately an Old World romantic in the modern age. Robert Shaw gives the role a regal bearing (though his continental accent keeps drifting in) and a sense of dignity, depicting a man who ironically identifies more with the Indians than with the U.S. Army. Jeffrey Hunter and Ty Hardin costar as his battling junior officers and Robert Ryan is memorable in a brief appearance as a gold-mining deserter. Shooting in handsome widescreen and vivid Technicolor, Siodmak makes his outdoor settings come alive and nimbly handles the many action scenes, most notably a chase that sends an escaping soldier whooshing down a log water chute like a Disney ride. Siodmak's sweeping visuals deliver both grand images and ironic counterpoint, but ultimately Custer of the West eschews the heroism of Hollywood adventures for a portrait of the corrupt state of the American military and one man's hopeless fight against it. --Sean Axmaker

The Spiral Staircase

An unusual suspense film, The Spiral Staircase tells the story of a mute servant girl threatened by a murderer who has a penchant for killing the handicapped. Ethel Barrymore, Elsa Lanchester, and George Brent co-star, while Dorothy McGuire expertly captures the dilemma of the mute Helen Capel. Capel, who has not been able to speak since childhood, must somehow call for help before becoming the killer's next victim. McGuire's performance carries the film far past any B-movie qualities in the plot, and the last line is one of the most memorable in film history. Silent movie buffs will especially enjoy the opening scene, which takes place at a turn-of-the-century movie parlor. --Mark Savary

The Spiral Staircase [Region 2]

An unusual suspense film, The Spiral Staircase tells the story of a mute servant girl threatened by a murderer who has a penchant for killing the handicapped. Ethel Barrymore, Elsa Lanchester, and George Brent co-star, while Dorothy McGuire expertly captures the dilemma of the mute Helen Capel. Capel, who has not been able to speak since childhood, must somehow call for help before becoming the killer's next victim. McGuire's performance carries the film far past any B-movie qualities in the plot, and the last line is one of the most memorable in film history. Silent movie buffs will especially enjoy the opening scene, which takes place at a turn-of-the-century movie parlor. --Mark Savary

Custer of the West [Region 2]

General George Armstrong Custer has been portrayed as everything from a vain but ultimately honorable hero (Errol Flynn in They Died with Their Boots On) to an insane, pompous incompetent (Richard Mulligan in the biting Little Big Man), but few have attempted an ambitious look at the man in all his contradictions. Robert Siodmak's Custer of the West, his final American production, attempts the task with fine results, portraying the career soldier as a pragmatist, a disciplinarian with a bullying streak, a loner, and ultimately an Old World romantic in the modern age. Robert Shaw gives the role a regal bearing (though his continental accent keeps drifting in) and a sense of dignity, depicting a man who ironically identifies more with the Indians than with the U.S. Army. Jeffrey Hunter and Ty Hardin costar as his battling junior officers and Robert Ryan is memorable in a brief appearance as a gold-mining deserter. Shooting in handsome widescreen and vivid Technicolor, Siodmak makes his outdoor settings come alive and nimbly handles the many action scenes, most notably a chase that sends an escaping soldier whooshing down a log water chute like a Disney ride. Siodmak's sweeping visuals deliver both grand images and ironic counterpoint, but ultimately Custer of the West eschews the heroism of Hollywood adventures for a portrait of the corrupt state of the American military and one man's hopeless fight against it. --Sean Axmaker

Custer of the West

General George Armstrong Custer has been portrayed as everything from a vain but ultimately honorable hero (Errol Flynn in They Died with Their Boots On) to an insane, pompous incompetent (Richard Mulligan in the biting Little Big Man), but few have attempted an ambitious look at the man in all his contradictions. Robert Siodmak's Custer of the West, his final American production, attempts the task with fine results, portraying the career soldier as a pragmatist, a disciplinarian with a bullying streak, a loner, and ultimately an Old World romantic in the modern age. Robert Shaw gives the role a regal bearing (though his continental accent keeps drifting in) and a sense of dignity, depicting a man who ironically identifies more with the Indians than with the U.S. Army. Jeffrey Hunter and Ty Hardin costar as his battling junior officers and Robert Ryan is memorable in a brief appearance as a gold-mining deserter. Shooting in handsome widescreen and vivid Technicolor, Siodmak makes his outdoor settings come alive and nimbly handles the many action scenes, most notably a chase that sends an escaping soldier whooshing down a log water chute like a Disney ride. Siodmak's sweeping visuals deliver both grand images and ironic counterpoint, but ultimately Custer of the West eschews the heroism of Hollywood adventures for a portrait of the corrupt state of the American military and one man's hopeless fight against it. --Sean Axmaker