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The trouble with Harry is that he's dead. The scene is a autumnal Vermont village, where a pre-Leave It to Beaver Jerry Mathers stumbles upon Harry's corpse in the woods. Mathers alerts his mother Shirley MacLaine (making her film debut), who recognizes Harry as her ex-husband. Later on, retired sea captain Edmund Gwenn likewise comes across the moribund Harry. Both MacLaine and Gwenn have reason to believe that they're responsible for Harry's demise; MacLaine thinks that she killed Harry by clobbering him with a bottle, while Gwenn is certain that he shot the poor fellow while hunting. As the day draws to a close, seemingly every person in town is convinced that he or she has had some hand in Harry's death, thus they conspire to hide the body from the authorities. Visiting artist John Forsythe, dumbfounded at the calm, collected reactions of the villagers regarding Harry (whose ubiquitous body pops up at the most inopportune moments), solves the "mystery." Though not his most successful film, The Trouble with Harry was one of director Alfred Hitchcock's favorites. The story's whimsical black-comedy elements are perfectly complemented by Bernard Herrmann's playful music score. Best bit: Mildred Natwick, coming upon Gwenn as the latter is strenuously dragging away Harry's corpse, asking offhandedly "What seems to be the trouble, Captain?" The Trouble With Harry was adapted by John Michael Hayes from the novel by John Trevor.

If the Perfect Marriage in this romantic comedy were truly perfect, there wouldn't be any story, would there? Outwardly an ideal couple, Maggie and Dale Williams (Loretta Young, David Niven) have grown tired of one another after 10 years. Petty squabbles lead to major battles, exacerbated by the well-meaning interference of friends and relatives. Caught in the middle is Maggie and Dale's daughter Cookie (Nona Griffith), who loves both parents equally and doesn't want to choose between them-which may very well happen if things get any worse. Leonard Spigelgass' screenplay, based on a play by Samson Raphaelson, is a lot closer to real life than most films of the period. Funny though the disagreements between the Williamses may be, there is an underlying pain and harshness to their bickering, which even the reasonably happy ending cannot altogether dissipate.

This ensemble drama set in New York City begins with a philosophy professor (Sam Waterston) getting stabbed while he's trying to buy flowers for his wife (Glenn Close). Elsewhere, his daughter-in-law (Jessica Hecht) battles cancer, a student of his (Kristen Stewart) has self-harm issues, a junkie (K. Todd Freeman) is dragged to rehab by a childhood best friend (Michael K. Williams), and a suburban wife (Gretchen Mol) longs for the city. Written and directed by Tim Blake Nelson.

A wealthy older man and a poor young woman each get a chance to see how the other half lives in this comedy. Alfred Borden (Walter Connolly) is a millionaire who feels neglected by his family. His wife Martha (Verree Teasdale), daughter Katherine (Kathryn Adams), and son Tim (Tim Holt) usually ignore him, and all three manage to forget his birthday completely. Depressed and alone, Alfred bumps into Mary Grey (Ginger Rogers), a young woman who is out of work but is still happy with her lot in life. Alfred invites her to go to a night spot with him, and he soon hatches a scheme by which Mary will move into the guest room of the Borden Mansion and pose as a gold digger who is toying with Alfred's affections to get at his money. Mary's presence has a sudden impact on the family; Martha realizes that she needs to pay more attention to her husband, Katherine falls in love with the family's leftist chauffeur (James Ellison), and Tim starts taking an interest in the family business, and in Mary.

Experiment Alcatraz stars John Howard as a doctor who develops a serum to cure radioactive poisoning. He tests it on several Alcatraz "lifers," who have volunteered for the experiment on the promise of freedom if they survive. A murder within the group casts aspersions on the doctor, but the mystery is solved before the allotted hour's running time is up. While hardly a surefire candidate for box office success, Experiment Alcatraz was purchased for release by RKO for a sum of $100,000. The film had been independently produced a year before its distribution, its lack of production polish betraying its shoestring origins. Coincidentally, leading man John Howard "continued" in the medical profession as the star of the mid-1950s TV series Dr. Hudson's Secret Journal.

Filmed on location, Escapade in Japan stars child actors Jon Provost and Roger Nakagawa. Separated from their parents, Tony (Provost) and Hiko (Nakagawa) wander through such sites as a Shinto temple, the teeming streets of Kyoto and a geisha house. Believing that they've somehow broken the law, the boys do their best to elude the authorities, who of course only want to reunite the kids with their families. Teresa Wright and Cameron Mitchell co-star as Provost's parents, Kuniko Miyake and Susumu Fujita play Nakagawa's mom and dad, and a young Clint Eastwood shows up as a Marine named "Dumbo." Produced by rapidly fading RKO Radio Pictures, Escapade in Japan was distributed by Universal-International.

For his first post-WWII starring film, 26-year-old Mickey Rooney returned to familiar territory in Love Laughs at Andy Hardy. In true Art-Imitates-Life fashion, Rooney plays returning GI Andy Hardy, who arrives in his home town of Carvel to the open arms of his family: Father Judge Hardy (Lewis Stone), mother Mrs. Hardy (Fay Holden) and Aunt Milly (Sara Haden). After reels and reels of "Gee, Mom and Dad, it's great to be home", Andy launches into a new romance with college coed Kay Wilson (Bonita Granville). His boundless ebullience is dampened when Kay elects to marry another, setting the stage for a another of those man-to-man talks between Judge Hardy and Son. Fortunately, Andy bounces back to his old self when he meets Latin American exchange student Isobel Gonzales (Lina Romay). Wisely, MGM decided that Mickey Rooney was too old to continue to play Andy Hardy, and the studio dropped the series with this entry (there would be a so-so "reunion" picture, Andy Hardy Comes Home, in 1958). If it seems nowadays as though Love Laughs at Andy Hardy is being telecast at least seven times per week, it may be because the film lapsed into public domain in 1974.

The fifth of MGM's "Andy Hardy" series, The Hardys Ride High finds the Hardy family outside their usual small-town environs. The complacently middle-class family (middle class by Hollywood standards, that is!) inherits a large estate, compelling them to move in different social circles. Judge Hardy (Lewis Stone) keeps his head about him, while impressionable son Andy (Mickey Rooney) is seduced by the pleasures and privileges of the rich. But reality sets in when the cost of maintaining the estate exceeds the Hardy bank account. The Hardys Ride High is highlighted by the performance of Sara Haden as Aunt Millie, who discovers to her chagrin that her wealthy gentleman caller has no intentions of marrying her.

The third of MGM's Andy Hardy series (discounting the "pilot" film, A Family Affair) stars, as ever, Mickey Rooney as the teenaged protagonist. Andy finds himself in dutch with girlfriend Polly Benedict (Ann Rutherford) when he agrees to escort his best friend's gal, Cynthia Potter (Lana Turner). Having gone out of town, Andy's buddy wants Cynthia kept out of circulation, and pays Andy to make sure she stays that way. Andy is in no position to refuse: he needs the dough to pay for a car he's just purchased. Further complications ensue when Andy falls for a third girl, Betsy Booth (Judy Garland). It is up to Betsy to play little miss fix-it when Andy's romantic entanglements threaten to overwhelm him. (Mickey Rooney could have used a "Betsy Booth" in real life as well!) Originally running shorter than its present 90 minutes, Love Finds Andy Hardy was expanded during filming to showcase the splendid singing talents of Judy Garland.

The Hardys are off to Washington DC in this third entry in MGM's "Hardy Family" series. Judge Hardy (Lewis Stone) has been appointed chairman of a special committee, and on occasion offers a subtly "liberal" political observation that the writers have slipped by MGM's ultra-conservative head man Louis B. Mayer. The Judge's daughter Marian (Cecilia Parker) is intoxicated by Washington's social life, while son Andy (Mickey Rooney) falls for a pretty daughter of a French diplomat. Thus, the Judge is obliged to juggle his committee duties with his efforts to keep his children from making fools of themselves.

In this routine business-story-cum-romantic-comedy, James Garner is Cash McCall, a wheeling and dealing tycoon, and Natalie Wood is Lory Austen, the daughter of failing businessman Grant (Dean Jagger). McCall's expertise lies in acquiring businesses about to go belly up, attaching them to successful enterprises and then taking a large tax deduction on the resultant equation. Those deals are enhanced when the once-failing business is then sold at a profit. This is a savvy gambit for late '50s movie fare, but its proponent begins to have second thoughts when he comes up against the attractive Lory -- who is not afraid of baring all for a good cause. The well-known co-stars and others like Nina Foch and E.G. Marshall do their best with a limited script.

Joe E. Brown's extensive circus and burlesque training serve him well in this familiar but likeable yarn. Brown and Ann Dvorak stars as small-time vaudevillians Joe and Fay Wilson, presently employed by a seedy burlesque troupe. Also on tour with the Wilsons is society girl Peggy (Patricia Ellis), who's merely joined the troupe for a few laughs. Publicity agent Daniel Wheeler (William Gargan) offers Joe a big-time contract, but only if he will team up with Peggy. Surprisingly, Fay goes along with this, though she soon has reason to regret her generosity. The film's many intrigues give way to slapstick when Joe commandeers an airplane to expedite a reconciliation with his ever-loving spouse. The film's comic highlight is Joe E. Brown's "drunken mouse" routine, which later caused him courtroom trouble when comedian Bert Wheeler insisted that the bit was his personal property.

Edward Asner stars as Saturday Review editor Norman Cousins in this made-for-TV biopic, which first aired May 15, 1984. Stricken with a degenerative spinal illness in 1964, Cousins refuses to accept the prognosis that he must spend the rest of his life as a virtual vegetable. He battles his illness by using the most potent weapons at his disposal--a healthy sense of humor, the love and support of his wife, and confidence that he will endure. This sort of spiritual battle is not that easy to film, and some of the scenes--Cousins laughing at the opening titles of a Marx Brothers film, for example--sorely test the acting skills of Ed Asner. But both Cousins and Asner emerge triumphant from Anatomy of an Illness, which was based on Norman Cousins' own book on the subject.

Somehow the titles of the films of hardcase actor Lawrence Tierney seemed to be extensions of the man's personality, as witness such films as The Devil Thumbs a Ride and Born to Kill. In the latter picture, Tierney starts the ball rolling by committing a double murder in a jealous pique. Claire Trevor discovers the bodies, but says nothing to the police; she's leaving town and doesn't want to be impeded. Trevor and Tierney meet and fall in love on the train to San Francisco. Unfortunately, Trevor is married, so Tierney shifts his affections to her sister, Audrey Long (later the wife of director Billy Wilder). He marries Long, though he keeps up his illicit affair with Trevor. When detectives investigating the murders come snooping, they are bought off by Tierney's pal Elisha Cook Jr.--who is then murdered by Tierney, who suspects that Cook is carrying on with Trevor (Cook seldom survived to the end of any of his films). When Tierney finally does face arrest, it's at the instigation of the jealous Trevor, who is shot full of holes for her trouble. Born to Kill was based on James Gunn's novel Deadlier Than the Male.

The big-band mystique of the 1940s was explored by Blues in the Night. Future directors Richard Whorf and Elia Kazan star as, respectively, a neurotic band-leader and a carefree clarinettist. Their jazz band travels from one small-time gig to another, always hoping for their big break but always denied fame thanks to their own personal demons. Priscilla Lane and Betty Field portray (again respectively) the good and bad girls in the musicians' lives. While we're never treated to a full rendition of the title song, Blues in the Night scores with its melodramatic set pieces, including a gutsy climactic murder/suicide sequence involving Betty Field and escaped convict Lloyd Nolan.

Blonde Crazy is the kind of amoral fun that disappeared from Hollywood after 1933, once the Production Code forced morality down the throats of the studios (and screenwriters) and audiences. James Cagney plays a bellhop -- with a machine-gun mouth and a randy-streak a mile wide -- who turns full-time con man once he meets Joan Blondell, a basically "nice" girl (but not too dedicated to it) who quickly falls into his scheming and scamming ways. Blondell plays the bait in a string of badger game come-ons with a string of "sugar daddies," all of whom deliver their spare cash to duck out of trouble. The two live well on the proceeds of their con game until they come to New York City, where sharpster Louis Calhern tricks Cagney out of their money with a phony counterfeit scam. The pair get even with a suspenseful and elaborate con aimed at him, but Blondell also reveals she's tired of running and scamming people, and the life she's leading. She goes off to marry upper-class stock-broker Ray Milland, who is stuck on her and knows nothing of her past or her work. It's then that Cagney discovers he really loves her, and he ends up giving up his con man life, wandering aimlessly as the world seemingly passes him by. But Blondell comes back after a year of marriage, desperate for help -- it seems her straight-arrow husband has gotten himself into a jam involving embezzlement. It takes Cagney's response, coupled with a double-cross and a police chase, to show her how much he loves her.

Although this Canadian production saw its widest U.S. cable TV distribution in the early '80s (primarily under the title Stranger in the House) to capitalize on the phenomenal success of Halloween and its offspring, this effective suspense-thriller actually predates John Carpenter's film by four years. The story involves a dangerous psychopath hiding out in the attic of a sorority house who torments a small group of pretty young sisters (including Olivia Hussey and Margot Kidder) who are staying behind over Christmas break. His tactics range from making obscene phone calls from their house-mother's phone, to stalking the terrified boarders with sharp objects and murderous intent. Director Bob Clark, who mistook dreariness for tension in his previous horror effort Children Shouldn't Play With Dead Things! (1972), here demonstrates a tight, aggressive style that generates some very original shocks -- particularly the surprise ending -- which clearly influenced dozens of similarly-themed slasher films to follow.

A determined medical student uncovers shady goings on during a prestigious summer anatomy course in this German thriller. When Paula Henning (Run Lola Run's Franka Potente) learns that she's been accepted to a highly competitive internship at a Heidelberg research institution, she's ecstatic. The daughter of a simple family doctor, she prefers to model herself after her terminally ill grandfather, who was once dean of the same Heidelberg university. Stern lecturer Prof. Grombek (Traugott Buhre) promises that half the students won't be around when the course ends; his prediction turns out to be true, but it's not because of the brutal exams. It seems that a group of renegade doctors is performing dissections on unwilling, still-living victims, which helps explain the artful laboratory in which plasticized human remains are lovingly displayed. Paula stumbles onto this plot when a recent acquaintance turns up on her dissection table, his blood the consistency of rubber. Studious to the extreme, Paula investigates his death with scientific determination -- despite the flirtations of handsome fellow student Caspar (Sebastian Blomberg) and the feel-good urgings of Gretchen (Anna Loos), her sexually promiscuous but utterly brilliant roommate. Just as Paula is preparing to expose the existence of the Anti-Hippocratic Society, a Nazi-affiliated group of medical malcontents, Gretchen falls prey to their extreme methods. Soon Paula, too, is in danger of becoming just another addition to the display case. Extremely popular in its native country, Anatomie was dubbed into English for American release under the title Anatomy. A sequel was in production as of 2002.

Anatahan (aka Ana-Ta-Han) represented the apotheosis of filmmaker Josef von Sternberg's lifelong fascination with the Orient. Over a year in the making, the film was the most expensive ever made in Japan up to 1953. Based on fact, the story concerns a group of Japanese marines who refused to believe that their country had been defeated in 1945, and thus spent the next seven years stubbornly manning their posts on a remote Pacific Island. The central character is a woman known as the "Queen Bee," who is marooned on the island along with the marines. As the only female in the vicinity, our heroine is aggressively pursued by every male in sight (von Sternberg capriciously refers to her most ardent suitors as her "drones"). Former Nichiegki Theatre chorus performer Akemi Negishi plays the Queen Bee.

This formula western stars George O'Brien as a member of the Arizona Rangers, a quasi-vigilante society aimed at ridding the west of lawlessness. O'Brien is assigned to infiltrate a criminal gang in Arizona. For duty's sake, O'Brien must alienate himself with his sweetheart (Laraine Johnson, later known as Laraine Day) and pose as a ruthless bandit. The hero comes awfully close to meeting his doom before the crooks are roped and hog-tied. Arizona Legion represented the 60th screen appearance of veteran action star George O'Brien.

Films set during America's colonial era seldom did well at the box office, and Allegheny Uprising was no exception. John Wayne and Claire Trevor, stars of the recent western hit Stagecoach, are reteamed herein as 18th century adventurer James Smith and his spitfire sweetheart Janie. Taking every opportunity to defy the edicts of the King of England, Smith and his ragtag followers, "The Black Boys," undermine the despotic regime of provincial governor Captain Swanson (George Sanders). To quell Smith's uprising, Swanson arrests nearly half the colonists and holds them without trial or recourse (he doesn't sport a black mustache and shout "Seig Heil", but audiences in 1939 knew exactly who Swanson was supposed to be). In depicting the English in an unsympathetic light, RKO Radio Pictures committed a major political blunder, inasmuch as the British were then engaged in their own struggle against Nazi tyranny. Fearful that the film would offend English viewers, RKO president George J. Schaefer consulted British producer Herbert Wilcox, who suggested a number of judicious cuts and line alterations in the film. Even so, Allegheny Uprising (originally The Last Rebel, also the title of the Neil H. Swanson novel on which it was based) failed to make a dent in the box-offices on either side of the Atlantic.

Ronald Reagan is his usual sprightly self as ambitious insurance claims adjuster Eric Gregg. While diligently investigating a phony insurance racket, Gregg remains blissfully unaware that his own wife Nona (Sheila Bromley) has become deeply indebted to the crooks. Once this fact surfaces, Gregg loses both Nona and his job. Picking up the pieces is friendly cigar-stand clerk Patricia Carmody (Gloria Blondell), who ends up helping Gregg round up the villains. At the time Accidents Will Happen was released in 1938, the newspapers were jam-packed with stories about big-money insurance frauds; though the film lacks this timeliness when seen today, it remains an enjoyable trifle thanks to the always-dependable Reagan.

Though out of favor with many Abbott and Costello buffs, Abbott and Costello Meet Captain Kidd is actually a lot of fun, so long as the viewer parks logic and dignity at the door. Captain Kidd is played by no less than Charles Laughton, who reportedly agreed to sign up for this film because he wanted to learn how to perform a comedy double-take. Bud Abbott and Lou Costello are cast as Rocky and Puddn'head, waiters at a pirate hangout on the island of Tortuga. Entrusted with a love letter written by the beautiful Lady Jane (Fran Warren) to cabaret singer Bruce Martingale (Bill Shirley), Puddn'head manages to get this missive mixed up with a treasure map coveted by both Captain Kidd and his rival, lady pirate Captain Bonney (Hillary Brooke). The upshot of all this finds Rocky, Pudd'nhead, Lady Jane and Bruce being shanghaied by Kidd, setting the stage for a climactic treasure hunt and chase on a faraway island. Laughton takes to broad slapstick comedy like a fish to water; indeed, at times he's a lot funnier than Bud and Lou! Filmed in Cinecolor, Abbott and Costello Meet Captain Kidd was the second of the team's independent productions for Warner Bros. release; like the first, Jack and the Beanstalk, it was well received by the public, even while critics tore their hair and gnashed their teeth.

Raoul Walsh injects his expected artistry in the otherwise journeyman western Along the Great Divide. Feeling responsible for his father's death, marshal Kirk Douglas seeks redemption. He gets his chance when he saves murder suspect Walter Brennan from a lynch mob. The grateful Brennan accompanies Douglas to another town, where he can get a fair trial. Though found guilty, Brennan is rescued when Douglas nails the real killer. Along the Great Divide was Kirk Douglas' first western (he'd been rejected for the Montgomery Clift role in Red River)--and, need one add, hardly the last.

A private detective (Georg Friedrich), who prefers to be isolated, is forced to engage with a mysterious woman when his bags of surveillance tapes are stolen in this feature directing debut from Tobias Nölle.

Shirley Temple's final starring film, A Kiss for Corliss is a sequel to the actress' 1945 hit Kiss and Tell. The 21-year-old Temple again stars as impulsive teenager Corliss Archer, who on this occasion harbors a crush on notorious playboy Kenneth Marquis (David Niven), who has already been to the altar many times and to the boudoir many more. So moonstruck is she by Marquis (who barely acknowledges her existence) that Corliss begins writing down her imaginary romantic trysts with him in her diary. Naturally, the book falls into the hands of Corliss' parents (Tom Tully and Gloria Holden), who believe every word...especially when Marquis, evidently hoping to teach Corliss a lesson, "verifies" that the diary speaks the truth. Our heroine tries to extricate herself from this embarrassing situation by relying on one of moviedom's oldest clichés; no mean trick, inasmuch as this film is virtually a cliché smorgasbord, albeit an enjoyable one.

Although some purists hold out for Duck Soup (1933), many Marx Brothers fans consider A Night at the Opera the team's best film. Immediately after the credits roll, we are introduced to Groucho Marx as penny-ante promoter Otis B. Driftwood. After a sumptuous dinner with a beautiful blonde at a fancy Milan restaurant, Driftwood tries to cadge another free meal from his wealthy patroness, Mrs. Claypool (Margaret Dumont). The dignified dowager complains that Driftwood had promised to get her into high society, but has done nothing so far. Otis B. counters by introducing Mrs. C to pompous opera entrepreneur Gottleib (Sig Rumann); all Mrs. Claypool has to do is invest several hundred thousand dollars in Gottleib's opera company, and her entree into society is in the bag. Contingent upon this plan is Driftwood's signing of Rodolfo Lassparri (Walter Woolf King), a self-important tenor. Backstage at the opera, Driftwood meets Fiorello (Chico Marx), who poses as a manager and offers to sell Driftwood the "world's greatest tenor"-not Lassparri, as Driftwood assumes, but Fiorello's pal Ricardo Baroni (Allan Jones). Instantly the two sharpsters try to draw up a contract ("The party of the first part shall hereafter be known as the party of the first part..."), which they proceed to tear up piece by piece whenever coming across a clause that displeases them (Driftwood: "That's a sanity clause"; Fiorello: "You no foola me. There ain't no Sanity Claus"). Having lost Lassparri to Gottleib, Driftwood sails back to America with Mrs. Claypool and the opera company. Gottleib arranges for Driftwood to get the tiniest, least accessible stateroom on the ship. Unpacking his trunk, Driftwood discovers that he's got to share his postage-stamp quarters with Ricardo Baroni, who has stowed away because he's in love with the opera troupe's leading lady Rosa (Kitty Carlisle). Also hiding out in Driftwood's trunk is Fiorello, who's come along because he's still Ricardo's manager, and the wacky Tomasso (Harpo Marx), Lassparri's former dresser, who has come along for the hell of it. Anxious to arrange a tete-a-tete with Mrs. Claypool in his stateroom, Otis finds out that his unwelcome guests won't leave until they're fed ("Do you have any stewed prunes? Well, give them some black coffee, that'll sober 'em up"). After ordering a huge dinner, Otis and his new friends are crowded even farther by a steady stream of intruders, including an engineer and his assistant, a cleaning lady, a manicurist, a girl looking for her Aunt Minnie, and a dozen waiters. The celebrated "stateroom scene" comes to a rollicking conclusion when Mrs. Claypool has the misfortune of opening the door. On the last night of the voyage, Fiorello, Tomasso and Ricardo sneak out of their stateroom to enjoy an impromptu ethnic festival in steerage. Ricardo sings, Fiorello "shoots the keys" on the piano, and Tomasso plays the film's theme song Alone on the harp. The stowaways are caught and thrown in the brig, but with Driftwood's help they escape. To avoid recapture, the stowaways don heavy beards and pose as three famed Russian aviators. After making a shambles of a public reception, the three reprobates hide out in Driftwood's New York apartment, where everyone conspires to drive an investigating detective (Robert Emmet O'Connor) crazy. Driftwood is fired from the opera company for associating with the stowaways, while Rosa is dismissed for refusing Lassparri's affections. In order to restore Rosa's job and put the deserving Ricardo in Lassparri's place during the opening performance of La Traviata, Driftwood, Fiorello and Tomasso concoct a scheme that will reduce the opera to comic chaos. The actual night at the opera in A Night at the Opera must be seen to be believed, but the spirit of the scene can be summed up by Gottleib's anguished cry "A battleship in Il Trovatore!" Opera was the Marx Brothers' first film for MGM, and they dearly coveted a hit after the disappointing box-office showing of their final Paramount films. With the blessing of MGM production chief Irving Thalberg, the Marxes went on the road with their brilliant writing staff (including George S. Kaufman, Morrie Ryskind and Al Boasberg) to test their comedy material before live audiences. As a result of this careful preplanning, Night at the Opera was a smash-hit gigglefest, grossing over $3 million and putting the Marxes back on top in the hearts and minds of filmgoers everywhere.

Sean Connery attempted to make a clean break from his "James Bond" image in the boisterous comedy A Fine Madness. Connery plays Samson Shillitoe, a Brendan Behan-like poet with a mile-wide misogynistic streak. Try as he might to complete his latest masterpiece, Shillitoe is constantly interrupted by the women in his life. Driven to a nervous breakdown, he seeks help from the medical establishment -- and ends up a babbling shell of his former self. The film takes scattered potshots at a repressive society that forces the truly creative among us into near-madness; at times, it is sidesplittingly funny, though never quite as potent as the Elliot Baker novel upon which it is based. Sean Connery is brilliant, but the public wanted James Bond to behave himself, thus the film didn't do as well at the box office as it should have.

For a generation of radio fans, Lionel Barrymore was the definitive Ebeneezer Scrooge. Alas, Barrymore was crippled by arthritis by the time MGM got around to filming Charles Dickens' A Christmas Carol in 1938, so the Scrooge role went to contract player Reginald Owen - who, though hardly in the Barrymore league, does a splendid job. Hugo Butler's screenplay must make some adjustments from the source material. The Ghost of Christmas Past, for example, is played not by a robust middle-aged man but by a beautiful young woman (Ann Rutherford). Impeccably cast, the film includes such reliable character players as Leo G. Carroll (Marley's Ghost), Barry McKay (Scrooge's nephew Fred) and Gene and Kathleen Lockhart (Bob and Mrs. Cratchit). The Lockhart's teenaged daughter June makes her screen debut as one of the Cratchit children, while Terry Kilburn is a fine, non-sentimental Tiny Tim. Commendably short for a major production (69 minutes), MGM's Christmas Carol is one of the best adaptations of the oft-filmed Dickens Yuletide classic, and definitely on equal footing with the more famous 1951 Alastair Sim version.

In this tense espionage drama set in 1942, William Holden plays Eric Erickson, an American-born Swede who is put on the Allied blacklist for trading oil with the Nazis. Collins (Hugh Griffith), a British intelligence agent, offers to expunge Erickson's name from the blacklist after the war in return for information on the Nazis. Erickson agrees to the plan and proceeds to make it look as if he is pro-Nazi. This subterfuge causes him to be branded a traitor, and his wife, believing Eric to be a Nazi, walks out on him. Nevertheless, Eric continues with his deceit and makes the Germans think that he is planning to construct an oil refinery in Sweden to serve as a fuel supply for Germany. As a result he is allowed entrance to four German oil refinery, and he passes on the information to Collins. But Eric is being put under surveillance by the Nazis. They discover that Eric's lover, Marianne (Lilli Palmer) is working for the Allies. Suddenly both Marianne and Eric are arrested and thrown into Moabit Prison -- with dire consequences for both of them.

Edmond O'Brien became the latest actor to try his hand at directing in Man-Trap (he'd previous functioned as codirector on 1957's Shield for Murder). Jeffrey Hunter stars as an impressionable fellow whose old marine buddy (David Janssen) talks him into a questionable business venture. Hunter joins Janssen in a plot to hijack nearly four million dollars from the Mob. The results are far from beneficial, either for Hunter or his alcoholic, promiscuous young wife (Stella Stevens). Man-Trap was adapted from John D. MacDonald's novel Taint of the Tiger.

Anthony Perkins stars as troubled baseball great Jimmy Piersall in Fear Strikes Out. Based on Piersall's shattering tell-all autobiography, the film traces Jimmy's ascent from the sandlots of Waterbury, CT, to the Boston Red Sox, with his domineering father (Karl Malden) pushing the boy beyond all reasonable limits. Unable to withstand the pressure, Piersall suffers a nervous breakdown and is confined to a mental institution. Through a long period of therapy, Jimmy realizes that he has excelled in baseball not for his own gratification but to please his father. This film was preceded by a 1956 TV version starring Tab Hunter.

Samuel and Bella Spewack's English adaptation of French playwright Albert Husson's morbidly humorous stage piece My Three Angels was brought to the screen as the heavily laundered but still wickedly funny We're No Angels. The scene is French Guiana, a few days before Christmas. Humphrey Bogart, Peter Ustinov and Aldo Ray play three Devil's Island "lifers" who escape from the infamous prison and hide out amongst the free colonists. In need of clothing and money, the trio makes plans to rob milliner Leo G. Carroll and his family. "We'll cut their throats for a Christmas present", Bogie, a convicted forger, remarks laconically. "That might spoil one's belief in Santa Claus" replies philosophical wife-murderer Ustinov. The three escapees are deflected from their larcenous intent when they grow fond of Carroll, his wife Joan Bennett and their daughter Gloria Talbott. Discovering that Carroll is on the verge of bankruptcy, the convicts offer their services as household help (the sight of Bogie in an apron is worth the admission price in itself). Complications ensue when Carroll's nasty, wealthy cousin Basil Rathbone comes calling to audit the store's books. Not wishing to see the family evicted, the convicts calmly discuss the possibilities of murdering the troublesome Rathbone. They are saved the trouble when Adolphe, the pet poisonous snake owned by Ray, slithers out of its box and accomplishes what the convicts had only contemplated. Adolphe also helps smooth the path of happiness for Carroll's daughter Gloria, who thinks she's in love with Rathbone's duplicitous nephew John Baer. From all reports, the set of We're No Angels was a happy one, a fact reflected in the warm, engaging performances of its stars. The film represented the final screen collaboration between star Humphrey Bogart and director Michael Curtiz.

In the year 1783, as the British surrender to the colonists, Dr. Carlos Morales (Fernando Lamas) is one of many new Americans to rejoice in the victory. But his joy is muted by the impending death of General Victor Darby (Lester Matthews), his benefactor, who raised and educated Morales as though he were his own son. On his deathbed, the general insists that Carlos take over the running of Sangaree, his plantation outside of Savannah. It is a wish that Carlos heartily wishes to avoid carrying out, in part because he can't wholly forget the fact that Sangaree was where his own father toiled as an indentured servant and where aristocratic neighbors still regard him, medical degree or not, as nothing more than an upstart bond-slave; and also because the geeeral's dying wish will put Carlos on a collision course with Nancy Darby (Arlene Dahl), the general's headstrong, British-raised daughter, who expects to control the plantation herself. And sure enough, Nancy and her fiance Harvey Bristol (John Sutton), the son of the wealthy, deeply prejudiced Dr. Bristol (Francis L. Sullivan), do their best to undermine Carlos, challenging her father's will in court and humiliating and belittling him in public at every turn. Carlos prevails, through a mixture of courage, boldness, and good sense, even winning Nancy over, at least in part, but he soon discovers that securing control of Sangaree is only a small battle in the larger war he faces against greed, prejudice and ignorance -- there are pirates to contend with, and the lurking threat of plague, the latter complicated by Dr. Bristol's unaccountabl refusal to allow the inspection of his warehouses. And just as urgent as those larger problems are the lingering vengefulness of Harvey Bristol, who is prepared to kill Carlos by any means at his disposal, and the mysterious machinations of his best friend's wife Martha (Patricia Medina),like Carlos the descendant of a bond-slave; and the enigmatic Frenchman Pagnol (Charles Korvin), who seems to have an agenda of his own that includes piracy.

In the original Broadway production of this William Inge play, Shirley Booth played Lola Delaney, the vulgar, dumpy, less-than-bright "shotgun bride" of recovering alcoholic Doc Delaney, played on stage by Sidney Blackmer, who won a Tony award for his efforts. When time came to film the play, Shirley Booth was retained as Lola, but Burt Lancaster replaced Blackmer as Doc. Although Lancaster seems far too youthful for the role, the film is a fascinating and sometimes funny study of an unhappy marriage made unhappier by the arrival of a sexy stranger. Young Marie (Terry Moore) rents a room from Lola, a tiresome creature who never stops talking, especially about the "imminent" return of her runaway dog Sheba. Doc is having enough trouble staying away from the bottle and resigning himself to his marriage without the curvaceous Marie arousing his baser instincts. The characters interact with gloomy consequences, in the typical kitchen-sink-realism style of Inge's Fifties plays, although a tacked-on happy ending, common to Fifties movie melodramas, pretends otherwise.

Paramount's immensely successful Pine-Thomas production unit once more struck box-office gold with The Last Outpost. Ronald Reagan stars as devil-may-care Confederate officer Vance Britton, who leads a band of guerillas on a series of sabotage raids. The Northern Army dispatches Vance's brother, Union officer Jeb Britton (Bruce Bennett), to put an end to Vance's activities. Both brothers are forced to work shoulder to shoulder when a Northern attempt to enlist the aid of the Apache tribe backfires, sparking an all-out Indian war. Rhonda Fleming, who seemed to spend her entire career in Technicolor adventure flicks, appears as the romantic bone of contention between the battling Brittons. Halfway down the cast list as Lieutenant Fenton is TV's future "Ward Cleaver," Hugh Beaumont.