Walter Plays Prospero

The crew of an Earth starship arrives at Alair IV, to investigate a team of scientists who went there 20 years earlier to set up a colony. They've not been heard from since. Upon their arrive, the ship receives a message warning them away from the planet. They ignore the alarm, and land. They are greeted (if you can call it that) by Dr. Edward Morbius (Walter Pidgeon), the only survivor of the original colony - the others in the mission were wiped out by a mysterious force. Terrified that the carnage will begin again, Morbius advises Commander John Adams to leave the Forbidden Planet (1956). 

If you have never seen this film, you are missing one of the great science fiction films of all time. While MGM claimed there was no attempt on their part to use the plot of The Tempest  (Shakespeare Films: A Re-Evaluation of 100 Year of Adaptations by Peter E.S. Babiak) as the background to the movie, it is clearly Shakepeare's plot - the magician/scientist living on a deserted planet with his lovely and innocent only child; the helpful spirit - here a robot - who can make his own kind of magic; the interlopers who intrude on the magician's paradise; and finally, the evil presence that threatens the very existence of paradise. This was MGM's first venture into science-fiction; the film was so well-received on previews that the studio decided to release it as-is, rather than allow director and editor to iron out areas they felt were still rough (TCM article).

It's redundant to say that Walter Pidgeon is excellent as Dr. Morbius - when is he NOT excellent? Without his strong performance, this film could have deteriorated into one of the many mad scientist movies that dominated the 1950s. Walter Pidgeon gives the role gravitas.  He is genuinely concerned for the safety of the visiting space crew, but Dr. Morbius is also determined to keep this planet to himself - it has become his haven and the source of everything he needs for his work and his pleasure. On a side note, in a visit to St. Johns, Newfoundland last year, we found this tribute to the Canadian-born Mr. Pidgeon:

Anne Francis (Altaira Morbius) has long been one of my favorite actresses, primarily for her portrayal of the ace detective Honey West (a show that was canceled after one year - perhaps because it featured an independent woman who was perfectly capable of rescuing herself AND her colleague, Sam). Altaira is a very different character, but still is quite able. She designs her own clothing, runs her father's home, and has the ability to interact with the many animals on the planet. Altaira, however is naive - she is truly puzzled when Captain Adams harangues her about her clothing (it would have been nice if Adams instead berated his men for ogling the woman. Some things don't change). Ms. Francis walks a fine line in making Altaira innocent, but intelligent; she brings strength and determination to the role - as she would continue to do throughout her career.

For the many who grew up on Leslie Nielsen as a comic actor, this film provides the opportunity to see him as a leading man - with his tall good looks, he seemed destined to play the heart-throb. This was his film debut (AFI Catalog), and he is good as Adams, though the character comes off as a bit officious at times. One does think Altaira can do better for herself (once she gets to Earth).  

The character that steals the film is not, in fact, human. It's Robbie the Robot, voiced by Marvin Miller (the star of television's The Millionaire, and who also appeared in the film we recently reviewed, Deadline at Dawn (1946)), and acted by Frankie Darro. Robbie would end up having a long career - the following year, he appeared in The Invisible Boy. He moved to television, appearing in shows such as The Twilight Zone, The Man from U.N.C.L.E. (though only his head), and Lost in Space. Robbie was eventually sold at auction for over $5 million. 

Several actors who made their mark on television appear to good effect in the film. Earl Holliman (Cook) provides comic relief as he convinces Robbie to make whiskey for him. This was by no means his first film, and he would appear in a number of films in the 1950s and 1960s (he is quite wonderful in Trooper Hook the year after this film). He's probably best remembered today as Angie Dickinson's partner in Police Woman. Jack Kelly (Lt. Jerry Farman) had been appearing in films since 1939, mostly in small parts. He came to the public's attention as brother Bart in Maverick. Richard Anderson (Chief Quinn) started his movie career in 1947; he worked as a reliable character actor in film and television until he achieved fame as Oscar Goldman in The Six Million Dollar Man. Finally, Warren Stevens ( Lt. "Doc" Ostrow) is probably best known for Bracken's World, but he had a long career as a guest star (often the villain!) in many television shows.

While emphasizing its appeal to children, the New York Times review by Bosley Crowther was quite enthusiastic, encouraging the children to "extend an invitation to Mom and Dad to go along". The film was nominated for an Oscar for Best Visual Effects, and was added to the Library of Congress' National Film Registry in 2013. 

This is an essential film, especially if you are a fan of science fiction (or Shakespeare!), and we whole-hardheartedly recommend it. We'll leave you with a trailer:

Barbara Wants a Bigger Ranch

John Parrish (Glenn Ford), a former captain in the Union Army, has spent three years in the West, recovering from his wartime injuries. Engaged to Caroline Vail (May Wynn), Parrish has decided to sell his ranch and return east at Caroline’s urging. The only potential buyer is Lew Wilkison (Edward G. Robinson), the owner of Anchor, a huge estate. It's no surprise when Wilkison underbids for Parrish's ranch. But Parrish is infuriated and a new war is set in motion when Cole Wilkison (Brian Keith), Wade Matlock (Richard Jaeckel), and The Violent Men (1955) murder John's ranch hand Bud Hinkleman (Bill Phipps) to "convince" Parrish to take the offer.

This is an adequate western, with a stellar, though not well-used cast.  Glenn Ford is fine as a man who seems condemned to using violence, even though he yearns for a life of peace. His interactions with Edward G. Robinson are good (though short and on the technical side). Also convincing are his scenes with Dianne Foster as Judith Wilkison, the daughter of Lew and Martha (Barbara Stanwyck). Mr. Ford is quoted as saying this was one of his favorite films - primarily because he got to work with Ms. Stanwyck and Mr. Robinson  (Glenn Ford: A Life by Peter Ford).

What we missed were strong exchanges between Ms. Stanwyck and Mr. Ford or Mr. Robinson. Ms. Stanwyck's key scenes are with Brian Keith, an actor we all admire, but who is given precious little with which to work. Cole Wilkison is a villain - he's out for money and for sex; if he is able to hurt or kill someone while getting it, all the better. But his motivations are one-dimensional. As a result, the dialogue between these two fine actors is mere speechifying. It's a waste of talented performers who can give so much more. In Peter Ford's book, he says that he believed his father had fallen for Ms. Stanwyck. That alone makes you wish for just one scene in which she and Mr. Ford really talked. 

In his book Barbara Stanwyck: The Miracle Woman, author Dan Callahan says: "whenever Stanwyck has blond hair in a movie...get out of the way, buster, there's going to be a lot of trouble" and he is certainly correct in this instance. Martha is, without a doubt, one of the most unscrupulous characters Ms. Stanwyck has ever done. I'm sure you are thinking - "wait, what about Phyllis Dietrichson? Martha can't be worse than her!" But Indeed Martha is worse, because there is no depth to the character. Ms. Stanwyck tries, but she doesn't have the tools, in the form of a script, which allow Martha to have some substance. Ms. Stanwyck has one really good scene, in which she and Edward G. Robinson are trying to escape a burning house. It's only a moment, there is no real dialogue, but it is proof that when you have two dynamic actors, the results are electric.

Lew Wilkison has managed to distance himself from the current violence; Edward G. Robinson's portrayal is of a man who wants the power, but feels himself emasculated by the injury that limited his ability to walk. His daughter, Judith, as portrayed by Dianne Foster is far different than either of her parents. Initially unlikable, Judith becomes the only truly good character in the film. She has one goal, and it is not that of either of her parents. There is, however, a bond between father and daughter that is certainly not evident with her mother. Lew shows a concern for his child; Martha would rather just send her away.  

Ms. Foster had a brief film career; between 1953 and 1958, she was in 11 films (including The Kentuckian (1955) and The Last Hurrah (1958)). Beginning in 1959, she mostly appeared on television, guesting in shows such as The Wild, Wild West, Hawaiian Eye, Ben Casey, and Perry Mason. She's been married three times; her last marriage to Dr. Harold Rowe was in 1960 - the couple were together until his death in 1999. Ms. Foster has three children and lives in  California, where she is a painter.

Based on the novel Smoky Valley by Donald Hamilton (AFI Catalog), the film does not appear to have been well received; Though it is a beautifully filmed movie, done in Technicolor and Cinemascope, the New York Times review by Bosley Crowther said: "If, at the end, it leaves you feeling you've seen just another horse-opera...it's no wonder, for that's what it is." The New York Herald-Tribune called the two leads "Little Caesar in buckskin" and "Lady Macbeth of the plains" (TCM article).  It's not that it's a bad movie, it's just not a good one. With such a good cast, it's worth a single viewing (but if you have to choose a Stanwyck western, go for Trooper Hook).

Here's a trailer from the film: