Kind Lady (1951)

Mrs. Herries, a rich woman with a tender heart, takes an interest in struggling artist Henry Elcott. When his wife collapses outside of Mrs. Herries's home, she is immediately invited to convalesce in one of the spare rooms. And that's all Elcott needs to make himself at home and for Mrs. Herries to understand the dangerous situation she's now in.

The tone of the film is perfect: at first it feels like it might be a heartwarming Christmas film. Everything's right in this woman's world -- she's loved and respected. But, once it's suggested that her mind is no longer her own? Arguments or screams to the contrary just seem to prove the allegation all the more. Even those who knew her well can only shake their head in sad acceptance. Nasty little story, but it's well-told and got to me.

B-

The Tall Target (1951)

A NY detective is convinced there's a plot to assassinate president-elect Lincoln during an upcoming pre-inaugural speech in Baltimore. In order to get the word to Lincoln and do what he can to stop it, he has to turn in his badge and board a train. He soon sees evidence of foul play and suspects conspirators are on the train as well.

It's a good, fast-moving story with lots of intrigue. I found it especially interesting to hear the passenger conversations and realize that our current divided nation is nothing new. But there's also a Dragnet-style perfunctoriness to the storytelling. The lead is especially impassive.

B-

Death of a Salesman (1951)

Fredric March is an on-the-road salesman who's slowing down. Problem is he's got no money to retire on and his grown sons aren't much help to their parents. Technically this family has more than its share of problems, but they all seem well-earned. It's not a "bad luck" situation so much as a "terrible patriarch" situation. 

Two-hour misery marathon.

F

The Lemon Drop Kid (1951)

Silly movie starring Bob Hope as a serial gambler getting into trouble and hoofing it back up to New York to earn some money to dig himself out of that trouble. Fun but super slight.

B-

Quo Vadis (1951)

Even though it’s stagey, it can’t help but be interesting. Peter Ustinov plays Nero like a big spoiled baby -- he’s like a grown-up “Never” from Louie (I couldn't find a clip of Never, but if you've seen the ep, surely you'll agree).  He strums while Rome burns and then blames the Christians when the people escape and are understandably pissed. 

It’s no Ben Hur or Ten Commandments, and the main couple is pretty bland, but it’s not bad.

B-

The Mating Season (1951)

Before the two stories (Mom's and son's) merge, things are a little slow. Mom's (Thelma Ritter) losing her burger joint due to several months of unpaid mortgage and the son's doing his best to leave his wrong-side-of-the-tracks upbringing behind him and is set to marry the society daughter of an ambassador. But once mom decides to come live with her son in New York, things perk up.

Ritter is the perfect choice to play the no-nonsense unassuming hard-worker who'd rather allow her daughter-in-law believe she's live-in domestic help (against her son's desire to come clean) since she understands that living with an in-law is no young bride's idea of romance. Unfortunately, the other mother-in-law soon moves in and she obviously hasn't got the sense that Ritter's does.

As unlikely as the situation is, somehow the script pulls it off -- nothing gets too outrageous and the characters all behave believably. I was rooting for things to work out.

B+

Ace in the Hole (1951)

Kirk Douglas is an ostracized big-city reporter pounding out small-town fluff pieces in New Mexico when he rolls into the story that he immediately recognizes could be his ticket back to the major papers -- if only he plays it right. And brother, does he ever.

The poor sap at the center of the brouhaha is buried up to his hips in a cave-in and Douglas aims to make that last as long as possible while he's got the exclusive scoop, sleeps in the bedroom of the sap's parents, and enjoys a mean little fling with the sap's missus.

Hard to believe this smart little movie with a heart of black was made more than 50 years ago. Hasn't aged at all.

A-

The Racket (1951)

Robert Mitchum plays McQuigg, the only incorruptible police captain in the big city and the thorn in the side of mid-level bad guy Nick Scanlon (Robert Ryan).

The story wants to be big. It has political seats being guaranteed by organized crime, and informants to the mob inside the police department -- but it never feels big. It's stagey, predictable, and just plain boring. Factor in the bland look and the blah line readings and you get a big nothing.

Though I know that Mitchum can play a decent human being convincingly (The Sundowners and Ryan's Daughter being two marvelous examples), he's asked to be a menacing good guy here and he can't seem to figure out just how to do it.

C-

Bright Victory (1951)

Totally square movie. Brazen soldier loses his sight and, after the initial horror, adapts well. And, whaddya know, being blind even makes him a better person and earns him a quality gal. Who'da thunk it?

B-

Go for Broke! (1951)

Not bad story of a WWII unit comprised of Japanese-Americans. Kind of preachy at times…kind of boring and poorly acted at others…but it's earnest and short. Easy to take.

C+

A Christmas Carol; aka Scrooge (1951)

In my opinion, the best "Christmas Carol" adaptation. Heartbreaking in parts -- without being cloying -- and absolutely joyous in others. Sim is terrific.

A-

David and Bathsheba (1951)

Long, boring, blasphemous. Never have I been so glad to see ending credits roll. God-awful (pun intended).

F