This series ran for over one hundred and fifty episodes

Each episode opened with view of Tower Bridge in London, then cutting to Donald Gray as Mark Saber

Then we see ‘Saber of London’ against Big Ben

This episode ‘Florentine Madonna’ is an episode – one of the later episodes, that I watched a couple of days ago

Jennifer Jayne played Mark Saber’s right hand girl and she had quite a big part in it. Colin Tapley played the Police Inspector in a lot of episodes – it must have been good and regular work for actors at the time

Jennifer Jayne – at and around this time seemed to be in such a lot of famous series – here she played Jill, but we all will remember her best for her major role in William Tell alongside Conrad Phillips. She was also in a few episode of Robin Hood with Richard Greene – and many other film and Television shows

ABOVE – Colin Tapley – what an interesting career he had.

SEE MORE BELOW

ABOVE and BELOW – Sandra Dorne

BELOW – Sandra Dorne with Donald Gray. She is one of a gang of Art Thieves but as always she and the others are caught and apprehended – as in these and other series, the plot, the introduction of the characters and the conclusion, are all contained within the half hour episode. Very clever really

Just take a look at the FOUR pictures below. Mark arrives in his car and I did not recognise what sort it was. I am NOT a Car nut by any means but it did look unusual. It turns out to be a Porsche 356A Cabrio, and that really leave me no wiser but there may be people who read this that would know about such things.

Donald Gray

His was the radio voice which, when transferred to TV, revealed that hje was quite a handsome young man. For some time Donald Gray had been a frequent actor in radio plays. His broadcasts were somewhat confined to villainy, because the BBC radio producers seemed to think the “deep-brown’’ voice more suited to that than to heroics.

Donald was in fact in the BBC Drama Repertory Company for three years. He then took the usual series of tests for TV announcing, followed by a trial on the screen as a guest announcer. He became a regular relief announcer

He was born in South Africa, and began work there, not in the theatre but on an ostrich farm. His acting urge brought him to Britain, where there are more stage opportunities. He worked with a number of repertory theatres, and then got into films. The war interrupted this, and in 1944, in a fierce action during the advance on Falaise, he lost his left arm.

When he afterwards starred with Linda Darnell in the film Saturday Island, the script was adapted to take account of his only having one arm.

At Lime Grove they tell a human story of his announcing test. There were other candidates there, nervy in a suspense-taut studio. The studio manager, to put them at their ease, asked each in turn to relate some happening in his life. Simply and straightforwardly, without heroics or pathos, Donald told how he lost the arm. The tension in the studio vanished, leaving instead a sense of comradeship and inspiration which was helpful to all.

I certainly remember him as a Television Announcer and have a memory of him appearing on the panel of ‘Whats My Line

Colin Tapley –

Here I am repeating much of an article I wrote a while ago.

The thing that interested me about him was that he was born and raised in Dunedin in New Zealand.   About five years ago with my family, I was lucky enough to be on a on a cruise liner out of Sydney that docked there for the day – the second time in a decade we had done this – and Dunedin was a place that I fell in love with – and so did my daughter.

I just love the place as I felt at home in this beautiful and welcoming city. It was summertime there and a beautiful warm to hot day – so that is always a factor.

Colin Tapley – Colin Edward Livingstone Tapley was born in Dunedin on 7 May 1909. He was employed by H L Tapley and Co Ltd, the Dunedin shipping agency, his late father had founded.

 ABOVE – The Centre of Dunedin as it is today 2020 – the former home and resting place of Colin Tapley

However in 1933 he entered and won a film talent contest that took him to Hollywood

Colin Tapley found his own cinematic niche playing character roles in American and British films for more than 30 years, without any real desire for stardom.

In 1933 Tapley won the New Zealand male section of Search for Beauty, a worldwide talent quest conducted in English-speaking countries by Paramount Pictures. His prize included a trip to Hollywood to cameo alongside the other winners in the Search for Beauty movie — a comedy romance set in a physical culture school.

The contest he had entered as a dare brought the additional reward of a contract with Paramount for his agreeable performance in the film, which was his first. Tapley was the contest’s male runner-up, and South African-born Eldred Tidbury the male winner. Tidbury changed his name to Donald Gray, and would appear with him more than 20 years later in British TV series The Vise.

Tapley meanwhile acted in several Paramount movies of the mid-late 1930s. “The most wonderful experience of my life,” is how he recalled those glorious years. “I adored every bit of it.”

Colin Edward Livingstone Tapley was born in Dunedin on 7 May 1909. At the time he won the contest that changed his life, he was employed by H L Tapley and Co Ltd, the Dunedin shipping agency, his late father had founded.

The screen test that took him to Hollywood was shot at Filmcraft, later National Film Unit, studios in the Wellington suburb of Miramar. Tapley and the other nervous finalists then waited three suspenseful weeks for the judges at Paramount Pictures to name the man and the woman to represent New Zealand.

Tapley’s wish to play character parts came early in his career. He wrote home enthusiastically to one of his brothers about his small, unbilled part in The Scarlet Empress (1934); he described in detail the long black beard and wonderful uniform that transformed him into the captain of the Queen’s Bodyguard.

Colin Tapley derived great personal satisfaction from playing Captain Dobbin in Becky Sharp (1935), the first film shot in three-colour Technicolor. But his favourite role from his Hollywood movies was probably Barrett, the spy, in Oscar-nominated adventure The Lives of a Bengal Lancer (1935).

His only starring role at Paramount was in Booloo (1938) ABOVE – playing Robert Rogers in a tiger hunt adventure set in the Malaysian jungle. During the eight months the crew spent filming in the country’s jungles more than 3500 millimetres of rain fell. One subtropical storm saw them climbing into the trees with the monkeys for survival, after streams rose 11 metres above normal. Tapley regarded the noise of the monkeys as the worst part of his tree-living experience.

His last film before World War II service was a Western –  Arizona (1940). The normally well dressed actor wore cowboy clothes, chewed tobacco, for this role,

He enlisted in the Royal Canadian Air Force in 1940. Posted to Britain, Flight Lieutenant Tapley met his future wife, Patricia (Patsy) Lyon, the widowed daughter of Major-General Sir Percy and Lady Hambro. They married quietly in London on 6 August 1943 and had a son, Martin, the following year. Colin cast his best friend, American actor Fred MacMurray, in the real-life role of godfather. Patsy had a daughter named Charlotte from her first marriage.

A brief retirement from acting followed Tapley’s World War II service.  He and his family had settled in New Zealand, where he operated a launch charter service at Wanaka.

The death of his son Martin  in November 1947 was the catalyst for the grieving family to leave New Zealand.   When back in Hollywood, he resumed his film career in a very different atmosphere to the Arabian Nights world that had existed prior to World War Two.

The town was now more coldly competitive,  television had now took a hold. Yet while sitting in a restaurant Cecil B DeMille offered him a role in Samson and Delilah (1949), a friendly gesture that he never ceased to appreciate. He was unrecognisable asone of the princes in the final temple scene.

British films now seemed more inviting than the bleak new Hollywood.    His move to Britain saw him cast in Cloudburst, a 1951 Hammer thriller starring Robert Preston, another former Paramount contract player.  Colin Tapley was third billed as Inspector Davis.

Cloudburst defined the path for much of his future career. Instead of the Ronald Young-type comedy parts he had earlier craved, he often played police officers in Britain. An exception was the slightly dishevelled, moustached and bespectacled scientist Doctor WH Glanville in The Dam Busters (1955).

Colin Tapley spoke in an article at the time about how the realistic approach to filming in British studios enabled actors to give a better performance than in the superficiality of Hollywood.

Tapley appeared regularly in the British TV series The Vise from 1955 to 1960, playing at least five different police inspectors. Donald Gray, his long time friend,  starred as ex-Scotland Yard detective Mark Saber.

ABOVE – Colin Tapley – the Matinee idol that might have been – But he didn’t want the leading man roles – he was a character actor all his life – and apparently very good and very well liked !!

Colin Tapley and his wife Patsy lived in New Zealand and Hollywood before settling down in Coates, Gloucestershire.  Colin Tapley had also lived in  lived in New Romney, Kent working for the first time in a regular job not as an actor – he  was employed by the CEGB in 1964 as a meter reader in the control room at Dungeness ‘A’ nuclear power station.

On night shifts he would keep his fellow workers amused with tales of Hollywood actors, their life and loves.  I would have loved to have listened to him on this subject as he would know exactly what went on there during the Hollywood Golden Era in the Thirties.

His last film was a small part as a general in Dino De Larentis spy thriller Fraulein Doktor (1969).

Colin Tapley died on 23 November 1995, survived by his wife, second son Nigel, and Charlotte. His ashes were buried at Wanaka alongside his first-born son, Martin. 

I was very happy when this came through my letterbox yesterday

To=Day’s Cinema was a weekly magazine giving us loads of information of films for release or in production.

The film was made on location in Quebec and has great scenic merit because of this.

Michael Rennie seemed to be well used by 20th Century Fox and other studios, during this period.

It seems also that he was briefly engaged to Mary Gardner who was the former wife of Otto Preminger

In the same Publication this film ‘Letter From Korea’ has a 2 page spread and yet it is one that I have never heard of. I can’t recall any reference to it over the years. Normally I would have some memory of any film of the fifties era I think but this one escapes me

Does anyone know anything about this film ?

Having just written that I came across this advertisement in a later To-Days Cinema magazine with ‘The Korean Story’ advertised among a list of top films that are well remembered :-

In the same issue there was a small reference to ‘Mr Drakes Duck’ a comedy with David Niven and Betsy Drake – I do remember that being reviwed on Radio and on Television at the time

This is a film that is always well regarded and intriguing to watch but I have a feeling that it wasn’t very successful at the Box Office.

Van Heflin plays a young man named Fred Staples, a small-town manager who is brought into a large firm by the President, Ramsey (Everett Sloane). It’s apparent to us the audience (and everyone but Staples) that he’s been hired to replace one of the vice presidents, Bill Briggs (Ed Begley). Staples admires Briggs and the humanity that he brings to his job, but he’s the last of the old firm when it was run by Ramsey’s father, a compassionate man who cared about the workers.

Ramsey only seems to care about finance and efficiency. He’s determined to force Briggs out.

“Patterns of Power” is realistic with excellent acting butit is not a film where women are very much featured – not in any major parts at least.

Having said that Elizabeth Wilson is very good as secretary Marge, whose heart is breaking for Briggs — Patterns emerges as a compelling and intelligent drama that hasn’t lost any of its power.

Richard Kiley had played in the earlier TV play adaptation and he brought a naivete to the role of Staples that Van Heflin, because he’s older, doesn’t have, but he’s still very effective as an honest, smart and decent man who’s ambitious but doesn’t like Ramsey’s tactics.

Ed Begley is sympathetic as a man past his prime who can’t let go but whose job and daily battles are killing him. Everett Sloane does a great job as the ruthless Ramsey, who won’t allow emotion into his business sense. We get a hint that he’s not as unfeeling as he appears, but he’s never going to let anyone else see it.

A really strong film

Van Heflin gives another strong performance as a man who has principles and doesn’t wish to compromise them, and is perfectly willing to take on the more ruthless Sloane on a day by day basis.

I don’t recall seeing the film but I definitely saw the trailer because the Title remains a strong memory even from that small but intense clip all those years ago.

It is a film that gets very good reviews

Van Heflin, Everett Sloane, Ed Begley, Beatrice Straight, and Elizabeth Wilson star in “Patterns of Power” a 1956 film written by Rod Serling and directed by Fielder Cook.

This film is adapted from the Television play which was a great success and that had starred Richard Kiley in the Ven Heflin role.

Van Heflin has a very good part in this one.

“Patterns of Power” is realistic with tremendous acting. The women don’t have any strong parts – mainly wives and secretaries – and this certainly reflects things in the early to mid Fifties.

Universal-International film from 1959, Curse Of The Undead, is a unique blend of Western and Horror. The film stars Eric Fleming of Rawhide.

As regards the film, the only original element in this Dracula inspired production was the fact that the vampire was a typical Western Gunslinger who, after sinking his teeth into Kathleen Crowley, and committing several murders, is finally laid to rest when he is hit by a bullet with a wooden cross inserted into it.

This nonsense was written by Edward and Mildred Dein.

“Curse of the Undead” (1959):

Michael Pate’s moment of fame for Universal ‘s theatrical release of “Curse of the Undead” (1959)

“Curse of the Undead” (1959): Released as a Universal double-feature presentation with a classic mammoth Universal-Hammer monster/horror masterpiece ‘The Mummy’

‘The Mummy’ is a film that I like very much – very well done and looking a quite expensive production with top actors.

I love these Hammer Horror Films – and particularly this one. When we get the flashback in the very early stages of the film, to the Princess Ananka being buried many years ago and Kharis High Priest with a dark secret – his love for the princess – it really sets the scene for us as we settle down for the action to come.

Whilst excavating the ancient site in Egypt,  Peter Cushing’s father played by Felix Aylmer, picks up and reads the scroll of life and The Mummy stirs,  this sequence is very erie – sending Felix Aylmers character- Banning – mad – to such an extent that on his return to England he is committed to a lunatic asylum where eventually he comes face to face with The Mummy.

Peter Cushing and Christopher Lee.

 Christopher Lee as Kharis High Priest

After the early sequence in Egypt we return to En

I don’t know why but I quite often think of this film title – particularly when crossing a rail line or even on a train journey.   Funny because I have never seen the film – and it is NOT widely known these days.

Maybe it is just the that title intrigues me. Who knows.

This is a rarity, an obscure colour film starring Claude Rains late in his career – he was 63 when it was made.           He plays a quiet and respectable Chief Clerk of a Dutch manufacturing firm which is owned by Herbert Lom and his aged father.     Unknown to everyone, Lom has been obsessed for some time by a scheming and criminal Parisian prostitute  played  by Marta Toren.     He has looted the company of all of its cash and left it a bankrupt shell  prior to running off to Paris to a new life with his beloved.

This is discovered at the last minute by Rains, who has sunk his entire family’s savings in the company, and hence lost everything.   Rains snaps and turns on Lom, pushing him into a canal in a rage, where Lom drowns. Rains takes Lom’s suitcase containing all the company’s remaining cash and runs off to Paris, which he has always wanted to visit. He has been a train-spotter all his life, and for years has been noting the passage of the Paris Express.    Now at last he is on it.

Marius Goring is a Dutch policeman who suspects Lom, and now trails Rains. When he arrives in Paris,   Rains wants to find Marta Toren and he asks directions of a young prostitute in the street  played by the 20 year-old Anouk Aimée.      Eventually, Rains meets up with Toren, who at first laughs at him as a ridiculous old man and throws him out. Her attitude towards him changes however when she realizes he has Lom’s money.   Things go from bad to worse  as Rains sinks deeper and deeper into delusion and intrigue. 

The performance of Claude Rains is masterful, and truly makes something out of nothing.

Admirers of Claude Rains will like watching this.

Rains served in World War One  in the London Scottish Regiment with  fellow actors Basil Rathbone, Ronald Colman  and Herbert Marshall.   He was involved in a gas attack that left him nearly blind in one eye for the rest of his life. However, the war did aid his social advancement and, by its end, he had risen to the rank of Captain.

From his glitteringly successful film career I can think back to a colour version of The Phantom of The Opera 1943 – before I could remember BUT sometimes seen on TV.

Very Good Version too.

This must be  one of Elvis Presley’s best films – although that might not say much.   Colonel Tom Parker his manager had cleverly moved to get Elvis into films because this was the only way at the time to capitalise on his worldwide  potential.  In those days there was no satellite TV or video tape – not even a colour TV – so this was the only route forward and it proved a very successful one. The early films such as Love Me Tender, Loving You and this one  gave Elvis good roles but it was King Creole  that to me gave him the best storyline and certainly ths strongest cast of co players.

The  Colonel in a master stroke got him Michael Curtiz as  director and a top flight supporting cast consisting of Oscar winners like Dean Jagger as his father and Walter Matthau as the villain of the piece.  The other top rate players were  Carolyn Jones, Vic Morrow, Paul Stewart, and Dolores Hart.

Elvis plays Danny Fisher a troubled youth searching for himself a role that  James Dean excelled with in East of Eden. To spport his family, Elvis has to go to work because his father has been unable to hold down a job ever since the death of his wife.  He gets a break in Walter Matthau’s club with an impromptu audition, but it is rival owner Paul Stewart who hires Elvis. That sets the stage for a lot of the action to come.

Walter Matthau plays  an exceptionally nasty character in King Creole.

Dolores Hart was here in her second film with Elvis having starred with him in Loving You in 1957 . She has been the subject of much speculation over the years about her relationship with Elvis. In one interview during her movie career she was often asked, “What is it like kissing Elvis?” She chuckled a bit at the memory, “I think the limit for a screen kiss back then was something like 15 seconds. That one has lasted 40 years.”

Her last film role was in 1963  and for whatever reason at that time she made up her mind to leave the film industry, and after breaking off her engagement to Don Robinson, the 24-year-old actress became a Roman Catholic nun in Bethlehem Connecticut.

So ended the film career of this very attractive young girl who left the world of glamour and has since led a very different life although probably much more fulfilling.

  She has recently been interviewed about those now far off days.

The title song became one of Elvis’s early best sellers and it is also the name of the club Matthau owns in the New Orleans French Quarter. Presley has some other good numbers in this film as well.

King Creole also was one of the first of Harold Robbins’s novels to be made into a film.

In order to make this film Elvis had to defer  beginning his military service from January to March 1958. 

Crowds wait for a glimpse of Elvis during filming

Filming waswas delayed several times on location by crowds of fans attracted by the apperarance of Elvis on to the location set. The film was released by Paramount Pictures on July 2, 1958, to both critical and commercial success. The critics were unanimous in their praise of Presley’s performance.

When I take a look at this sort of advertisement from the ‘Sub Standard Film Magazine’ of 1951, I try to assess how many films I know and have seen and there always seem to be such a lot that I don’t know and have never heard of.

On the ABOVE advertisement, quite unusually I seem to know them all. I just love ‘So Long at the Fair’ and remember the first time I saw it along with my daughter who was, like me, baffled as the story unfolded and then came to that surprising ending. It was the whole way that this was done though – and the final moment when Dirk Bogarde managed to locate and break in, to that room that had been hidden – as it turned out for very good reasons.

I really like this film and love the story !!!

It took two directors, Antony Darnborough and Terence Fisher, to create SO LONG AT THE FAIR in 1950.  This romantic mystery starred Jean Simmons, Dirk Bogarde, Honor Blackman, and David Tomlinson.  Jean Simmons looked stunning as a visitor to Paris searching for her missing brother. It really was a mystery because he had just simply disappeared and no-one in the hotel seemed to remember that he had ever been there.

So Long At The Fair – The Story.  –

Vicky Barton (Jean Simmons) and her brother Johnny (David Tomlinson) arrive in Paris to attend the Great Exhibition of 1889 and enjoy a night on the town before returning to separate rooms at their hotel. The following morning Vicky discovers her brother is missing. Not only is there no record of his registration at the front desk but his room doesn’t exist either. No one on the hotel staff recalls ever seeing him and in desperation Vicky goes to both the British consul and the local police chief but neither one believes her story. Determined to unravel the mystery of her brother’s disappearance, Vicky enlists the help of a sympathetic stranger, British artist George Hathaway (Dirk Bogarde), and their valiant efforts eventually uncover the truth. Based on a novel by Anthony Thorne, So Long at the Fair (1950) has a premise that bears similarities with Alfred Hitchcock’s The Lady Vanishes (1938) but also looks forward to the “missing person” plot devices of Bunny Lake Is Missing (1965), Flightplan (2005) and other suspense films. Though leisurely paced, the intriguing narrative holds one’s interest through the unexpected but plausible resolution and the authentic period detail, lavish art direction and impeccable performances by the main principals help suspend disbelief. The directorial duties were shared by Antony Darnborough and Terence Fisher who displayed  who would eventually attain cult status for his stylish period horror films for Hammer Studios such as Horror of Dracula [1958], The Mummy [1959] and The Curse of the Werewolf [1961]. Both Jean Simmons and Dirk Bogarde were rising young stars in the British film industry when they appeared in So Long at the Fair.

Bogarde and Simmons had never appeared in a film together before (and never would again) but they enjoyed a close working relationship on So Long at the Fair. Bogarde recalled, ‘Jean is about the sweetest girl you could wish to meet and all you read about her being natural and unsophisticated is absolutely true. She has a great sense of fun, and one of these days I would like to do a comedy with her.’ Simmons was equally complimentary saying, “He was such fun – a great giggler. I loved Dirk, and was hoping that perhaps we would be married one day; but I was dreaming, I was fantasising…I never really knew him. I didn’t realise he was gay – in those days people didn’t talk about it.”

In another interview, Dirk Bogarde confessed that he actually didn’t care for So Long at the Fair, adding “but I had to do it, and at that point, I was very much in love with Jean Simmons.

Rank thought it was a great idea to encourage their two juvenile stars and we were given this film which was supposed to launch our engagement. Unfortunately, by the time the film was finished Jean had fallen in love with Stewart Granger, thereby ruining the publicity effort.”

Regardless of Dirk Bogarde’s own opinion of So Long at the Fair, , it did help advance his career. One of the film’s producers, Betty E. Box, was so impressed with his performance that she thought of him for the lead in Doctor in the House (1954), the romantic comedy that catapulted him to major stardom in England and led to numerous sequels, two of which also starred Dirk Bogarde (Doctor at Sea [1955], Doctor at Large [1957]).
The critical notices for So Long at the Fair were generally positive, with many noting that the incident that sets the plot in motion was inspired by a reputedly famous disappearance case which had taken on the mythic proportions of an urban myth.

The New York Times also commented that directors Darnborough and Fisher “have chosen to have their cast speak quite a bit of dialogue in French, a circumstance which may confuse American audiences. But they have also taken the trouble to set that cast, charmingly attired in Victorian bustles and top hats, in authentically bustling, carefree  Parisian locales.”

We all remember going into the cinema – most looking like this. These pictures are taken from a Television show recently which I had recorded and seeing this struck me because this seemed to me to be just as it was !!

‘Strangers on a Train’ was released in 1951

We all remember going into the cinema – most looking like this

We all remember going into the cinema – most looking like this

ABOVE – We just loved an ice cream usually between the films – after the supporting film and before the main event

ABOVE – An even earlier photograph and from the film advertised on the giatnt bill board probably 1948

Back to Strangers on a Train

“Strangers on a Train” is one of the most cinematically suspenseful films in history. #

It is an astonishing example of filmmaking used to invoke uneasiness.

The story, which begins when two strangers meet on a train, is so entertaining you sometimes forget it’s about murder.

This is one of Hitchcock’s best films

A truly Hitchockian film, “Strangers On a Train” cleverly plays with two of Hitchcock’s favourite themes (murder and the “wrong man”),

In many of his films, he contrasts dramatic events with familiar places, this time using an amusement park as a place for terror. It also features one of the most entertaining and creepiest villains ever put on-screen. Everything is framed by camera angles, lighting, and sound.

I can’t imagine a magazine title like this today – the very name ‘Sub Standard’ would just have no appeal I would have thought.

However thinking about it, back in 1950 that description probably covered films, only a year or two old, that had been on General Release and now were issued on 16 mm reels – probably to be shown at smaller cinemas or Village Halls.

As we all remember, at that time films were very popular – after all there was little else – television had barely got going then

This really is a fascinating magazine – the more I read the more interesting it gets..

In 1950 quite a lot of smaller 16mm commerical kinemas were popping up all over the country and this article in the magazine concentrates on two that had recently opened in July of that year – one at Sandy Bedfordshire and One at Lavenham in Suffolk

ABOVE – The Auditorium at Sandy, Bedfordshire

ABOVE Inside the Ideal Cinema in Lavenham, Suffolk

ABOVE – More releases that year – not many I know though

ABOVE Lana Morris at the opening of the Albany Cinema, in Sandy along with John Blye and Mr M.H.Whitworth.

John Blythe and Lana Morris represented The Rank Organisation at the opening of the Albany – and Rank also supplied the film ‘Trottie True’ to be shown that night – this would be on the 16 mm format and would be in Technicolor. The film was only a couple of years old then.

Mr A H Whitworth was a very keen 16 mm Cinema enthusiast very much behind the Sandy Cinema Project – he had his own equipment and had been someone who travelled around showing these feature films at Village and Town Halls around that area. He had made a superb job of equipping the Albany and must have been a very proud man on this occasion. Credit due to him

These pictures were taken after Treasure Island when they were back in Hollywood and maybe two to three years later

Walt Disney and Bobby Driscoll

Walt Disney and Bobby Driscoll

One of Bobby’s notable roles was as Peter Pan in 1953. Although he was approaching his teen years, he was perfect as Peter Pan in Walt Disney’s eyes, as Peter Pan would have been the same age.

Bobby had many qualities that matched Pete Pan. Although a fictional character from our childhood and means a lot to a whole generation.

Despite Peter Pan being his most successful role, his career quickly declined after this.

Not long after this film, he was dropped from his contract at Disney and left jobless. Bobby could no longer play the cute and charming little boy. He moved schools, started going by the name Robert, and started a new life.

A new life that was heavily influenced by drugs.

He did pick up a few more roles here and there, but away from Walt Disney he didn’t seem to have much appeal to other studios

.