The Furies (1950)

A firebrand heiress clashes with her tyrannical father, a cattle rancher who fancies himself a Napoleon; but their relationship turns ugly only when he finds himself a new woman.

Larger-than-life Western epic in which all figures (and especially Barbara Stanwyck) are tough and ruthless in a world where only these traits seem to count.

Halliwell*: "Interesting but heavy-going Western, more solemn than stimulating despite its Freudian excesses."

Maltin***: "Operatic-style Western saga of love and hate..."

Wendell Corey

Bio:

https://en.wikipedia.org/wiki/Wendell_Corey

Desert Fury (1947)

The daughter of a Nevada casino owner gets involved with a racketeer, despite everyone's efforts to separate them.

Unusual Noir melodrama in Technicolor has good story and atmosphere, and Lizabeth Scott holds it all together very well, but the male protagonists are all a shade sallow.

Halliwell (no star): "Muddled melodrama slightly helped by Arizona colour settings; unconvincing characters mouth unspeakable lines in an airless tedium."

I Walk Alone (1948)

A convict leaves prison expecting a share from his ex-partner but Prohibition bootlegging didn't prepare him for Big Business.

Rear Window (1954)

On the set: Wendell Corey, Grace Kelly and James Stewart

The Light in the Forest (1958)

A young white man who spent his whole life raised by Native Americans is sent to live with his birth family and must learn to fit in with people he was taught to hate.

The Big Knife (1955)

A big-time movie star refuses to sign a binding contract with a Louis B. Mayer-like mogul, but is blackmailed to do so.

Sharp and acrid satire on Hollywood, but also stagebound and talkative; and despite Jack Palance giving all his effort, it's awkward to see him as an oversensitive and tormented artist.

Halliwell*: "Overheated argument between Art and Mammon, with rather disagreeable people shouting at each other, for too long a time. Limited interest is provided by the acring."

Maltin***: "...involving (albeit overheated) drama...Fine performances almost overcome stereotypes; Steiger chews the scenery as a despotic studio head."