Adolph Zukor Movies

Although he was more of a businessman than a film buff, Adolph Zukor, the longtime head of Paramount Pictures during its heyday, was a key figure in the development of the powerful studio system that ran Hollywood from the late '20s through the '60s. One of the very first studio moguls, Zukor's was truly a rags-to-riches story, and his success was borne of hard work, ambition, and a shrewd ability to understand the public's whimsical taste.
He was born in Risce, Hungary, where his family had to struggle to meet their basic needs. At age 16, Zukor immigrated to the U.S. and found a job working as a sweeper at a New York furrier. Within a few years, Zukor was running his own fur shop in Chicago. In 1903, Zukor branched out and bought an amusement arcade. Two years later, he and Marcus Loew teamed up to buy a chain of arcades. Eventually he became the treasurer to Loew's chain of movie theaters. It was Zukor who saw an enormous untapped fortune within the pockets of the upper and middle-class folk who considered moving pictures vulgar and refused to go to the tacky little theaters and arcades to see them. He figured that to get them to come to the theater, he would have to make going to the movies a more theatrical experience, complete with elaborate, comfortable movie houses, and longer, more dramatic films. To this end, he began distributing a four-reel European film, Queen Elizabeth. American audiences proved hungry for culture and Zukor made enough profit to found the Famous Players Production Company. Using the motto "Famous Players in Famous Plays," Zukor's company brought film adaptations of popular Broadway shows featuring well-known actors to theaters. Again it was a profitable venture that became even more so after he signed beautiful Mary Pickford, the actress who captured the nation's heart. She was Famous Players' headline star for years. Zukor merged his company with the Jess L. Lasky Feature Play company in 1916 thereby creating the Famous Players-Lasky Corporation, where after a five-year struggle, Zukor became president. The company gained real power after it purchased the tiny Paramount distributions. Zukor took the name Paramount for the whole business and began buying up movie theaters until Paramount had a monopoly on making, distributing, and exhibiting films. Soon it became one of the biggest studios in Hollywood.
Interestingly, Zukor had almost nothing to do with the actual filmmaking process, preferring to run the company from New York so he could remain closely tied with the financial end. Paramount thrived until the early '30s, when financial woes nearly destroyed it. Though many wanted Zukor out, he tenaciously remained at the company's helm. In 1935 he was succeeded as president by Barney Balaban. Zukor then became chairman of the board, a position he would hold until his death at age 103 in 1976. Zukor substantially added to an already vast fortune when he bought into Gulf & Western Oil. In 1948, Zukor was awarded a special Oscar for his contribution to the industry. He published his autobiography, The Public Is Never Wrong, in 1953. ~ Sandra Brennan, Rovi
1940  
 
After years of courting his sweetheart Olive Oyl, Popeye finally works up the nerve to pop the question. Coyly, Olive sends Popeye on his way, promising to give him her answer in the morning. Alas, all hopes for future marital bliss are dashed when Olive has a terrible nightmare, in which she finds herself at the mercy of Popeye's capricious--and combative--lookalike sons Pip-Eye, Pep-Eye, Poop-Eye and Pup-Eye (who of course would show up in future cartoons cast as Popeye's nephews). "Wimmen Is a Myskery" was remade in 1954 as Bride and Gloom. ~ Hal Erickson, Rovi

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1938  
 
Harold Lloyd plays a professor of Egyptology, frightened by the notion that he has fallen under an ancient Egyptian curse. Lloyd has the opportunity to join an archeological expedition to search for a missing tablet that will determine his fate, but he has to travel from Los Angeles to New York before the party sails to Egypt. Alas, Lloyd is also required to appear in court to answer charges of "indecent exposure" (it's a long story). The rest of the film is a frantic chase with the authorities pursuing the fugitive professor across the country, highlighted by a daredevil sequence atop a moving train. Most of the individual gags are funny, but Professor Beware is several notches below the standard set by Harold Lloyd's silent films. The lukewarm boxoffice response to this film would convince Lloyd that he should retire from performing--which he did, returning to the screen only for 1947's Sins of Harold Diddlebock. ~ Hal Erickson, Rovi

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Starring:
Phyllis WelchRaymond Walburn, (more)
 
1937  
 
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While not a box-office success, this drama, directed by Leo McCarey, developed a potent reputation among film critics and movie buffs for its sensitive and perceptive treatment of the problems of the elderly. When McCarey won the Oscar for Best Director the same year for The Awful Truth, he remarked that the Academy gave him the award for the wrong movie. Barkley and Lucy Cooper (Victor Moore and Beulah Bondi) are a couple in their late 60s who have fallen on hard times and have been given the bad news that the bank is foreclosing on their house. Barkley and Lucy turn to their five children for help, but none are willing or able to do much for them; their son George (Thomas Mitchell) says that Lucy can stay with him and his wife Anita (Fay Bainter), while Nellie (Minna Gombell) and her husband Harvey (Porter Hall) can take in Barkley, but neither couple have the space or the means to house them both. Living with their children and their new families proves stressful for everyone involved, and Lucy decides to take up residence in a home for older women. She and Barkley realize that this will probably mean a permanent separation for the two of them, and they try to enjoy one last outing together before they part. Remarkably, Beulah Bondi was only 46 years old when this film was made, making her less then ten years older than several of her on-screen children; make-up wizard Wally Westmore used his bag of tricks to age her the appropriate two decades for the role. ~ Mark Deming, Rovi

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Starring:
Victor MooreBeulah Bondi, (more)
 
1936  
 
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One of the funniest, most sharply paced comedies of the 1930s, and perhaps the best of all of Harold Lloyd's talkies, The Milky Way was based on the Broadway play by Lynn Root and Harry Clork. Lloyd plays Burleigh Sullivan, a mild-mannered milkman who intercedes one night when his sister Mae (Helen Mack) is being accosted on the street by two obnoxious drunks -- they turn their wrath on him, his sister runs for help, and when she returns less than a minute later, both men are out cold on the pavement, with Burleigh standing over them. As one of them, Speed MacFarland (William Gargan), is the world's middleweight boxing champion, and the other, Spider Schultz (Lionel Stander), is his sparring partner, Burleigh makes the front page of every newspaper in New York. McFarland's manager, Gabby Sloan (Adolphe Menjou), has to figure out how to salvage the champ's career, but first he has to figure out exactly what happened, since both fighters were too drunk to remember anything about it. It turns out that Sullivan couldn't beat an egg, but he is good at one thing -- ducking. He can dodge any punch, and the two fighters knocked each other out in the process of trying to pummel him. What's more, on hearing this, they're so angry that Schultz accidentally knocks MacFarland out again, just ahead of the press' arrival, and the little milkman is given credit once more by the reporters for decking the champ. Burleigh loves the attention, even though he never claims to have hit anyone. Meanwhile, Sloan comes up with a way of salvaging his fighter's career, and convinces Burleigh to go along with it for a promised cash sum -- all Burleigh has to do is get in the ring in six fights, to build up his standing and reputation, and finish his "career" in a fight with MacFarland, who will win. In the meantime, complications arise when MacFarland falls in love with Burleigh's sister, while Burleigh himself meets and falls in love with Polly Pringle (Dorothy Wilson), a helpful neighbor. Gabby, Spider, and Speed also discover that turning tiny, wiry Burleigh Sullivan into something that even looks like a fighter is easier said than done -- all of his fights have to be fixed (and then some) behind his back to make his victories look remotely genuine. Finally, after starting to believe his own publicity, and then discovering that the fights were fixed, Burleigh goes through with the final match-up against MacFarland, the culmination of a comedy of errors involving horses, foals, and a wild chase to the arena. ~ Bruce Eder, Rovi

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Starring:
Harold LloydAdolphe Menjou, (more)
 
1936  
 
It's a Great Life served as a vehicle for once-popular radio singer Joe Morrison (who can also be seen in W.C. Fields' It's the Old Fashioned Way). Morrison plays a young unemployed fellow who joins the Civilian Conservation Corps. Enjoying the twin euphoria of steady work and fresh air, Morrison and his new pal, hobo Paul Kelly, burst into song at the slightest provocation. A rift comes between Morrison and Kelly when Morrison's girl Rosalind Keith falls in love with the tramp, but all differences are swept away during a climactic bursting-dam sequence. It's a Great Life was co-written by future "Dagwood Bumstead" Arthur Lake, who in 1943 would star in a Blondie entry titled...It's a Great Life. ~ Hal Erickson, Rovi

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Starring:
Joe MorrisonPaul Kelly, (more)
 
1933  
 
In this western, a US marshal goes undercover to bust up a bunch of rustlers. The history behind the film is as interesting as the story. Paramount made this during the Depression when the studio was teetering towards bankruptcy. To save money, much of this film was comprised of footage from the earlier films of former western star Jack Holt. The long shots were old silent footage, while the close-shots were of different actors wearing exactly the same costumes. Paramount made 9 other westerns in this way. ~ Sandra Brennan, Rovi

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1933  
 
This western is an adaptation of a Zane Grey novel and chronicles the exploits of a simple-minded cowpoke who proves his mettle and wins the heart of his employer's daughter. ~ Sandra Brennan, Rovi

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1932  
 
"It took more than one man to change my name to Shanghai Lily," purrs Marlene Dietrich in Shanghai Express. She certainly has her well-manicured hands full with more men than she can count in this exotic far-Eastern adventure. Among her fellow passengers on the Shanghai Express are her disillusioned former fiance, stalwart British medical corps officer Clive Brook; overfervent missionary Lawrence Grant; dope smuggler Gustav von Seyffertitz; and mysterious Eurasian businessman Warner Oland. As the train chugs through the more treacherous passages of war-torn China, Oland reveals himself as the leader of a rebel group, who plans to hold the passengers hostage to secure the release of his imprisoned followers. In Boule de Suif fashion, Dietrich, who is a notorious "Chinese coaster" but who has remained sexually aloof throughout the trip, gives herself to Oland to save the life of Brook, the man she truly loves. Directed by Josef von Sternberg at his most orgiastic (love those long, lingering dissolves!), Shanghai Express is 80% style and 20% substance, as proven by two less stylish remakes, Night Plane to Chungking and Peking Express. ~ Hal Erickson, Rovi

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Starring:
Marlene DietrichClive Brook, (more)
 
1931  
 
This first sound version of Robert Louis Stevenson's classic morality tale starred Fredric March as the kindly, philanthropic Dr. Jekyll, who makes the fatal mistake of delving into secrets that Man Should Never Know. Fascinated with the notion that within each man lurk impulses for both Good and Evil, Jekyll develops a drug to release the wickedness in himself. The result: the lecherous, lycanthropic Mr. Hyde (one has to keep reminding oneself that the handsome, soft-spoken March plays both roles; small wonder that he won the Academy Award). Jekyll is the honorable suitor of the virtuous Muriel Carew (Rose Hobart), while Hyde is the brutish pursuer of the sluttish "Champagne Ivy" Pearson (Miriam Hopkins, as sexy as she'd ever be in films). It isn't long before the kindly Jekyll is unable to control the wicked Hyde, with tragic results. Director Rouben Mamoulian could often seem like the Brian De Palma of his time, showing off like a first-year film student instead of telling a story. But Mamoulian's excesses work beautifully in Dr. Jekyll and Mr. Hyde, notably the dizzying first transformation scene (that heartbeat you hear on the soundtrack belongs to Mamoulian himself). Withdrawn from circulation when MGM refilmed the Stevenson novel in 1941, Dr. Jekyll and Mr. Hyde resurfaced in the early 1970s, albeit only in the heavily censored version prepared for the 1938 reissue. The current video version restores most of the missing scenes--including the famous opening reel, photographed from Jekyll's point of view with a subjective camera. ~ Hal Erickson, Rovi

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Starring:
Fredric MarchMiriam Hopkins, (more)
 
1930  
 
Few films outside of Let's Go Native could boast a cast as diverse as Jack Oakie, Jeanette MacDonald and Kay Francis -- all under the direction of Leo McCarey. A variation of the "Admirable Crichton" theme, the story concerns a group of highly incompatible people, all stranded on a tropical island. Among the castaways are Brooklyn cabbie Voltaire McGinniss (Oakie), socialite Joan Wood (MacDonald), Joan's reluctant fiance Wally Wendell (James Hall), and good-time girl Constance Cooke (Kay Francis). The local natives prove to be surprisingly sophisticated, thanks to the influence of a song-and-dance man (Skeets Gallegher) who'd been shipwrecked sometime earlier. Using costumes that she's bought for a show she hopes to produce, the enterprising Joan buys the oil-rich island from the natives, only to have it sink into the sea after an earthquake. By this time, however, everyone has fallen in love with everyone else, so there's smiles all around when the rescue party arrives. Nothing makes much sense in Let's Go Native, but the film scores points on sheer energy and good spirits. As a bonus, director Leo McCarey harks back to his Laurel & Hardy days by incorporating a tit-for-tat "reciprocal destruction" routine. ~ Hal Erickson, Rovi

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Starring:
Jack OakieJeanette MacDonald, (more)
 
1930  
 
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Broadway impresario Florenz Ziegfeld brought his legendary "Follies" to the silver screen in Glorifying the American Girl. The barely visible plotline concerns a virginal young miss (Mary Eaton) who aspires to greatness as a Follies girl. With stars in her eyes, she heads to New York, leaving her hometown boyfriend to fend for himself. Upon arriving in the Big Apple, our heroine links up with a two-bit dancer who offers to make her a star -- if only she'll let him make her, period. The greater part of the film is given over to a re-creation of a "typical" Follies production, replete with musical solos by Rudy Vallee and Helen Morgan and a sidesplitting comedy sketch with Eddie Cantor and Louis Sorin as a pair of kvetching Jewish tailors ("Vat's der idea uff calling me a damn fool in front uff der customers?" "So, it's a secret?"). From time to time, the camera cuts away to the many celebrities enjoying the show, including journalist Ring Lardner, nightclub doyenne Texas Guinan, New York mayor Jimmy Walker, Paramount Pictures head man Adolph Zukor, and Flo Ziegfeld himself, accompanied by his then-wife, Billie Burke. And yes, that's Johnny Weissmuller on-stage as a provocatively undraped "Nature Boy." As a bonus, the musical score was the handiwork of Irving Berlin. Originally filmed in Technicolor, Glorifying the American Girl is presently available only in black-and-white. ~ Hal Erickson, Rovi

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Starring:
Mary EatonEdward Crandall, (more)
 
1930  
 
Considered the best of the all-star "studio" musicals of 1929 and 1930, Paramount on Parade utilized the talents of practically everyone on the Paramount Pictures payroll. Under the supervision of British musical-comedy favorite Elsie Janis, 11 top directors contributed to the project: Dorothy Arzner, Otto Brower, Edmund Goulding, Victor Heerman, Edwin H. Knopf, Rowland V. Lee, Ernst Lubitsch, Lothar Mendes, Victor Schertzinger, Edward Sutherland and Frank Tuttle. Introduced by masters of ceremonies Jack Oakie, Skeets Gallegher and Leon Errol, the film is a vaudeville-like maelstrom of musical duets, comedy sketches, occasional dramatic interludes, and spectacular production numbers. To mention all the highlights would take a book in itself but among them are Nancy Carroll's rendition of "Dancing to Save Your Sole" (performed inside a giant shoe!); Maurice Chevalier (and chorus) soaring heavenward in "Sweeping the Clouds Away" ; child actress Mitzi Green's dead-on impersonations of Chevalier, George Arliss, Moran & Mack and Helen "Boop-a-doop" Kane; Ernst Lubitsch's witty staging of an Apache dance in the style of a polite boudoir farce, with Chevalier (again) and Evelyn Brent; Clara Bow's saucy "I'm True to the Navy Now" ; the wish-fulfillment sketch "Impulses," in which George Bancroft and Kay Francis delightedly upset a dinner party by saying what's really on their minds; and best of all, "Murder Will Out," a murder-mystery parody wherein Fu Manchu (Warner Oland) bumps off Sherlock Holmes (Clive Brook) and Philo Vance (William Powell) when they refuse to give him proper credit for his killing of Jack Oakie. Only the dramatic sketch with Frederic March and Ruth Chatterton truly creaks when seen today. Originally released at 102 minutes, Paramount on Parade is presently available only in an 80-minute version, with all its Technicolor sequences missing: casualties include the elaborate "Drink to the Girl of My Dreams" number, directed by Edmund Goulding and featuring Gary Cooper, Jean Arthur and Fay Wray, and Harry Green's dialect song "Isadore the Toreodor". ~ Hal Erickson, Rovi

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Starring:
Maurice ChevalierRichard Arlen, (more)
 
1930  
 
The legend of renegade French poet Francois Villon was dramatized in the 1901 Justin McCarthy play If I Were King. This theatrical piece inspired several films, as well as the Rudolph Friml/Brian Hooker musical play The Vagabond King (1927). Dennis King recreated his original London and Broadway stage role as Villon when Vagabond King was transferred to celluloid in 1930. The story is the familiar one of politically savvy Louis XVI (O.P. Heggie), hoping to enlist the French peasants in his upcoming battle against the Burgundians, appointing Francois Villon king of France for one day. Jeanette MacDonald is the high-born girl whom Villon pines for, while Lillian Roth is the street urchin who gives up her life to save her beloved poet. This early-talkie Vagabond King has scarcely been seen since the 1956 MGM remake, which starred the never-to-be-remembered opera luminary Oreste. ~ Hal Erickson, Rovi

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Starring:
Dennis KingJeanette MacDonald, (more)
 
1928  
 
The fertile creative mind of director Gregory LaCava is well in evidence throughout Half a Bride. Esther Ralston stars as Patience Winslow, an impulsive heiress who marries a much-older man whom she really doesn't love. While honeymooning on her yacht without her new husband, Patience is marooned on a desert island with handsome Captain Edmunds (Gary Cooper). Her head full of notions that she's gleaned from radio dramas and pulp novels, Patience demands that she and Edmunds enter into an in-name-only marriage, observing the responsibilities and proprieties of matrimony without the sexual entanglements. So guess who's in love with whom by the time Patience and Edmunds are rescued? ~ Hal Erickson, Rovi

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1928  
 
Josef vonSternberg's The Last Command was inspired by the true story of General Lodijenski, a Russian aristocrat who arrived penniless in the US after the 1917 Revolution and who supported himself by playing movie bit parts and managing a Russian restaurant. Emil Jannings stars as the Grand Duke Sergius Alexander, who in the last days of the Romanoff regime must decide the fate of two revolutionist actors, Leo Andreyev (William Powell) and the gorgeous Natacha (Evelyn Brent). Andreyev is carted off to prison, while Natacha becomes the Duke's mistress. She fully intends to kill him, but when the chance arises, she hesitates, having come to realize that the Duke is an essentially decent man who loves Russia as much as she does. Comes the revolution, and Natacha helps the Grand Duke escape the Bolsheviks, losing her own life in the process. The death of Natacha sends Sergius Alexander into a nervous shock, from which he never fully recovers. Years later, a shabby Sergius is eking out an existence as a Hollywood extra. Hired to play a Russian general in a crowd scene, Sergius discovers that his director is none other than former Russian revolutionary Leo Andreyev. The meaning of the title is clarified in the film's emotional climax. Plot inconsistencies aside, The Last Command is a stunning cinematic achievement, combining the harsh realities of Russia and Hollywood with vonSternberg's unerring sense of visual beauty. ~ Hal Erickson, Rovi

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Starring:
Emil JanningsEvelyn Brent, (more)
 
1928  
 
Wallace Beery appeared in this silent film with intertitles, a dark drama of hobo life. Jim (Richard Arlen), a wanderer, comes upon young Nancy (Louise Brooks), who has just killed the guardian who was trying to rape her. Disguised as a boy, she takes off with Jim and rides the rails to a hobo camp led by Arkansas Snake (Robert Perry). When Oklahoma Red (Beery) takes over the camp, he begins to pursue Nancy, but before he can take her from Jim, the detectives show up to arrest her. He escapes with Nancy and Jim, and when he sees how much they love each other, Red helps them escape by creating a diversion, during which the detectives kill him. ~ Nicole Gagne, Rovi

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Starring:
Wallace BeeryLouise Brooks, (more)
 
1928  
 
Bebe Daniels' popular Paramount comedies of the 1920s frequently cast the sprightly heroine as a female Douglas Fairbanks, saving the day with equal parts cleverness and physical dexterity. Feel My Pulse is a typically Fairbanksian romp, with Daniels playing a sheltered rich girl who has been convinced (and has convinced herself) that she is suffering from multiple maladies. When Daniels inherits a health sanitarium, she moves in bag and baggage, hoping to cure her many imagined ailments. Actually, all she needs is a good jolt of adventure, excitement, and romance, and this she gets when bootleggers set up shop at the sanitarium. Daniels is so full of vim, vigor and vitality at the end of the film that she's even willing to kiss leading-man Richard Arlen without worrying about catching any germs. Like many of the Daniels' comedies, Feel My Pulse is benefited immeasurably by the roguish villainy of star-in-the-making William Powell. ~ Hal Erickson, Rovi

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Starring:
Bebe DanielsGeorge Irving, (more)
 
1928  
 
Nancy Carroll stars in Manhattan Cocktail as Babs, a college coed who dreams of becoming a famous actress. Joining up with her campus chums Fred (Richard Arlen) and Bob (Danny O'Shea), likewise aspiring thespians, Babes heads to Broadway with stars in her eyes. The winsome threesome are quickly disillusioned by the heartless machinations of nasty producer Renov (Paul Lukas) and his harridan wife (Lilyan Tashman). Before the plot proper gets under way, the audience is regaled with a cute "mythological" prologue, featuring the same three leading actors. Manhattan Cocktail was a silent picture, except for two brief musical numbers showcasing Nancy Carroll. ~ Hal Erickson, Rovi

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Starring:
Nancy CarrollRichard Arlen, (more)
 
1928  
 
Director William Wellman's follow-up to Wings was based in part on his own WWI experiences with the Lafayette Flying Corps. Four young men from various walks of life sign up for the French escadrille known as "The Legion of the Condemned." In essence, all four are running away -- from the law, from love, from themselves. Whenever a suicide mission comes up, the four men draw cards to see who will fly off to near-certain doom. With his best friend Byron Dashwood (Barry Norton) already haven died in combat, Gale Price (Gary Cooper) waxes fatalistic when he draws the high card next time around. As he prepares to drop a spy behind enemy lines, Gale flashes back to the events leading up to this moment -- specifically, to his ill-fated romance with Christine Charteris (Fay Wray), whom he has been led to believe is a German spy. Returning to the present, Gale discovers that his passenger is Christine, who is actually an operative in the French secret service. Before explanations can be exchanged, Gale is obliged to fly Christine to her rendezvous point. She is arrested as a spy and sentenced to be executed but is saved when the firing squad is decimated by a bombing raid, paving the way for a tender reunion with Gale. The screenplay for Legion of the Condemned was written by Wellman and his Wings collaborator John Monk Saunders. ~ Hal Erickson, Rovi

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Starring:
Fay WrayGary Cooper, (more)
 
1928  
 
This silent romantic adventure is set in the Sahara desert, and purports to be a sequel to the successful Beau Geste. Like the first, it is based on a story by Christopher Wren and features members from the original cast. The story begins as three Legionnaires do not return promptly from furlough and end up in the poky. There, the hero duels with a traitor and wins, causing him to gain the designation "Beau Sabreur." Later he is sent into the desert to learn the ways of the Arabs and to help forge a peace treaty. There he encounters a lovely American journalist. Meanwhile the defeated traitor tries to stop the treaty from going through. ~ Sandra Brennan, Rovi

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Starring:
Gary CooperEvelyn Brent, (more)
 
1928  
 
Wallace Beery and Raymond Hatton team up again in this silent comedy, in which they (respectively) play Mike Doolan, a half-bright gumshoe, and Scoop McGee, his equally dim-witted journalist pal. While on the trail of a group of gangsters, Doolan and McGee unwittingly fall in with a group of gangsters, and wind up bringing them to justice in spite of themselves. Partners In Crime was one of a dozen silent comedies Beery and Hatton would appear in together; their partnership would end with the coming of sound. ~ Mark Deming, Rovi

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Starring:
Wallace BeeryRaymond Hatton, (more)
 
1928  
 
"Doomsday" is the name of a valuable patch of British farm property owned by self-made millionaire Percival Fream (Lawrence Grant). Impoverished aristocrat Mary Viner (Florence Vidor) lives in a cottage on Fream's property, with her aged and infirm father Captain Viner (Charles A. Stevenson). Another tenant of Doomsday is young farmer Arnold Furze (Gary Cooper), who tills the land with pride, even though he doesn't own it. Fream hopes to make Mary his wife as proof that he's "arrived" in society, but she falls in love with Furze. Even so, Mary can't resist the creature comforts offered her by Fream, so she marries him instead of the man she truly loves. Eventually, Mary realizes that her marriage is a mistake, and after the death of her father she asks for an annulment. Knowing full well that Fream will cut her off without a cent, Mary shows up at Furze's doorstep, humbly offering her services as his housekeeper. Though still feeling betrayed by Mary, Furze accepts her offer, and soon this "business arrangement" rekindles their love. ~ Hal Erickson, Rovi

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Starring:
Florence VidorGary Cooper, (more)
 
1927  
 
Dapper "polite" comedian Raymond Griffith starred in this so-so vehicle. Griffith is cast as French Alfred Sava-Goiu, who, after being dumped by his sweetheart, philosophically decides to end it all by jumping into the Seine. Instead, he lands in a passing boat owned by the Countess Elvire (Vera Voronina). Falling in love with his savior, Alfred returns the compliment by rescuing the Countess from a precipitous waterfall. The Countess' lover Prince Alado (William Powell) resents Alfred's presence and challenges our hero to a duel. Wriggling out of this predicament, Alfred "kidnaps" his far-from-resistant sweetheart and escapes with her in a balloon -- which, worse luck, turns out to be a war-games target. Once again, however, Alfred's luck holds out, and he and the Countess manage to make it to the altar. Like most of Raymond Griffith's starring films, A Time to Love has apparently long since vanished. ~ Hal Erickson, Rovi

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Starring:
Raymond GriffithWilliam Powell, (more)