Edward Earle Movies

The life stories of Broadway tunesmiths Richard Rodgers and Lorenz Hart are prettified for the screen in MGM's Words and Music. Billed fourth, the colorless Tom Drake plays Rodgers, but never mind that: the film belongs to Mickey Rooney, as the dynamic, self-destructive Lorenz Hart. Understandably, Hart's bisexuality is downplayed. According to MGM, his biggest problem in life is that he was never satisfied with his work. We are, however, especially when those great Rodgers & Hart tunes are performed by the likes of Judy Garland, Janet Leigh, Perry Como, Lena Horne, June Allyson, Cyd Charisse, Betty Garrett, Ann Sothern, Mel Torme, Allyn McLerie, Gene Kelly and Vera-Ellen. The musical highlights include Garland's powerhouse rendition of Johnny One-Note, Kelly's Slaughter on 10th Avenue dance solo, Horne's interpretation of Where or When, Allyson's take on Thou Swell, and, best of all, Rooney's premiere performance of I'll Take Manhattan, which he allegedly had just written on the back of an automobile advertisement! ~ Hal Erickson, Rovi

Robert Montgomery directed and starred in this exotic film noir set during a New Mexico fiesta. Montgomery plays a secretive ex-GI who plans to extort money from a prominent gangster (Fred Clark) as retribution for the death of Montgomery's best friend. An FBI man (Art Smith) would like the government to get the incriminating information on the gangster that Montgomery is carrying. Trailed by the FBI agent, Montgomery takes refuge at an old carousel, where he meets a Mexican gamin (Wanda Hendrix) who refuses to leave his side. The girl is on hand when the gangster catches up with Montgomery and has him beaten. She nurses Montgomery back to health, but the would-be blackmailer is determined to confront the gangster again. This time, however, the FBI agent comes to the rescue. Ride the Pink Horse is a properly moody melodrama, containing one of the few truly good performances from eternal ingenue Wanda Hendrix. The film was remade for TV in 1964 as The Hanged Man. ~ Hal Erickson, Rovi

Accomplice was the "pilot" for a proposed PRC series based on Frank Gruber's short-tempered detective hero Simon Lash. Commendably, Richard Arlen plays Lash as written-brusque, nasty, antisocial. The plot gets under way when socialite Joyce Bonniwell (Veda Ann Borg) hires Lash to located her missing husband Jim (Edward Earle). The fact that Joyce is Lash's former sweetheart heightens the detective's interest in the case-so much so that, for most of the film's running time, he doesn't realize that he's being set up by a pair of extremely clever con artists. Four murders later, however, Lash ties up all the loose ends and turns the crooks over to the authorities. ~ Hal Erickson, Rovi

In this episode of the popular detective series, Chan learns that fake fingerprints have caused innocent people to go to prison. ~ Sandra Brennan, Rovi

James M. Cain's novel received its first authorized screen treatment in this MGM production. Drifter Frank Chambers (John Garfield) takes a job at a roadhouse run by slovenly but likeable Nick Smith (Cecil Kellaway). Nick's sexy young wife Cora (Lana Turner) takes an immediate liking to Frank, but he senses that she's trouble and he keeps his distance--for a while, anyway. Inevitably succumbing to Cora's tawdry charms, Frank enters into her scheme to murder Nick and claim the old boy's insurance money. Not long after committing the foul deed, Frank and Cora are arrested. Thanks to the conniving of slimy attorney Arthur Keats (Hume Cronyn), the illicit lovers are able to beat the murder rap--but, as the film's title symbolically indicates, they eventually pay for their misdeeds in an unexpected manner. Fans of the James M. Cain original--not to mention Cain himself--were aghast at the changes made in the novel by screenwriters Harry Ruskin and Niven Busch; many of the alterations were made to conform with censorship standards of the era, while others simply existed to massage the egos of the stars. Even so, the 1946 version of The Postman Always Rings Twice is infinitely more satisfying than the no-holds-barred 1981 remake, directed by Bob Rafelson with Jack Nicholson and Jessica Lange. ~ Hal Erickson, Rovi

This tale of two tugboats focuses upon the rivalries between two operators competing to win a major shipping contract. Meanwhile a tugboat office secretary and an ex-con who wants to go straight, fall in love. Tugboat Annie is put in charge of a child violinist. When a waterfront fire breaks out, the two warring captains join forces to put it out. ~ Sandra Brennan, Rovi

It's a Pleasure was the third release from International Pictures, the feisty independent that would later merge with Universal. Skating sensation Sonja Henie does her usual as ice-show star Chris Linden, who falls in love with hockey champ Don Martin (Michael O'Shea). A combative, troublesome sort, Martin is barred from hockey for life thanks to his numerous brawls and drinking binges. Meanwhile, Chris rises ever higher in her chosen profession, driving a wedge between herself and Martin. Since there was never a Sonja Henie picture with an unhappy ending, audiences were assured that things would aright themselves shortly after the climactic music-and-ice ensemble number. ~ Hal Erickson, Rovi

The second of Monogram's 1945 trio of "Cisco Kid" westerns, In Old New Mexico stars Duncan Renaldo as Cisco and Martin Garralaga as Pancho. The plot concentrates on heroine Ellen (Gwen Kenyon), a nurse accused of murder. Gallant Cisco "kidnaps" Ellen from the authorities, then sets about to prove her innocence, all with the cooperation of a sympathetic sheriff. Cisco and Pancho stage an elaborate ruse to force a confession out of the genuine killer, which in real life would of course be thrown out of court-but whoever said that these films had anything to do with real life? After a third "Cisco Kid" entry, South of the Rio Grande, Duncan Renaldo would temporarily leave the series, returning with a vengeance three years later. ~ Hal Erickson, Rovi

Colonel Breckinridge Marshall (Walter Catlett) of Clearwater, GA -- who puts on a big front but is actually only a step away from the poor house -- rents a luxurious townhouse in Manhattan in anticipation of the Carnegie Hall debut of his two daughters, singer Melinda (Gloria Jean) and pianist/singer Susannah (Martha O'Driscoll). But on their first night there, they hear strange noises and other disturbances, including the sound of someone tap-dancing -- Susannah runs for help to the next building, which turns out to be a nightclub where Olsen (Ole Olsen) and Johnson (Chic Johnson) are working, and finds herself in the middle of one of their "nut humor" Hellzapoppin'-style sketches. The two comics try to make amends by helping her out and find themselves up to their neck in strange warnings ("First is worst"), noises, and bizarre, ghostly apparations seemingly from nowhere, and alleged ghostly goings on. They eventually figure out that the house once belonged to one Wilbur Duffington, a wealthy ne'er-do-well out of New York's "gilded age" whose main hobbies were tap-dancing and drinking plum brandy, before he fell from a third-story window in the year 1900 at a party he was throwing. The boys reason that Wilbur, if he is there, might want to finish the party he was having the night he died; when that doesn't work, they reason out that he had to be a real square because he died in 1900, and so they bring in a swing band and a bunch of jitterbug dancers to drive him out -- that seems to do the trick, the ghost seemingly departing. But then the noises continue and the Marshalls are at their wits' end, until Olsen and Johnson accidentally discover far more sinister goings on, involving a band of criminals who have already committed one murder, something in that house worth killing for, and a plan to eliminate the Marshall family. Before it's over, a pitched battle ensues between the heroes and a band of costumed thugs (including a pair of ill-tempered dwarves), and a race against time to get the Marshall girls to a performance on time to save their careers, plus the unmasking of the man behind all of the mayhem, all intermixed with lots of Olsen and Johnson's patented nut-humor and the presence of a pre-Sky King Kirby Grant leading a band, singing, and playing a violin. ~ Bruce Eder, Rovi

A priest relates the tale of his friend, a WWI veteran, to the Post-War Planning Committee. Unable to get a job upon his return from the war, he puts off his marriage and works for a bootlegger. He is forced to take a rap for his boss, goes to prison, and forms a gang. After his release, a gang war breaks out, resulting in his death. He leaves a note to his friend the priest asking that his story be told as a warning. ~ Steve Huey, Rovi

In this drama, a piano teacher buys a song-publishing business only to discover that it is on the brink of bankruptcy and is embroiled in a lawsuit over the song: "Kansas City Kitty". Other songs include "Tico Tico", "Nothing Boogie from Nowhere", and "Pretty Kitty Blue Eyes". ~ Sandra Brennan, Rovi

In this eighth film in MGM's "Maisie" series, Ann Sothern is back as ever-stranded chorus girl Maisie Revier. As the story opens, Maisie has a steady non-showbiz job as a defense plant riveter (it's wartime, of course); still, she utilizes a two-week vacation to take a singing job in a Reno night spot. This small Nevada town being the Divorce Capital of America, Maisie finds herself involved in the crumbling marriage between a GI (Tom Drake) and his wealthy wife (Ava Gardner). Meanwhile, Maisie's own well-being is threatened by a conniving businessman who has her committed to an asylum when she threatens to squeal about his crooked business practices. Like most "Maisie" pictures, Maisie Goes to Reno suffers from a surfeit of plotting, but is redeemed by the insouciant Ann Sothern. ~ Hal Erickson, Rovi