Booth Tarkington Movies

By the Light of the Silvery Moon was a sequel to Warner Bros' On Moonlight Bay (1951); both films were loosely based on the "Penrod" stories by Booth Tarkington. Penrod himself (played by Billy Gray) takes a back seat to the main plot, concerning the hot-and-cold romance between Doris Day and Gordon MacRae. Gordon will not marry Doris until he is financially able to do so, which results in several breakups and reunions before the final clinch at the local ice rink. A silly subplot involves Penrod's suspicions that an attractive French schoolteacher (Maria Palmer) is not only romancing his father (Leon Ames), but is also an enemy spy! Set shortly after the end of World War I, Silvery Moon takes full advantage of that era's popular songs. The film isn't quite as good as On Moonlight Bay, but fans of Day and MacRae went home happy. Also: watch closely, and you'll spot Merv Griffin in a minor role. ~ Hal Erickson, All Movie Guide

Monsieur Beaucaire, Booth Tarkington's novel about an 18th-century French barber who poses as a swashbuckling aristocrat, was the surprising source for this Grade-A Bob Hope comedy. While in the original novel the tonsorial hero pretended to be someone he wasn't by choice, in this 1946 film Hope is coerced into posturing as a nobleman on the threat of death. It's "out of the frying pan" time here, since Hope will be a target for execution the moment he weds a Spanish princess in place of genuine noble Patric Knowles. Bob's actions will prevent a war between Spain and France, but it's likely he won't be around to celebrate the Peace. Hiding his cowardice by cracking wise at every opportunity, Hope manages to save both the day and himself; he even rescues Joseph Schildkraut, the film's nominal villain, from the guillotine. The female contingent is represented by Joan Caulfield as Bob's covetous girl friend, Marjorie Reynolds as a princess, and Hillary Brooke as a haughty schemer (who is given her just desserts in an early slapstick set-piece). Woody Allen has long expressed his affection for Monsieur Beaucaire, an affection made doubly obvious in "homage" fashion by Allen's 1975 costume comedy Love and Death. ~ Hal Erickson, All Movie Guide

Orson Welles' followup to Citizen Kane (1941) was utterly different from Kane in style and texture, but just as brilliant in its own way. Writer/director Welles does not appear on camera, but his voiceover narration superbly sets the stage for the movie's action, which fades in valentine fashion on Amberson Mansion, the most ostentatious dwelling in all of turn-of-century Indianapolis. Its mistress is the haughtily beautiful Isabel Amberson (Dolores Costello). When Isabel's beau, erstwhile inventor Eugene Morgan (Joseph Cotten), inadvertently humiliates her in public, she breaks off the relationship and marries colorless Wilbur Minafer (Donald Dillaway). The neighbors are certain that, since Isabel can't possibly love Wilbur, she will spoil her children rotten. As it turns out, she has one child, George Minafer (Tim Holt), and that one is enough as far as the rest of Indianapolis is concerned. There are those who live for the day that the arrogant, insufferable George will get his comeuppance. When George returns home from college, his mother and grandfather (Richard Bennett) hold a gala reception in his honor. Among the guests is the older-and-wiser Eugene, now a prosperous automobile manufacturer, and his pretty daughter Lucy (Anne Baxter). George takes to Lucy immediately, but can't warm up to Eugene, especially after learning from his uncle Jack Amberson (Ray Collins) and his maiden aunt Fanny (Agnes Moorehead) that Eugene and Isabel had once been sweethearts. After the death of Wilbur Minafer, the widowed Eugene feels emboldened enough to propose to Isabel again. This time she is willing, but the obstreperous George refuses to allow his mother to see Eugene. His imperious bullheadedness will lead to tragedy for all concerned--and, at long last, a chastened George Minafer will indeed receive his comeuppance. The film's real villain is not George but that old intangible bugaboo called "Progress." As the automobile age comes to fruition, the elegant, cloistered lifestyle of the Ambersons fades from view, finally disappearing altogether. This is superbly foreshadowed in the "winter outing" sequence (filmed in an L.A. icehouse) in which George's two-horse sleigh is abandoned in favor of Eugene's clunky horseless carriage. Welles evokes performances that his actors seldom (if ever) matched in later years; even the very limited Tim Holt is wholly believable-and even a bit pitiable-as the blinkered George Amberson Minafer. The current version, however, is but a pale shadow of Welles' original concept. Out of time and overbudget, the movie previewed badly and was eventually sliced down to an abrupt 88 minutes (by, among others, editor Robert Wise, who would go on to direct such films as West Side Story and The Sound of Music). Even though the film therefore must be regarded as a marred masterpiece, the remaining two-thirds of Welles' original concept is still a thrilling cinematic experience, especially whenever Agnes Moorehead is on the screen. ~ Hal Erickson, All Movie Guide

Previously filmed in 1916 with Mary Pickford's brother Jack in the lead, Booth Tarkington's irresistable coming-of-age novel Seventeen serves as a tailor-made vehicle for 18-year-old Jackie Cooper. The star is cast as William Slyvanus Baxter, a high school boy who is undergoing the pangs of First Romance. The object of his affections is flirtatious debutante Lola Pratt (Betty Field), an "older woman"-at least a whole year older! Losing his head completely, William spends all of his hard-earned money on the fickle Lola, only to learn a valuable (and very expensive) lesson about loving neither wisely nor too well. Norma Nelson is hilariously hateful as William's tattletale kid sister, while Otto Kruger and Ann Shoemaker are quietly effective as the boy's exasperated but understanding parents. Obviously rushed into production to capitalize on the successful teaming of Jackie Cooper and Betty Field in 1939's What a Life!, Seventeen is an excellent effort in its own right. ~ Hal Erickson, All Movie Guide

In this entry in in the children's series, very loosely adapted from Booth Tarkington's popular story, the young Hoosiers get involved with confusing adults and kidnappers because they look so much alike. ~ Sandra Brennan, All Movie Guide

Previously filmed in 1921 with Wallace Reid, Booth Tarkington's stage comedy Clarence proved a worthwhile screen vehicle for Roscoe Karns. The title character is a resourceful young man who knows a whole little about a whole lot of things, and who concentrates by playing his saxophone. Clarence ingratiates himself with the wealthy and eccentric Wheeler family, though daughter Cora can't stand the boy. Ultimately, of course, she realizes that the feckless but likeable Clarence would be a far better catch than her fortune-hunting fiance Tobins (Theodore Von Eltz). As the flustered patriarch of the zany Wheeler clan, Eugene Pallette offers a virtual reprise of his role in My Man Godfrey. ~ Hal Erickson, All Movie Guide

After several appearances as a "good girl," little Jane Withers returns to her patented screen brattiness in Gentle Julia. Based on a novel by Booth Tarkington, the film stars Withers as Florence Atwater, precocious kid-sister of flirtatious Julia Atwater (Marsha Hunt). After spending most of the film bedeviling Julia's hometown sweetheart Noble Dill (Tom Brown), Florence shows that she's really a good kid underneath it all by saving her sister from an unfortunate marriage to phoney-baloney city-slicker Mr. Crum (George Meeker). The film's comic high point is a fancy lawn party, which Florence sabotages by releasing a frightening array of bugs, mice and snakes. Gentle Julia represents Jane Withers' second co-starring appearance with her male counterpart, diminutive screen menace Jackie Searl (the two young actors, neither one of which were as nasty in real life as they could be on screen, got along splendidly). ~ Hal Erickson, All Movie Guide

In this comedy with musical numbers set in the Old South, Bing Crosby plays a singer (talk about a casting stretch!) from Philadelphia named Tom Grayson, who has fallen in love with Southern heiress Elvira Rumford (Gail Patrick). Tom wants to marry Elvira, but a man called Major Patterson (John Miljan) has announced his desire to do the same, and he challenges Tom to a duel to decide who will have Elvira's hand. Tom is not at all agreeable to this idea, which leads Elvira's father (Claude Gillingwater) to proclaim Tom to be a coward and deny him permission to wed his daughter. Elvira's sister Lucy (Joan Bennett), who is infatuated with Tom, thinks that he's merely being sensible, but Tom thinks that Lucy is too young for a serious relationship. In need of work and not especially welcome in the Rumford's community, Tom takes a job performing on a riverboat piloted by the blustery Commodore Orlando Jackson (W.C. Fields). One night, Tom finds himself in a barroom brawl with a man named Captain Blackie (Fred Kohler), who dies accidentally from a shot fired by his own gun. Hoping that his infamy will draw crowds, Jackson begins billing Tom as "The Singing Killer." Tom comes to realize that Lucy may be the right woman for him after all, but Lucy is not interested in a man with blood on his hands, and now Tom must convince her that he's not a killer at all. Noted gambling aficionado Fields has a hilarious poker-playing bit, and he steals most of his scenes from the rest of the cast. Mississippi was loosely based on the play "Magnolia" by Booth Tarkington. ~ Mark Deming, All Movie Guide

A naive, wealthy small-town girl, bored with her routine life, falls for a dashing con artist who has come looking for fresh marks to swindle. He soon charms her into faking her prominent father's name on a letter of endorsement, which he presents to the other local merchants. They willingly give him all sorts of goodies and he prepares his escape, but not before conning the girl into becoming his wife. After their wedding night in a sleazy hotel, he abandons her. Fortunately, by the story's end, she is able to reassemble her shattered life and find happiness. ~ Sandra Brennan, All Movie Guide

George Arliss is the millionaire of the title, a retired auto tycoon who's been ordered by his doctor to rest and avoid exercise. Arliss is shaken out of his sedentary existence by an insurance salesman who advises him to pick himself up and enjoy life. The old man heads to California, where he conceals his identity and goes to work for a service station. Given a new lease on life, the millionaire amuses himself by playing matchmaker with his own daughter (Evelyn Knapp) and the go-getting young service station manager (David Manners). Barely distinguishable from George Arliss' other non-historical vehicles, The Millionaire is given an added dimension by James Cagney, who shows up for three wonderful minutes as the friendly insurance agent. ~ Hal Erickson, All Movie Guide

This early talkie is the third version of the popular Booth Tarkington play. It is set in the mid 19th-century and centers upon a good-hearted riverboat gambler who takes on a group of criminals in New Orleans during Mardis Gras when he rushes in to save a young woman from ruination. But she is a tough cookie and doesn't even thank him. Instead, she runs away. Later he meets her again after he wins her daddy's cotton plantation in a card game. None of the locals are pleased by the gambler's presence and he is nearly lynched. ~ Sandra Brennan, All Movie Guide

In this romance, an organ grinder falls in love with a corrupt mayor's daughter. The mayor, worried that the organ grinder will reveal his knowledge of the politician's illegal activities, does all he can to persuade the organ grinder that the girl is not interested in him, but the intrepid street performer is not dissuaded. In the end, the girl winds up tying herself to his donkey and begging him to take her away. ~ Sandra Brennan, All Movie Guide