Lew Ayres Movies

A primitive early talkie from Pathé, this crime drama starred relative newcomers Robert Armstrong and Carole Lombard, the latter still spelling her first name Carol. They play husband and wife, she threatening divorce unless he devotes more of his time to their marriage. In reality, Armstrong is an undercover detective busy investigating a dope ring lead by Reno (Sam Hardy), a crook with friends in high places. When Armstrong gets too close to the truth, Reno has him framed in the murder of corrupt newspaper publisher Addison (Charles Sellon). A Dictaphone recording Addison was making when he was murdered ultimately exonerates Banks, who can now return to his forgiving wife. Both Robert Armstrong and Carole Lombard would see their careers soar in the 1930s, he as the nominal star of King Kong (1933), she as one of Hollywood's best light comediennes. In fact, director Gregory La Cava and Lombard would collaborate again on My Man Godfrey (1936), one of the era's best screwball comedies and a far cry from the pedestrian Big News. ~ Hans J. Wollstein, Rovi

MGM's paranoid fear of audience reaction to Greta Garbo's speaking voice must have been the only reason for this plodding courtroom melodrama to have been made as a silent. Released with a synchronized score and two important sound effects, The Kiss would prove to be Garbo's, and Metro's, final silent feature film. Happily, Belgian director Jacques Feyder used both the pantomime format and the aforementioned sound effects -- a gunshot and the incessant ringing of a telephone -- to optimum effect. When ulcer-plagued husband Anders Randolf returns unexpectedly in the middle of a smooch between his wife and 18-year-old Lew Ayres, he naturally jumps to the wrong conclusion. But the kiss is in reality merely Garbo's firm goodbye to an overly anxious admirer. Randolf and Ayres fight, Garbo vainly attempts to reason with her husband, a closed door shields the action from the viewer, and only a muffled shot is heard (yes, heard). Then the telephone rings: It is Ayres' father (Holmes Herbert) wondering why his appointment, Randolf, never showed. To shield the boy, Garbo takes the blame for the killing (she actually did do it but only to save Ayres' life) and is defended in court by the real love of her life, Conrad Nagel. Hans Kraly's screenplay is a bit heavyhanded and certainly nothing special, but Garbo's luminous presence almost saves the film from the doldrums. She plays the kind of society wife who lounges about in Art Deco elegance, keeping a stack of eight-by-ten glossies at the ready to hand out to young admirers like Ayres. It is all completely artificial of course, but Garbo somehow makes it believable. The supporting cast is what you expect: Ayres, handsome and impossibly young, Randolf, all bombast and pomposity, and Nagel, his usual dull self. For now obscure reasons, Conrad Nagel was highly regarded at the time and was by far Hollywood's busiest leading man at the changeover to sound. Garbo enjoyed working with Feyder, who went on to guide her through the German-language version of Anna Christie in 1930; and she was always more relaxed on and offscreen when other Scandinavians were around, in this case the Danish-born Randolf. As the near future would reveal, neither Garbo nor Metro had anything to worry about regarding the diva's accent and in February of 1930, the studio could at long last proudly proclaim that Garbo talks. She was the last major star to do so with the possible exception of Charles Chaplin. ~ Hans J. Wollstein, Rovi

Ellen Neal (Constance Bennett) is a "nice" girl -- just turned 18 -- who's been picked up in a raid on a speakeasy where she just started working. She pleads guilty to vagrancy, but gets a lecture and warning from the judge to steer clear of places like that, and to try and find honest work. She tries to do precisely that and is hired a year later as a maid in the household of the Fullertons, a wealthy family with roots going back to the English aristocracy. She's very aware of the opportunity she's been given, and tries to lead an honorable life, despite the lecherous inclinations of the household's major domo (Charles McNaughton) and the less obnoxious but equally fervent impulses of their college-age son, Hugh (Lew Ayres), and his friends. Ellen soon finds, however, that for all of their pretensions to greatness, the Fullertons and their friends enjoy exactly the same leisure activities -- including drinking illegal liquor (this is in the middle of the Prohibition era), bought from the same gangsters, dancing the same dances, and singing the same songs that the customers did in the speakeasy where she worked; and that at least one of the close family friends, Bud Coakley (Matty Kemp), was a customer at that same place and remembers her. He tells Hugh what he thinks he knows about Ellen's "past" and soon Hugh is putting moves on her, which she resists anew. When he realizes the kind of woman she really is, Hugh ultimately comes to genuinely love her, and those attentions she is willing to accept and return in kind. He returns to college in September -- before Ellen discovers that she is pregnant -- and when she writes to tell him, he doesn't answer.

Ellen leaves her job and returns to live with her mother (Beryl Mercer), and she has the baby, a boy. Hugh never does reply to her letters, and she is forced to hire an attorney, Yates (Tully Marshall). The Fullerton family, led by the blustery patriarch Richard (Purnell Pratt), wants this case settled quietly, out of court, and so instructs his lawyer, Judge Filson (Hale Hamilton). Filson expects to encounter a cheap gold digger, but when he meets Ellen, he's pleasantly surprised and comes to believe her story about the baby's paternity. Meanwhile, it turns out that Hugh would like to do the right thing by Ellen, but his best impulses have been diverted by his father's advice (always focused on preserving the family's reputation) and Bud, who still thinks of Ellen as the girl from the speakeasy. Complicating matters even further is that Ellen doesn't even want money and never did -- all she wanted is the acknowledgement from Hugh about who she was to him and who the baby's father is. When she's confronted by her "past," it looks as though she may never get a chance to press her case, until her attorney uncovers a fact that gets Bud and Hugh hauled into court. It still looks like the Fullertons will get their way, with a trumped-up session prejudiced in favor of them, when suddenly some truths come out that turn the reputations of all concerned completely on their heads. ~ Bruce Eder, Rovi

One of the most powerful anti-war statements ever put on film, this gut-wrenching story concerns a group of friends who join the Army during World War I and are assigned to the Western Front, where their fiery patriotism is quickly turned to horror and misery by the harsh realities of combat. Director Lewis Milestone pioneered the use of the sweeping crane shot to capture a ghastly battlefield panorama of death and mud, and the cast, led by Lew Ayres, is terrific. It's hard to pick a favorite scene, but the finale, as Ayres stretches from his trench to catch a butterfly, is one of the most devastating sequences of the decade. The film won Oscars for Best Picture and for Milestone's direction -- and trivia buffs should note that the actors were coached by future luminary George Cukor, while Ayres became a conscientious objector in World War II. The Road Back (1937) followed, and the film was remade for television in 1979. ~ Robert Firsching, Rovi

Young Joan Bennett and Lew Ayres make an attractive couple in the Universal programmer Many a Slip. Because of her imperious attitude, beautiful young debutante Pat Coster (Bennett) can't find a boy friend until Jerry Brooks (Ayres) comes along. Anxious not to lose Jerry, Pat leads him to believe that she's pregnant. Only after they've exchanged wedding vows does Pat reveal that no baby is forthcoming, whereupon the angry Jerry walks out on her. Trouble is, Pat is now pregnant for real! This is one film in which stars definitely outshine the story. ~ Hal Erickson, Rovi

In this melodrama, a cub reporter falls for the society editor who is already the mistress of the publisher. The two men begin a rivalry that culminates with the publisher's death. Of course, the reporter stands trial. He is sentenced to hang. Fortunately, he is proven innocent before the floor drops and the noose tightens. ~ Sandra Brennan, Rovi

This drama is set at Notre Dame and follows the exploits of a great football coach (patterned after Knute Rockne) who is conflicting with a promising but arrogant freshman running back. The story centers on the coach's struggle to help Bucky O'Brien understand that his glory hog ways will not help the team. Bucky ends up getting demoted to blocking for his more talented teammate, Jim Stewart. Bucky is frustrated by his new role and refuses to play. He is promptly benched during the big Notre Dame vs. Army bout. In the end, the Army is beating the pants off the Fighting Irish, and at the last moment Bucky is put into the game. This time he plays for the team and they win. A sub-plot involves the caring coach's efforts to help an ailing player who is hospitalized. The film was dedicated to Rockne, who died a few months before its release, and features several real players from Notre Dame, including the Four Horsemen--Don Miller, Elmer Layden, Jim Crowley, and Harry Stuhldreher. ~ Sandra Brennan, Rovi

Ruth Robbins (Mae Clarke) is already a cynic about marriage, and well she should be -- at age 19, she's the secretary/stenographer to Albert Hartman (John Halliday), one of the top divorce lawyers in Los Angeles, and she's heard so many detailed accounts of marriages gone wrong that she regards the institution itself as poison. She's living happily enough with her daffy southern roommate Betty Merrick (Una Merkel) in a run-down apartment in Los Angeles's Bunker Hill section, off of Angel's Flight, going about her life. And then she chances to meet Myron Brown (Lew Ayres), a young doctor just starting his internship. They fall in love and he wants to marry her, but knows that it will be years before he can earn any real money; she's practical as well, and allegic to marriage, so they do nothing about their feelings, which leaves them both miserable. In the course of trying to forget him, she takes her employer up on his seemingly altruistic offer of an apartment in the building he owns -- but Brown gets the wrong idea about Ruth, Hartman, and the apartment, and abandons any thought of marrying her. Meanwhile, Betty has fallen in love with Clarence Howe (Andy Devine), a talkative and eccentric male nurse who rides in the same ambulance that Myron is assigned to -- and Clarence also gets the wrong idea and insists that Betty leave her friend. It also turns out that Hartman's intentions weren't all honorable, after all, and Ruth is left without a job or a decent home to live in. Matters go from bad to worse when she's hit with a sudden attack of acute appendicitis, which brings Myron back into her life, just as her life is on the line. ~ Bruce Eder, Rovi

The 1933 State Fair was the first of three film versions of the Phillip Stong bestseller. Some consider it the best of the three because of its stricter adherence to the source material and the presence of star Will Rogers. Rogers plays Abel Frake, patriarch of a family whose individual members are affected by the upcoming Iowa State Fair in various fascinating ways. Abel hopes to enter his prize hog Blue Boy and win the blue ribbon. His wife Melissa (Louise Dresser) wants to enter her mincemeat in a food competition, his son Wayne (Norman Foster) wants to get even with a carnival sharpster who'd outsmarted him during the last state fair, and daughter Margery (Janet Gaynor) just wants to get out of the house for a little fun. The parents win their prizes (though it looks for a while that Blue Boy will succumb to a serious illness) the children have brief romances (one happy, one cautionary), and everyone goes home a little wiser for the experience. Footnote: Fox studios offered to butcher Blue Boy and sell his meat to Will Rogers, but Rogers declined, noting that he wouldn't feel right eating his costar. ~ Hal Erickson, Rovi

A man's addiction to betting on the horses severely disrupts his love life in this comedy. He, a plumber, and his fiancee, a manicurist, are getting ready for their nuptials when she learns that he is planning a honeymoon at the racetrack. She immediately calls off the wedding. The man is a gambling addict. He finds it doubly hard to quit since he started on a winning streak following his break-up with the girl. His father advises him to stop before it's too late, but his son doesn't listen until he loses everything. The humbled young man awakens and returns to his true-love. ~ Sandra Brennan, Rovi

Inasmuch as the film was based on a novel by Swedish author Sigrid Boo, Fox's Servant's Entrance is logically set in Sweden. Heiress Hedda Nillson (Janet Gaynor) certain that her family is about to lose all its money, takes a job as a maid. After the usual trials and tribulations, Hedda falls in love with humble chauffeur Eric Landstrom (Lew Ayres). When it turns out she's not going to go broke after all, Hedda despairs, believing that she will be forced to give Eric up -- but of course nothing like that ever happens. The highlight of Servant's Entrance is an animated nightmare sequence, courtesy of Walt Disney studios, wherein poor Hedda is "attacked" by a barrage of anthropomorphic pots and pans (Disney's previous contribution to Fox Studios was a futuristic television sequence in the 1933 Lilian Harvey vehicle My Lips Betray). ~ Hal Erickson, Rovi

In this romantic comedy, a chanteuse singing in a trashy Shanghai bar finds hope for escape when a rakish sailor comes to town and falls in love with her. They are happy during his brief layover, but then his ship departs and he must return Stateside. The sailor doesn't make a lot of money and fears that he could never adequately support his new love, and so writes her a letter explaining that they can never meet again. He sends the letter, but it is intercepted by two practical jokers who write a new letter telling the singer how much the sailor loves her. Upon receiving the love letter, the hapless lady sets sail for Los Angeles. Unfortunately, her lover refuses to acknowledge her. Now the two jokers try to do everything they can to bring the two back together. Songs include: "Here's the Key to My Heart" (Richard Whiting, Sidney Clare), "She Learned About Sailors" (Clare, Whiting) and "If I Were Adam and You Were Eve" (James J. Hanley). ~ Sandra Brennan, Rovi

The Silk Hat Kid is Lew Ayres, a babyfaced gangland "torpedo." Circumstances force the Kid to hole up in a slum settlement house, where priest William Harrigan puts him to work as a boxing instructor. The Kid begins to reform, and falls in love with tenement girl Mae Clarke. When rival Paul Kelly shows up, the Kid has the urge to kill, but Father Harrigan orders the two men to settle their differences in the ring. The Silk Hat Kid is handicapped by the miscast Lew Ayres, but it serves as an interesting precursor to the Dead End Kids school of filmmaking which became popular towards the end of the '30s. ~ Hal Erickson, Rovi