Guy Kibbee Movies

The first of John Ford's "Cavalry Trilogy", Fort Apache stars John Wayne as captain Kirby York and Henry Fonda as Custer clone Lt. Col. Owen Thursday. Resentful of his loss in rank and transfer to the West after serving gallantly in the Civil War, the vainglorious Thursday insists upon imposing rigid authority on rough-and-tumble Fort Apache. He is particularly anxious to do battle with the local Indians, despite York's admonitions that the trouble around the fort is being fomented not by the so-called savages but by corrupt white Indian agents. Thursday nonetheless ends up in a climactic set-to with Indian chief Cochise. He and his men are needlessly slaughtered, but the Eastern press builds "Thursday's Charge" into an incident of conspicuous valor--and York, ever loyal to the cavalry, is not about to tell the whole truth. The bare bones of Fort Apache's plotline are fleshed out with several subplots, including the romance between Thursday's daughter Philadelphia (Shirley Temple) and Lt. Mickey O'Rourke (John Agar), the son of Fort Apache veteran Sgt. Michael O'Rourke (Ward Bond). There's also plenty of time for the expected drunken-brawl humor of Victor McLaglen. Not in the least politically correct, Fort Apache is a classic of its kind, and together with Rio Grande (1950) the best of the John Ford/John Wayne Cavalry films. ~ Hal Erickson, All Movie Guide

Under the aegis of veteran program-feature producer Bryan Foy, the fledgling Eagle-Lion company made great strides during its first year of existence. Filmed in Cinecolor, The Red Stallion is on the surface a standard yarn about a ranch boy and his beloved horse, replete with a mortgage-on-the-ranch plot wrinkle. With Ted Donaldson as the boy and Jane Darwell as his down-to-earth Grandmother, however, the film is far better acted than many of its ilk. As Joel Curtis (Donaldson) tries to raise his pet foal into a race horse, he faces innumerable obstacles, both financial and natural. In the latter category, there's a particularly suspenseful throughlne involving the enmity between the horse and a wild bear. Though the outcome of The Red Stallion is predictable, what leads up to that outcome is well worth the price of admisison. ~ Hal Erickson, All Movie Guide

In his final starring vehicle as a singing cowboy, Ken Curtis saves Doc Henderson's Medicine Show from being robbed by the Morrell gang but later earns the enmity of Carolyn (Jennifer Holt) when he blames the troupe for polluting a local watering hole. Arriving in town, the medicine show, which consists of Doc Henderson himself (Holmes Herbert), Taffy (Noel Neill), the singing group the Hoosier Hot Shots and Carolyn, begin their performance while Curt is unsuccessfully attempting to stop the Morrell gang from robbing the bank. The sheriff mistakes Curt for one of the gang, and to save their friend, Curt's buddies Biscuit (Guy Kibbee) and Big Boy (Guinn "Big Boy" Williams) stampede their cattle through town. In order to clear his good name, Curt and his friends go in search of the real bank robbers, who as it turns out are working under orders from Doc Henderson. Leading lady Holt was the daughter of veteran star Jack Holt. ~ Hans J. Wollstein, All Movie Guide

In this Western, Ken Curtis, Columbia Pictures' low-budget answer to Gene Autry, romanced one of the studio's most beautiful starlets, Rita Hayworth-lookalike Dusty Anderson. She played Helen Wyatt, whose father (the rotund Guy Kibbee) loses his ranch to the hayseed singing group the Hoosier Hot Shots. Unbeknownst to Wyatt, the Hot Shots have been swindled by a couple of Eastern crooks (Ian Keith and Matt Willis) and consider themselves the lawful owners. Chased by the irascible Wyatt, the band members seek protection from aspiring singer Curt Stanton (Curtis), who they mistake for a gunslinger. With help from his sidekick Big Boy Webster (Guinn "Big Boy" Williams) and Helen, Curt manages to return the ranch to its proper owner. Joined by such National Barn Dance favorites as Deuce Spriggins and His Band, Four Chicks and Chuck, and The Plainsmen, Curtis and the Hoosier Hot Shots perform "Darlin' You Can't Love but One," "Wabash Cannon Ball," and "Put the Blame on Mame." ~ Hans J. Wollstein, All Movie Guide

Though Jack Benny made a cottage industry out of joking about the purported rottenness of his 1945 vehicle Horn Blows at Midnght, the film is in fact a delightful comedy-fantasy-certainly not Benny's best film, but far from his worst. While dozing off during a radio broadcast, studio musician Athaniel (Benny) dreams he's a trumpet player in Heaven's celestial orchestra. At the behest of glamorous angel Elizabeth (Alexis Smith), Athaniel is brought into the lavish chambers of The Chief (Guy Kibbee), who has a job for our hapless hero. It seems that The Front Office, dissatisfied with the state of things on planet Earth ("just a six-day job"), has decided to destroy the tiny globe. Athaniel is to go down to New York City and blow his trumpet at midnight, thereby heralding the end of the world. Unfortunately he botches the job and remains stuck on earth as a "fallen angel" along with previous Heavenly dropouts Osidro (Allyn Joslyn) and and Doremus (John Alexander). Having persuaded The Chief to give Athaniel a second chance, Elizabeth herself comes to Earth to make sure that her sweetheart successfully completes his mission. Alas, the impoverished Athaniel has used his precious trumpet to pay for a meal, thereby setting off a chain reaction of comic complications, culminating with a Harold Lloyd-like climax wherein Athaniel is but one of six people precariously dangling from a skyscraper ledge. Evidence exists that the "dream" framework and slapstick finale of Horn Blows at Midnight were last-minute additions: A 1949 radio version of the Sam Hellman-James V. Kern screenplay is quite different, with a more sentimental and "meaningful" finale. Whatever the case, the screen version of Horn Blows at Midnight delivers plenty of laughs for Benny fans and casual viewers alike. Alas, the film proved a box-office disappointment, which was injurious for Benny's film career but a boon to his radio and TV shows, which thrived on derisive Horn Blows at Midnight jokes for the next two decades! ~ Hal Erickson, All Movie Guide

What happens when "freedom of the press" is abused in wartime? In Power of the Press, the consequences are nearly catastrophic. Otto Kruger plays ruthless newspaper publisher Howard Rankin, who uses his journalistic privileges to destroy his political enemies. When the usual methods of character assassination fail him, Rankin resorts to murder. Honest editor Griff Thompson (Lee Tracy), working hand-in-hand with his faithful secretary Edwina Stephens (Gloria Dickson), sets the wheels in motion for Rankin's downfall. Top-billed Guy Kibbee plays a supporting role as a "solid citizen" who's actually a nefarious hoarder (this was WW II, remember), while Victor Jory is slime personified as Rankin's chief henchman. Power of the Press is based on a story by former newspaper editor (and future director) Sam Fuller. ~ Hal Erickson, All Movie Guide

A nine-year-old Elizabeth Taylor made her film debut in this lively comedy. She plays the spoiled-brat daughter of a pudding manufacturer who has been entered into the town's mayoral race by some of the local businessmen. They have chosen him because they think he is easy to manipulate. As a sales gimmick, the pudding magnate advertises that his product contains the highly nutritious "Vitamin Z." He suddenly begins selling pudding like crazy and soon his political campaign is well-funded. Unfortunately, there is no "Vitamin Z" and when this is discovered, the town fathers try to dump him and show that he is a fake. Undaunted, the pudding maker retaliates by proving that the businessmen are the real crooks and in spite of the scandal, the man gets elected. ~ Sandra Brennan, All Movie Guide

This second entry in MGM's "Whistling" series is more elaborate than the first (Whistling in the Dark) and equally as funny. Red Skelton returns as radio sleuth Wally Benton, aka "The Fox", while Ann Rutherford is back as his ever-patient fiancee Carol Lambert (Ann Rutherford). After receiving a sorority pin in the mail, Carol heads southward to help out her old college chum Ellamae Downs (Diana Lewis), who's enmeshed in a local mystery. Wally tags along, only to find himself up to his neck in intrigue and murder. The climax finds our hero and heroine trapped in the basement of an old Civil War fort, which is rapidly filling with water-a sequence that's as thrilling as it is hilarious. Best line: "Got a hanky, Panky?" Rag Ragland, who played the comic villain Chester in Whistling in the Dark, returns in Whistling in Dixie as Chester and his less odious twin brother, thereby permitting this lovable character player to "redeem" himself and qualify to appear in the third and last "Whistling" epic, Whistling in Brooklyn. Little Billie Thomas, "Buckwheat" in the Our Gang comedies, shows up in an uncredited bit. ~ Hal Erickson, All Movie Guide

Cinderella Swings It was the last in a series of RKO programmers based on the popular radio series Scattergood Baines (its original title, Scattergood Swings It, was changed in the light of the poor reception afforded the earlier series entries). Guy Kibbee stars as small-town busybody Baines, who in this outing tries to make a big star out of local songstress Betty Palmer (Gloria Warren). One of his strategies is to spotlight the girl in a USO benefit show, which takes up most of the film's 70-minute running time. The supporting cast include juvenile actors Butch and Buddy (Bill Lenhart and Kenneth Brown), who'd previously bedevilled W. C. Fields and Abbott &Costello over at Universal, and future 3 Stooges straight woman Christine McIntyre. Cinderella Swings It was packaged by Pyramid Productions, the same concern responsible for RKO's radio-inspired "Lum and Abner" series. ~ Hal Erickson, All Movie Guide

This Time for Keeps is a followup to 1940's Keeping Company, with Ann Rutherford repeating her role from the earlier film. Rutherford is cast as newlywed Katherine White, at present undergoing a rocky "period of adjustment" with her husband Lee (Robert Sterling, replacing the original film's John Shelton). Having trouble landing a good job, Lee is persuaded to go to work for his father-in-law Harry Bryant (Frank Morgan in the first film, Guy Kibbee in the second). Unfortunately, Harry doesn't believe in allowing his employees to think for themselves, resulting in even more friction between Katherine and Lee. It's up to Harry's all-knowing wife (Irene Rich, another carryover from Keeping Company) to smooth everyone's ruffled feathers. ~ Hal Erickson, All Movie Guide

In this comedy, the town gossip fills her time running the lives of others. Naturally, she is also a matchmaker. When she tries to find a suitable mate for her nephew, trouble ensues because he only has eyes for the daughter of the busybody's nemesis, the town judge. Meanwhile the girl the town yente wanted for her nephew finds herself attracted to the judge's son and ends up marrying him on the sly. He impregnates her and then goes to war. She later gives birth, but dies before she can tell anyone the truth. To protect her, the old gossip begins claiming the babe as her own. No one believes her. Fortunately, the judge's son returns and tells the truth. ~ Sandra Brennan, All Movie Guide

Inspired by the long-running (1937-1949) radio series of the same name, Scattergood Baines came to the screen in 1941, with Guy Kibbee replacing the radio version's Jess Pugh in the title role. In his first movie outing, storekeeper Scattergood Baines, resident philosopher of the town of Coldriver, tries to prevent a group of shifty financiers from taking control of a local railroad line which he manages. For a while, Baines loses the confidence and support of his friends and neighbors, but in the end he prevails as usual. Carried over from the radio series is Francis "Dink" Trout as eccentric train conductor Pliny Pickett. Like its radio role model, Scattergood Baines is based on characters created by Clarence Buddington Kelland. ~ Hal Erickson, All Movie Guide

Rosalind Russell stars as a no-nonsense judge who dabbles in sculpting in her spare time. Walter Pidgeon costars as a reporter assigned to discredit Rosalind after she rules against his boss (Edward Arnold) in a divorce case. Pidgeon plans to frame the judge in a compromising situation, then blackmail her into reducing the alimony. He succeeds in humiliating Rosalind, but regrets his actions when he realizes he's fallen in love with her. All ends happily in this glossy derivative of MGM's earlier Libelled Lady (36). ~ Hal Erickson, All Movie Guide