Lynn Bari Movies

The plot of the RKO Radio programmer The Falcon Takes Over will be instantly recognizable to anyone who has seen the 1944 Philip Marlowe mystery Murder My Sweet: indeed, both films were based on the same Raymond Chandler novel, Farewell My Lovely. It all begins when brutish prison escapee Moose Malloy (Ward Bond) forces nervous Broadwayite Goldie Locke (Allen Jenkins) to drive him to a posh nightclub, where Moose hopes to be reunited with his old girlfriend. Unable to find his elusive sweetheart, Moose tears the joint apart, obliging Goldie to flee for his life. As it happens, Goldie is the assisant of private eye Gay Lawrence (George Sanders), aka The Falcon, who has been hired by foppish socialite Lindsey Marriot (Hans Conried) to ransom a necklace stolen from Marriot's lady friend Diane Kenyon (Helen Gilbert). Shortly afterward, Marriot is murdered, and the Falcon discovers that there's an inextricable link between the dead man and the inimitable Moose Malloy. The rest of the film follows the plot convolutions set down by Chandler in Farewell My Lovely, carefully retailed to suit the breezy urbanity of George Sanders as the Falcon. Though Murder My Sweet is the better of the two versions of the Chandler novel, The Falcon Takes Over has a few advantages of its own, notably the casting of future Oscar winner Ann Revere as blowzy murder suspect Jessie Florian. ~ Hal Erickson, Rovi

In order to be permitted to appear in "prestige" items like Grapes of Wrath and The Ox-Bow Incident, Henry Fonda had to agree to appear in such inconsequential fluff as The Magnificent Dope. On its own terms, however, this gentle satire of the "Dale Carnegie" school of self-help is pretty funny. Don Ameche plays Dwight Dawson, the owner of a success school which isn't all that successful. Dawson's secretary-sweetheart, Claire Harris (Lynn Bari), suggests a publicity stunt which might improve business -- if Dawson can make a success out of the laziest man in America, the world will beat a path to his door. After an extensive search, the perfect candidate for Dawson's academy is found: cheerful, laid-back country boy Tad Page, who prefers happiness and serenity to hard work and wealth. In true "reverse procedure" tradition, it is Tad's take-it-easy philosophy, rather than Dawson's "get up and go" dictum, that eventually wins the hearts of the American public. Fourth-billed Edward Everett Horton has little to do other than his inimitable double takes, one of which amusingly closes the picture. ~ Hal Erickson, Rovi

Eagle-Lion studios inaugurated its new "big budget" western policy with 1948's The Man From Texas. James Craig stars as the El Paso Kid, who can't make up his mind whether to be an upstanding, decent citizen or a masked bandit. He continues to vacillate all through the picture, much to the dismay of his wife Zoe (Lynn Bari, in a rare sympathetic performance). Among those benefitting from the Kid's "good" spells is the Widow Weeks (Una Merkel), who's in danger of losing her farm. Singing star Johnnie Johnston wanders in and out of the proceedings as a frontier balladeer, occasionally commenting upon the action -- a device later used to better effect in Lang's Rancho Notorious and Zinneman's High Noon. ~ Hal Erickson, Rovi

Ubiquitous 20th Century-Fox contractee Lynn Bari is the heroine of The Perfect Snob. Carefully raised by her social-climbing mother Martha (Charlotte Greenwood) to seek out a millionaire husband, debutante Chris Mason (Bari) throws herself at wealthy Freddie Browning (Alan Mowbray) during a Hawaiian vacation. But Chris secretly intends to follow the advise of her doctor father (Charles Ruggles) and marry for love rather than money. In this spirit, she pledges her troth to the handsome but apparently impoverished Mike Lord (Cornel Wilde). Much to everyone's surprise and delight, Mike turns out to be the owner of a thriving sugar plantation! Still several years removed from film stardom, Anthony Quinn goes through the "other man"paces generally reserved for Ralph Bellamy. ~ Hal Erickson, Rovi

Original slated for release through United Artists, the Wisberg-Yarborough production Women of Pitcairn Island was ultimately distributed by 20th Century-Fox. The film purports to detail the aftermath of the mutiny on the Bounty in the late 18th century. When the last of the male mutineers dies, the wives and daughters of the Bounty crew are left behind to make the best of things on Pitcairn Island. Trouble arises in the form of a band of pirates, who've landed on Pitcairn with the intention of hiding a cache of stolen pearls. After dallying with the ladies, the pirates come to grief by fighting amongst themselves. James Craig hams it up as the bearded pirate captain, while second-billed Lynn Bari seems grimly determined to get the film over with as quickly as possible. ~ Hal Erickson, Rovi

A winning sweepstakes ticket is the catalyst in 36 Hours to Kill. The lucky recipient is gangster Duke Benson (Douglas Fowley), who happens to be a fugitive from justice. Duke hops a train to collect his prize money, keeping a low profile lest he be discovered. Also on board are G-man Frank Evers (Brian Donlevy) and newspaper sob-sister Anne Marvis (Gloria Stuart). Yes, they catch the villain, but before that they stop squabbling long enough to fall in love. The basic premise in 36 Hours to Kill was later reshaped by scenarist Lou Breslow for his 1942 Laurel and Hardy comedy A-Haunting We Will Go. ~ Hal Erickson, Rovi

This psychological thriller concerns a woman who is witness to a murder and is traumatized by the event. Her horror over the event causes her to suppress the memory, losing all recollection of the death of the young female victim. The incident is purged from her mind for nearly six years as her memory is restores just as the killer chooses her for his next victim. ~ Dan Pavlides, Rovi

This 20th Century-Fox programmer revolves around the misadventures of two not-overly-bright motorcycle patrolmen. Waitress Rose Coughlin (Lynn Bari) causes a rift between cycle cops Bob Brandon (Alan Curtis) and Herman Huff (Don Defore) when she falls in love with both. Rose then jilts the two of them, preferring the company of oriental business mogul Nabob (Gerald Mohr). Brandon and Huff come to the rescue when Nabob turns out to be a criminal. The film's best bit occurs early in the proceedings, when a speeding motorist (Tom Dugan) gives his name as "John Doe"; Brandon and Huff refuse to buy this obvious alias, whereupon the dimwit mollifies them by saying "Okay...Jonathan Doremus." ~ Hal Erickson, Rovi