Gene Morgan Movies

The first of director Frank Capra's independent productions (in partnership with Robert Riskin), Meet John Doe begins with the end of reporter Ann Mitchell's (Barbara Stanwyck) job. Fired as part of a downsizing move, she ends her last column with an imaginary letter written by "John Doe." Angered at the ill treatment of America's little people, the fabricated Doe announces that he's going to jump off City Hall on Christmas Eve. When the phony letter goes to press, it causes a public sensation. Seeking to secure her job, Mitchell talks her managing editor (James Gleason) into playing up the John Doe letter for all it's worth; but to ward off accusations from rival papers that the letter was bogus, they decide to hire someone to pose as John Doe: a ballplayer-turned-hobo (Gary Cooper), who'll do anything for three squares and a place to sleep. "John Doe" and his traveling companion The Colonel (Walter Brennan) are ensconced in a luxury hotel while Mitchell continues churning out chunks of John Doe philosophy. When newspaper publisher D.B. Norton (Edward Arnold), a fascistic type with presidential aspirations, decides to use Doe as his ticket to the White House, he puts Doe on the radio to deliver inspirational speeches to the masses -- ghost-written by Mitchell, who, it is implied, has become the publisher's mistress. The central message of the Doe speeches is "Love Thy Neighbor," though, conceived in cynicism, the speeches strike so responsive a chord with the public that John Doe clubs pop up all over the country. Believing he is working for the good of America, Cooper agrees to front the National John Doe Movement -- until he discovers that Norton plans to exploit Doe in order to create a third political party and impose a virtual dictatorship on the country. The last of Capra's "social statement" films, Meet John Doe posted a profit, although Capra and Riskin were forced to dissolve their corporation due to excessive taxes. ~ Hal Erickson, All Movie Guide

In this drama, a devoted, caring physician leaves his home and moves to Alaska to escape arrest after he performs euthanasia upon his terminally ill father. In the ever-snowy reaches of northernmost Alaska, the doctor begins administering to the poverty-stricken Inuit. While he has willingly exiled himself there and cares about the people, his new nurse is another story. She hates the outpost and holds the people there in contempt. She does not try to understand their lifestyle and therefore, considers them disgusting. Unbeknownst to the good doctor, he is being hunted by a detective determined to return him to the lower 48 to stand trial for the mercy killing of his father. Unfortunately, the gumshoe is caught in a blizzard and is blinded by the snow. The doctor saves his life. The grateful detective, seeing the doctor's good work, decides that he never saw him and returns home empty handed. Meanwhile, the nurse gets a grip on her ethnocentrism and decides to stay to be with the doctor. ~ Sandra Brennan, All Movie Guide

This is the celebrated Blondie episode that costars Rita Hayworth, who in 1940 was still just another Columbia contract actress. Hayworth plays an old flame of Dagwood Bumstead's (Arthur Lake), who moves into the Bumstead household when wife Blondie (Penny Singleton) advertises for a boarder. Blondie (Penny Singleton) tries to be civil when she meets Rita, but her true feelings are manifested in a superimposed montage of explosions and gunshots. Innocently caught in a compromising position with Hayworth at a local movie house, Dagwood is shown the door by the heartbroken Blondie. All misunderstandings are swept away by fadeout time in this fifth installment in Columbia's Blondie series. ~ Hal Erickson, All Movie Guide

In their last film for Hal Roach, Stan Laurel and Oliver Hardy play employees at the Sharp and Pierce Horn Factory, where the workers tend to go beserk at a rate of one per hour. Driven crazy by the cacophonous G-minor horn, poor Ollie begins to tear the factory apart, screaming "Horns to the left of me! Horns to the right of me! Horns, horns, HORNS!" Sent home to recuperate from his nervous breakdown, Ollie is told by his doctor (James Finlayson) that he is suffering from Hornophobia: "In fact, you're on the verge of Hornomania." Advised to take a restful ocean voyage, Ollie nixes the idea, noting that he hates the high sea. Stan suggests that the two of them rent a small boat and keep it tied up on the dock, so that Ollie can get all the fresh sea air he wants without ever leaving port. Alas, the boys' tiny boat is accidentally set adrift, with Stan, Ollie and escaped killer Nick Grainger (Rychard Cramer) on board. Ordered to prepare breakfast for the ill-tempered Nick, the boys hope to subdue their captor by making him a "synthetic meal": String for spaghetti, soap for cheese, sponge for meatball, lampwick for bacon, and so on. Unfortunately, Nick catches on to their scheme and forces Stan and Ollie to eat the ersatz meal themselves. The boys are finally saved from Nick's wrath when Stan remembers that the sound of trombone will transform Ollie into a fighting demon, but don't count on a completely happy ending when Laurel & Hardy are involved. Cowritten by former comedy great Harry Langdon, Saps at Sea looks more like two or three 2-reelers strung together than a coherent feature film; still, it contains some great gags, most of them taking place in Ollie's apartment, where the plumbing and electrical appliances have been bollixed up by cross-eyed janitor Ben Turpin. Though hardly a classic, Saps at Sea earned Laurel & Hardy some of their best-ever reviews, and would turn out to be their last totally worthwhile feature film. ~ Hal Erickson, All Movie Guide

Frank Capra's classic comedy-drama established James Stewart as a lead actor in one of his finest (and most archetypal) roles. The film opens as a succession of reporters shout into telephones announcing the death of Senator Samuel Foley. Senator Joseph Paine (Claude Rains), the state's senior senator, puts in a call to Governor Hubert "Happy" Hopper (Guy Kibbee) reporting the news. Hopper then calls powerful media magnate Jim Taylor (Edward Arnold), who controls the state -- along with the lawmakers. Taylor orders Hopper to appoint an interim senator to fill out Foley's term; Taylor has proposed a pork barrel bill to finance an unneeded dam at Willet Creek, so he warns Hopper he wants a senator who "can't ask any questions or talk out of turn." After having a number of his appointees rejected, at the suggestion of his children Hopper nominates local hero Jefferson Smith (James Stewart), leader of the state's Boy Rangers group. Smith is an innocent, wide-eyed idealist who quotes Jefferson and Lincoln and idolizes Paine, who had known his crusading editor father. In Washington, after a humiliating introduction to the press corps, Smith threatens to resign, but Paine encourages him to stay and work on a bill for a national boy's camp. With the help of his cynical secretary Clarissa Sanders (Jean Arthur), Smith prepares to introduce his boy's camp bill to the Senate. But when he proposes to build the camp on the Willets Creek site, Taylor and Paine force him to drop the measure. Smith discovers Taylor and Paine want the Willets Creek site for graft and he attempts to expose them, but Paine deflects Smith's charges by accusing Smith of stealing money from the boy rangers. Defeated, Smith is ready to depart Washington, but Saunders, whose patriotic zeal has been renewed by Smith, exhorts him to stay and fight. Smith returns to the Senate chamber and, while Taylor musters the media forces in his state to destroy him, Smith engages in a climactic filibuster to speak his piece: "I've got a few things I want to say to this body. I tried to say them once before and I got stopped colder than a mackerel. Well, I'd like to get them said this time, sir. And as a matter of fact, I'm not gonna leave this body until I do get them said." ~ Paul Brenner, All Movie Guide

Dorothy Lamour had been playing "sarong girls" long enough to parody her screen character in 1939's Best of the Blues. Tired of portraying jungle princesses, a temperamental Broadway star (Lamour) runs out on her manager (Jerome Cowan) and joins a Mississippi showboat under a phony name. Incredibly, none of the showboat audiences recognize this supposedly world-famous star, and she becomes the toast of the South--as well as the object of boat owner Lloyd Nolan's affections. When the truth comes out, Nolan spurns Lamour, but they're back together for the musical finale. Best of the Blues is the television title for St. Louis Blues; the change was made to avoid confusion with the 1958 biopic of W.C. Handy, also titled St. Louis Blues. ~ Hal Erickson, All Movie Guide

Start Cheering is Columbia Pictures' idea of a college musical: Practically everyone in the cast is past the age of 30. Charles Starrett plays a movie star who wearies of Hollywood and decides to get a college education. He enrolls incognito in a small university, much to the discomfort of his managers Walter Connolly and Jimmy Durante. Durante heads for college himself, hoping to sabotage Starrett's plans and bring him back before the cameras. While Jimmy Durante is saddled with inferior material, the film gives full head to such guest stars as bandleader Louis Prima, vaudevillian Chaz Chase (who had a cigar-eating act), radio's Professor Quiz (Dr. Craig E. Earle), and Columbia's short-subject headliners The Three Stooges (with Curly!) ~ Hal Erickson, All Movie Guide

Choreographer Danny Dare was the directorial guiding hand behind the Columbia B The Main Event. Robert Paige stars as a dilettante detective investigating the kidnapping of boxer Gene Morgan. The abduction was carried off all too easily, and its proximity to the obligatory Big Fight is all too convenient. With the help of his gal friday Jacqueline Wells, Paige gets to the truth of the matter in record time (55 minutes, to be exact). The Main Event, like most Columbia programmers, started out as merely a title, with the details to be filled in during production. ~ Hal Erickson, All Movie Guide

Extortion was designed as a sort of trial balloon for Columbia's new contractees Scott Colton and Mary Russell. The story takes place on a college campus, where a distinctively unpopular professor is murdered. When her physics-teacher father (Thurston Hall) falls under suspicion, co-ed Betty Tisdale (Mary Russell) turns to campus newspaper editor Larry Campbell (Scott Colton). Dissatisfied with the slowness of police procedure, Betty, Larry and their fellow students conduct their own investigation, unearthing a hotbed of scholastic intrigue and double-crossing. The much-hated victim is played by Albert Von Dekker, who'd later streamline his professional monicker as Albert Dekker and go on to a distinguished film career; ironically, Dekker would himself be the victim of a spectacular demise in 1968, which may or may not have been a sex murder. ~ Hal Erickson, All Movie Guide

In this romantic crime drama, a newspaper reporter and his female rival learn that a priceless Rembrandt, believed to have been destroyed years before, is still around. The mayhem begins as they compete to retrieve it from the thieves who swiped it from the elderly spinster who owns it. Fortunately, the spinster marked the back of the canvas with some distinctive indecipherable markings and the crooks are unable to fence the masterpiece. Angered, they decide to kill her. The female reporter, who moved in with the woman to save her, is also endangered when the crooks torch the old woman's house. Fortunately, the other reporter gets there in time to save the ladies and bring the crooks to justice. ~ Sandra Brennan, All Movie Guide

While Rita Hayworth was one of many starlets signed to one-year contracts at Columbia in 1936-37, she was one of the few who made the "cut" when option time rolled around. One of those who didn't was Patricia Farr, who starred in All-American Sweetheart before the Columbia execs showed her the door. Farr's top billing is perplexing, since the film's main characters are all male, all members of a college rowing team (an athletic endeavor utilized in no fewer than four 1930s films). The storyline of All-American Sweetheart involved the compromising of certain student rowers, courtesy of bribe-dispensing gangsters. One gets the impression that Columbia would have inserted gangsters into a movie about ping-pong. ~ Hal Erickson, All Movie Guide

If Charles Quigley never became Columbia's answer to Clark Gable (which seemed to be the studio's intention), it wasn't for lack of trying. In Speed to Spare, Quigley plays champion racecar driver Tommy Morton, eternal rival to less-ethical speed king Skids Brannigan (Eddie Nugent). What no one knows is that Tommy and Skids are actually brothers, separated at birth. Driven by a filial devotion that he can't explain, Tommy tries to dissuade Skids from recklessness, only to be "repaid" when Skids tries to steal away Tommy's sweetheart Eileen (Dorothy Wilson). It takes a near-fatal crack-up for Skids to straighten up and drive right -- and to patch things up with Tommy, whom he now recognizes as his own brother. Much of the racecar action in Speed to Spare is filmed against a process screen. ~ Hal Erickson, All Movie Guide

While not a box-office success, this drama, directed by Leo McCarey, developed a potent reputation among film critics and movie buffs for its sensitive and perceptive treatment of the problems of the elderly. When McCarey won the Oscar for Best Director the same year for The Awful Truth, he remarked that the Academy gave him the award for the wrong movie. Barkley and Lucy Cooper (Victor Moore and Beulah Bondi) are a couple in their late 60s who have fallen on hard times and have been given the bad news that the bank is foreclosing on their house. Barkley and Lucy turn to their five children for help, but none are willing or able to do much for them; their son George (Thomas Mitchell) says that Lucy can stay with him and his wife Anita (Fay Bainter), while Nellie (Minna Gombell) and her husband Harvey (Porter Hall) can take in Barkley, but neither couple have the space or the means to house them both. Living with their children and their new families proves stressful for everyone involved, and Lucy decides to take up residence in a home for older women. She and Barkley realize that this will probably mean a permanent separation for the two of them, and they try to enjoy one last outing together before they part. Remarkably, Beulah Bondi was only 46 years old when this film was made, making her less then ten years older than several of her on-screen children; make-up wizard Wally Westmore used his bag of tricks to age her the appropriate two decades for the role. ~ Mark Deming, All Movie Guide