Lynne Overman Movies

According to this exuberant Paramount musical, famed pre-Civil War minstrel performer Daniel Decatur Emmett looked and sounded exactly like Bing Crosby! Very loosely based on the real Emmett's life and career, the film is essentially an excuse for an unending stream of Southern-fried ballads and boisterous blackface production numbers. The best scenes involve Emmet's creation of the minstrel tradition, helped along by Billy De Wolfe as the original "Mr. Bones." As Emmet's sweetheart Millie Cook, Dorothy Lamour has less to do than fourth-billed Marjorie Reynolds as Jean Mason, the physically challenged girl whom Emmet ultimately marries. In the midst of several old-time musical numbers, Bing Crosby introduces one of his lasting hits, "Sunday, Monday and Always". ~ Hal Erickson, Rovi

Star-Spangled Rhythm is a typical wartime all-star musical-comedy melange, this time from Paramount Pictures. The slender plot involves the efforts by humble studio doorman Pop Webster (Victor Moore) to pass himself off as a big-shot Paramount executive for the benefit of his sailor son Jimmy (Eddie Bracken). The overall level of humor can be summed up by the scene in which Webster is advised that the best way to pretend to be a studio big-shot is to say "It stinks!" to everything -- whereupon Cecil B. DeMille shows up to ask Webster's opinion about his current production. Betty Hutton, cast as studio switchboard operator and co-conspirator Polly Judson, is at her most rambunctiously appealing here. The huge lineup of guest performers includes Bing Crosby (and his 8-year-old son Gary!), Bob Hope, Veronica Lake, Dorothy Lamour, Dick Powell, Mary Martin, Alan Ladd, Fred MacMurray, William Bendix, Paulette Goddard, and Eddie "Rochester" Anderson, most (but not all) of them going through their characteristic paces. Highlights include a surrealistic rendition of That Old Black Magic with Johnnie Johnston and Vera Zorina; a frantic staging of the old George S. Kaufman sketch "If Men Played Cards as Women Do" with MacMurray, Ray Milland, Franchot Tone, and Lynn Overman; and The Sweater, the Sarong and the Peekaboo Bang, first performed by Goddard, Lamour and Lake, then lampooned in drag by Arthur Treacher, Sterling Holloway and Walter Catlett! PS: The actor playing Rochester's chauffeur in the Smart as a Tack number is John Ford "regular" Woody Strode. ~ Hal Erickson, Rovi

Cecil B. DeMille's Technicolor historical spectacle Reap the Wild Wind was to have starred Gary Cooper, but Cooper's prior commitment to Goldwyn's Pride of the Yankees compelled DeMille to recast the leading role with John Wayne. The film, set in the mid-19th century, centers around Key West, Florida, where piracy reigns unchecked and steam engines are beginning to replace tall ships. Jack Stuart (Wayne) is a sea captain who crashes his vessel on the shoals of Key West. Loxi Claiborne (Paulette Goddard), the hoydenish manager of a salvage firm, arrives on the scene, but discovers that her rival in the salvage business, King Cutler (Raymond Massey) has reached Wayne first and lashed him to the mast, and is proceeding to ransack the ship with the aid of his partner-in-crime, younger brother Dan Cutler (Robert Preston). The Cutlers have built up quite a reputation for reaching wrecks ahead of competitors - to such a degree that some suspect them of making under-the-table deals with dishonest captains. While the men continue to ransack the ship, Loxi nurses Jack back to health, and the two fall in love; meanwhile, Jack worries openly that he'll lose the privilege of piloting his company's newest steamship. To ensure that this doesn't happen, Loxi offers to travel to Charleston, South Carolina and convince investigators that pirates were responsible for what happened to Jack. Subsequently, the company attorney, Stephen Tolliver (Ray Milland) must go to Florida with Jack's commission papers, and investigate the circumstances of the incident prior to givng the papers to the captain. In the process, Jack and Stephen become intense rivals for Loxi's affections. ~ Hal Erickson, Rovi

The illustrious National Music Camp in Interlochen, Michigan provides the backdrop for this musical that chronicles the ups and downs of overseeing such an establishment. The story centers on a young burlesque singer who is discovered and taken to the camp. At first the uncultured girl rebels against the many rules of the camp, but eventually she settles down and sets to work. Trouble for the camp ensues when a negative newspaper article is published and the backers for the camp withdraw their support. To save the place, the young singer stages a benefit performance. She has by then become an opera diva and succeeds in saving the day. ~ Sandra Brennan, Rovi

Bob Hope plays a famous movie star who does his best to avoid the pre-war draft, but ends up in uniform all the same. Hope marries Dorothy Lamour, the daughter of Army colonel Clarence Kolb, in hopes that this union will help him sidestep military service. Stuck in boot camp, Hope is a class-A screw-up until redeeming himself during a sham battle--though his "heroic" commandeering of a tank began as yet another boo-boo. Still not entirely certain that Hope could carry a film by himself, Paramount teamed him with Eddie Bracken and Lynne Overman--a sort of Abbott and Costello plus One. Despite the efforts to make Bob Hope part of an ensemble, it is clear from the first frame to the last who is truly the star of Caught in the Draft. ~ Hal Erickson, Rovi

This studio-bound jungle yarn is uplifted by the spirited performances of its stars. After the death of her aviator lover, beautiful Linda Stewart (Madeleine Carroll) marries wealthy sportsman Baron de Courland (Tulio Carminati) on the rebound. When the Baron arrives in Africa for a hunting expedition, he secures the services of jungle guide Jim Logan (Douglas Fairbanks Jr.) Sure as shootin', Linda and Jim fall in love with one another, prompting the sadistic Baron to plot an appropriate revenge. Lynne Overman does a Jimmy Finlayson impression as a Scottish "Trader Horn" type, while Billy Gilbert is terrific as a malaprop-laden trading post owner. Screenwriter Delmar Daves manages to inject a bit of Left Wing ideology in an early scene, which surprisingly (and happily for Daves) went unnoticed during the HUAC hearing in the late 1940s. ~ Hal Erickson, Rovi

Typhoon was Paramount's answer to Samuel Goldwyn's The Hurricane, even utilizing the same leading lady, Dorothy Lamour. The film is set in a small island off Dutch Guinea. Two sailors (Robert Preston and Lynne Overman) make the acquaintance of a young white girl (Lamour) who has been living on the island since childhood, the victim of a shipwreck. The Technicolor cameras are given a thorough workout recording not only Lamour's sarong-clad frame and the climactic typhoon, but also an added-attraction forest fire. Incidentally, the working title for Typhoon was The Big Haircut. ~ Hal Erickson, Rovi

Cecil B. DeMille takes us back to the 1860s, then rebuilds the first intercontinental railroad in Union Pacific. The real-life spectacle is occasionally interrupted by the fictional adventures of railroad overseer Joel McCrea, postmistress Barbara Stanwyck (with an incredible Irish brogue), and McCrea's best pal Robert Preston. Unfortunately Preston has fallen in with Brian Donlevy, who is dedicated to destroying the Union Pacific railroad on behalf of a crooked political cartel. During an Indian attack, McCrea and Preston fight side by side to save Stanwyck, prompting Preston to turn honest. On the day in 1869 that the "Golden Spike" is to be driven at Promontory Point, Preston is killed saving McCrea from Donlevy's bullets. Union Pacific owes a great deal to John Ford's 1924 film on the same subject, The Iron Horse, even restaging one or two major action sequences from the earlier film. This DeMille spectacular was a big hit with audiences of 1939, who craved a booster shot of flag-waving now and again. ~ Hal Erickson, Rovi

A champion Great Dane is the murder victim in this mystery. Investigating the case is the youthful assistant of a travelling salesman and telepathist. Unfortunately, the young man's attempts to find the show dog's killer fail. He winds up getting both himself and his boss in trouble. Now it is up to the young man's mentor to solve the case. The prime suspect is a friend of the dog owner's daughter. ~ Sandra Brennan, Rovi

Brash and vigorous director William Wellman always had a place in his filmography for movies glorifying the early years of aviation -- from the start of his career (Wings), until the end (Lafayette Escadrille). But, perhaps, never has his devotion to aviation been made more vivid than in his 1938 drama Men With Wings. Wellman, in this film, attempts to dramatize the history of aviation from the early days of the Wright Brothers until the 1930s, when airline transportation first became viable. The story centers upon two contrasting aviation types: the barnstormer, Pat Falconer (Fred MacMurray), and the methodical scientist of flight, Scott Barnes (Ray Milland). Through these two archetypes, Wellman follows Pat and Scott from childhood to adulthood. Pat marries childhood sweetheart Peggy Ransom (Louise Campbell) and they have a child. Scott, who had always loved Peggy, remains in the background, not wanting to break up his solid friendship with Pat. But Pat is clearly doomed by his recklessness and breakneck individuality. After fighting in the skies during World War I, he refuses to sit back and do the methodical work of flight research like Scott. Always searching for another war to fight, Falconer leaves Scott and Peggy behind, taking off for China to help the Chinese fight Japanese invaders. ~ Paul Brenner, Rovi

The visual wizardry in this period action picture about Alaskan fishermen won a special honorary Oscar in the years before special effects got its own category. Henry Fonda stars as Jim Kimmerlee, a salmon fisherman in Alaska who has become at odds with a childhood friend, Tyler Dawson (George Raft). While Jim attempts to make an honest living, Tyler, whose frustrated dreams of buying his own schooner don't look to be realized anytime soon, has signed on with a Russian crew that steals the catch from others' nets. While the rivalry between the two one-time pals heats up, Jim begins romancing Dian Turlan (Louise Platt), the daughter of a local newspaperman and renowned tippler, Windy Turlon (John Barrymore). Spawn of the North (1938) was remade as Alaska Seas (1954). ~ Karl Williams, Rovi

Hunted Men is part of Paramount's unofficial B-picture series based on the J. Edgar Hoover book Persons in Hiding. Lynne Overman stars as a middle-class family man whose even-keel lifestyle is shattered when he brings home an affable stranger (Lloyd Nolan) to dinner. The stranger turns out to be an escaped killer, who repays Overman's hospitality by holding his family prisoner. Both criminal and hostages tensely count the hours as the rest of Nolan's gang (including J. Carroll Naish and Patricia Morrison) formulates an escape plan. Hunted Men has earned a latter-day reputation for its accurate portrayal of a suburban household of the 1930s, and for its surprisingly sympathetic portrayal (without overtly pleading for sympathy) of head crook Lloyd Nolan. ~ Hal Erickson, Rovi