Beatrice Roberts Movies

Something seems fishy when a married man finds new adventure and romance in this comic fantasy. Arthur Peabody (William Powell) is a slightly stuffy businessman from Boston who after turning fifty finds himself suffering from a full-fledged midlife crisis. On the advice of his doctor, Peabody and his wife Polly (Irene Hervey) head to the Caribbean for a restful vacation. One evening, Peabody decides to do some fishing, and he pulls in a highly unexpected catch -- a beautiful mermaid named Lenore (Ann Blythe). Peabody takes the mysterious creature home with him (keeping her in a backyard pond for safekeeping), but while he soon becomes infatuated with Lenore, she's quite shy around others, refusing to let people see her except for the tip of her tail, so few believe his story about the big one he's reeled in. Makeup whiz Bud Westmore designed the special mermaid costuime for Ann Blythe; keep an ear open for the song "The Caribbees", co-written for the movie by Johnny Mercer. ~ Mark Deming, Rovi

In this family farce, an older couple falls in love and decide to marry and embark upon a peaceful honeymoon without the bride's three bratty children. Unfortunately, the way things work out, the whole family ends up tagging along. The little darlings are less than pleased that their widowed mother has remarried and behave as monstrously as possible. Eventually their frustrated step-daddy has his fill and gives each of the brats a well-deserved licking. After a major quarrel, they each return home alone. Meanwhile a sly seductress who has her eye on the husband for a while, and who just happened to be staying at the same hotel, rushes back home and plans a little party designed to further humiliate the bride. Fortunately, a change of heart scuttle's the vixen's plans and happiness ensues. ~ Sandra Brennan, Rovi

Based on the humorous autobiographical book by Betty McDonald, The Egg & I casts Claudette Colbert and Fred MacMurray as Manhattan-dwelling newlyweds. When MacMurray enthusiastically purchases an upstate farm in the hopes of cleaning up in the egg business, Colbert cautiously goes along. The film's humor is derived from the efforts of these two hopelessly citified slickers to adapt themselves to the rigors of rural life. In a plot complication added to the film, pretty neighbor Louise Allbritton upsets the equilibrium of MacMurray and Colbert's union, but both husband and wife are happily reunited at the finale (in real life, Betty McDonald and her husband were splitsville before the book even hit the stands). Retained from the novel, though heavily laundered, were the earthy characters of farmers Ma and Pa Kettle and their huge brood of children. Marjorie Main as Ma and Percy Kilbride as Pa struck so responsive a chord with filmgoers that Universal headlined them in their own "Kettle" series of B pictures, which endured until 1956. The Egg & I would be adapted into a live TV comedy serial in 1952, with Pat Kirkland and John Craven in the leading roles. ~ Hal Erickson, Rovi

Acclaimed playwright George S. Kaufman made his directorial debut with this broad political satire. Senator Melvin G. Ashton (William Powell) is a long-time congressman for whom the phrase "dumb as a log" would be fitting if one were not afraid of insulting the trees. After more than twenty years of representing his clueless constituents, Ashton decides to take a shot at the presidential race, and hires Lew Gibson (Peter Lind Hayes) is his press agent. Party topkick Dinty (Charles D. Brown) considers Ashton an utterly hopeless candidate, especially after he begins making fantastic campaign promises no one could possibly keep, but Ashton turns out to be a bit more shrewd than expected. The senator has kept a detailed journal documenting the many underhanded deals his colleagues have had their hands in over the years; all he has to do is slip the diary to a reporter and most of congress will be run out of town on a rail. This possibility seem all the more urgent when Ashton starts dating Poppy McNaughton (Ella Raines), a journalist. The Senator Was Indiscreet boasts a fine supporting cast, including Ray Collins, Allen Jenkins, Hans Conreid, and a cameo appearance from Myrna Loy. ~ Mark Deming, Rovi

The Killers uses Ernest Hemingway's short story as a springboard for a complex film noir. Two mysterious men (William Conrad and Charles McGraw) muscle their way into a small town and kill an aging boxer (Burt Lancaster, making his screen debut), who offers no resistance and seems to be welcoming his death. An insurance investigator (Edmond O'Brien) is hired to locate the beneficiary to Lancaster's policy, and in the course of his investigation reopens a long-dormant robbery case. In a series of flashbacks, O'Brien makes the connection between Lancaster and the robbery and tracks down the "brains" behind the operation. He also comes in contact with Lancaster's former girlfriend (Ava Gardner), whose duplicity played a big part in Lancaster's demise -- and his indifferent reaction to it. Siodmak's hard-edged, moody direction of the Oscar-nominated screenplay by Anthony Veiller, makes The Killers one of the definitive films noirs, including what is considered to be one of the greatest opening sequences in movie history. ~ Hal Erickson, Rovi

Doctor Charles Korvin walks out on his musician wife Merle Oberon when he suspects her of infidelity. Twelve years later their paths cross again; Oberon is now saddled with an abusive husband. Possessed of a protective instinct that he hadn't evinced in the first part of the film, Korvin rescues his ex-wife from her miserable marriage, and the two fall in love all over again. Based on a play by Luigi Pirandello (no, it wasn't called Two Characters in Search of a Movie, This Love is Ours is worth watching only when supporting player Claude Rains is on the scene. The 1956 remake Never Say Goodbye was no improvement, not even with Rock Hudson taking over from the stolid Charles Korvin. ~ Hal Erickson, Rovi

In this crazy comedy, a casino worker writes a book about headhunters and finds himself the target of the leader of an anthropological society who is determined to prove that the book is phony. The writer tricks the woman into going on a head-hunting expedition to prove his claims. He dresses up as a headhunter, and allows her to capture and return him to her society for study. Dressed as a native, the writer also manages to secure a $10,000 advance from his publisher to write an expose of the wealthy society-leader's life. Meanwhile, another heiress pursues the writer to collect on a $10,000 debt. ~ Sandra Brennan, Rovi

The third installment in Universal's low-budget "Inner Sanctum" mysteries, Dead Man's Eyes promises a great deal more than screenwriter Dwight W. Babcock can deliver. Lon Chaney Jr. stars as Dave Stuart, a struggling artist promising his fiancée Heather Hayden (Jean Peters) that he will marry her as soon as he finishes a portrait of beautiful Tanya Czoraki (Acquanetta). The jealous Tanya causes Dave to have an accident that blinds him. According to eye specialist Dr. Sam Welles (Jonathan Hale), Dave's sight can only be restored by a cornea transplant and Heather's father, "Dad" Hayden (Edward Fielding), promptly wills the unfortunate young man his own eyes. When Dad is found killed, Dave becomes the obvious suspect but Welles nevertheless goes ahead with the operation. Tanya, meanwhile, has her suspicions about the identity of the killer, but before she can reveal the name to Heather, she, too, is killed. Although the operation seems at first to have been a failure, Dave regains his sight just in time to unmask the killer, who is made to confess. ~ Hans J. Wollstein, Rovi

This Technicolor retelling of the Gaston Leroux "grand guignol" classic The Phantom of the Opera has a little more opera than phantom, but that's because the stars are soprano Susannah Foster and tenor Nelson Eddy. Claude Rains carries the acting honors on his shoulders, playing a pathetic orchestra violinist who worships aspiring opera-singer Foster from afar. The girl is unaware that Rains has secretly been financing her music lessons with instructor Leo Carrillo. When he runs out of money, Rains attempts to sell the concerto that he's been working on all his life. Mistakenly believing that his precious concerto has been stolen from him, Rains attacks and kills the music publisher he holds responsible. Terrified, the publisher's mistress throws a pan full of acid into Rains' face. Rains runs screaming into the night, and is not heard from for the next reel or so. Soon afterward, the Paris Opera house is plagued by a series of mysterious accidents. The managers are informed via letter that the "accidents" will continue if Foster is not immediately promoted to leading roles. Only after reigning diva Jane Farrar is drugged into incapacitation is Foster given her big break. Farrar accuses Foster's boyfriend, police inspector Nelson Eddy, of doping her in order to advance Foster's career. Farrar is later strangled, and Eddy is accused of the crime. The culprit is, of course, Rains, who now poses as the masked-and-caped "phantom". Maniacally determined that no one will impede Foster's success, Rains causes a huge chandelier to crash down on the opera audience when Foster fails to appear onstage (she'd been kept from performing by police-chief Edgar Barrier, who hoped in this manner to flush The Phantom out of hiding). A chase through the catacombs below the opera house ensues, with Rains holding Foster prisoner. When Rains briefly lets down his guard, the tremulous Foster removes his mask. It's "yecccch," all right, but nowhere near as frightening as the unmasking scene in the silent Lon Chaney version of Phantom of the Opera. The same can be said for the rest of this 1943 remake, though in fairness it appears as though the film wasn't really designed to scare anyone, but instead to serve as a suspense yarn with musical interludes. Hume Cronyn makes his second film appearance in Phantom in a microscopic role. The huge sets designed for this picture were hastily reused for the 1944 Universal melodrama The Climax, starring Boris Karloff and (again) Susannah Foster. ~ Hal Erickson, Rovi

The Mystery of Marie Roget is more faithful to its Edgar Allan Poe original than most Universal films of its ilk, even though the Poe story and the film aren't exactly twins. Based on the factual unsolved 1842 murder of one Mary Rogers, the film stars Maria Montez as the unfortunate heroine, a popular Parisian entertainer. No innocent young damsel, Marie Roget spends a great deal of her time plotting the demise of her younger sister Camille (Nell O'Day). Shortly afterward, Marie herself disappears, and before long the mutilated, unidentifiable corpse of a young woman turns up. It is up to master detecive Dupin (Patric Knowles) and his Dr. Watson-ish assistant Gobelin (Lloyd Corrigan) to piece all the clues together. The film's best moments belong to Maria Ouspenskaya as Maria's sardonic grandmother. ~ Hal Erickson, Rovi