Jean Rouverol Movies

Film star Lylah Clare is dead, but her legend lives on. Movie-producer Barney Sheean (Ernest Borgnine) hires Elsa Brinkmann (Kim Novak), the living image of the late Lylah, to star in a film based on Ms. Clare's life. Barney hires director Lewis Zarkan (Peter Finch), Lylah's former husband, to transform the talentless Elsa into a facsimile of the deceased screen queen. Elsa not only learns to imitate Lylah but, at crucial junctures, becomes the dead woman. While restaging the accident that killed Lylah, the obsessed Zarkan deliberately drives Elsa to her doom -- and in so doing reveals his complicity in the death of his wife. The film ends with Lylah's onetime housekeeper (Rosella Falk), gun in hand, lying in wait for Zarkan to return home while her TV blasts forth a grotesque (and possibly symbolic) dog-food commercial. A trash masterpiece, Legend of Lylah Claire works so hard at vilifying the Old Hollywood (there's even a vicious Hedda Hopper caricature) that it's a wonder the actors could keep a straight face. The film was based on a 1962 Dupont Show of the Week TV drama co-written by Wild in the Streets creator Robert Thom. ~ Hal Erickson, Rovi

Former cartoonist and gag man Frank Tashlin made his directorial debut with 1952's The First Time. The story concerns Joe and Betsey Bennet (Robert Cummings, Barbara Hale) a young married couple anxiously awaiting the arrival of their first child. Once the bundle of joy has arrived, Joe and Betsey experience the flip side of parenthood--the mounting bills, the incessant demands made on their time, and the ceaseless strain on their nerves. The story material is on the thinnish side, but Tashlin keeps things hopping with a few well-placed sight gags, while Bob Cummings and Barbara Hale work very well together. The First Time is pleasant enough, though it would take a few more pictures before Frank Tashlin would let loose with the zany slapstick and on-target social satire which made him the darling of French film critics. ~ Hal Erickson, Rovi

Despite its title and its potent lineup of cowboy talent, RKO Radio's The Law West of Tombstone is more comedy than western. The characters are all based on famous frontier characters, with names changed to protect the producers. Harry Carey is cast against type as a blowhard Judge Roy Bean clone, whose bravado masks the heart of a coward. With the help of Billy the Kid rip-off Tim Holt, Carey fends off a gang that closely resembles the Clantons. Holt ends up in the arms of Jean Rouverol, a busy ingenue of the 1930s who later became a prolific children's story writer. Law West of Tombstone was directed by onetime movie leading man Glenn Tryon. ~ Hal Erickson, Rovi

Republic Pictures borrowed heavily from Damon Runyon when they crafted this tuneful Gene Autry series entry, restored to its full length by Gene Autry Entertainment in 2001. Just as Apple Annie had in Lady for a Day (1933), kindly old Dad Haskell Frank Darien) has gilded the lily a bit by suggesting to his Eastern daughter Betty (Jean Rouverol) that he is the sole owner of the Circle J, a Western dude ranch. The problem is that the ranch has just been sold to one Van Fleet (Davison Clark) and is not equipped to receive guests at all. Yet despite being repeatedly snubbed by Betty, foreman Gene Autry nevertheless agrees to put up a front in order for the girl to impress her socialite fiancé Walter (George Wolcott). But unbeknownst to all and sundry, there is helium in them thar hills and soon both bullets and fists are flying. Gene Autry, Smiley Burnette and guest stars Joe Frisco and Edward Raquello perform "Old November Moon", "Roll, On Little Dogies, Roll On", "When the Bloom Is on the Sage", "El Rancho Grande", "Cielito Lindo", "I Love in the Morning", and "The Balloon Song". ~ Hans J. Wollstein, Rovi

Adapted from the Edna Ferber and George S. Kaufman play, Stage Door is a comedic portrait of the theatrical community in New York. Katharine Hepburn stars as Terry Randall a young woman who comes from a wealthy, socially connected family. Aspiring for a career on the stage, Terry opts to see if she can make it on her own gumption and moves into a boarding house with several other wannabe Broadway starlets attempting to make a mark for themselves in show business. Terry's sassy roommate Jean (Ginger Rogers) just might get the opportunity to do that when she meets a lecherous producer, but at what cost? Unamused by Terry's attempts to pull herself up by her bootstraps, her father offers her an opportunity for a starring role in a show that's sure to fail. Lucille Ball, Eve Arden, and Ann Miller are among the other residents of the boarding house. ~ Matthew Tobey, Rovi

The second screen version of Anna Katherine Green's 1878 whodunit stars Donald Cook as Dr. Truman Hartnell, a dedicated physician who after declaring old Silas Leavenworth (Frank Sheridan) fit for fight is appalled to learn that the wealthy broker is found dead, an apparent suicide. But Silas, who had bandied about the idea of leaving his ill-gotten gains to charity, had plenty of enemies within his own household. And sure enough, as Detective Bob Gryce (Norman Foster) soon learns, the mean old geezer was murdered by a person or persons unknown. Among the suspects: Henry Clavering (Gavin Gordon), Silas' disgruntled business partner; Eleanor (Jean Rouverol), Leavenworth's pretty niece; and Phoebe (Maude Eburne), the victim's cranky old-maid of a sister. A pet monkey also figures prominently in the plot but the original denouement was too gruesome for the British censors and Republic filmed a copout ending for foreign release versions. ~ Hans J. Wollstein, Rovi

The first major film about psychiatry, Private Worlds stars Claudette Colbert as a psychiatrist with more than a few problems of her own. Colbert's appointment to a top mental hospital is frowned upon by head doctor Charles Boyer, who doesn't have much confidence in woman doctors of any kind. A secondary storyline involves Boyer's sister Helen Vinson, who lusts for a young married doctor (Joel McCrea). The doctor's wife (Joan Bennett) subsequently goes insane in an "off-angled" scene anticipating the techniques of film noir by nearly a decade. Meanwhile, doctors Boyer and Colbert establish a mutual respect which deepens into love. Based on a novel by Phyllis Bottomes, Private Worlds is stronger in its vignettes (including a scene in which Boyer comforts a dying patient by speaking a few words in the patient's native tongue) than in its longer "plot" scenes. ~ Hal Erickson, Rovi

W.C. Fields is in fine fettle as small-town grocer Harold Bissonette (pronounced Biss-o-NAY). Harold dreams of becoming a California orange farmer, but his gorgon wife (Kathleen Howard) will have none of it. After a grueling day at the store, during which his electric light stock is destroyed by a cane-wielding blind man (Charles Sellon), and his floor is flooded with molasses by the impish Baby LeRoy, Harold announces that he's sold the store and bought an orange grove. Seeking to escape his wife's nagging, Harold tries to sleep on his porch, which proves impossible thanks to innumerable interruptions--not least of which is an insurance salesman (T. Roy Barnes) loudly asking for Karl LaFong ("capital L, small A, capital F, small O, small N, small G!") The next day, Harold packs his family into the car and heads off for California. Once there, the little band of pilgrims drives onto the property of a wealthy man, assuming that it's a public park. They make a shambles of the grounds while trying to have a picnic, whereupon they are chased off the land by the scowling owner (Guy Usher). Finally, Harold arrives at his "vast" orange grove--consisting of a tumbledown shack and one scrawny tree. Harold sits silently ruminating over his bad luck until his new neighbor informs him that a wealthy land developer wishes to buy Harold's property to build a stadium. "Don't let them bluff you," advises the neighbor. "You can get any price." The potential buyer turns out to be the same fellow whose property had been invaded by Bissonette the day before, but business is business. The buyer offers several insulting sums, but Harold, fortified by a flask of gin, holds firm. "You're drunk!" the buyer shouts. "And you're crazy," responds Harold. "But tomorrow I'll be sober, and you'll always be crazy." Harold's stubbornness saves the day, and we fade on the satisfying sight of the Bissonette family living in luxury on the huge orange grove of Harold's dreams. A remake of Fields' silent It's the Old Army Game, It's a Gift was written by J.P. McEvoy and one Charles Bogle--and there isn't a Fields fancier alive who doesn't know who Charles Bogle really is. Downplayed by detractors as being merely three two-reelers strung together, It's a Gift has survived such piddling criticism to emerge as one of W.C. Fields' funniest efforts, as well as a comedy classic by any standards. ~ Hal Erickson, Rovi