Raymond Walburn Movies

The Spoilers is the fourth and (very likely) last film version of Rex Beach's rugged Alaskan adventure yarn. Set during the Gold Rush of '98, the film stars Jeff Chandler as mine owner Roy Glennister, cheated out of his claim by gold commissioner Alex McNamara (Rory Calhoun). Though Glennister protests, the crooked McNamara has the law on his side. Saloonkeeper Cherry Malotte (Ann Baxter) constantly shifts her allegiance between Glennister and McNamara, though eventually she chooses the "right" side. Like all previous versions of The Spoilers, this one ends with a knock-down, drag-out fight between Glennister and McNamara--not as realistic, perhaps, as the famous bout between William Farnum and Tom Santschi in the original 1914 adaptation of The Spoilers, but a heck of a lot more exciting. Raymond Walburn makes his final film appearance as town inebriate Mr. Skinner. ~ Hal Erickson, All Movie Guide

In this entry in the "Henry Latham" series, set during WW II, an independent young woman takes control of a flying school after the owner is called for military duty. She is assisted by her father, his friend, and the mayor who were all fliers during WW I. They all have a rip-roarin' time until a bank robber hijacks the mayor's plane with the mayor in it. Trouble ensues when the plane runs out of gas and crashes. The police capture the crooks. ~ Sandra Brennan, All Movie Guide

Excuse My Dust is one of the few Red Skelton musicals in which Skelton is not obliged to share screen space with the likes of Eleanor Powell, Esther Williams or Fernando Lamas. Set in 1900, the film stars Red as zany inventor Joe Belden. Enchanted by the new-fangled horseless carriages, Belden vows to become the Henry Ford of his small community. The climax finds Joe competing in a cross-country auto race for a $5000 prize. Though light on slapstick, this closing sequences scores on the nostalgic value of the several genuine vintage autos pressed into service. Sally Forrest co-stars as Skelton's sweetheart, while MacDonald Carey plays his obnoxious rival. The songs for the most part are well-integrated into the story, save for one anachronistically modern production number (explained away as a "dream sequence" wherein Skelton imagines what life will be like in 1950!). ~ Hal Erickson, All Movie Guide

Western aficionados tend to regard Short Grass as the best-ever directorial effort by Lesley Selander. Considerably longer than most Monogram westerns (82 minutes), the film never lags, thanks to the expertise of Selander and a top-rank cast. Rod Cameron plays Steve, a drifter who briefly settles down on a ranch. During a range war, Steve comes to blows with avaricious rancher Hal Fenton (Morris Ankrum). Shortly thereafter, a man is killed and Steve is implicated in the crime. He leaves town in a hurry, returning five years later to clear his name and reclaim his land. He finds that his former girl friend Sharon (Cathy Downs) is married to alcoholic newspaperman John Devore (Tris Coffin), and that Fenton now holds the commuity in an iron grip of fear. Lawman Keown (Johnny Mack Brown) can't administer justice because of the political strings pulled by the villains. With Steve's help, Keown and the rest of the town's honest citizens are finally able to swing into action, leading to a superbly staged climax. Comic actor Raymond Walburn essays a relatively straight role as the town's leading citizen. ~ Hal Erickson, All Movie Guide

In this entry in the "Henry Latham" comedy series, the parsimonious Henry protests the rising cost of meat and decides to take up hunting for wild game. ~ Sandra Brennan, All Movie Guide

Taken (as far as possible) from the Cole Porter musical comedy of the same name, Red, Hot and Blue stars Betty Hutton as an ambitious chorus girl. Hutton gets a job with a musical comedy bankrolled by gangsters, and is the wrong girl at the wrong place when one of the show's backers (William Talman) is bumped off. She is arrested for suspicion of murder, then is kidnapped by the villains to keep her from spilling the beans. The plot requires that she be rescued by hero Victor Mature, though many disgruntled audience members may have been rooting for the boisterous Hutton to be dumped in the East River. The stage version of Red Hot and Blue starred Ethel Merman, Jimmy Durante, and Bob Hope. Hutton is no Merman, but she gives her all to the brassy production numbers and the self-absorbed ballads--written not by Cole Porter, whose score was dispensed with, but by Paramount's in-house tunesmith Frank Loesser, who also plays a small role as one of the gangsters. ~ Hal Erickson, All Movie Guide

The second entry in Monogram's "Father" series was 1949's Leave It to Henry. Raymond Walburn returns as small-town blowhard Henry Latham, while Walter Catlett reprises his portrayal of bombastic Mayor Colton. Preparing for their town's Centennial celebration, Henry and the Mayor stage a reenactment of a famous steamboat fire. Things get out of hand, and the upshot of this is a stiff jail term for poor Henry. The supporting cast includes such never-fail character players as Ida Moore, Olin Howlin and Harry Harvey. But the principal attraction of Leave it to Henry is the comic rapport between Raymond Walburn and Walter Catlett (who, offscreen, had been close friends since boyhood). ~ Hal Erickson, All Movie Guide

Absent from films since 1938 (except as producer of a brace of RKO Radio features), silent-screen comedy favorite Harold Lloyd returned before the cameras in The Sin of Harold Diddlebock. The project began as a labor of love between Lloyd and the brilliant, innovative producer/writer/director Preston Sturges. Though these two comedy geniuses eventually had a stylistic falling out, resulting in an uneven, spasmodically dreary film, on the whole Harold Diddlebock is well worth having. Sturges cleverly opens the picture with the final reel of Lloyd's silent classic The Freshman(1925), in which the drudge of the college football team makes good and scores the winning touchdown. The story proper begins in the locker room, where football hero Harold Diddlebock (Lloyd, looking three decades younger than his 53 years) is impulsively offered a job by banker J.E. Wagglebury (Raymond Walburn). Taking his place at his new desk and festooning his walls with inspirational homilies, Harold starts to work, supremely confident that he's poised on the brink of bigger things. Twenty-three years pass: In 1946, a weary, stoop-shouldered Harold is still at the same desk at the same job, his dreams of success but a dim memory. Summarily fired by the pompous Wagglebury ("You have not only ceased to go forward, you have gone backward"), Harold collects his final paycheck, cleans out his desk, and bids farewell to office girl Miss Otis (Frances Ramsden), all of whose older sisters had previously been Harold's sweethearts. Wandering aimlessly on the street with his severance pay in hand, Harold is spotted by a dessicated street hustler named Wormy (Jimmy Conlin), who inveigles the newly fired clerk to join him at a nearby bar. Informed that Harold has never taken a drink in his life, the bartender (Edgar Kennedy) lights up and declares, "Sir, you rouse the artist in me!" With great ceremonial flourish, the bartender concocts a potent beverage called the Diddlebock. Harold takes one sip of the brew, lets out a yell, and immediately loses all the inhibitions that have kept him from advancing himself in the past two decades. With Wormy in tow, Harold goes on a wild spending and carousing spree, totally losing track of an entire day-and-a-half.

At the end of his revelry, the hung-over Harold is awakened by his sister (Margaret Hamilton), who informs him that he's bought a garish new wardrobe, a ten-gallon hat, and goodness knows what else. He soon finds out what else when he ventures into the street and is informed that he's bought a horse-drawn cab (with driver!) -- and a circus, complete with hungry lions. Quickly formulating a plan to get rid of the circus at a substantial profit, Harold decides to elicit bids from the town's various bankers, bringing Jackie the Lion along with him so that the bank guards won't stop him at the door. All of this leads to a wild recreation of Lloyd's skyscraper-teetering gags from his silent days, a noisy episode at the local jail, and a romantic tête-à-tête with Miss Otis, who reveals at the very end how Harold really spent his "missing" Wednesday! Though it tested well upon its first release, Sin of Harold Diddlebock was abruptly withdrawn from circulation by its co-producer Howard R. Hughes, who spent four years reediting and sometimes reshooting the film before finally releasing it through RKO as Mad Wednesday. Both this version and the original Sin of Harold Diddlebock still exist; while the earlier version is undeniably richer in comic invention and characterization, the shortened Mad Wednesday works better in front of an audience. Neither version completely fulfills the potential of its premise, however. Though not to be missed, this final Harold Lloyd vehicle pales in comparison with his vintage silent comedies. ~ Hal Erickson, All Movie Guide

Brothers Henry and Wayne Cooper (Grant Withers and William Haade) have a mission to help their younger, shyer sister, Geraldine Jane Withers, who has just received a large inheritance from their mother. It was their dying mother's request that the brother's find a suitable suitor for their younger sister. Geraldine, however, rejects all the men they bring courting, including her current beau Willy Briggs Jimmy Lydon. They must chase her as she flies to London, trying to keep her out of harm's way as she lives up her new-found freedom to the hilt. ~ All Movie Guide

Director Allan Dwan moved to Republic Pictures in 1946, there to make the same sort of marital farce he'd been specializing in at United Artists throughout the 1940s. Eddie Albert plays an American pilot stationed in England who pines for his stateside wife (Faye Marlowe). Denied a pass, he goes AWOL to see his wife in New York. The complication? His wife becomes pregnant, and Albert must prove he's the father without admitting to his unauthorized leave of absence. ~ Hal Erickson, All Movie Guide

In this musical, a chorus of convicts conspires to get a paroled crooner chucked back in the clink. Songs include: "Time Will Tell," "Now And Always," "Round The Bend," and "How Lovely." ~ Sandra Brennan, All Movie Guide

A snooty blue-blooded English family learns a bitter lesson about the realities of lower class living in this British comedy. It all happens because the ditzy wife makes a terrible mistake with their money and loses a fortune. Her husband, a banker is at his wit's end as he scrambles about looking for much-needed cash. He tries his wife's wealthy, ailing uncle, but he has bequeathed his fortune to the actress he loved as a boy, (a woman he has never met). The aging star, who long ago disappeared from the screen, has no idea she is an heiress. Meanwhile, just before Christmas the daughter of the family brings home a boozy hambone of a fallen theater star who is short on cash. It is he who finds the missing actress and brings her into the house after convincing her that she and the family are related. Things go swimmingly and wealth is restored until the actor gets drunk and tells her the truth. ~ Sandra Brennan, All Movie Guide

Heavenly Days was the last of three RKO Radio film vehicles for the popular radio duo of Fibber McGee and Molly (aka Jim and Marion Jordan). Unlike their first two films, which were cacophonous, plotless musical farces, this one actually has a coherent storyline and not a little "heart appeal." Self-styled expert on everything Fibber McGee takes it upon himself to leave the safe environs of Wistful Vista to go to Washington DC, intending to present himself as the "common man" before the US Congress. Naturally, Fibber's wife Molly goes along for the ride, if only to keep her husband from making a fool of himself. Fibber's actions are given credibility when pollster George Gallup (played by Don Douglas) selects the McGees as Mr. and Mrs. Average Man (or Person). While at large in DC, the McGees also become involved with a group of wide-eyed war orphans. The film's highlight is an impromptu musical interlude with Fibber, Molly, and a group of GIs, played by the King's Men Quartet (regulars on the Fibber McGee and Molly radio show). Perhaps because it took itself a bit too seriously, Heavenly Days failed to match the box-office success of RKO's earlier Fibber-and-Molly efforts, posting a loss of $205,000. ~ Hal Erickson, All Movie Guide