William Arnold Movies

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

The Sidney Howard/Paul de Kruf Broadway play Yellow Jack was transferred to the screen by MGM in 1938. The film is set at the turn of the century, when yellow fever was the Number One killer in Latin America. Army doctors Lewis Stone, Charles Coburn and Stanley Ridges gather in Cuba to attempt to find the cause and cure of the dreaded disease. Five US soldiers--Robert Montgomery, Buddy Ebsen, Alan Curtis, Sam Levene and William Henry--volunteer to expose themselves to yellow fever as a means to test the experimental vaccines. In a very well handled close-up setpiece, the audience discovers long before the medical staff that the humble mosquito is the disease carrier. The "Let me be the first to die" brand of heroics is sometimes hard to take, but otherwise Yellow Jack is inspiring entertainment in the grand old Hollywood tradition. ~ Hal Erickson, All Movie Guide

Penitentiary was the first of two remakes of Howard Hawks' 1931 prison flick The Criminal Code (the second remake was 1950's Convicted). Sent to prison on a manslaughter charge, young William Jordan (John Howard) is befriended by the man who sent him up, Judge Mathews (Walter Connolly). The judge sees to it that Jordan is given every opportunity to rehabilitate himself, though he's a bit uncomfortable when his own daughter Elizabeth (Jean Parker) falls in love with the young convict. All of this extra effort goes out the window when Jordan, adhering to the "criminal code" of never snitching on a fellow con, allows himself to be implicated in the murder of a stoolie. Jordan is saved from the hot seat by the last-minute confession from the real killer, a hard-bitten but honorable "lifer" named Finch (Arthur Hohl). In the original Criminal Code, Walter Huston, Philips Holmes, Constance Cummings and Boris Karloff essayed the roles played in Penitentiary by Connolly, Howard, Parker and Hohl. ~ Hal Erickson, All Movie Guide

The inimitable Preston Sturges originally scripted Hotel Haywire with George Burns and Gracie Allen in mind, but by the time the film went before the cameras, the Burns and Allen roles had been recast with Benny Baker and Colette Lyons -- and significantly abbreviated in the process. A dentist named Parkhouse (Lynne Overman) plays a practical joke on a poker-playing buddy by sending him home with a lady's chemise stuffed in his coat pocket. The gag backfires, whereupon Parkhouse finds himself in hot water with his own wife (Spring Byington). Threatened with divorce, Parkhouse is advised by a zany astrologer to frame Mrs. P. in a compromising situation at the Hotel Haywire, enlisting amateur detectives Bert and Genevieve Sterns (Baker and Lyons) in his scheme. Things get really hectic when Parkhouse's daughter Phyllis (Mary Carlisle) and her sweetheart Frank (John Patterson) show up at the same hotel. The film is dominated by the antics of larcenous astrologer Zodiac Z. Zippe, played with comic ferocity by Leo Carrillo. ~ Hal Erickson, All Movie Guide

Fight manager Nick Donati (Edward G. Robinson) has just lost his best fighter to crooked promoter Turkey Morgan (Humphrey Bogart). During a party at Donati's apartment, a bellhop (Wayne Morris) kayos Morgan's boxer, who has insulted the honor of Donati's girlfriend, Louise "Fluff" Phillips (Bette Davis). Sensing a good thing when he sees it, Donati takes the bellhop under his wing, promoting the erstwhile pugilist as Kid Galahad. Morris is shipped to Donati's farm for training, where he falls in love with Donati's sheltered kid sister, Marie (Jane Bryan). Angered at this, Donati sets up Kid Galahad for a fall, ordering him to take a dive in an upcoming bout and betting his bankroll on Morgan's boy. Kid Galahad takes a terrific beating until, at the urging of Fluff and Marie, he abruptly changes his ring strategy. When Galahad wins, Morgan, feeling he's been double-crossed by Donati, shoots the latter. Morgan manages to fatally wound Morgan before expiring himself; as he breathes his last, he gives his belated blessing to Galahad and Marie's romance. To avoid confusion with Elvis Presley's 1962 remake of Kid Galahad, the earlier film was retitled The Battling Bellhop for TV. ~ Hal Erickson, All Movie Guide

A boy learns life-changing lessons about the importance of friendship and the dignity of labor in this adventure saga based on a story by Rudyard Kipling. Young Harvey Cheyne (Freddie Bartholomew) is the working definition of a spoiled brat; the only child of a wealthy widowed businessman, Harvey has everything he needs, but never stops asking for more, convinced he can get anything if he yells, pouts, or throws the right tantrum. Even other boys his age are disgusted with his antics, and when he accompanies his father on an ocean cruise, he finds he has no friends to play with. After wolfing down six ice-cream sodas, Harvey gets sick to his stomach and while vomiting over the side of the ship, he falls into the drink. He is rescued by Manuel (Spencer Tracy), a Portuguese old salt who drags him on board a Gloucester fishing boat where he's a deck hand and doryman. Harvey shows no gratitude to Manuel for saving his life and demands to be taken home immediately; Manuel and the crew, not the least bit sympathetic, inform him that once they've filled the ship's hold with fresh catch, they'll return to shore, and not a moment sooner. Over the next few weeks, Harvey grows from a self-centered pantywaist into a young man who appreciates the value of a hard day's work, and in Manuel he finds the strength, guidance, and good sense that he never got from his father. Spencer Tracy earned an Academy Award for his performance in Captains Courageous and even sings a bit; the story was parodied years later (with a few rather drastic changes) in the Chris Elliott vehicle Cabin Boy. ~ Mark Deming, All Movie Guide

After It Happened One Night, Claudette Colbert seemed to make a career out of playing plucky heiresses with minds of their own, which sums up her character well in this romantic comedy. When her wealthy father goes broke, Jeanette Desmereau (Claudette Colbert) decides she should find a job of her own, applying for work as a writer at a magazine edited by hot-headed Cyrus Anderson (Fred MacMurray). Jack Bristow (Robert Young), one of the staffers, tells Cyrus about Jeanette's misfortunes, and while he's not initially swayed by this tale of woe, Cyrus buckles under and hires her, primarily because Jack has lobbied strongly for her (which might have something to do with the fact he finds her attractive). While Jeanette and Cyrus don't get along well at first, when the irresistible force meets the immovable object, something has to give and before long the two fall in love. Cyrus and Jeanette make tentative plans to marry, but when Jeanette decides to do Cyrus a favor and clean up his very sloppy bachelor apartment, Cyrus becomes furiously angry and calls off the wedding. After this, Jeanette is just as angry with Cyrus and Jack, waiting in the wings, steps in; she impulsively decides to marry Jack, and they hit the road for Indiana for a date with the Justice of the Peace. Cyrus realizes just how big a mistake he has made, and points his motorcycle toward Indiana to stop the marriage before it's too late. ~ Mark Deming, All Movie Guide

Bette Davis plays a facial cream heiress in this middling comedy, which Warner Bros. filmed partially in Florida. Mistaking George Brent for a fellow socialite, Bette quickly marries him only to discover that he is a penniless reporter searching for peace and quiet to finish the great American novel. As it turns out, Bette is not who she claims to be, either, but a waitress hired by the perfume company as a sort of advertising gimmick. Fearing she may lose George if he learns the truth, she goes out of her way to hide her true identity, to the point where the exasperated young man finds solace with Carol Hughes, a true blue blood. Everything works out in the end, of course, and the couple is reunited. ~ Hans J. Wollstein, All Movie Guide

In this crime comedy, a street-savvy gangster involves himself with a Miami socialite. Together, they conspire to turn her familial mansion into a secret gambling casino. The hood is convinced her beauty will draw customers and with the ensuing profits, the two will be able to pay their debts. Unbeknownst to him, his own gang members, fearing that he will abandon his "roots" in favor of the high-life, are conspiring to break up his partnership with the girl. They hire two grifters to impersonate a British colonel and his niece; they then try to convince the hood that he and the high-society dame are a bad match. When the gangster meets the "niece," he falls head-over-heels in love and forgets all about the socialite. When she, who is really after his money, returns his affections, the gang suddenly realizes that their scheme has backfired. Fortunately, by the story's end, the hood figures it all out and returns to the loyal socialite whose love remained undaunted. ~ Sandra Brennan, All Movie Guide

This romantic comedy-drama is set -- typical for producer Samuel Goldwyn at the time -- among the upper class. Joel McCrea plays Brighton Lorrimore, son of a well-to-do American family who returns from a trip abroad with a new wife, Phyllis Manning (Miriam Hopkins). Brighton's parents are dismayed because they had hoped that their son would restore the faltering Lorrimore fortunes with a marriage to society girl Edith Gilbert (Ruth Weston). Although Phyllis urges Brighton to pursue his dream career as a writer, Brighton's mother pushes him unhappily into a finance job, at which he does not excel. Mrs. Lorrimore also schemes to create romantic sparks between her new daughter-in-law and her son's superior, Martin Deering (Paul Cavanaugh), hoping that an affair will improve her son's fortunes and refill the family's coffers. Written by Rachel Crothers from her unproduced play, Spendor (1935) featured the first significant role on screen for actor David Niven. ~ Karl Williams, All Movie Guide

Rendezvous at Midnight shifts from "low" to "drive" when corrupt city commissioner Myles Crawford (Arthur Vinton) is murdered. His assistant, Bob Edmonds (Ralph Bellamy), originally assigned to investigate the commissioner's administration, now tries to solve his murder. The prime suspect is Sandra Rogers (Valerie Hobson), the last person to see Crawford alive. Despite the most damning evidence, Edmonds refuses to believe that Sandra is guilty, and he sets about to prove it -- even if it means compromising his own honesty. This mild whodunit has curiously been included in TV's "Shock Theater" package, right along with Frankenstein, Dracula, and The Wolf Man. ~ Hal Erickson, All Movie Guide

A European princess heads for New York in order to see if the U. S. will back her country's bond issue. Unfortunately, she is afflicted with the mumps and ordered to bed. This is an ill turn for the banker planning to issue the bonds for if the princess reneges upon her public engagements, the deal could fall through and he will lose a huge commission. Thinking quickly, he starts looking for a look-alike. He soon discovers an impoverished actress who fits the bill. Trouble brews when a prominent and somewhat xenophobic newspaper publisher gets wind of the entire scam. ~ Sandra Brennan, All Movie Guide