Howard Estabrook Movies

The winning combination of producer Benedict Bogeaus and director Allan Dwan once more struck box-office gold with Passion. Set in 19th century California, the film stars Cornel Wilde as a young rancher seeking vengeance for the murders of his wife Yvonne de Carlo and his parents. The guilty parties are a group of terrorists, headed by Rodolpho Acosta, whom Wilde, now a fugitive from justice himself, intends to knock off one by one. Loyally standing by her man is the sister of Wilde's slain wife, also played by Yvonne de Carlo (one character is demure, the other fiery). Featured in the cast is Raymond Burr as a police chief determined to follow the letter of the law--at least, until things get too personal. Passion was effectively color-photographed on location in the mountain ranges between California and Nevada. ~ Hal Erickson, All Movie Guide

During the 1845 battle for Texas' independence, a cattle baron (Clark Gable) spars with an evil senator (Broderick Crawford) over the state's future and for the affections of newpaperwoman Ava Gardner. ~ Jason Ankeny, All Movie Guide

Owen Wister's 1902 novel was made into a movie several times, most notably in 1929, with Gary Cooper starring. This 1946 remake of the often-filmed saga gave Joel McCrea the title role as the standing-tall cowboy in Wyoming. The Virginian and his best friend Steve (Sonny Tufts) are rivals for the affections of Molly Wood (Barbara Britton), a schoolteacher who has migrated from the East and finds herself intimidated by the rough morality of the West. Steve is after a quick buck and hooks up with a nefarious cattle rustler, Trampas (Brian Donlevy). The Virginian warns his friend not to take up the life of crime, but to no avail. Much gunplay ensues. ~ Michael Betzold, All Movie Guide

First filmed in 1928, Thornton Wilder's Pulitzer-winning novel The Bridge of San Luis Rey is given a ponderous treatment in this 1944 remake. Like the novel, the film begins at the end, with the collapse of a rope bridge in 18th century Peru. The story then flashes back to the lives of the five unfortunates killed in the collapse. Among the five are singer-turned-couresan Michaela (Lynn Bari), her obsequious Uncle Pio (Akim Tamiroff), feuding twin brothers Manuel and Estaban (both played by Francis Lederer) and the envious Marquesa (Nazimova). Trying to make sense of the lives and deaths of the five is sensitive young priest Brother Juniper (Donald Woods). ~ Hal Erickson, All Movie Guide

Author William Saroyan's corn-shucking brand of sentimentality works wonders in this 1943 filmization of his novel. Narrator Ray Collins is dead before the film begins; thus he is able to provide an all-seeing overview of the tiny community of Ithaca, California. The principal character, played by Mickey Rooney, is Collins' son; as the delivery boy for the local telegraph office, Rooney keeps in close contact with virtually every family in town, which results in several comic and poignant moments. Rooney's older brother Van Johnson is in uniform, off fighting World War II; his sister Marcia Hunt is the erstwhile sweetheart of telegraph-office supervisor James Craig. The "circle of life" concept that unifies the anecdotal plotline is best illustrated by the film's final image: after Johnson dies in battle, his best friend, parentless John Craven, is more or less adopted by Collins' family. Reportedly, The Human Comedy was MGM chief executive Louis B. Mayer's favorite film, an apotheosis of Mayer's devotion to "family values." Among the many small-part players populating Human Comedy are Barry Nelson, Robert Mitchum, Don DeFore, Jay Ward (later the producer of Rocky and His Friends) and Carl "Alfalfa" Switzer. ~ Hal Erickson, All Movie Guide

Also released as The Great Awakening, New Wine purports to recreate an incident in the life of Austrian composer Franz Schubert. Though the real-life Schubert was chubby and homely, he is played on screen by the slim-and-handsome Alan Curtis. Unable to convince the world of his talent, Schubert is on the verge of starvation when he is rescued by a gorgeous patron: Countess Anna, portrayed by Curtis' then-wife Ilona Massey. In the film's most memorable scene, Ludwig Van Beethoven (Albert Basserman) advises Schubert to finish that Unfinished Symphony. It's that kind of picture. At least New Wine is full of glorious music, written by Schubert and his contemporaries and only slightly Hollywoodized in the arrangements. ~ Hal Erickson, All Movie Guide

David Copperfield was MGM's major Christmas release for its 1934-1935 season and also the first of producer David O. Selznick's major "literary" films for that studio. While a great deal of editing and streamlining was necessary to distill Charles Dickens' massive novel into 133 minutes of screen time, the end result was so successful that only the nittiest of nitpickers complained about the excised characters and events. Freddie Bartholomew plays the young Copperfield, who, after the death of his mother (Elizabeth Allan), is cruelly mistreated by his stepfather, Mr. Murdstone (Basil Rathbone). David's life brightens when he meets the ever-in-debt Mr. Micawber (W.C. Fields), and he is sheltered by Micawber's large and loving family until Micawber is carted off to debtor's prison. Forced once more to seek a home, David makes his way to the Dover estate of his Aunt Betsey (Edna May Oliver), where he meets another colorful cast of characters, none more so than the childlike Mr. Dick (Lennox Pawle). When Murdstone arrives, insisting that David be returned to him, Aunt Betsey and Mr. Dick form a united front to protect the boy. Flash-forward several years: the grown David (now played by Frank Lawton) is attending school, where he meets the lovely Agnes Wickfield (Madge Evans). David discovers that Agnes' businessman father (Lewis Stone) is under the thumb of the "'umble" prevaricator Uriah Heep (Roland Young) and the equally disreputable Steerforth (Hugh Williams). With the help of Mr. Micawber-who in a weak moment has taken a job working side-by-side with Heep-David proves Heep's treachery and rescues the Wickfields. By rights, he should marry Agnes, but David impulsively weds the empty-headed Dora (Maureen O'Sullivan). Only after Dora's death does David come to his senses, realizing that Agnes is the true love of his life. Originally, Charles Laughton was slated to play Micawber, but he pulled out of the production, worried that he wouldn't be funny enough. The casting of W.C. Fields was an inspired choice: although he injects his own established screen personality at every opportunity, Fields was born to play Micawber. Likewise, second-billed Lionel Barrymore fits his portrayal of crusty old Dan Peggoty like a glove. In fact, there isn't a false bit of casting in the whole production, and this, as much as Selznick's sumptuous production values, is the key to David Copperfield's enormous success. ~ Hal Erickson, All Movie Guide

The title may be Orchids to You, but the plot is motivated by a camellia -- to be exact, Camelia Rand (Jean Muir). About to be ejected from her thriving flower shop when a developer plans to tear down the building, Camelia confronts Thomas Bentley (John Boles), the lawyer representing the developer. Despite her anger, Camelia can't help but take a liking to Bentley, though she refuses to entertain any romantic notions because the lawyer is already married to Evelyn (Ruthelma Stevens). Later on, a stranger enters Camelia's shop and orders a dozen orchids for Mrs. Bentley. Not wishing to hurt Mr. Bentley, Camelia refuses to mention Mrs. B's name in court when ordered to do so, and as a result spends 10 days in jail on a contempt charge. All-around comedy relief Teddy Stuyvesant (Charles Butterworth) shows up in time to solve everything, and the film ends with the philandering Mrs. Bentley out in the cold and Camelia in Mr. Bentley's arms. ~ Hal Erickson, All Movie Guide

Lionel Barrymore plays a Marshall Field-like Chicago businessman who emerges from the wreckage of the 1871 fire to build a department-store empire. Barrymore is aided by his Jewish manager Gregory Ratoff, who despite his business acumen is never made a full partner. The store magnate's four children grow up to be disappointments, preferring to squander dad's money and refusing to enter his business. Manager Ratoff realizes that Barrymore's offspring are worthless, and quietly buys up their shares of the store in order to save the business from ruin, emerging with full charge of Barrymore's empire. Only when Barrymore is on the verge of death do his children rally around him and promise to make something of themselves. A well-made 20th century equivalent to King Lear, Sweepings was remade less effectively as Three Sons in 1939. ~ Hal Erickson, All Movie Guide

In an interesting precursor to his later vehicle The Prisoner of Zenda, Ronald Colman essays a dual role in Goldwyn's The Masquerader. Colman is cast as Member of Parliament Sir John Chilcote and his identical cousin, a newspaper journalist also named John. A mean-spirited alcoholic and drug addict, Sir John needs time to try to recover from his multitude vices. Thus with the help of the MP's faithful butler Brock (Haliwell Hobbes), the "good" John agrees to take his cousin's place -- doing the job so well that he even convinces and wins Sir John's estranged wife Eve (Elissa Landi). Based on a novel by Katherine Cecil Thurston (previously adapted as a play by John Hunter Booth), The Masquerader proved to be a box-office disappointment, a fact that made Ronald Colman hesitant to star in A Tale of Two Cities until he was assured that he wouldn't have to play both Sidney Carton and Charles Darnay. ~ Hal Erickson, All Movie Guide

Katharine Hepburn made her auspicious film debut in the otherwise undistinguished A Bill of Divorcement. Based on a play by Clemence Dane, the film is set on the day that Hepburn's mother, Billie Burke, is to divorce her insane and long-institutionalized husband John Barrymore. But Barrymore escapes from the asylum and returns home, only vaguely aware of the passage of time (he was shell-shocked during WWI). His presence puts Burke in an uncomfortable spot, especially since she plans to wed Paul Cavanaugh. Pressured by her idiotically traditional family to renew her vows with her first husband, Burke is saved from a lifetime of misery by her spunky daughter Hepburn, who takes care of her child-like father. The film's attitude towards male-female relationships, not to mention its archaic approach to the problem of mental illness, make Bill of Divorcement a chore to sit through today. Its saving grace is the warm rapport between Katharine Hepburn and John Barrymore (contrary to Hollywood legend, they did not despise one another). Even given its dated quality, Bill of Divorcement is more palatable than its empty 1940 remake, which starred Maureen O'Hara and Adolphe Menjou. ~ Hal Erickson, All Movie Guide

Lily Damita, an actress best known today for her tempestuous marriage to screen idol Errol Flynn, is the Dietrich-like heroine in RKO Radio's The Woman Between. Damita plays a knockout French modiste who marries the much-older widower O.P. Heggie. She immediately incurs the wrath of Heggie's grown children (Lester Vail, Miriam Seegar), who suspect that Damita married the old coot for her money. She didn't, but she does eventually tire of Heggie, ending up running off with her handsome "stepson" Vail. In an incredible climactic about-face, our heroine decides to remain faithful to Heggie after all, apparently for no other reason than RKO's fear of the Hollywood censors. Director Victor L. Schertzinger also wrote the film's theme song, Close to Me. ~ Hal Erickson, All Movie Guide